The following sections detail the key findings from the interviews conducted with the seven uncommon film venues listed above. They are summed in Annex 3. These findings highlight the unique strategies employed by these venues to differentiate themselves from mainstream cinemas, engage audiences, promote European cinema, and navigate challenges.

Differentiation From Mainstream Cinemas

In their efforts to distinguish themselves from mainstream cinemas, various venues have adopted unique audience strategies; they are unique in their location and operation, have diverse programming, and often blend cinema experience with other forms of art. 

Location

However, it is worth noting that the diverse locations of these cinematic venues, ranging from university campuses in Portugal to unconventional urban spaces under bridges in Lithuania, significantly enhance their ability to offer unique experiences and engage deeply with their communities. Venues like the Eye Filmmuseum in the Netherlands and the KUMU Art Museum in Estonia are integrated within larger cultural institutions, allowing them to blend film screenings with educational and interactive experiences. Others, such as RoadMovie in Switzerland and Lumière Aan Zee in Belgium, bring cinema directly to local communities, whether through traveling screenings in rural areas or pop-up cinemas in cultural centers. Each location is different, and it serves different audiences. 

Diverse Programming

Moreover, venues like Lumière Aan Zee, Eye Filmmuseum and Cinema Fernando Lopes have developed programming strategies that blend mainstream blockbuster movies with niche arthouse films, thereby offering a diverse range of cinematic choices. For instance, during the summer season, Lumiére Ann Zee strategically adapts its offerings to cater to a broader audience by including both mainstream and arthouse films. Similarly, the Eye Filmmuseum curates a unique mix of first-run titles and retrospectives, providing everything from popular new releases to rare archival finds typically not available in mainstream cinemas but found in their archives of the film museum. Eye Filmmuseum further enriches its cinematic experience by incorporating modern elements like VR into its programming.

Cinema Fernando Lopes distinguishes itself by showcasing first works by cinema students, giving a platform to emerging talent and new cinematic voices, which adds to the diversity of its offerings. On the other hand, venues like Kunstnernes Hus and KUMU focus also on documentary films, exploring a variety of themes and subjects. Additionally, most of these venues regularly feature animated movies in their programming.

Integrating Film Programs with Art Exhibitions

KUMU Art Museum and Eye Filmmuseum also differentiate themselves by integrating their film programs with art exhibitions, thus enhancing thematic exploration. KUMU Art Museum hosts film series that complement ongoing art exhibits, creating a dialogue between the visual arts and cinematic expressions. Eye Filmmuseum frequently combines its film screenings with exhibitions, such as a Werner Herzog retrospective that included screenings of his films alongside an exhibition of his works. Kunstnernes Hus too mixes their film screenings with other types of activities such as hybrid events. 

“I think one of the main attractions of our building is that there’s a huge bar restaurant in the heart of the building with a great view on the Riverside. So your first visit to our building could also be just to enjoy and see the building, enjoy the view. But when you are inside that heart of the venue, you see that there’s an exhibition on the 1st floor, you see the screen, you see moving images of the activities that we have at the moment. That’s how we really want to more or less lure you into discovering more.”

:René Wolf, Eye Film Museum

Audience Engagement

One of the key themes identified from the interviews was the significant focus that these venues place on audience engagement. This focus is evident in their use of special screenings and events, educational activities, strategic promotional efforts, and community involvement in film selection and feedback processes.

Special Screenings and Events

All venues use special screenings and events, often incorporating Q&A sessions. For instance, Fernando Lopes Cinema hosts 60 special screenings annually, which are followed by discussions with filmmakers, historians, and other personalities that relate to the film being discussed. This approach creates a more interactive and educational experience for the audience, proving to be much more successful than just showing a film. 

“We host around 50 to 60 special screenings annually. Despite having just one screen and limited programming slots, the positive feedback and higher attendance at these screenings, compared to our regular sessions, have proven their value in reaching and engaging more people.” 

:Catia Sousa (Fernando Lopes Cinema)

Similarly, the Eye Filmmuseum holds weekly special screenings and occasional premieres, providing opportunities for the audience to engage directly with the films’ creators or cast members. Lumière adds a social dimension to the film-going experience by organizing events such as cinema breakfasts, which make cinema visits more than just watching a film​​.

Community Building through Educational Activities

Cinemas also engage with educational sectors to build communities around them. Fernando Lopes Cinema, for example, is situated within a university and integrates cinema into the curriculum. They host screenings that complement academic studies, aiming to develop their audience primarily from the student population. RoadMovie organizes special screenings for children, often featuring animation films that surpass language barriers in Switzerland. These screenings are sometimes followed by interactive sessions or discussions that educate and engage young audiences. The Eye Filmmuseum acts as an educational platform by offering workshops, film courses, and guided tours that are fit for all ages. Additionally, KUMU offers documentary film courses as part of its educational initiatives​​.

Promotional Strategies and Visibility

Effective use of local and online marketing, social media, and partnerships ensures visibility and attracts a broader audience base. RoadMovie and Deep Rivers Run Silent, for instance, utilize both local, social and traditional media for promotion. Fernando Lopes Cinema involves young cinema enthusiasts in their promotional efforts through their Ambassador Club, which helps create content and engage with peers, making cinema more approachable and relevant to younger audiences. Deep Rivers Run Silent collaborates with the municipality for billboards and public transportation advertisements, ensuring high visibility without incurring costs​​.

Audience Preferences

Allowing community involvement in film selection and reflection is another strategy that helps venues remain relevant and engaging. RoadMovie involves local village councils in the film selection process for evening screenings from a pre-curated program; allowing the community to have a say in the programming which best fits the needs of their local audience. Fernando Lopes Cinema uses an open feedback book where audiences can provide their thoughts on movies, providing a sense of connection and engagement of community. 

Promoting European Cinema

Another key theme identified from the interviews was the important role these venues play in promoting European cinema. This commitment is seen through the inclusion of European films in their programming, efforts to highlight cultural diversity, and collaborative initiatives with various entities like cinema networks within Europe. 

Inclusion in Programming

These venues prove their commitment to showcasing independent and culturally diverse European films through dedicated or themed programming. For example, Fernando Lopes Cinema celebrates Italian cinema through special events and showcases. Deep Rivers Run Silent regularly includes a diverse range of European films such as Polish and Irish films​​. RoadMovie focuses on showcasing only Swiss films, exposing audiences to local productions that may not be widely known. 

Cultural Diversity

These venues promote cultural diversity by selecting films that address various cultural, social, or linguistic issues. For instance, Fernando Lopes Cinema’s screening of “No Dogs and No Italians Allowed” by Alain Ughetto (2022) tackles the critical European issue of migration, helping audiences connect with broader cultural narratives and understand the complexities of migration within Europe​​. RoadMovie enhances the understanding of Switzerland’s linguistic diversity by showcasing films in the country’s official languages. They also use animated silent films to highlight the challenges that deal with language diversity and as such educate audiences on these important issues​​.

Collaborative Efforts

Collaborations with various entities are crucial when it comes to enriching the programming of these venues and promoting European cinema. Participation in cinema networks like Europa Distribution and CineVille enables the inclusion of European films. For example, Lumière Aan Zee, Fernando Lopes Cinema and the Eye Filmmuseum are active members of these networks, ensuring a flow of diverse European titles​​. Collaborations with distribution companies help venues secure non-mainstream European titles. Deep Rivers Run Silent, for instance, works with Polish, Irish, and French distributors to bring diverse movies to their audiences​​. Hosting and participating in film festivals is another common strategy. Fernando Lopes Cinema hosts the biggest Independent Film Festival in Portugal, which enriches its programming by bringing a lot of European titles to a broader audience. 

Challenges 

When it comes to challenges, these venues are diverse in their scope and operations, and it is hard to generalize. However, they face common challenges that often impact their ability to function effectively. The key challenges identified include securing stable funding, operational difficulties, facility limitations, as well as rights and distribution issues. 

Funding

A common challenge across all venues is securing stable and adequate funding. Most rely on a mix of government grants, private donations, and ticket sales. For example, KUMU primarily relies on grants and recognizes the need to constantly look for more private donations to maintain its operations​​. RoadMovie struggles with securing sufficient funding and renewing audience interest post-COVID, with specific challenges in engaging younger audiences​​. 

The Eye Filmmuseum has to balance the need for commercial programming to fund its cultural activities​​, and highlights that the government subsidies are only used for their film archiving activity. Fernando Lopes Cinema operates in a highly competitive cinema environment in Portugal, making it difficult to secure consistent funding​​. 

Operational Challenges

Managing space and programming effectively is another significant challenge. Fernando Lopes Cinema cannot use the cinema during the day because it is reserved for university film students​​. The Eye Filmmuseum faces difficulties managing cinema space effectively, due to the high demand for renting out space​​, but also due to other cultural offerings within the venues that sometimes utilize the space. Lumière Ann Zee is unable to sell merchandise because of the cultural center’s policy​​. Moreover, the lack of social spaces like bars or cafes within the venues affects audience retention and experience. Fernando Lopes Cinema and Lumière Aan Zee both struggle with the absence of these spaces, which could enhance the overall cinema experience. 

Rights and Distribution

Difficulties in acquiring screening rights from mainstream distributors, who may prioritize financial gain over cultural value, pose another significant challenge. This is especially true for single screening. RoadMovie and Deep Rivers Run Silent face challenges in securing rights for their screenings, as mainstream distributors often prioritize more profitable deals​​.