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NEW YORK-our bladder isn’t lying. Movies are getting longer. All kinds of films, from big-budget spectacles to art house dramas, are stretching their runtimes. It’s an old saying that a short movie can feel long and a long movie can feel short. But data, not just bathroom runs, shows that runtime inflation is real at the movies.

After analyzing 36,431 movies released theatrically from 1980 to 2025, researcher Stephen Follows found that the average length of a wide-release movie has grown from 106 to 114 minutes.

For most who frequent the movie theater, this isn’t surprising. It’s become a regular feature of the prerelease anticipation of a movie: How long is it? When the official runtime of The Odyssey was released (173 minutes), for some it was as if Christopher Nolan had laid down a challenge as intimidating as the Cyclops.

But there’s little evidence that long runtimes are dissuading moviegoers. They may even be a draw. The Odyssey is the second-highest grossing movie of the year, with $1.8 billion in ticket sales, and the front-runner for best picture at the Oscars.

Still, the shift has changed the whole ecosystem around movies. Ahead of last year’s Venice Film Festival, festival boss Alberto Barbera noted that movies running 2 hours and 15 minutes or 2 hours and 30 minutes had become ‘the new international standard.’ This, Barbera said, can be a programming annoyance as well as a knock on an otherwise good film. The festival selection committee, he said, often sees films that would have benefited from being 10-20 minutes shorter.

This year, three films viewed as top Oscar contenders-The Odyssey, La Bola Negra (159 minutes) and You Can See Everything (174 minutes)-all easily run more than 2 1/2 hours. It’s far from just the awards movies, though. The upcoming Hunger Games movie, Sunrise on the Reaping, is 158 minutes long, a new high for the franchise. Any way you cut it, that’s a lot of reaping.

The advent of streaming has led the movies to seek larger screens and longer runtimes. When the flat-screen enticements at home are so great, the movies strive to be bona fide events to get people to come out. Bigger is better, or so the thinking goes.

Clocking the ‘Doomsday’ runtime

NO one knows this better than Joe and Anthony Russo, stewards of the Avengers movies including the upcoming Avengers: Doomsday.

‘The moviegoing experience is evolving,’ Joe Russo said in a recent interview. ‘Eventized cinema seems to be the draw to get people out of their homes. That can be premium storytelling, premium moviegoing experience, and length can certainly contribute to the feeling of an experience. In a lot of ways, it’s the feeling of getting your money’s worth.’

Doomsday doesn’t yet have an announced runtime, though that hasn’t stopped a sizable cottage industry of coverage committed to pinning down its length. The Russos expect Doomsday to be closer to two and a half hours, slimmed down from the three-hour-long Endgame and relatively slender given that it contains a sizable portion of the Marvel Cinematic Universe. For Russo, bigger is good, but not automatically better. ‘It doesn’t mean that you can’t pack a punch in a shorter runtime,’ Russo said.

‘It’s whatever the story requires. It’s about squeezing the story into a diamond, and if that diamond ends up three-and-a-half hours, sure. If it ends up two-and-a-half hours, sure.’

For some filmmakers, slowing down is important

THE Japanese filmmaker Ryusuke Hamaguchi makes movies that are almost the diametric opposite of a superhero film, yet he has arrived at similar runtimes.

Hamaguchi’s films are resolutely human-scaled; they move with the rhythm of life. His 2021 film Drive My Car, the first Japanese film nominated for best picture, ran just under three hours. His movies are patient powerhouses that reject conventional movie plotting.

‘Storytelling as an action, you’re sort of forcing certain things to happen to make an interesting film,’ Hamaguchi said. ‘Oftentimes, when I watch other films, they say this is how it is and continue to push the plot forward. I find that to be uncomfortable.’

Hamaguchi was speaking in an interview shortly after the Cannes Film Festival premiere of his latest film, All of a Sudden. Contrary to its title, it runs 197 minutes.

But the film, which Neon will release November 25, is one of the gentlest and most enlightening movies of the year. Fittingly, it’s about time. Virginie Efira stars as the director of a Paris nursing home where she’s introducing a more humane but time-consuming care technique called Humanitude. She encounters resistance from some staff but finds life improves for both the facility’s patients and its employees.

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For Hamaguchi, that message applies as much to movies as it does elder care.

‘My own values and thoughts around filmmaking come into the film,’ he said. ‘I first learned about Humanitude in a different context and I decided to work within the field of caregiving. But when I started to research about it, I realized there were so many shared issues in common with the film industry.’

The 90-minute movie may be nearly obsolete, but it’s not gone

NOT everyone shares the feeling that movies need to push closer to the three-hour mark. Polish filmmaker Pawel Pawlikowski has made three acclaimed films in a row, all 90 minutes or less. He’s not necessarily against longer-running movies, but he sets out to distill his films down to their most potent elements.

‘I love Lawrence of Arabia. It felt proportionate to the film and the landscape,’ says Pawlikowski of David Lean’s 327-minute 1962 epic.

‘But nowadays there are films where it’s just too much. There are five endings and it’s just showing off. I won’t mention names but there are some really great directors doing it, too.’ Pawlikowski’s latest, Fatherland, is a neat 82 minutes.

Yet despite, or possibly because of its concision, Fatherland is an uncommonly rich experience, starring Hanns Zischler as the German Nobel Prize-winning novelist Thomas Mann and Sandra Hller his daughter, Erika. They’re on a road trip through Germany in the aftermath of World War II.

Ischaemic heart disease accounted for nearly 22 percent of all registered deaths in the Philippines in the first four months of 2026, remaining the country’s leading cause of death, data from the Philippine Statistics Authority (PSA) showed.

The agency recorded 39,842 deaths from the disease out of 182,113 deaths registered nationwide from January until April.

Combined, ischaemic heart disease, cerebrovascular diseases, other heart diseases and hypertensive diseases accounted for 72,195 deaths, or nearly four in every 10 deaths registered during the period.

Neoplasms, which include cancers, ranked second with 19,304 deaths, followed by cerebrovascular diseases, including strokes, with 16,865.

Pneumonia accounted for 14,348 deaths, while hypertensive diseases claimed another 9,732 lives, ranking fourth and fifth, respectively.

Diabetes mellitus ranked sixth with 9,681 deaths, followed by chronic lower respiratory diseases with 6,382 and respiratory tuberculosis with 5,105.

Meanwhile, the PSA also recorded 372,953 registered births and 82,282 registered marriages nationwide during the same period.

CALABARZON recorded the largest shares of both events, with 53,177 births, equivalent to 14.3 percent of the national total, and 14,162 marriages, accounting for 17.2 percent.

In Metro Manila, the agency recorded 38,100 births, 22,489 deaths and 10,645 marriages in four months.

The figures cover vital events registered with city and municipal civil registrars nationwide and processed by the PSA as of Aug. 31.

Deaths of Filipinos that occurred abroad are excluded, while the reported figures have not been adjusted for under registration.