Flexible and Shorter Windows: Advantages and Limitations

A distributor notes, “We have all the flexibility in the world, in terms of windowing, but we've seen and also the platforms have seen that it's very healthy to have a windowing between the various exploitations so that you can exploit the various rights most effectively.” In another market, one distributor explains that while a strong theatrical window remains crucial for maximizing revenue, shorter windows might be considered for specific cases like documentaries, but not for mainstream or domestic films, where extended theatrical play can be more profitable.

Another distributor seeks to secure an exclusive theatrical window of 75-90 days, which was reduced from a pre-COVID-19 standard of 120 days in this market. For films with lower commercial potential, such as smaller or arthouse films, the distributor may consider shorter windows of 30-60 days, although this remains an exception rather than the norm.

One distributor does not adhere to predetermined windows for all films, instead monitoring a film’s performance in theatres before deciding on its VOD release. Typically, films remain in cinemas for up to three months in this country, though this can be shortened if the film’s popularity declines sooner. They have also experimented with VOD-first releases followed by theatrical runs, as was done with “Another Round” during the pandemic.

A different distributor typically maintains a twelve-week theatrical window, slightly shortened from the previous four months. This change aims to balance theatre exclusivity with the faster turnover of films in the market. The distributor observes, “There is the tendency that releases get shorter and shorter. It's been very noticeable in a very short period because the market […] is so successful and that there is just too many films, and only the really strong and successful films get a long run, and the other ones, even if they're quite performing decently, they still get kicked out very, very quickly.”

In another market, there is an industry-agreed policy for theatrical release windows, which pre-COVID-19 was 120 days but has now been reduced to approximately 75 days. This policy supports a period of exclusivity for theatres before films move to other platforms. The distributor is cautious about shortening the release windows further, preferring to keep the 75-day window to maintain the exclusivity and financial viability of theatrical releases. The distributor also believes that shortening the windows too much could undermine the cinema experience and reduce revenue from ticket sales. Additionally, they argue that flexible windowing may be more relevant in larger countries with dispersed populations such as the USA, whereas in smaller, more densely populated areas, cinemas are easily accessible to most people. The distributor “simply doesn’t believe in abolishing those models” of theatrical windows.

Day-and-date releases: a temporary experiment?

The day-and-date release strategy, which was rarely used before the COVID-19 pandemic, gained temporary popularity during the crisis, with major distributors adopting it for high-profile titles like Dune (Warner Bros., 2021). While the approach has since largely decreased in practice, most distributors now favor traditional theatrical releases followed by SVOD, as these offer a more structured and profitable exploitation of rights. However, some European distributors still see potential in day-and-date releases, arguing that they can create a "virtuous circle" for both cinemas and online platforms by leveraging shared marketing efforts and generating word-of-mouth buzz.

One distributor experimented with near day-and-date releases during COVID-19 but concluded that the approach is ineffective, particularly in small and dense markets. The experiment was driven by marketing cost efficiency—maximizing P&A spending across both cinema and streaming—but ultimately was not sustainable. They underline that theatrical releases still add value to films, making them more desirable for later digital distribution.

Another distributor has used day-and-date sparingly, only for small-scale films, citing resistance from cinemas as a significant barrier to its broader implementation. This reluctance among exhibitors has made the strategy largely experimental and applicable only in specific cases. They say they have not used this strategy since COVID-19. Another distributor notes that while cinemas have traditionally opposed the model, it can, in certain contexts, maximize audience reach and revenue, particularly in regions with limited cinema accessibility. They also highlight its potential cost-saving advantages, especially in marketing.

A distributor shares their experience of experimenting with various strategies, including day-and-date, event releases, and variable window lengths, based on the characteristics and target audience of each film. Reflecting on the results, they observe that “day-and-date is not a good strategy because it burns out your attraction on both channels [...] it weakens a little bit the [streaming release] because it's not so exclusive. And on the other hand, it's less attractive for the theatrical, and so it weakens the theatrical a lot. So it's something that we've done a few times, but it didn't really work.”

Conversely, other distributors remain cautious or critical of day-and-date releases. One distributor emphasized that the lack of theatrical exclusivity can harm both cinema attendance and streaming engagement, ultimately weakening overall revenues. Another warns that broad adoption of this model could undermine the sustainability of the theatrical business, which depends on exclusivity to generate initial audience interest and revenue. One distributor recalls: “We have released 2 or 3 titles with day-and-date, and nothing happens at the end. It was not something that we could sustain. It is not sustainable in the long term. [...] The difference doesn't compensate for what you lose. Also in terms of creating a brand, because at the end the theatrical is at least the more sustainable way to create a brand around a film.” He concludes, “It’s a question of survival”.

These perspectives reflect a common concern among distributors about maintaining the balance between innovative distribution models and the financial viability of traditional cinema releases.

Adaptation of the release strategy to the film’s characteristics

Distributors adapt their release strategies to align with the specific characteristics of each film, including its target audience, genre, and potential market performance. For niche, artistic films, one distributor often opts for fewer prints and longer theatrical runs to build word-of-mouth, while more mainstream titles may have shorter theatrical windows with a rapid decline in screenings following their release. Another distributor emphasizes the importance of tailoring marketing efforts to effectively reach their audience. Their strategy includes leveraging social media, organizing events, and utilizing geolocation technology to direct potential viewers to nearby cinemas screening the film.

According to a distributor, lower budget and less commercial films face significant challenges in the shorter-windows environment. These films often struggle in theatres and subsequently perform poorly on digital platforms, making it difficult to recover costs. A distributor with a strong focus on European and high-profile arthouse films, including festival competition titles (eg. Cannes) and documentaries, notes that genre might not necessarily dictate the duration of a theatrical release. However, they observe that “the films which are super successful in cinemas are super successful on the platforms,” underscoring the critical link between theatrical and digital performance.

For another distributor, the release strategy is largely dependent on the type of film being distributed. Films with strong local ties or big stars are given priority, and decisions are influenced by factors like the film's ability to sustain a full theatrical run. Documentary films, for instance, are more likely to have shorter windows, while larger, popular films receive more extensive theatrical campaigns.

Theatrical exclusivity: still the most profitable channel for distributors

Theatrical releases remain the most profitable channel for distributors, while also offering significant benefits in terms of visibility and word-of-mouth. Theatrical exclusivity is prioritised for many films, particularly since post-pandemic audiences have shown a renewed preference for unique and special cinema experiences. This exclusivity helps to distinguish the theatrical experience from home viewing, reinforcing its value in the distribution ecosystem.

One distributor has maintained a strong focus on theatrical releases as the cornerstone of their business model, leveraging tax credits and European Union support programs to reduce risks and encourage the distribution of European films. As part of this commitment, all their films are released theatrically rather than going directly to streaming platforms. As they note, “there is really this need for people to meet up socially, but it needs to be special.”

Another distributor emphasized that the theatrical window accounts for approximately 75-80% of a film's total income, underscoring its importance as a revenue generator. Similarly, a distributor highlighted that theatrical releases remain the core of their strategy, noting a direct correlation between success in theatres and subsequent performance on other platforms: “If you have success in the theatres, then the other windows usually follow.” For other distributors, theatrical releases are not only their primary source of income but also how they connect with audiences. While they acknowledge the growing importance of digital platforms, these are viewed as complementary rather than primary revenue streams.

Timing and competition: festivals and special events

As one distributor explains, they carefully plan the timing of film releases to optimize audience turnout and avoid both internal and external competition. Internal competition includes other films that attract overlapping audiences, while external competition encompasses major events like sporting tournaments (e.g., the World Cup or the Olympic Games) or significant cultural happenings. This strategic approach to release scheduling is vital for maximizing a film’s potential audience.

One distributor highlights the importance of considering multiple factors, including market demand, competing releases, and seasonal audience behavior. Identifying high-demand periods and steering clear of major competing events is key to selecting the best release dates.

The influence of seasonal variations and film festivals on release strategies is also emphasised by another distributor. They avoid releasing films during or immediately after major festivals to prevent conflicts with festival screenings and extensions. Seasonal audience behavior also plays a role, with periods like May and June typically being less favorable for cinema attendance. Limited screen availability and strong competition from blockbuster titles often push the distributor to target less competitive periods, such as summer, when screens are more accessible. Although admissions may be lower during these times, this strategy helps secure valuable screen time for their films.

Distributors employ various strategies to build interest and engagement for their films. For instance, they will release classic titles like Scarface or The Deer Hunter periodically, targeting audiences seeking timeless, quality cinema that transcends trends. Limited or event releases are also a common tactic, particularly for documentaries with specific target audiences, where screenings can expand based on demand. Another distributor also uses events to engage audiences. To create some urgency and exclusivity, “we also offer operas, ballets, music documentaries as event cinema... released one week [or sometimes one day] and we announced [to the audience] they have only that chance.”

Prominent film festivals are another crucial component of release strategies, especially for art-house and documentary films. Launching at these events helps generate buzz and valuable word-of-mouth, setting the stage for a film’s success. In addition, some distributors leverage unique promotional activities to create excitement. One example is the culinary event organized for La Passion de Dodin Bouffant by one distributor, who invited culinary influencers, chefs, and food critics. This creative approach generated extensive media and social media coverage, significantly contributing to the film’s success. These tailored strategies highlight the importance of aligning release plans with audience behavior, market dynamics, and creative marketing to maximize impact.

Partnerships and collaborations (to compete) with global streaming platforms

Distributors collaborate extensively with various industry stakeholders, including local broadcasters, pay TV providers, cinemas (both multiplexes and arthouse), and global streaming platforms. These partnerships are crucial for maximizing the reach and profitability of their films across different distribution channels.

One distributor works with a diverse range of partners, including local broadcasters, pay-TV providers, and global streaming services such as Netflix and Amazon. Another distributor emphasizes the importance of maintaining strong relationships with cinema owners, particularly major multiplex chains, to secure strategic placements for their films. While they also partner with local and global platforms for subsequent distribution stages, they approach these deals cautiously to safeguard theatrical revenues. Another distributor collaborates with a wide variety of venues, including multiplexes, arthouse cinemas, and cultural centers in smaller towns. They also partner with domestic VOD platforms and public broadcasters to extend their films' reach across different regions and audience demographics.

For one distributor, cinemas remain the most profitable and essential partners, as international streaming platforms often prioritize larger, more commercial films, making it challenging to secure deals. Instead, they focus on partnerships with more specialized streaming platforms like Mubi, though these agreements typically yield lower profit margins. An innovative revenue-sharing model with a local SVOD platform has provided a steady post-theatrical income, with the distributor receiving half of the total revenue generated by streams.

Changes in consumer preferences and behavior

Distributors widely agree that a theatrical release is essential for a film’s virtuous lifecycle, offering advantages in visibility and financial returns that direct-to-streaming releases cannot match. While streaming platforms provide access to vast libraries of content, this abundance often makes it difficult for individual films to stand out. By contrast, a theatrical release provides the visibility and recognizability needed for a film to perform successfully, even as the number of films distributed in cinemas continues to rise. The unique appeal of the theatrical experience is another significant factor. While the technical aspects of the big screen and superior audio still attract some audiences, distributors increasingly highlight the communal nature of cinema-going. The act of watching a film in a distraction-free environment as part of an event or night out remains a key draw for audiences.

One distributor stresses the challenge of engaging audiences in cinemas rather than on streaming platforms, particularly given the lack of viewership data provided by global VOD platforms. As another notes, the exhibitors’ “proximity to the audience is very strong, and that's why you need to work hand in hand with them to speak to the audience and to attract them because, of course, we live in a very dense media environment where the distraction is everywhere, where the competition [...] is everywhere.”

Some distributors express frustration with the short lifespan of films in cinemas, with one commenting, “I wish there was a longer life for each film because, you know, you spend three years on producing it, and it stays one week in cinemas. It's crazy.” Despite these challenges, optimism persists. One distributor is confident in audiences returning to cinemas, thanks to a strong network of theatres and expertise in selecting and distributing films to attract the right viewers, even acknowledging the unpredictable nature of the market as “a magical thing.”

Post-COVID-19, audiences have become more selective about what they watch in theatres, increasing the importance of curating films that capitalize on the communal and shared cinema experience. Another distributor emphasizes the need to maintain wide theatrical windows to meet audience demand for these experiences, while cautiously adapting to evolving trends that do not undermine the value of theatrical releases. Similarly, one distributor explains that there is a shift in consumer behavior, with cinema becoming more of an event or social experience rather than a direct competitor to at-home viewing. Despite the rise of VOD, there is still a strong preference for cinema among certain segments, particularly for "event-driven" releases. They state there is also recognition of the younger generation's decline in cinema attendance, with more consumers opting for home viewing options. However, they estimate cinema is still seen as a valuable experience that cannot be easily replicated at home.