Cinema is shining again: the Big Screen accounts for 48% of cultural consumption

This is not just a rebound after the pandemic years, but a more structural signal that concerns spending, participation, and the perceived value of cultural activities. This is what emerges from the Impresa Cultura Italia–Confcommercio Observatory, carried out in collaboration with SWG.

In 2025, Italians spent an average of €94 per month on cultural consumption, up from €90 in 2024. The level still remains far from the €113 recorded before the pandemic, but the trend nonetheless indicates a consolidation of demand. Among the most widespread activities are those related to audiovisual content and home consumption: 90% of Italians watch programs, films, or series on television, 83% listen to music, and 81% listen to the radio.

Alongside these habits, participation in out-of-home cultural experiences is also growing again. In first place are cultural events, attended by 53% of Italians. Museums take the silver medal, accounting for 50% of activities. In third place we find the cinema, with 48% attendance. They are followed by open-air shows and concerts, which account for 42% and 39% of cultural activities respectively.

The big screen undoubtedly represents the most interesting sector: the share of moviegoers has risen from 30% in 2022 to 41% in 2024, reaching 48% in 2025. This represents an 18-point increase in three years, a result that reflects both the recovery of the audiovisual sector - heavily affected by the COVID-19 pandemic and by the explosion of streaming platforms - and a renewed interest in shared and immersive cultural experiences.

Personal growth remains the main character of cultural consumption: 37% associate it with increased knowledge, 36% with intellectual stimulation, and 33% with the opportunity to learn new things. Alongside these motivations, however, the desire for escape, relaxation, and entertainment also emerges strongly.

There are, however, some signs of caution. The share of people who perceive cultural consumption as a cost has grown - from 11% to 18% - while the proportion of those who consider it essential for their well-being has fallen from 17% to 11%. According to industry operators, this tension highlights the need to strengthen the ability of cultural enterprises to generate economic and social value within local communities.

Andrea Pelucchi