With the box office skyrocketing, how do exposure and distribution keep the momentum going ?: CineEurope

The CineEurope conference kicks off Monday in Barcelona and distribution and exhibition are expected to be in good spirits, exiting the mega-driver series in the first half of the year and heading into a profitable second half. There is reason for the backlash and the noise, but there is also the concern that all parties must continue to work together for the continued good of the company.

The annual gathering of European cinema owners and Hollywood studios in their normal time slot for the first time since the start of the pandemic and reaching international box office (excluding China) is approximately 166% higher as of June 6, 2021 at $ 6.06. B, according to Gower Street Analytics. Also on June 11, global cash registers (including China) were valued at $ 11.7 billion, up 62% from the same period last year and down 37% from the 2017 average. 2019.

The early part of 2022 had explosions like Warner Bros / DC BatmanDisney / Marvel Doctor Strange in many worlds of madnessParamount / Skydance Top Gun: Maverick and Universal / Amblin Entertainment Jurassic world domination. Each of them has surpassed $ 600 million worldwide Dissident Y JWD Still at an early stage. light yearTo be honest, it started badly, let’s see how it ends.

While there is a clear demand, the industry cannot survive on blockbusters alone. This is one of the main problems they face today, along with the relationship between exposure and distribution and the increasing access to the capabilities of the premium format.

Exhibitors and distributors alike agree that medium-sized films, and even larger films that are not based on existing intellectual property, must exist in an ecosystem to thrive.

Sure, it already felt like a pandemic, but we understand there’s more concern about low activity in the original and mid-range images, as some sections of the audience are still reluctant to return (think older women). It is not sustainable, we are often told. If these films stop shooting, it becomes a downward cycle.

How to solve this problem? In part, it’s about maintaining the cohesive relationship and distribution created during the pandemic. Once uncomfortable beds, movie stations and movie studios have found a new way to collaborate in recent years: sharing ideas and data and working together to maximize cash registers and get the market back on a healthy level. Although there have been experiments with windows sometimes not fitting well into the display, it is now generally accepted that movies need a decent theatrical performance. There is hope that the spirit of cooperation will continue.

Plus, the studios also support each other when it’s a success. The rising tide sweeps away all ships, as they say, and I constantly hear from bosses that every time the film stands out in this uncertain moment, they are wrong.

Increasing the frequency of spectator speeches is also a key element. In part, this is due to the content that has been a challenge for the industry during the pandemic years. And for the most part, this is due to the theatrical experience, to which people who may have lost the habit of going to the cinema, have a desire to return again and again, with every screening. There will be a discussion on innovative marketing and public campaigns and how partners can work together.

For exhibitors, distributors and tech companies there is an opportunity to enhance their experience with PLFs, which give a big boost to recent successes and help highlight the need to see a movie on the big screen, maximizing the potential for theaters and movie. . – and frequency of visits.

European companies are experiencing widespread growth. Examples before June 11 include the UK, which grew 920% from 2021 and only lost 27% from the average of the three years before the pandemic. France reached $ 461 million (+ 1014% in 2021 / -31% compared to the average of the three years before the pandemic) and Germany reached $ 309 million (+ 7736% compared to 2021 / -37%) compared to the three-year average) before the pandemic).

On the negative side, generally abroad and not only in Europe, inflation has held back the value of marketing, while production costs have increased by around 20%. For now, Russia, which typically ranks between 3% and 4% at the international box office (excluding China) in a normal year, is not part of the equation. There is nothing to be done at this time. China, meanwhile, was Mercury with release dates, but it reveals some setbacks Jurassic world domination Close $ 100 million from today. Furthermore, Korea is back after a difficult time and this is something extraordinary.

In general, an atmosphere of optimism is expected here in Barcelona. The second half of the summer and the rest of the year are strong, while expectations for 2023 are high. As more than one executive enthusiastically told us, “This business will stay here.”