NEW YORK — A decade ago, Jennifer Kent’s spine-chilling film “The Babadook” debuted in a modest fashion, gracing just two cinema screens. This month, its re-release marks a dramatic shift, as it will now be shown in 500 theaters nationwide.

Reflecting on this milestone from her home in Australia, Kent expresses a mixture of disbelief and joy. “It’s surreal yet wonderful. I can’t quite grasp that ten years have passed. It’s incredible to revisit the film and be part of this journey again,” she says. “Given its limited initial release, I’m proud that it has maintained its relevance and continues to captivate audiences.”

“The Babadook,” a haunting exploration of parenthood wrapped in horror, paved the way for a new wave of bold, innovative horror cinema. This year, it’s among several films enjoying anniversary re-releases. A glance at any cinema marquee today reveals a blend of new releases and beloved classics making a comeback.

In an era where virtually any film can be streamed at home with ease, the resurgence of older films in theaters is notable. Repertory cinema, once the domain of arthouse venues, has found its place in multiplexes as well.

Recent re-releases have seen impressive box office returns. For instance, the cherished 2009 stop-motion film “Coraline,” directed by Henry Selick, has grossed over $25 million in just two weeks—a remarkable feat for a 15-year-old movie. Similarly, Disney’s re-release of “Star Wars: Episode One – The Phantom Menace” earlier this year garnered $19.4 million globally.

This fall will bring anniversary screenings of films like “Shaun of the Dead,” “Paris, Texas,” “Whiplash,” “Hoop Dreams,” and “Interstellar.” While the return of restored classics like “Seven Samurai” and “The Conversation” to theaters is not uncommon, the trend of relatively recent films receiving wide re-releases and drawing large audiences is a newer phenomenon.

“The Babadook,” which ascended to cult status thanks to widespread critical acclaim—including praise from legendary director William Friedkin—may surpass its original North American earnings of $1 million.

Nicole Weis, vice president of distribution for IFC, highlights the film’s evolving fan base. “Many fans haven’t experienced it in theaters. This re-release allows them to enjoy the film as it was meant to be seen—on the big screen,” she notes.

While theatrical attendance hasn’t bounced back to pre-pandemic levels, one factor is the reduced number of new releases. Various issues, including last year’s prolonged work stoppages, have significantly impacted the annual film calendar.

To address these gaps, major theater chains AMC, Regal, and Cinemark established Fathom Events in 2005. This initiative distributes special events such as live Metropolitan Opera broadcasts and the annual Studio Ghibli Fest. Fathom’s recent re-release of “Coraline,” including 3D screenings, set new records for the company.

Ray Nutt, CEO of Fathom Events, observes a growing interest in classic films. “We’ve seen a 75% year-over-year increase in this category,” he says. Initially targeting quieter cinema days like Mondays and Tuesdays, Fathom has expanded its offerings. Earlier this year, a weekend run of the “Lord of the Rings” trilogy proved highly successful. Upcoming classics include anniversary showings of “Rear Window,” “Blazing Saddles,” “Mean Girls,” and “The Fifth Element.”

Nutt adds, “The definition of a classic movie has evolved. We’re now talking about ‘Coraline’ at 15 years old.”

While some streaming services tend to bury older films in their vast libraries, the appeal of a cinematic experience remains strong. The choice between watching “Jaws” on your couch versus on a big screen with an engaged audience speaks volumes about the value of theater viewing.

Mark Anastasio, program director of Coolidge Corner Theatre in Brookline, Massachusetts, noticed the enduring appeal of older films when his cinema reopened post-pandemic. With few new releases available, repertory screenings drew significant interest.

“The demand for older films never waned,” says Anastasio. “We’ve expanded from showing an older movie once or twice a week to every night, including weekends.”

This shift allows Anastasio to explore deeper cuts from filmmakers’ repertoires, with enthusiastic audience responses. Recent screenings included Spike Lee’s “Inside Man” in 35mm and William Friedkin’s 1977 thriller “Sorcerer.” Upcoming plans feature three weeks of 70mm films like “Lawrence of Arabia” and “Inception,” along with a “Schlock and Awe” series showcasing William Castle’s gimmicky films.

This type of programming is spreading beyond urban arthouses. Increasingly, older films are appearing on screens typically reserved for new releases—a necessity given the current landscape.

“There are about 20-30% fewer films being widely distributed now compared to five years ago,” says Jeremy Boviard, general manager of Moviehouse in Millerton, New York. “We’re seeing more gaps in our programming schedule.”

In conclusion, as movie theaters navigate the evolving entertainment landscape, the re-emergence of classic and cult films offers both a nostalgic draw for audiences and a strategic solution for theater operators facing fewer new releases. This trend underscores the timeless appeal of shared cinematic experiences and the enduring magic of the big screen.