Screen International’s Post

‘Cinemas are clearly seen as important cultural and community assets. Almost two-thirds (63%) of survey respondents stated that the study cinema venue contributes to “their sense of pride in the area where they live”. Beyond this, the report establishes that cinemas are likely to drive footfall and spending in other venues, indicating that they can make an important contribution to revitalising high-streets.’ https://lnkd.in/e7hUjgxt,

Europe is getting creative in a effort to lure audiences back to movie theaters in a context where moviegoing is down 15-20% from pre-pandemic years. The Cineville subscription based model, first launched in Belgium and the Netherlands, is about to launch in Germany, and probably also in Sweden. It’s an interesting concept but I would say that the problem of European cinema is the lack of development and coproduction of more escapist, high-concept events and pan-european tentpole movies based on IP. This being said, it doesn’t mean all movies need to be big budget blockbusters. Blumhouse is the perfect illustration of how you can succeed if you invest in smart, distinctive cost-efficient genre film experiences. Also, there’s definitely more potential to be explored in closer partnerships between global streamers and local theatrical distributors and exhibitors. At the end of the day though, distinctiveness and entertainment value are key components. #european #cinema #highconcept #tentpole #unique #entertainment #distinctive

This week I’ve been thinking a lot about cinema, and how - in the shadow of some pretty weighty sites closing - the industry evolves next. Of course cinema was once the most accessible form of entertainment for all classes. Queues around the block, sold out shows in 1200 seater venues and a wealth of talent on screen. Then it evolved - over and over - with the fall of the art deco giants, the rise of the multiplexes and then the rise of the experience based sites. While the pandemic certainly played a part in accelerating the arrival of the next era of cinema the issue many of us face is “What is it?”. My cinema is a teeny little ball of passion in the heart of the Cambridgeshire Fens. We have a multiplex down the road, another in the nearest city (plus an extra one on the way) and then half a dozen others in easy driving distance. We recently celebrated fifteen years of cinema magic and since then I haven’t been able to shake this need to define what I think has ensured that we survived. Naturally - the change in ownership ‘saved’ the cinema from oblivion, but it was deemed worth saving, so what was it? At the time it was the online buzz and positive reviews. And it still is, but what pushes the buzz? Now, I’m leaning towards the fact that we position ourselves as part of the local community. We are not an entity that offers up a bubble of corporate nonsense, we are a bunch of people who love cinema, love film and want our guests to have a great time (even with Madame Web). We want to support the community that supports us - and try to do that every day. We want to welcome those that may not always feel welcomed. We want to be the place we all wished we had when we were younger. CINEMA is immortal, but cinemas are not. There are loads of changes I’d like to see, but at the moment we need to support our community and get support back from that community. Because if we were to close tomorrow, we could look back and be proud of what we’ve achieved. And with no such plans - we need to be making sure we are adding things to that list. Every day. Because people who want to watch a film have choice of WHERE and HOW they do that. I certainly prefer to support the cinemas that do their bit, that have a heart and fight for those that need it. We just need to do that. And we will be ok for a while yet.

The greatest challenge facing theaters right now is a dearth of theatrical releases, exhibitors say. Theater owners urged studio executives at CinemaCon to put more films in theaters — and not just big-budget tent poles timed for summer movie season and holiday weekends. An additional issue affecting owners of independent theaters and smaller chains is studio-imposed three-week minimum runs for major movies. Multiple exhibitors can’t afford to let one movie to take up a screen for three weeks because there simply isn’t enough population where they operate to fill seats for that long. One way that exhibitors are trying to fill the void of studio releases is by showing “alternative content” — from reissues of beloved films and screenings of TV shows to musical performances and sporting events.

Hollywood's Cinerama Dome Delays Reopening - But There's Hope for 2025! . . https://lnkd.in/dF7E4AJ8 . . #cineramadomedelay #hollywoodmovies #cinemalover #whattowatch #movieblog #filmfan #2025reopening #classicmovies #streamingguide #howtowatchin See insights and ads Boost Comment

This article asks an interesting question and maybe it is a glass-half-full situation. Yes, exhibitors leaning on landlords to lower rents is part of the explanation - as WSJ recently pointed out, it is hard to re-purpose cinemas into anything else. But my suspicion is that lowering seating numbers with the introduction of recliners, doubling down on premium and introducing wider location-based entertainment options (climbing walls!) also has something to do with this. No doubt this and more being discussed at CinemaCon https://lnkd.in/e2yCEMpX

#myfriendsdodopeshit SoCal Edition. Watch the whole thing and get in touch with Aaron if you’re down to make more money, have more efficient labor and COGS models, and do something that’s NTW.

🎟️🎥 Alamo Drafthouse Cinema x Sony Pictures Entertainment 👉 #Sony’s Acquisition of #AlamoDrafthouse: The Imperative for Experiential Movie-Going The acquisition of Alamo Drafthouse by Sony marks a significant shift in the movie theater industry. To appreciate this move, we need to look at Alamo Drafthouse’s unique history and approach. Founded in 1997 by Tim and Karrie League in Austin, Texas, Alamo Drafthouse quickly gained a reputation for its unique combination of dining and cinema. Known for its strict no-talking policy and themed events, the theater chain became a haven for film enthusiasts seeking an immersive movie-going experience. Alamo Drafthouse’s emphasis on luxury seating, gourmet food, and high-quality audiovisuals set it apart, creating an experience that streaming services can’t replicate. This focus on experience has become increasingly crucial as theaters compete to attract audiences in a digital age. Sony’s acquisition of Alamo Drafthouse highlights the industry’s shift towards enhancing the cinema experience. By integrating Alamo’s innovative approach with Sony’s resources, we can expect more exclusive screenings and themed events, drawing more consumers back to theaters. In this new era, the key to success lies in making movie-going an unforgettable event, a strategy that Alamo Drafthouse has mastered. Alamo Drafthouse Cinema Sony

Great insight on domestic market impact of cinemas in the UK and contribution to the creative economy. Given the international nature of UK film production and cross-border digital collaboration it will be great to consider the multilateral impact of film production and distribution more widely as part of UK’s international cultural relations and contribution to economies.

Interesting to see this research on the impact of cinemas on place.