The head of Canada’s biggest theatre chain just delivered a harsh verdict on homegrown cinema. This relates directly to canadian film box office developments across the country. Ellis Jacob, Cineplex’s CEO, says Canadian films are bombing at the box office because of one simple problem: they’re not good enough.
The numbers back up his concern. This relates directly to canadian film box office developments across the country. Telefilm data shows domestic films earned nearly 41 per cent less in 2025 compared to the previous year, pulling in just $13.9 million versus $23.5 million in 2024. That makes 2025 the third-worst year for Canadian films in a decade.
But Jacob isn’t buying the usual excuses about audience indifference to Canadian stories. Related: Prince George shooter hunt leads to major gun bust
“The quality of the content is not bringing droves of people to the theatres,” Jacob said in an interview after being named this year’s Legend of Cinema Award recipient at CinemaCon.
The Brutal Math of Canadian Cinema: Canadian Film Box Office Impact
Out of 139 Canadian films released last year, only three managed to crack the $1 million mark. The Quebec comedy “Menteuse” topped the list with $2.6 million, followed by “Ma belle-mère est une sorcière” and the animated “Night of the Zoopocalypse,” both pulling in just over $1.1 million each.
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We’re talking about an entire year’s worth of Canadian filmmaking generating less revenue than a single weekend for a mid-tier Hollywood release. Jacob, who’s been running Cineplex since 2003 and plans to retire at the end of this year, doesn’t mince words about what needs to change. He thinks Canadian filmmakers need to dig deeper into stories that actually connect with audiences and reflect the country’s multicultural reality.
The Diversity Opportunity
Here’s where Jacob’s critique gets interesting. He points to markets where Bollywood films regularly outgross Hollywood blockbusters. Canadian producers are missing obvious opportunities right in their own backyard, he says. Related: Antarctica Solar Eclipse Captured in Stunning Satellite Video
“There are certain parts of the country where a Bollywood film outgrosses a Hollywood film,” Jacob explained. “And that’s all because of who lives in the destinations and who wants to see those kinds of movies.”
He cited the success of last year’s Chinese animated film “Ne Zha II,” which made over $2.2 billion globally and became the highest-grossing animated film of all time. His message? Canadian filmmakers should be tapping into these underserved audiences instead of making the same types of films that struggle to find viewers.
Screen Time vs. Audience Demand
Jacob insists Cineplex works to give Canadian films proper screen time across its theatres. But programming decisions ultimately come down to what people actually want to watch.
“It’s all about the quality of the film and what the guests want and what our visitors want to see at the movie theatre,” he said. “I don’t think it has to do with the fact that it’s a Canadian film.”
That stance puts him at odds with industry voices who argue Canadian films face systemic barriers to reaching audiences. But Jacob’s numbers suggest audience appetite isn’t the real problem. So what is?
A Rare Success Story
There are exceptions proving his point. Over the weekend, “Nirvanna the Band the Show the Movie” by Matt Johnson and Jay McCarrol earned an estimated $290,000 domestically over three days, marking the biggest opening for a live-action English-language Canadian film since Johnson’s 2023 hit “BlackBerry.”
“So there are ones that do deliver,” Jacob noted.
The film’s success offers a blueprint. Johnson has built a following through distinctive storytelling that connects with audiences on its own terms. Not because it checks boxes for Canadian content requirements.
Industry-Wide Struggles
Jacob’s comments come as Cineplex itself faces challenges. The company reported a sharp drop in fourth-quarter profit, falling nearly 90 per cent to $369,000 compared with $3.3 million in the same period last year.
Jacob attributes those results to content lineups and broader industry disruptions. He’s maintaining a long-term view as he prepares to step down.
“To me, every quarter is dependent on the content,” he said. “I’ve never worried about one quarter over the other. It’s basically looking at the business on the long term.”
His Legend of Cinema Award recognizes individuals who’ve “dedicated their careers to preserving and elevating the unparalleled magic of the shared theatrical experience.” He’s only the second recipient after Martin Scorsese.
For Jacob, the honour represents something bigger than personal recognition. “I think it’s important for us in Canada to make the entertainment industry and the cinema business very important and remain as a cultural institution where we connect community and inspire audiences from around the world.”
That vision requires Canadian filmmakers to step up their game, if you ask the man who’s spent over two decades putting movies on Canadian screens.
Sometimes the truth hurts. But maybe that’s exactly what the industry needs to hear.
