Film Tourism Market

How big is the film tourism market in 2026?

The Film Tourism Market is projected to expand at a CAGR of 8.2% between 2026 and 2036. Market value rises from USD 66.2 billion in 2025 to USD 71.6 billion in 2026 and USD 157.5 billion by 2036. [1]

The film tourism market was valued at USD 66.2 billion in 2025. It reaches USD 71.6 billion in 2026 and is forecast at USD 157.5 billion by 2036. Film-linked travel connects a familiar story with a place visitors can experience. The offer ranges from guided filming-location visits and studio tours to permanent attractions and destination campaigns that turn screen interest into a bookable trip. The forecast expands at 8.2% CAGR over 2026 to 2036. A successful film-tourism product gives the visitor a clear connection between the content they know and the experience they buy. A tour of a working studio can explain how a production was made. A location itinerary can show the landscape or streets used on screen. A content-themed venue can let visitors spend time in a reconstructed story world. Each format has different requirements for admission, guiding, access and interpretation. [1] The market involves both commercial operators and destination organizations. Warner Bros. operates studio experiences, Hobbiton offers guided visits to a movie set, and On Location Tours packages city locations associated with film and television. VisitBritain promotes screen-linked travel through a national campaign, while Netflix has developed permanent fan venues. These participants occupy different parts of the journey from recognition of a story to a purchased visit. Their opportunities depend on how reliably that connection can be delivered. [4, 5, 6, 7, 8]

Key Market Trends & Insights

• Content coverage includes cinema, television and streaming platforms. [1]
• Tourism formats include location visits, studio tours, themed attractions, film festivals and on-screen tourism.
• End users include casual tourists, movie enthusiasts, academics and researchers, industry professionals and luxury travelers.
• Online, agency, direct and in-person channels connect visitors with the available experience.

Regional Highlights

• Profiled markets include United States, United Kingdom, New Zealand, Japan, Thailand.
• Studios, permanent attractions and destination campaigns require different arrangements for access, interpretation and travel planning.

Market Size & Forecast

Table 1: Market Size and Forecast for the Film Tourism Market (USD billion and percentage), 2025 to 2036

Metric	Value
2025 Market Size	USD 66.2 billion
Estimated Market Size in 2026	USD 71.6 billion
Projected Market Size by 2036	USD 157.5 billion
CAGR, 2026 to 2036	8.2%
Added Revenue, 2026 to 2036	USD 85.9 billion
Market Expansion Multiple	2.2x

Admission, guiding, destination access and interpretation determine how a screen-linked trip is delivered. A location tour, studio visit and permanent attraction involve different operating requirements. [1, 4, 6, 8]

Film Tourism Market Industry and Operating Indicators

Published visitor-service developments describe the choices and requirements suppliers face.

Table 2: Industry Indicators for the Film Tourism Market, 2025 to 2026

Indicator	Data Point	Why It Matters	Source
Destination promotion	VisitBritain launched Starring GREAT Britain in January 2025 and continued the campaign in 2026.	Connects screen settings with destination promotion and travel-trade activity.	[7]
Permanent fan venues	Netflix House Philadelphia opened in November 2025; Dallas opened on December 11, 2025.	Provides a permanent visitor format combining content-linked experiences with optional purchases.	[8, 10]
Film-linked destination routes	Thailand promoted Amazing Location Thailand: From Scene to Scenic at TIFF in September 2026.	Shows destination itineraries connecting filming settings with culture and local travel.	[13]

Analyst Perspective

Screen recognition can start the decision to travel. The destination or operator then needs an experience that fits the visitor’s interest, time and expectations. A recognizable location, a knowledgeable guide and dependable access can make a focused tour valuable even without a large attraction. Permanent venues have a different task: maintaining a reason to visit as audience attention moves between titles.

- Ronak Shah, Principal Consultant, Future Market Insights.

How is the film tourism market segmented?

The market covers Tourism Type, Product Type, Content Source, End User, Tourist Type and Booking Channel. [1]

By Tourism Type: Location-Based Tourism, Studio Tours, Themed Attractions, Film Festivals, On-Screen Tourism.

By Product Type: Location Visits, Studio Tours, Content-Themed Experiences, Destination Marketing.

By Content Source: Cinema, Television, Streaming Platforms.

By End User: Casual Tourists, Movie Enthusiasts, Academics & Researchers, Industry Professionals, Luxury Travelers.

By Tourist Type: Domestic, International.

By Booking Channel: Online, Travel Agencies, Direct Booking, In-Person Booking.

By Region: North America, Latin America, Western Europe, Eastern Europe, East Asia, South Asia and Pacific, Middle East and Africa.

Tourism type describes the visitor format, while product type separates location visits, studio tours, content-themed experiences and destination marketing. Content source identifies cinema, television or streaming. End users distinguish the visitor’s relationship with the content, from casual interest to specialist study. Tourist type covers domestic and international participation, and booking channel describes how access is purchased. These dimensions can overlap within one itinerary: an international movie enthusiast may book a location tour directly online. [1]

What makes studio tours a distinct product?

Studio tours organize admission, guiding and interpretation around screen production. London and Hollywood experiences give visitors different routes into sets, filmmaking techniques and studio history. [4, 9] [1]

Table 3: Product Type Focus and Market Growth for the Film Tourism Market, 2026 to 2036

Metric	Value
Global CAGR (2026 to 2036)	8.2%
Featured Category	Studio Tours

A studio tour provides an organized setting for explaining the craft behind screen content. Warner Bros. Studio Tour London presents sets used in the Harry Potter films, while its Hollywood operation combines guided and self-guided elements around a working studio. The visit gives the operator control over the sequence, interpretation and admission process. A working production environment also has practical limits, so the booking description needs to make the available experience clear. The traveler’s interest may be in a particular franchise, filmmaking techniques or the wider history of the studio. [4, 9]

• Studio Tours appear in both the tourism-type and product-type coverage. [1]
• Warner Bros. offers different studio-tour experiences in London and Hollywood. [4, 9]

How do filming locations become an itinerary?

Location visits connect recognizable screen settings with an organized route and interpretation. Specialist city tours fit the film connection within a wider destination visit. [6] [1]

A location visit needs more than a map reference. The operator must connect the scene to what visitors can see, organize the route and explain how much of the setting remains recognizable. On Location Tours offers film and television itineraries in New York, Boston and Chicago. Such a product can fit within a wider city break, with the film connection providing a reason to choose a particular walk or excursion. The experience becomes more useful when the guide can distinguish the real location, the screen portrayal and the story of the production. [6]

• Location-Based Tourism and Location Visits are covered within the market. [1]
• Specialist city operators organize routes around recognizable screen locations. [6]

Where do content-themed experiences fit?

A permanent venue can bring a screen property to a location where the original production did not take place. Netflix House Dallas opened in December 2025 with complimentary and paid activities, immersive experiences, food and retail. The commercial proposition combines time spent in the venue with optional purchases. For travelers, the title connection can add an excursion to an existing trip; for nearby residents, it can support repeat visits. Refreshing experiences and managing availability matter because the venue is expected to operate beyond a single publicity event. [8]

• Content-Themed Experiences and Themed Attractions are part of the coverage. [1]
• Netflix House uses permanent venues to extend its stories into visitor experiences. [8, 10]

How do domestic and international visitors differ?

Domestic visitors may take a short excursion or return for a new theme. International travelers often need to fit the attraction into a longer itinerary with transport and accommodation. The operator can serve both groups through a clear schedule and a booking process that sets out what is included. Warner Bros. Studio Tour Tokyo offers general and group tickets and recommends advance booking when a preferred admission time may sell out. Such arrangements make the visit easier to organize before travel, particularly when the traveler has limited time at the destination. [11]

What are the drivers, restraints and opportunities in film tourism?

Recognizable screen stories support destination interest; access and experience limits constrain conversion; organized routes and permanent fan venues create opportunities.

• Driver: A film or series gives audiences a recognizable reason to explore a location.
• Restraint: Availability, location access and differences between the screen setting and the actual visit affect fulfillment.
• Opportunity: Destinations and operators can connect that interest with clearly described, bookable products.

Driver. Destination campaigns can connect a viewer’s familiarity with a story to a travel choice. VisitBritain launched Starring GREAT Britain in January 2025 and continued it in 2026, with advertising and trade activity that links film-inspired interest to tourism products. The commercial task is to carry the audience beyond recognition of the setting. A destination needs routes, attractions and operators that a traveler can actually include in a visit. Campaign materials can help those businesses explain the connection and sell the experience through travel intermediaries. [7]

Restraint. Screen locations can be spread across a city or landscape, and the real setting may serve other purposes. Transport, opening times, reservations and the visitor’s ability to move between stops therefore shape the itinerary. Some experiences require an organized visit: Hobbiton states that access to its movie set is through a guided walking tour. The traveler needs to know those conditions before arriving. Operators also need descriptions that explain whether visitors see original sets, a working studio, a recreated scene or a location used in production. Clear expectations reduce the gap between a familiar image and the purchased experience. [12]

Opportunity. A destination can build products around a wider range of content and places, giving visitors several ways to participate. At TIFF 2026, the Tourism Authority of Thailand presented curated filming routes under Amazing Location Thailand: From Scene to Scenic. The approach connects scenery with culture, communities and travel experiences. Commercial value comes from the trip that can follow that introduction: guided visits, local experiences and usable connections between destinations. Operators with local knowledge can add interpretation and practical planning that a viewer cannot obtain simply by recognizing a location on screen. [13]

Which country opportunities are profiled in film tourism?

The country comparison examines documented attractions and destination initiatives. [4, 5, 6, 7, 8, 9, 10, 11, 12, 13]

Country	Documented Film-Tourism Offer
United States	Working-studio tours, city location itineraries and permanent Netflix House venues.
United Kingdom	Harry Potter studio interpretation and Starring GREAT Britain destination promotion.
New Zealand	Hobbiton guided movie-set experiences and wider filming-location discovery.
Japan	Warner Bros. Studio Tour Tokyo with advance-booking and group formats.
Thailand	Film-linked destination promotion and curated routes presented at TIFF 2026.

How do country opportunities compare?

The five markets illustrate different ways to organize screen interest. The United States combines studios, city tours and branded venues. Britain connects dedicated attractions with a nationwide campaign. New Zealand turns a recognizable movie set and landscapes into visitor products. Japan provides a structured franchise attraction, while Thailand promotes routes that link film settings with local experiences. The destination’s commercial requirements depend on which format it offers: a timed attraction needs reliable admission, while a location itinerary needs transport, interpretation and workable access.

United States: Studio, city-tour and permanent venue formats serve different visitor interests. United Kingdom: National screen-tourism promotion connects with bookable destination products. New Zealand: Guided access gives a movie-set visit a defined format. Japan: Advance reservations and group options help travelers organize a franchise attraction. Thailand: Screen-linked routes connect destination imagery with culture and local experiences.

Country-wise Analysis

United States

A visitor can choose between seeing a production environment, following a city itinerary and entering a content-themed venue. Warner Bros. Studio Tour Hollywood and On Location Tours illustrate the first two formats; Netflix House adds permanent fan destinations in Pennsylvania and Texas. These offers can be included in different types of travel, from a focused studio visit to an excursion during a longer city stay. Operators need to describe how much time the experience takes and how it connects with the rest of the trip. The market opportunity lies in matching the format to the traveler’s actual interest and schedule. [4, 6, 8, 10]

United Kingdom

Britain has a national campaign that uses screen settings to encourage travel across its nations and regions. Its trade activity helps connect that attention with itineraries and bookable products. Warner Bros. Studio Tour London provides a different format through the sets and production detail of a specific franchise. A destination campaign can encourage a wider journey, while a dedicated attraction can anchor one day of the itinerary. Local businesses can participate when their location or experience has a clear content connection and the traveler can readily understand how to visit. [7, 9]

New Zealand

Hobbiton organizes a familiar movie landscape as a guided visitor experience, with daily tours and additional meal or event formats. Tourism New Zealand also presents filming locations across the country. A movie-set excursion can provide a concentrated attraction, while a wider route connects screen interest with the landscapes through which the traveler moves. The practical itinerary needs to account for distance and the time spent at each stop. Guides can explain the film connection alongside the place itself, allowing the visit to remain meaningful for travelers whose interest extends beyond one scene or title. [5, 12, 14]

Japan

Warner Bros. Studio Tour Tokyo shows how a dedicated attraction can package a franchise through sets and filmmaking interpretation. Its ticket arrangements include group access and advance purchase. This format offers a defined visit within a wider Tokyo itinerary, rather than requiring travel between dispersed filming sites. The attraction needs to communicate entry conditions and the experience available to different visitors. For tour organizers, securing admission and allowing adequate visit time become part of the package. The film connection provides the focus, while transport and the visitor’s other plans determine how the attraction fits the trip. [11, 15]

Thailand

The Tourism Authority of Thailand links its film-location promotion with culture, communities and travel experiences. Its September 2026 TIFF activity presented curated routes to international filmmakers and industry participants. The destination opportunity extends beyond showing a recognizable view: the route needs places to visit and local experiences that can hold the traveler’s interest. Tourism providers can contribute guiding, transport and interpretation to make that connection practical. The relationship between a production setting and visitor demand is most useful commercially when it results in an itinerary that travelers can understand and purchase. [13]

Who participates in the film tourism market?

Warner Bros. Studio Tours, Netflix, Hobbiton Movie Set Tours, On Location Tours and Game of Thrones Studio Tour provide visitor experiences; tourism boards support destination demand.

Experience operators compete for admission and excursion spending, while destination organizations promote places and coordinate tourism products. A studio operator can use its production heritage and content portfolio. A specialist tour company can organize a route around local screen locations. A destination board can connect businesses with trade partners and campaign audiences. These roles can complement one another, so the competitive comparison needs to identify what each participant actually sells or supports. [4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15]

Competitive Benchmarking: Film Tourism Market

Participant	Principal Format	Visitor Focus	Documented Offer	Commercial Requirement
Warner Bros. Studio Tours	Studio experiences	Film craft and franchises	London, Hollywood and Tokyo tours	Admission and interpretation
Netflix	Permanent fan venues	Content-themed participation	Netflix House Philadelphia and Dallas	Activities and repeat interest
Hobbiton Movie Set Tours	Guided movie-set visits	Screen landscape	Tours, dining and events	Reservations and guided access
On Location Tours	City location tours	Film and television sites	New York, Boston and Chicago routes	Guiding and route delivery
Game of Thrones Studio Tour	Franchise attraction	Production and story setting	Sets, costumes and behind-the-scenes experience	Timed visit and presentation
VisitBritain	Destination promotion	Inbound screen tourism	Starring GREAT Britain campaign	Links to bookable products
Tourism Authority of Thailand	Destination promotion	Screen-inspired travel	Curated routes and film-location campaign	Local tourism connections
Tourism New Zealand	Destination discovery	Movie landscapes	Official filming-location information	Wider itinerary planning

The comparison distinguishes visitor-experience operators from destination organizations. [4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16]

Key Developments in the Film Tourism Market

• VisitBritain launched Starring GREAT Britain in January 2025. The campaign continued in 2026, connecting film and television settings with destination promotion and travel-trade activity. [7]
• Netflix announced that Netflix House Philadelphia was open at King of Prussia in November 2025, followed by the opening of Netflix House Dallas at Galleria Dallas on December 11, 2025. The venues extend its content into permanent visitor experiences. [8, 10]
• In September 2026, the Tourism Authority of Thailand promoted Amazing Location Thailand: From Scene to Scenic at TIFF, presenting curated routes that connect filming settings with culture, communities and travel. [13]

Key Players in the Film Tourism Market

Studio and Content Experiences

• Warner Bros. Studio Tours
• Netflix
• Game of Thrones Studio Tour

Specialist Tour Operators

• Hobbiton Movie Set Tours
• On Location Tours

Destination Organizations

• VisitBritain
• Tourism Authority of Thailand
• Tourism New Zealand

Film Tourism Market - Report Scope

Coverage Field	Report Scope
Market Breakdown	Tourism Type; Product Type; Content Source; End User; Tourist Type; Booking Channel
Quantitative Units	Revenue in USD billion
Market Definition	Tourism directly connected with cinema, television and streaming content, including filming-location visits, studio admissions, content-themed experiences and film-linked destination marketing. Excludes unrelated entertainment revenue, streaming subscriptions and film production costs.
Regions Covered	North America; Latin America; Western Europe; Eastern Europe; East Asia; South Asia and Pacific; Middle East and Africa
Country Analysis	United States; United Kingdom; New Zealand; Japan; Thailand
Participants Analyzed	Warner Bros. Studio Tours; Netflix; Hobbiton Movie Set Tours; On Location Tours; Game of Thrones Studio Tour; VisitBritain; Tourism Authority of Thailand; Tourism New Zealand
2025 Market Value	USD 66.2 billion
2026 Market Value	USD 71.6 billion
2036 Forecast Value	USD 157.5 billion
CAGR	8.2%
Forecast Period	2026 to 2036

Film Tourism Market - Research Methodology

Research Area	Coverage
Market Coverage	Travel and visitor experiences directly connected with screen content.
Industry Evidence	Market publications, official venue information, tourism-board resources and issuer announcements.
Segment Analysis	Visitor formats, content sources, traveler interests and booking channels.
Country Analysis	Documented attractions, campaign activity and itinerary requirements.
Competitive Analysis	Operator formats, destination roles and supported developments.

Film Tourism Market by Segments

Film Tourism Market segmented by Tourism Type:

• Location-Based Tourism
  • Studio Tours
  • Themed Attractions
  • Film Festivals
  • On-Screen Tourism

Film Tourism Market segmented by Product Type:

• Location Visits
  • Studio Tours
  • Content-Themed Experiences
  • Destination Marketing

Film Tourism Market segmented by Content Source:

• Cinema
  • Television
  • Streaming Platforms

Film Tourism Market segmented by End User:

• Casual Tourists
  • Movie Enthusiasts
  • Academics & Researchers
  • Industry Professionals
  • Luxury Travelers

Film Tourism Market segmented by Tourist Type:

• Domestic
  • International

Film Tourism Market segmented by Booking Channel:

• Online
  • Travel Agencies
  • Direct Booking
  • In-Person Booking

Film Tourism Market by Region

• North America
  • United States
  • Canada
  • Mexico
• Latin America
  • Brazil
  • Chile
  • Rest of Latin America
• Western Europe
  • Germany
  • United Kingdom
  • Italy
  • Spain
  • France
  • Nordics
  • Benelux
  • Rest of Western Europe
• Eastern Europe
  • Russia
  • Poland
  • Hungary
  • Balkan and Baltic Countries
  • Rest of Eastern Europe
• East Asia
  • China
  • Japan
  • South Korea
• South Asia and Pacific
  • India
  • ASEAN
  • Australia and New Zealand
  • Rest of South Asia and Pacific
• Middle East and Africa
  • Saudi Arabia
  • Other GCC Countries
  • Türkiye
  • South Africa
  • Other African Union Countries
  • Rest of Middle East and Africa

Research Sources and Bibliography

• [1] Future Market Insights. Film Tourism Market.
• Future Market Insights (2025, April 1). Surge in Film Tourism Market to Reach USD 145.9 Billion by 2035.
• MIA (2025, October 3). Focus on Film Tourism, Part 3: Traveling through Cinema.
• Warner Bros. Studio Tour Hollywood. Visitor Experiences.
• Hobbiton Movie Set Tours. Movie-set experiences.
• [6] On Location Tours. Film and Television Tours.
• [7] VisitBritain. Starring GREAT Britain.
• [8] Netflix (2025, December 11). Netflix House Dallas.
• Warner Bros. Studio Tour London. Sets.
• Netflix (2025, November 13). Made in Pennsylvania: Netflix House Philadelphia.
• [11] Warner Bros. Studio Tour Tokyo. Tickets.
• [12] Hobbiton Movie Set Tours. Frequently Asked Questions.
• [13] Tourism Authority of Thailand (2026, September 17). TIFF 2026 tourism showcase.
• Tourism New Zealand. Top Film Locations in New Zealand.
• Warner Bros. Studio Tour Tokyo. About the Experience.
• Game of Thrones Studio Tour. Official Visitor Experience.

This Report Answers

• What was the film tourism market value in 2025?
• How large is the market in 2026 and what is forecast for 2036?
• How do studio tours differ from filming-location visits?
• Where do permanent fan venues fit?
• What connects screen interest with a bookable trip?
• How do five country opportunities differ?
• Which operators and destination organizations participate?
• What access and itinerary requirements influence delivery?