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Georgia and more European countries are cashing in on cinematic tourism hotspots as a new trend reshapes travel, turning famous film locations into powerful attractions for global visitors.
Georgia and more European countries are cashing in on cinematic tourism hotspots as a new trend reshapes how travellers discover destinations. From Georgia’s dramatic mountains and historic cities to Croatia’s Dubrovnik, Italy’s Rome, the UK’s London and Greece’s cinematic islands, famous screen locations are becoming powerful tourism magnets. As films and television shows reach global audiences, viewers increasingly want to experience the places they see on screen. At the same time, tourism authorities are turning filming locations into tours, trails and travel experiences. Consequently, cinematic tourism is moving beyond a niche interest and becoming an increasingly valuable part of Europe’s tourism strategy.
Europe has become one of the world’s most powerful cinematic tourism regions, with countries such as the United Kingdom, Italy, France, Spain, Croatia, Ireland, Greece, Iceland, Malta and Czechia turning famous filming locations into compelling travel experiences. From Harry Potter’s London and Game of Thrones’ Dubrovnik to Mamma Mia!’s Greek islands and Iceland’s otherworldly landscapes, the connection between screen entertainment, travel and tourism is helping destinations attract visitors who want to experience the places they have seen on screen.
Georgia is increasingly gaining attention from international filmmakers and travellers as its diverse landscapes, historic architecture and production-friendly incentives create a compelling destination for film shoots. From the colourful streets of Tbilisi and the mountain scenery of Kazbegi to the Black Sea coastline of Batumi, the country offers an unusually broad range of filming environments within a relatively compact geographic area.
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The growing relationship between cinema and destination marketing is also creating opportunities for tourism. Locations appearing on screen can inspire audiences to visit the places they have seen in films and television productions, turning fictional settings into real-world travel experiences.
Georgia’s combination of natural scenery, cultural heritage, experienced production professionals and financial support has therefore helped strengthen its position within the international film tourism landscape.
Georgia’s strongest advantage for filmmakers is the sheer variety of locations available across the country. A production can move from an urban environment to a mountain setting, historic town, vineyard landscape or seaside location without requiring the extensive travel associated with larger countries.
Tbilisi provides a particularly flexible urban backdrop. Its distinctive architecture, narrow streets, historic neighbourhoods and modern cityscape can support different visual styles. Elsewhere, Kazbegi offers dramatic Caucasus mountain scenery, while Mtskheta provides historic surroundings and ancient religious architecture.
The country’s geographical diversity also extends towards the Black Sea. Batumi combines beaches, contemporary architecture and a resort atmosphere, while Borjomi offers forested landscapes and mountain scenery. Kakheti adds another dimension through its vineyards and rural surroundings.
For filmmakers, this range means Georgia can represent several different environments while keeping production logistics relatively manageable.
Location variety is only one part of Georgia’s appeal. Financial incentives have become another important factor in attracting international productions.
The government’s Film in Georgia programme provides eligible international productions with a cash rebate of 20–25% on qualifying local expenses, subject to the programme’s requirements. Such incentives can make a meaningful difference to production budgets, particularly when combined with local crews, services and infrastructure.
The availability of local production expertise can also reduce the logistical challenges faced by international filmmakers. Working with experienced professionals on the ground allows productions to manage location scouting, permits, equipment, accommodation, transport and other operational requirements more efficiently.
For the wider tourism industry, this creates an additional benefit. Film production brings crews into destinations for extended periods, generating demand for hotels, restaurants, transportation, local services and other businesses.
Georgia’s cinematic profile has been strengthened by its appearance in internationally recognised productions. Films including Extraction 2, F9: The Fast Saga, Ali and Nino, and The Bridge of San Luis Rey have used Georgian locations as part of their visual storytelling.
These productions have helped demonstrate the country’s ability to provide dramatically different settings for international audiences.
The significance goes beyond simply appearing in the background of a film. When a destination becomes visually recognisable, viewers can begin associating its landscapes, architecture and cultural character with the story they have watched. That connection can contribute to curiosity about the destination and, eventually, travel demand.
Tbilisi, Kazbegi, Mtskheta, Batumi and Borjomi have consequently gained additional visibility through their relationship with screen productions.Ident Country Major Cinematic Tourism Hubs Major Films / Series Associated With Locations Why It Matters for Tourism 1 United Kingdom London, Oxford, Edinburgh, Scotland, Northern England Harry Potter, James Bond, Mission: Impossible, Bridgerton, Downton Abbey One of Europe’s strongest combinations of film heritage, iconic locations and organised screen tourism. 2 Italy Rome, Venice, Sicily, Tuscany, Naples, Lake Como The Godfather, Gladiator, The Great Beauty, House of Gucci, The White Lotus, The Odyssey Historic cities, Mediterranean landscapes and globally recognisable cinema make Italy exceptionally strong for set-jetting. 3 France Paris, Cannes, Nice, Provence, Corsica Emily in Paris, Mission: Impossible, The Da Vinci Code, To Catch a Thief, Napoleon Paris alone has enormous screen recognition, while Cannes and the Riviera add a strong film-culture dimension. 4 Spain Madrid, Barcelona, Seville, Almería, Mallorca, Basque Country Game of Thrones, Star Wars, Indiana Jones, The Bourne Ultimatum, Money Heist Spain combines major cities, deserts, beaches, historic architecture and dedicated screen-tourism infrastructure. 5 Croatia Dubrovnik, Split, Šibenik, Klis Game of Thrones, Star Wars: The Last Jedi, Mamma Mia! Here We Go Again Dubrovnik demonstrates one of Europe’s clearest examples of film exposure translating into measurable tourism impact. 6 Ireland / Northern Ireland County Kerry, Dublin, Belfast, County Down, Antrim, Donegal Star Wars, Game of Thrones, Harry Potter, The Banshees of Inisherin Dramatic Atlantic scenery and fantasy productions have created highly marketable film-location journeys. 7 Greece Skopelos, Skiathos, Kefalonia, Corfu, Crete, Amorgos Mamma Mia!, Captain Corelli’s Mandolin, The Bourne Identity, For Your Eyes Only, The Odyssey Greek islands provide instantly recognisable cinematic landscapes that naturally connect film and leisure tourism. 8 Iceland South Coast, Þingvellir, Vatnajökull, Reynisfjara, Mývatn Game of Thrones, Interstellar, Rogue One, The Secret Life of Walter Mitty, The Odyssey Otherworldly landscapes make Iceland particularly attractive for fantasy, science-fiction and adventure tourism. 9 Malta Valletta, Mdina, Gozo, Mellieħa Gladiator, Game of Thrones, World War Z, Captain Phillips, Jurassic World Rebirth Malta can double for multiple historical and geographical settings, while its production incentives strengthen its film credentials. 10 Czechia Prague, Kutná Hora, Bohemian Paradise, ÄŒeský Krumlov Mission: Impossible, Casino Royale, Amadeus, The Chronicles of Narnia Prague’s architecture can convincingly represent different European cities and historical periods. 11 Austria Salzburg, Vienna, Obertauern The Sound of Music, The Third Man, Before Sunrise, Mission: Impossible Salzburg has converted the legacy of The Sound of Music into established film-location tourism. 12 Hungary Budapest, Lake Balaton, castles and surrounding countryside Blade Runner 2049, Dune, The Martian, Evita, Now You See Me: Now You Don’t Budapest’s architecture, studios and production infrastructure make it a major Central European filming centre. 13 Portugal Lisbon, Porto, Algarve, Madeira, Azores International productions, Portuguese cinema and television Portugal’s location diversity gives it growing potential for cinematic tourism, particularly around Lisbon and coastal landscapes. 14 Georgia Tbilisi, Kazbegi, Mtskheta, Batumi, Borjomi Extraction 2, F9, Ali and Nino, Billa II, Sye Raa Narasimha Reddy Its combination of mountains, historic cities, Black Sea scenery and film incentives makes it an emerging destination.
The United Kingdom remains one of Europe’s strongest cinematic tourism destinations because its cities, castles, countryside and historic streets have appeared in some of the world’s most recognisable films and television productions, creating a powerful connection between entertainment and travel. London has featured extensively in James Bond, Harry Potter and Mission: Impossible productions, while Scotland, Oxford and other British destinations have benefited from the international popularity of fantasy, period drama and adventure franchises.
Harry Potter has been particularly important for tourism, with filming locations across England and Scotland becoming attractions for international visitors who want to follow the journey of the films in real life. Beyond individual franchises, Britain’s long-established film industry, distinctive architecture and accessible tourism infrastructure give travellers multiple opportunities to combine cinematic experiences with heritage, culture and city tourism.
Italy offers an exceptionally strong cinematic tourism proposition because famous film locations can be combined with historic cities, Mediterranean scenery, gastronomy, art and luxury travel. Rome has appeared in countless productions, while Venice, Sicily, Tuscany, Lake Como and other destinations have provided filmmakers with locations that are immediately recognisable to international audiences.
The country’s film tourism appeal has expanded through productions such as The Godfather, Gladiator, The Great Beauty and House of Gucci, while recent international attention surrounding The White Lotus and The Odyssey has created fresh interest in Italian locations. For tourism businesses, the combination of cinematic recognition and established cultural attractions makes Italy particularly well positioned to convert screen exposure into longer stays, location tours and destination discovery.
France benefits from an extraordinary relationship between cinema and tourism, with Paris serving as one of the world’s most recognisable screen destinations and the French Riviera adding another layer through Cannes, Nice and surrounding coastal locations. Productions such as Emily in Paris, The Da Vinci Code, Mission: Impossible and Napoleon have reinforced the country’s association with romance, history, fashion, architecture and sophisticated urban travel.
The appeal extends well beyond the capital because Provence, the Riviera, castles and rural landscapes offer filmmakers a wide selection of visual environments that can attract different audiences. France also benefits from its global reputation as a centre of cinema, meaning visitors can combine filming locations with festivals, museums, architecture, food and other tourism experiences.
Spain has developed one of Europe’s most diverse screen-tourism landscapes, with Madrid, Barcelona, Seville, Andalusia, Mallorca and Almería offering dramatically different settings for international productions. Game of Thrones, Star Wars, Indiana Jones and The Bourne Ultimatum have all helped introduce Spanish locations to global audiences, while the country’s tourism authorities have increasingly promoted screen-inspired journeys.
Almería is especially notable because its desert landscapes and surrounding scenery have been used for major international productions, demonstrating how Spain can represent locations far beyond conventional European settings. This diversity gives tourism planners an opportunity to connect film locations with architecture, beaches, gastronomy, cultural attractions and adventure experiences.
Croatia provides one of Europe’s clearest examples of how a successful television franchise can influence tourism and transform a destination’s international image. Dubrovnik became globally associated with King’s Landing after appearing extensively in Game of Thrones, encouraging fans to visit the historic city and explore locations connected with the series.
The country’s cinematic appeal has subsequently expanded through other productions, while Dubrovnik has developed tours and visitor experiences around its screen heritage. Croatia demonstrates that successful film tourism is not simply about attracting a production, because the greatest tourism value comes when destinations convert screen visibility into organised experiences that encourage visitors to stay, explore and spend locally.
Ireland and Northern Ireland have built a powerful cinematic identity around dramatic coastlines, castles, forests and rural landscapes, with Game of Thrones and Star Wars providing two particularly influential international connections. Locations including the Dark Hedges, Castle Ward, Tollymore Forest and Skellig Michael have become associated with fantasy worlds, giving travellers an additional reason to explore regions beyond traditional city tourism.
The screen connection complements Ireland’s existing appeal as a destination for scenery, culture and heritage, allowing visitors to build itineraries around both cinematic locations and conventional tourism attractions. This approach shows how television and film can distribute visitor interest across different regions when tourism authorities create clear routes, location guides and experiences.
Greece has a natural advantage in cinematic tourism because its islands, coastlines, ancient monuments and Mediterranean landscapes already have enormous holiday appeal. Mamma Mia! helped place destinations including Skopelos and Skiathos in front of global audiences, while other international productions have used Greece’s islands and historic landscapes as dramatic backdrops.
The relationship between cinema and tourism is particularly strong here because visitors can experience a filming location while enjoying beaches, local food, sailing, archaeological sites and island culture. Greece therefore demonstrates how film exposure can strengthen an existing tourism proposition rather than functioning as a standalone attraction.
Iceland has developed a distinctive cinematic tourism identity through its glaciers, volcanoes, lava fields, waterfalls, black-sand beaches and remote landscapes, which have been used to portray both Earth and fictional worlds. Productions including Game of Thrones, Interstellar, Rogue One and The Secret Life of Walter Mitty have introduced Icelandic scenery to millions of viewers and strengthened its appeal among adventure-focused travellers.
The country’s landscapes provide particularly strong opportunities for tourism because visitors can experience the dramatic environments themselves rather than simply visiting constructed sets. Iceland’s cinematic identity therefore reinforces its broader reputation for nature tourism, road trips, photography, outdoor adventure and immersive wilderness experiences.
Malta has become an important European filming destination because its historic architecture, fortified cities, coastlines and Mediterranean landscapes can represent a wide range of locations on screen. Productions including Gladiator, Game of Thrones and World War Z have helped make locations such as Valletta and Mdina familiar to international audiences while strengthening the country’s reputation among filmmakers.
For tourism, Malta offers the advantage of combining cinematic locations with beaches, heritage sites, diving, food and island experiences within a compact destination. Its growing production ecosystem and incentives could further strengthen the connection between film, travel and tourism as more international productions choose the islands.
Czechia, particularly Prague, has become an important European filming destination because its historic architecture can represent different cities and periods without requiring productions to travel across multiple countries. Movies including Mission: Impossible, Casino Royale and Amadeus have helped showcase Prague and other Czech locations to international audiences.
The country’s cinematic tourism potential is strengthened by its castles, historic towns and distinctive Central European architecture, which already attract large numbers of leisure travellers. For visitors, film-inspired experiences can therefore be combined easily with conventional city tourism, cultural exploration, architecture and heritage travel.
Georgia has developed a particularly interesting relationship with Indian filmmakers. The country’s locations have appeared in productions from different parts of India’s film and television industry, giving Georgian tourism exposure to a large international audience.
The Tamil action film Billa II was among the notable Indian productions filmed in Georgia, using locations in Tbilisi, Borjomi and Rustavi. The production demonstrated how Georgian landscapes could be incorporated into the visual language of Indian commercial cinema.
Other Indian projects have followed. The Telugu historical film Sye Raa Narasimha Reddy, along with the web series Inside Edge and Special Ops 2, has also showcased aspects of Georgia.
For Georgia, this connection is strategically significant because Indian cinema has a large global audience. Film exposure can introduce destinations to viewers who may have had little previous knowledge of the country.
Film tourism can influence travel decisions by transforming unfamiliar locations into places with an emotional connection. Viewers who enjoy a film may subsequently want to see its locations in person, photograph the same landscapes or experience the atmosphere associated with the production.
Georgia is well positioned to benefit from this trend because many of its filming locations are already tourism attractions.
Visitors to Tbilisi can explore its colourful streets, historic districts and distinctive architecture. Travellers heading towards Kazbegi can experience spectacular mountain scenery and the wider Caucasus landscape. Batumi offers a contrasting seaside experience, while Borjomi provides access to forests, mountain surroundings and its long-established resort identity.
Kakheti adds a food and wine dimension to the journey, allowing visitors to explore vineyards, rural landscapes and Georgia’s renowned wine culture.
The result is a tourism proposition that extends beyond simply visiting a film set. Travellers can combine screen-inspired sightseeing with history, culture, gastronomy, nature and leisure.
Cinematic tourism is increasingly valuable because audiences can develop emotional connections with destinations before they ever book a flight, turning films and television programmes into powerful sources of travel inspiration. When tourism authorities, local businesses and production companies successfully connect screen exposure with location tours, itineraries and visitor experiences, entertainment can generate longer-lasting economic value for destinations.
The European model is particularly diverse because each country offers a different cinematic proposition, from Britain’s globally recognised franchises and Italy’s cultural landscapes to Iceland’s wilderness, Croatia’s television heritage and Greece’s island scenery. As travellers increasingly seek experiences connected to popular culture, cinematic tourism can help destinations reach new audiences while encouraging visitors to discover places beyond conventional tourist routes.
“Cinema has become far more than entertainment; it is increasingly influencing how travellers discover, imagine and ultimately choose destinations, giving tourism boards an extraordinary storytelling opportunity, and Europe’s diverse landscapes make this relationship especially powerful because every country can offer a different cinematic experience, whether it is a historic street in London, a Mediterranean island in Greece, a dramatic coastline in Ireland or a mountain landscape in Iceland, while thoughtful film-location tourism can also encourage visitors to explore smaller communities, extend their stays, support local businesses and experience culture beyond the screen, creating a positive connection between filmmaking, destination marketing, travel inspiration and sustainable tourism growth across the continent.”— Vedika Keshan, Associate Editor, Travel And Tour World
Georgia’s opportunity now lies in converting film visibility into structured tourism experiences. Productions can create awareness, but destination marketing organisations and tourism businesses need to build the next stage of the journey.
Film-location itineraries, guided tours, location maps and themed travel packages could help visitors identify places they have seen on screen. Hotels, tour operators, restaurants and attractions can also incorporate film connections into their promotional activities where appropriate.
This approach could be particularly effective in markets where Georgian locations have already appeared in popular films and series. Indian travellers, for example, may have a natural interest in visiting locations associated with productions familiar to them.
At the same time, film tourism should complement rather than replace Georgia’s broader destination proposition. The country’s cultural heritage, mountains, wine regions, coastline and historic cities remain the fundamental reasons to visit.
Georgia’s growing presence in international cinema highlights the increasingly important relationship between film production and tourism development. A successful production can generate destination awareness long after cameras have stopped rolling, while incentives and local production capabilities can help attract additional projects.
For Georgia, the combination of cinematic landscapes, financial incentives, cultural heritage and geographic diversity provides a strong foundation for further growth.
The opportunity is particularly relevant as travellers increasingly seek destinations connected to films, television and popular culture. Instead of remaining passive locations in the background, Georgian cities, mountains, valleys and coastlines can become part of the travel story themselves.
Georgia is therefore evolving from a location chosen by filmmakers into a destination discovered by audiences. As more international productions showcase its scenery and the country continues developing its film-production ecosystem, the connection between cinema and tourism could become an increasingly valuable part of Georgia’s international travel proposition.
The cause is simple: globally popular films and television series can expose destinations to millions of potential travellers, often creating an emotional connection before a visitor ever books a trip. The answer is destination-led cinematic tourism, where countries develop film-location tours, themed itineraries, visitor attractions and marketing campaigns around recognisable screen locations. The reason this trend matters is its wider economic potential. Cinematic tourism can encourage longer stays, spread visitors beyond major attractions, support local businesses and introduce lesser-known destinations to international audiences. Georgia and other European countries are increasingly recognising that a memorable screen appearance can become a powerful travel invitation.
Georgia and more European countries are entering a new phase of cinematic tourism, where films and television productions increasingly influence the way travellers choose and experience destinations. The trend is powerful because screen exposure can turn an unfamiliar street, mountain, coastline, historic building or island into a place audiences immediately recognise and want to visit.
Georgia is particularly well positioned to benefit from this movement. Its combination of Tbilisi’s distinctive architecture, Kazbegi’s dramatic mountain scenery, Mtskheta’s heritage and Batumi’s Black Sea setting gives filmmakers a broad visual palette, while productions such as Extraction 2 and F9 have increased international visibility. However, Georgia is not alone.
The UK, Italy, France, Spain, Croatia, Ireland, Greece, Iceland, Malta and Czechia have all demonstrated how cinematic exposure can strengthen tourism. From Harry Potter locations in Britain and Game of Thrones sites in Croatia to Mamma Mia! landscapes in Greece and fantasy scenery in Iceland, screen stories are increasingly becoming travel inspiration.
The opportunity for European destinations extends beyond attracting film productions. Tourism authorities can build location tours, themed itineraries and cultural experiences around successful productions, while local businesses can benefit from increased visitor spending.
Ultimately, cinematic tourism is becoming a strategic bridge between entertainment and travel. As global audiences continue consuming films and streaming content, destinations that successfully transform screen visibility into authentic visitor experiences could gain a significant advantage in the increasingly competitive European tourism market.
The United Kingdom is among Europe’s strongest cinematic tourism destinations because of the enormous international reach of productions such as Harry Potter, James Bond and other major film and television franchises. Its combination of famous filming locations, historic architecture, countryside and established tourism infrastructure makes it particularly attractive to screen-inspired travellers.
Dubrovnik in Croatia is one of the most famous European destinations associated with Game of Thrones because the historic city was used extensively as King’s Landing. The show’s global popularity helped strengthen Dubrovnik’s profile as a cinematic tourism destination and encouraged fans to visit locations connected with the series.
Yes, films and television programmes can influence travel decisions by creating familiarity, emotional connections and curiosity about places viewers may never previously have considered visiting. The strongest tourism results generally occur when destinations develop tours, trails, itineraries and other experiences that make it easy for visitors to explore filming locations.
The United Kingdom, Italy, France, Spain, Croatia, Ireland, Greece, Iceland, Malta and Czechia are among the most compelling options because they combine famous productions with distinctive landscapes and established tourism experiences. Travellers can choose destinations according to their interests, ranging from fantasy and adventure locations to historic cities, beaches, islands and cultural landscapes.
Cinematic tourism is likely to remain an important travel trend as streaming platforms, global film releases and television franchises expose audiences to destinations on an unprecedented scale. For European tourism authorities, the opportunity will increasingly depend on converting this international screen visibility into well-managed visitor experiences that create economic benefits while protecting local communities and attractions.
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