NEW YORK — A decade ago, Jennifer Kent’s horror masterpiece “The Babadook” premiered in just two theaters. This month, the film will make a triumphant return to 500 cinemas, marking its 10th anniversary with a widespread re-release.

“It’s surreal but incredible. I can hardly believe it’s been 10 years. It’s wonderful to revisit it,” says Kent from Australia. “Given its modest initial release, I take great pride in its enduring impact.”

“The Babadook,” a haunting allegory of parenthood that heralded a new wave of bold, cinematic horror, is among several films celebrating anniversaries with theater re-releases this year. Moviegoers will notice not only new releases on theater marquees but also a selection of beloved classics.

In an era where home streaming is just a click away, the big screen is witnessing a resurgence of older films. Repertory cinema, traditionally the domain of arthouses, has now entered mainstream multiplexes.

In some cases, ticket sales for these re-releases have been astonishing. For example, Henry Selick’s 2009 stop-motion film “Coraline” grossed over $25 million in just two weeks this year—a remarkable feat for a 15-year-old film. Earlier, Disney’s re-release of “Star Wars: Episode One – The Phantom Menace” earned $19.4 million globally.

This fall, movie theaters will host anniversary screenings of iconic films like “Shaun of the Dead,” “Paris, Texas,” “Whiplash,” “Hoop Dreams,” and “Interstellar,” among others. While it’s common for restored classics like “Seven Samurai” and “The Conversation” to make their way back to theaters, what’s novel is the broad re-release of relatively recent films and the enthusiastic audience turnout.

“The Babadook,” once a small indie film that gained cult status and critical acclaim—even being hailed as an instant classic by William Friedkin—could potentially surpass the $1 million it made during its initial North American release.

“It’s developed a new fan base,” says Nicole Weis, vice president of distribution for IFC. “Many fans didn’t see it in theaters initially. This re-release strategy allows them to experience it as it was meant to be seen—on the big screen.”

The theatrical landscape hasn’t fully rebounded to pre-pandemic levels, partly due to a shortage of new films. Various factors have led to fewer nationwide releases, with last year’s prolonged industry shutdowns significantly disrupting the movie calendar.

To address this gap, major theater chains AMC, Regal, and Cinemark formed Fathom Events in 2005. Fathom specializes in distributing live broadcasts of events like the Metropolitan Opera and special film series such as the annual Studio Ghibli Fest. Its recent re-release of “Coraline,” including 3D showings, set a new high mark for the company.

“The demand for classic movies has surged,” says Ray Nutt, CEO of Fathom. “This year alone, we’ll see a 75% increase in this category compared to last year.”

Initially, Fathom focused on screening films on typically slow days like Mondays and Tuesdays. However, they’ve since expanded their offerings. Earlier this year, they achieved significant success with a weekend run of the “Lord of the Rings” trilogy. Upcoming classics in their lineup include “Rear Window,” “Blazing Saddles,” “Mean Girls,” and “The Fifth Element.”

“We often joke about what constitutes a classic movie,” Nutt adds. “It used to mean something around 50 years old, but now we’re considering ‘Coraline’ at just 15.”

While some streaming services may not prominently feature older films, their popularity persists. This summer, both “Titanic” and “The Equalizer” ranked among Netflix’s most-watched lists. The distinction between theater and home viewing is increasingly about the experience rather than the novelty of the content. Would you prefer to watch “Jaws” on your couch while distracted by your phone or in a theater with an audience collectively holding their breath?

Mark Anastasio, program director at Coolidge Corner Theatre in Brookline, Massachusetts, noticed the enduring appeal of older films when his six-screen nonprofit cinema reopened post-pandemic. At that time, there were few new releases available.

“But interest in repertory never waned,” Anastasio notes. “We now show an older film every night of the week, including weekends. And the demand is strong.”

This shift has allowed Anastasio to get creative with programming. Recently, he hosted packed screenings of Spike Lee’s “Inside Man” in 35mm and William Friedkin’s 1977 thriller “Sorcerer.” Upcoming plans include three weeks of 70mm screenings (“Lawrence of Arabia,” “Inception”) and a “Schlock and Awe” series featuring William Castle films complete with their original gimmicks, like vibrating seats during “The Tingler.”

This trend isn’t confined to urban arthouses; it’s spreading to mainstream screens typically reserved for new releases. Partly out of necessity due to fewer major releases—an estimated 20-30% fewer than five years ago—cinemas are filling programming gaps with classic films.

The resurgence of older films in theaters highlights a growing appreciation for cinematic history and the irreplaceable experience of watching movies on the big screen. As distribution models evolve, audiences are finding renewed joy in revisiting cherished classics amidst contemporary offerings.