NEW YORK — A decade ago, Jennifer Kent’s chilling horror film “The Babadook” premiered in just two cinemas. Fast forward to the present, and the movie is making a grand return to theaters, this time gracing 500 screens nationwide.

“It’s strange, but in a wonderful way. I can’t quite believe it’s been 10 years already. But it’s fantastic to go back and be a part of it,” Kent reflects from her home in Australia. “Considering that it only released on such a small number of screens initially, I feel proud that it’s still enduring.”

“The Babadook,” which delves deep into the fears and struggles of parenthood, has become a touchstone for modern horror, inspiring a wave of innovative and daring films in the genre. This year, it joins an impressive list of movies celebrating anniversaries with theatrical re-releases. As you glance at movie theater marquees, you’ll notice a mix of fresh releases alongside beloved classics.

In an era where almost any film can be streamed at home with a few clicks, the big screen is experiencing a revival, particularly for older films. Repertory cinema, once confined to arthouse theaters, is now making its presence felt in multiplexes.

Surprisingly, some re-releases have achieved staggering box office numbers. For example, Henry Selick’s 2009 stop-motion film “Coraline” recently grossed over $25 million in just two weeks. Earlier this year, Disney’s re-release of “Star Wars: Episode One – The Phantom Menace” garnered $19.4 million globally.

This fall promises a rich lineup of anniversary re-releases, including “Shaun of the Dead,” “Paris, Texas,” “Whiplash,” “Hoop Dreams,” and “Interstellar.” While the return of restored classics like “Seven Samurai” and “The Conversation” is not new, the trend of re-releasing relatively recent films to packed theaters is gaining momentum.

“The Babadook,” initially a small independent film that gained cult status through widespread acclaim—earning praise from notable figures like William Friedkin—stands a good chance of surpassing the $1 million it made a decade ago in North America.

“The fan base has grown,” notes Nicole Weis, vice president of distribution for IFC. “Most fans didn’t see it theatrically. This strategy of bringing it back allows people to experience the film as it was meant to be seen—on the big screen.”

Theater attendance hasn’t fully bounced back to pre-pandemic levels, partly because there aren’t enough new movies being released. Various factors have led to a decrease in the number of films hitting theaters nationwide. Last year’s extended work stoppages significantly altered the movie release calendar.

To help fill this gap, major theater chains like AMC, Regal, and Cinemark formed Fathom Events in 2005. Fathom distributes live broadcasts of events such as Metropolitan Opera performances and special screenings like the annual Studio Ghibli Fest, which brings back classics from the renowned Japanese anime studio. Fathom’s recent release of “Coraline,” including 3D screenings, set a new record for the company.

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

Initially, Fathom focused on screening films on quieter days like Mondays and Tuesdays. However, their scope has steadily expanded. Earlier this year, one of their biggest hits was a weekend run of the “Lord of the Rings” trilogy. Upcoming classics include anniversary showings of “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 like 50 years old, but now we’re talking about ‘Coraline’ at 15.”

While some streaming services tend to hide older films from their home pages, the appeal of these films remains strong. In today’s digital landscape, the novelty of a movie can sometimes be less important than the viewing experience it offers. For example, both “Titanic” and “The Equalizer” have topped Netflix’s most-watched lists this summer. The key difference between watching at home and in theaters is increasingly about how you want to experience the film—do you want to watch “Jaws” on your couch while distracted by your phone or on a big screen with an audience collectively holding their breath?

Mark Anastasio, program director at Coolidge Corner Theatre—a six-screen nonprofit cinema in Brookline, Massachusetts—noticed the enduring appeal of older films when the theater reopened after pandemic closures. With few new releases available at the time, repertory screenings filled the gap.

“But the interest in repertory never waned,” Anastasio explains. “We used to run an older film once or twice a week at 7 p.m., but now we show one every night of the week, including weekends. And the demand is there.”

Anastasio has found that he can now program more creatively, diving deeper into filmmakers’ catalogues. Recently, a screening of Spike Lee’s “Inside Man” in 35mm drew a packed house, and William Friedkin’s 1977 thriller “Sorcerer” was also well-received. Upcoming plans at Coolidge include three weeks of 70mm screenings featuring films like “Lawrence of Arabia” and “Inception,” as well as a “Schlock and Awe” series showcasing William Castle films with their original gimmicks, such as seats that buzz during “The Tingler.”

This type of programming isn’t new for urban arthouses but is increasingly appearing in theaters usually reserved for first-run movies. Some of this shift is driven by necessity.

“There are about 20-30% fewer films being widely distributed now than there were five years ago,” says Jeremy Boviard, general manager of the four-screen Moviehouse in Millerton, New York. “There are definitely more gaps on certain programming weekends.”

In conclusion, while new releases will always be a draw, there’s an undeniable resurgence in the popularity of older films making their way back to theaters. Whether it’s nostalgia or the unique experience that only a theater can provide, audiences are showing up for these classic re-releases in droves.