Audience Engagement or Production Scale? Determinants of Film Return on Investment in the Motion Picture Industry

The film industry presents one of the most capital-intensive and financially uncertain environments within cultural markets. While prior research has predominantly measured success through box office revenue, return on investment (ROI) offers a more meaningful lens for producers and investors operating under conditions of extreme distributional skewness and limited predictability. This study examines which observable film- and audience-related characteristics determine whether a film generates above- or below-median ROI, using a dataset of 3153 films drawn from The Movie Database (TMDB, 1916–2017). Drawing on ensemble learning methods and SHAP-based decomposition to identify the direction and magnitude of variable effects, the study compares Random Forest, XGBoost, and CatBoost models, with Random Forest achieving the strongest predictive performance. We find that audience engagement volume, proxied by total vote count, is the strongest signal of realised investment efficiency in the classification framework, ranking ahead of production budget and content characteristics; in a continuous-outcome robustness check, the ordering of engagement and budget is reversed, so that the two emerge as the joint leading predictors while their relative rank depends on the specification. Because engagement metrics become observable only after theatrical release, the framework is explanatory rather than pre-release predictive in nature and speaks primarily to post-release investment decisions. SHAP analysis further indicates non-linear threshold effects, suggesting that audience engagement and production budget influence investment outcomes differently across value ranges. In the fitted model, the contribution of production budget diminishes beyond an approximate log-budget value corresponding to 25 million USD, a pattern indicating that higher expenditure is associated with lower investment efficiency within this sample rather than a causally identified turning point. Genre, by contrast, contributes relatively little to investment outcomes once audience visibility and financial scale are accounted for. These findings have implications for the economics of cultural markets: financial performance in film appears at least as strongly tied to audience reach as to production scale, and more strongly than to content type, which qualifies budget-centric investment heuristics prevalent in the industry.