Each Easter weekWithout fail, something happens that defies any logic of the audiovisual market: millions of Spaniards sit down to watch a film that they have already seen, which lasts almost four hours, which was filmed 65 years ago in Rome and which is not recommended by any algorithm. A chariot race that, for some reason, continues to draw viewers as if it were a recent release.
The figures. Since 2008, the film ‘Ben-Hur’ has been broadcast on Spanish channels (free and pay) a total of 85 times over 17 Holy Weeks. That is equivalent to an average of five passes per holiday period, according to data from the consulting firm Barlovento Comunicación. has provided ‘El País’. No other religious-themed title has accumulated so many broadcasts in that interval. It is followed by ‘Quo Vadis?’, with 73 appearances on the grid, and ‘The Ten Commandments’, with 61. Completing the usual group are films such as ‘Barabbas’, ‘Spartacus’ or ‘The Greatest Story Ever Told’, almost all of them produced between the 1950s and 1960s.
It doesn’t sound familiar to me. Well, they are all titles from a time in which Hollywood turned the biblical epic into an industrial venture, with million-dollar budgets and excessive technical ambition. ‘Ben-Hur’ cost $15 million in 1959 (the largest budget of any film up to that time) and grossed approximately $80 million worldwide. It won eleven Oscars from twelve nominations, a record that only ‘Titanic’ (1997) and ‘The Lord of the Rings: The Return of the King’ (2003) have equaled.
Why do they still work? ‘Ben-Hur’ has an advantage: Jesus appears in it as a peripheral figure, with his back turned or in the distance, which turns the film into an epic adventure production with a Christian subtext, rather than a typical religious film. The chariot race, filmed in five weeks with 15,000 extras and on a gigantic set in Cinecittà, works as a hook regardless of the viewer’s beliefs.
‘Quo Vadis?’ places Saint Peter fleeing Rome during Nero’s persecutions, but a vision of Christ appears to him asking where he is going, and Peter turns around and returns to the city to remain with the martyrs. It is the only scene in which Jesus has a direct presence, since he always appears mediated by his apostles, or with the conversion process of the Roman commander Marcus Vinicius. But the spectacle that the film sustains for the non-believing public is another: the burning of Rome, the circus with the lions, the megalomania of Nero…
The hearings. Since 2021 La 1 has programmed ‘Ben-Hur’ every year on the after-dinner meal on Thursday or Good Friday. The results: screen shares of 11.4%, 10.7%, 12.5%, 11.3% and 11.1%, with figures around one million viewers in the three and a half hours that the film lasts. Today few programs achieve those numbers on a regular basis. The record remains the Holy Thursday screening of 2012, when more than two million people watched it on the night of La 1. For this year, RTVE has confirmed that La 1 will broadcast ‘Ben-Hur’ and ‘Pompeya’ on the afternoon of Good Friday, and ‘The Ten Commandments’ during the weekend. La 2 will offer ‘The Sacred Robe’ on Holy Thursday at 10:00 p.m.
The private ones, less pious. Since 2018, La 1 has broadcast a total of 45 films with religious themes or those linked to Holy Week. Antena 3 barely reached seven. Telecinco, four. Atresmedia and Mediaset are betting on other types of programming on these dates, leaving the religious field almost exclusively to RTVE…
…and the autonomous ones. These have turned this niche into their own asset. Between 2018 and 2025, Telemadrid programmed 99 films with religious themes, Canal Sur 82 and CMM (Castilla-La Mancha Media) 72. These are figures that reflect both the cultural harmony of these stations with their territories and a very economically efficient programming strategy: the rights to these classic titles are considerably cheaper than those of recent productions.
And Channel 13. This is what takes logic to its ultimate consequences. The Episcopal Conference network has broadcast almost 300 religious films during Holy Week over 17 years. In 2025 alone, it programmed 19 different titles in that week, with more than 50 hours of special content that included broadcasts of processions, connections with the Vatican and film series ranging from Cecil B. DeMille classics to premieres such as ‘His Only Son’ (2023). Thirteen seems like a television built specifically for these dates.
Last stop: ‘The Life of Brian’. There is a case that deserves separate analysis: ‘The Life of Brian’, the 1979 Monty Python film, has been broadcast at Easter on Spanish channels on 22 occasions over 17 years. In most cases it was on thematic channels, and La 2 only dared to program it in 2020 and 2021. The results were clear: a 7.4% share in full confinement and 5.5% in 2021, figures well above the channel’s usual average. Neox issued it the last two Good Fridays with equally notable results for its usual figures: 2.6% and 3.4%.
The data is revealing because it makes it clear that the viewer of Holy Week is not necessarily looking for devotion, but rather cultural markers of the period. ‘Life of Brian’ fits that way just like ‘Ben-Hur’, albeit from the opposite end of the spectrum.
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