Australian box office delivers biggest May on record

Australia’s box office recorded its biggest May on record, reaching $119 million and overtaking the previous May benchmark set in 2019.

The result beat May 2019 by 26%, marking a strong month for theatrical exhibition and giving cinema operators a fresh signal that diverse release slates can still pull audiences into theatres.

The result was driven by a broad mix of titles rather than one dominant release.

The Devil Wears Prada 2 became the third biggest comedy of all time, while Michael ranked as the third biggest biopic ever released.

The Super Mario Galaxy Movie became the third biggest video game adaptation of all time, while Project Hail Mary landed as the seventh biggest sci-fi film ever released.

Horror also performed strongly, with Backrooms recording the fourth biggest opening ever for a horror film.

Billie Eilish: Hit Me Hard and Soft recorded the fifth biggest documentary opening of all time, pointing to continued appetite for event-style music and non-fiction cinema releases.

Mother’s Day weekend also delivered its biggest box office result of all time.

Guy Burbidge, managing director of Val Morgan Cinema, said the record month was driven by the breadth of content across audience segments.

“What May proved is that strong box office performance is built on breadth. This wasn’t a month carried by one film or one audience; it was the diversity of titles driving attendance among all key demographics,” Burbidge said.

“It’s a reminder that Australians love cinema, and that the big screen will always be part of Australian culture and entertainment habits, with an experience they simply can’t get at home.”

Burbidge said the release slate for the rest of the year remains strong, with major IP still to come including Toy Story 5, Minions & Monsters, The Odyssey and Spider-Man: Brand New Day.

He also pointed to upcoming original titles including Digger, The Social Reckoning and Wild Horse Nine.

The May result comes as cinema continues to position itself around cultural moments, event releases and demographic breadth, rather than relying solely on traditional blockbuster cycles.