This post was 2016. Six years later, this is no longer true, at least here in my area (Montréal). At my work in a post-production company, we finish around 8-10 long form fiction movies a year and a bigger number of shorts, and I would say around 90% of thoses projects are now shot 24.0 fps.
All high-end cameras like the ones from Arri, RED and Sony can switch easily between 23.976 and 24.0 since many years. The sound recorders can now too, like the Sound Devices, which is the most common brand used (at least here in North America). The choice of shooting in 24.0 was already available in 2016, but not every gig would be used to shoot 24.0 so they chose 23.976 just to be safe, I guess.
Also, in 2016 television was still a major deliverable, but this has changed. Video on demand, which supports any framerates, is now the main distribution channel when a movie has finished playing on the big screen.
Documentaries are more of an exception because they are still aimed at television and also, they often use old footage which was telecine'd at 23.976 so it's easier to edit when everything's 23.976.
All high-end cameras like the ones from Arri, RED and Sony can switch easily between 23.976 and 24.0 since many years. The sound recorders can now too, like the Sound Devices, which is the most common brand used (at least here in North America). The choice of shooting in 24.0 was already available in 2016, but not every gig would be used to shoot 24.0 so they chose 23.976 just to be safe, I guess.
Also, in 2016 television was still a major deliverable, but this has changed. Video on demand, which supports any framerates, is now the main distribution channel when a movie has finished playing on the big screen.
Documentaries are more of an exception because they are still aimed at television and also, they often use old footage which was telecine'd at 23.976 so it's easier to edit when everything's 23.976.