As the European cinema sector emerges from a period of historic disruption, few markets illustrate the evolving dynamics of theatrical exhibition as clearly as Sweden. From a box office contraction of more than 64% in 2020 to significant recovery by 2023, the Swedish market has endured industry headwinds, with a steady increase in the number of screens since 2019. While many territories shuttered screens during the pandemic, Sweden remained technically open—though commercial viability told a different story. Svenska Bio maintained limited operations through 2020, even temporarily becoming Europe’s top-grossing chain by embracing flexible models like private screenings and cinema on demand. Meanwhile, industry initiatives such as Stora Biodagen (“Great Cinema Day”) and proposals to classify cinema as a wellness activity have signaled that the sector is thinking well beyond traditional business models.
Admissions and box office trended up in 2023 at SEK1.55 million and 11.2 million admissions but stalled in 2024 at SEK1.42 million and 10.3 million admissions. Though still trailing prepandemic averages, behind these figures there is a more nuanced story of market recalibration and strategic programming. The national share is hovering around 22.9 percent—up 7.9 percent from 2023—suggesting a continued increase in local content penetration, as titles like Triangle of Sadness and The Last Journey also break out globally. According to Nordisk Film & TV Fond, 2024’s The Last Journey is now the most-watched documentary in Swedish cinema history. The postpandemic box office rebound in Sweden was largely driven by international blockbusters. According to annual reports from the International Union of Cinemas (UNIC), Top Gun: Maverick topped the local box office in 2022 with $11.4 million in earnings, while Barbie and Oppenheimer took the top honors in 2023.
To learn more about the state of Sweden, Boxoffice Pro turns the lens to three of Sweden’s dominant exhibition players—Filmstaden, Svenska Bio, and Nordisk Film—to better understand how they’re adapting operations, re-engaging audiences, and reshaping the theatrical experience for a new era. Joining the conversation are Sanjay Mistry, the European group head of communications and engagement for ODEON Cinemas Group (Filmstaden); Peter Fornstam, the chief executive officer of Svenska Bio; and Asger Flygare Bech-Thomsen, the chief executive officer of Nordisk Film Cinemas.
What makes Sweden unique compared to other European territories?
Sanjay Mistry: Sweden is a highly digital, progressive, and sustainability-minded market, with cinemagoers who are both tech-savvy and culturally curious. While the market is small in size, Swedes show a strong affinity for both global blockbusters and high-quality local storytelling. The Swedish audience is also quick to embrace innovation—whether it’s new ticketing solutions, premium formats like Imax or Luxe auditoriums with recliner seats, or unique cinema experiences. Our customers place high value on comfort, quality, and the social aspects of going to the cinema.
Peter Fornstam: We are geographically a big territory in Europe, with a population of only 10.5 million people. Having said that, we have slightly more than 900 screens—or one screen per 11,500 citizens—so we are well-screened. Some of the screens in the less populated areas have very thin margins and are dependent on a steady flow of movies, especially local movies, that have a wide appeal, something that we have been lacking lately, though 2024 was an exception. The increased VAT from 6 percent to 25 percent in 2017 hurt the smallest cinemas the most. What I also think makes Sweden unique is all the talent that Sweden has, and has had, in the creative community. Directors like Sjöström, Stiller, Ingmar Bergman, Jan Troell, Mai Zetterling, Bo Widerberg, Roy Andersson, Lasse Hallström, Tomas Alfredson, Tarik Saleh, and Ruben Östlund, to name a few, have made successful movies both in Sweden and abroad. On the acting side there’s Greta Garbo, Anita Ekberg, Ingrid Bergman, Lena Olin, Alicia Vikander, Rebecca Ferguson …
How would you characterize your company’s recovery since the pandemic, both operationally and in terms of audience return? What are the current trends and challenges in your territory?
Asger Flygare Bech-Thomsen: From my perspective, Sweden has had the weakest recovery in Scandinavia since Covid, but a hypothesis could be that the market was in a decline before Covid.
Sanjay Mistry: Certain age groups, like families with children and young adults, have returned strongly, especially for event films such as Minecraft, Vaiana 2, and Deadpool & Wolverine. The biggest challenge remains the volume of new titles and a gap in blockbuster releases. as well as consistent midsized content that would attract broader demographics. Inconsistent windows are leading to consumer confusion, which is hurtful to the theatrical business. That said, trends like horror and nostalgia-driven films, as well as game-driven movies, are performing exceptionally well.
Peter Fornstam: The challenge for us as an industry is to be part of everyone’s consumption and to create an environment that people want to participate in. Great movies are a necessity, but once the audience is there, we have to do our utmost to make the visit wonderful, all the way from the ticket purchase—the journey starts at home—to a welcoming staff, clean cinemas and restrooms, comfy chairs, and great sound and picture quality.
Sweden’s national films’ share has been making a return over the past year. What’s your take on the current state of Swedish film? What do local audiences respond to, and how can the industry improve the share of local content?
Peter Fornstam: The most-seen movie was made without support from the Swedish Film Institute, and I think that says everything about their previous regime. Sweden, like all non- English-speaking markets, depends on public money for film production. Sadly, the previous regimes at the Swedish Film Institute did not try to give the audience what they wanted, which has led to a big drop in market share for local movies. It should be around 25 percent, like the rest of the Nordic markets, but has been hovering in the mid-teens.
Asger Flygare Bech-Thomsen: The Swedish Film Institute is the weakest funded in Scandinavia, and it is one of the countries where it is hardest to find financing for local films. There are many good film producers and no lack of talent, but funding is an issue.
Sanjay Mistry: To increase market share, it’s important to continue investing in quality screenwriting, marketing that connects with younger audiences, and theatrical releases that feel like events. Collaborations between distributors, cinemas, and influencers can also help build momentum around local content. There is also a strong need to increase funding for the local production ecosystem. A new proposal is currently on the table to revise the overarching industry agreement between business stakeholders, the Swedish Film Institute, and the Swedish Government. If approved, this could significantly improve the conditions for Swedish film production in the coming years.
Is Sweden a mature market, or is there room for growth in terms of screen count? What’s the growth potential in terms of attendance, and what have you done that’s been successful at driving ticket sales for specific titles?
Sanjay Mistry: Sweden is a relatively mature market in terms of screen count, but there’s still room for growth in underserved cities and through premium experiences in existing locations. Attendance can definitely grow, particularly by engaging more with younger audiences and families and by diversifying content and experiences.
Peter Fornstam: I don’t think there is a need to build more cinemas, but to invest in existing ones, and when the market allows, add a screen or two. I think, as always, it’s about marketing, being smart about how you spend your money and trying to eventize.
Sanjay Mistry: Successful drivers have included themed screenings, influencer collaborations, and national cinema days where we create a strong “everyone is welcome” message with attractive pricing and partnerships, for example, with mental health organizations or charities.
Looking ahead, what are you most optimistic about?
Asger Flygare Bech-Thomsen: The most positive thing I can say about Sweden is that there is great potential. It has a young population, population growth, and the wealth is well distributed so that everybody can afford a cinema visit. If Sweden is going to take back its position as number one in Scandinavia, it would require that the Swedish Film Institute be funded on the same level as the Danish and Norwegian Film Institutes and that the investment in exhibition be significantly increased.
Peter Fornstam: The new regime at the Swedish Film Institute understands the challenge and is putting the audience first. The minister for culture has a proposal on her desk with more funding for local production and a reduced VAT for movie tickets.
Sanjay Mistry: We’re excited about the power of cinema as a collective experience, especially as screen time is increasingly solitary and fragmented. The appetite for shared cultural moments is strong, and cinemas offer that in a uniquely powerful way. We’re optimistic about the growth of alternative content, from concerts and sports to special interest events, and the rise of local talent and stories that resonate with Swedish audiences. There’s a growing awareness that quality screen time matters, and cinema is the gold standard for that.
What are the most popular snacks and concession items at your chain?
Sanjay Mistry: No surprise here, popcorn is king in Sweden! But Swedes also love pick ’n’ mix candy, and we offer a wide variety of loose sweets, which is almost a cultural institution. Premium snacks like nachos, ice cream, and hot food options are growing, especially in our larger flagship cinemas. There’s also increasing interest in plant-based and sustainable options, reflecting broader trends in Swedish consumer habits.
Peter Fornstam: I asked Cecilia, who runs our concessions, to chip in on this.
Cecilia Winkler (Head of Food and Beverage at Svenska Bio): Our number one drink is Coca-Cola Zero and our number one snack is, of course, popcorn. Swedes love candy! For the kids, we have a very popular candy called Millions, which is a pick ’n’ mix station. You fill a pipelike container with small, chewy bites in different flavors. It’s our most-sold candy product. Swedish Bilar, which translates as “cars” [and is a car-shaped marshmallow candy,] is our second most-sold candy product. Last year we sold 6,000 pounds of it.
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