Ronald Chammah, who owns a pair of small cinemas on the Left Bank of Paris, remembers well the grim days in 2022, when he wondered whether the French passion for moviegoing — a pastime that France invented 130 years ago — had been irreparably diminished by pandemic lockdowns.

But that was then. On a recent afternoon, Mr. Chammah was sitting in a packed Parisian cafe happily describing the Sunday in late November when he sold out screenings from a roster of Armenian art-house directors — Inna Mkhitaryan, Artavazd Pelechian, Sergueï Paradjanov — known mostly to hard-core film buffs.

“That day, we broke the record for our theaters,” Mr. Chammah said with a note of astonishment. “It was full, all day long — sold out, sold out, sold out.”

The global movie business had a disappointing 2024, thanks in part to Hollywood strikes. At the Oscars on Sunday, Sean Baker, winner of best director for “Anora,” used his acceptance speech to lament the pandemic-era loss of hundreds of American movie screens. “And we continue to lose them regularly,” Mr. Baker said. “If we don’t reverse this trend, we’ll be losing a vital part of our culture.”

But in France, there has been a more celebratory feeling of late, with fresh statistics suggesting that its audiences are leading the way in returning to what are lovingly known as “les salles obscures” — the “dark rooms” of their movie theaters.

That celebration was infused with a very French idea about citizens’ moral obligation to support the arts and to do so somewhere other than at home. The Institut Lumière, a film society based in Lyon, declared that last year’s French admissions numbers amounted to a triumph over both the pandemic era and the “invasive digital civilization” of scrolling and swiping.