Uncommon Venues for Film Exhibition & Distribution in Europe
Executive Summary
This guide examines the role of unconventional spaces in film exhibition, highlighting their cultural and economic significance in the evolving cinema landscape. These venues, which include cultural centers, museums, galleries, and bars, provide alternative spaces for film screenings outside traditional cinema settings.
The study is part of the CresCine project, which aims to enhance the international competitiveness of smaller European film markets.
The research objectives focus on mapping these venues, assessing their cultural and economic value, and exploring how they engage with audiences, promote European cinema, and contribute to their local film industries. The study reveals that these venues, such as pop-up cinemas and microcinemas, are becoming key players in the film exhibition sector, offering innovative programming that often combines cinema with other cultural activities like art exhibitions, educational events, and community involvement.
Key findings from the research highlight that these venues differentiate themselves from mainstream cinemas through unique locations, diverse programming, and community engagement strategies. They actively promote European cinema by showcasing independent and culturally diverse films, often collaborating with distributors and film networks. These venues also face common challenges such as securing stable funding, managing space, and navigating distribution rights issues.
The document concludes with recommendations for further research on audience engagement strategies, economic sustainability, and the integration of cultural activities within cinema programming to enhance the appeal and longevity of these unconventional film venues.
Co-Authors
Introduction
The CresCine project aims to enhance the international competitiveness of film markets in smaller European markets: Estonia, Lithuania, Denmark, Ireland, Belgium (Flanders), Croatia, and Portugal. To achieve this, CresCine partners develop new tools, methods, and strategic approaches. Amongst others, central to Work Package 6—focused on Platforms, Distribution, Exhibition, and Promotion—is also the exploration of “uncommon venues.” These are venues that fall outside the conventional and traditional cinema scope, such as cultural centers, galleries, museums, and bars, which may serve as alternative sites for film exhibition and distribution.
The motivation for researching these uncommon venues arises from the need to understand their role in not only attracting audiences but also in contributing to the economic and cultural enrichment of the film industry. This inquiry has become particularly important as the traditional cinema exhibition model is undergoing changes. As industry experts have predicted, fewer cinemas will continue to operate under the current model of exhibition (Koljonen, 2021).
Research Objectives
In this study, the primary objectives center on exploring and understanding unconventional venues for film exhibition. The research begins by mapping these venues, which include a variety of spaces that fall outside of the traditional cinema setting. These include museums and galleries, art and cultural centers, universities, libraries, and other collaborative spaces that have the potential to host film screenings. The aim is to identify and catalog these venues to gain a comprehensive overview of their exhibition, activities, and characteristics.
Following the mapping of these venues, the study seeks to assess their importance in terms of cultural and economic value. This evaluation focuses on how these venues engage with audiences, considering factors such as profitability, the ability to attract diverse audience segments, and their role in enhancing their local film industry. The assessment also explores the effectiveness of these venues in offering innovative programming and events that contribute to a richer cultural experience for their communities.
Context & Relevance
The relevance of exploring uncommon venues for film exhibition and distribution emerges from the evolving landscape of cinema and its audience’s needs. As highlighted in the 2021 Nostradamus report, which forecasts trends and changes for the next 3-5 years in screen industries, there is a pressing need to reimagine traditional cinematic spaces (Koljonen, 2021). This need comes from a recognition that younger audiences are very likely to abandon cinemas unless these spaces can offer films within appealing, affordable, and culturally rich environments (Koljonen, 2021).
The report underlines a fundamental shift in how cinemas need to engage with their local communities to survive and thrive (ibid). It emphasizes that “successful cinemas will be those that have built the best ongoing relationships with their local audiences, offering something more than just showing up to see a movie” (Koljonen, 2021, p.28). According to the report, this involves integrating films with other cultural activities like festivals, curated pop-ups, and hybrid events (ibid), innovations that attract and retain audience interest.
While these insights were only hypotheses in 2021, it appears they align closely with the findings from the research into uncommon venues. The venues studied in this research naturally embody this shift. They serve as cultural and community hubs that combine cinema with a variety of other cultural offerings. By doing so, as the Nostradamus report states, “these venues will revitalize film culture in the public sphere” (Koljonen, 2021, p. 28).
This context provides an important background for this research, as it illustrates the necessity for the film exhibition sector to adapt and innovate. More importantly, it reflects trends recognized by industry specialists. These trends suggest a future where cinema becomes more integrated with cultural and community activities, practices which are evident and lessons that are learned by investigating some of these venues.
Methodology
Desk Research
The methodology of this study is structured around two core components: Desk Research and Semi-Structured Interviews. Each element was carefully handled to capture a comprehensive understanding of film exhibition venues that differ from traditional cinema settings.
The desk research phase started with the literature review and then progressed to identifying the actual venues that fall under the non-traditional cinema scope. This involved a desk search through various sources to gather data on potential venues that aligned with the characteristics of microcinemas or pop-up cinemas as identified in the previous phase.
Data collection
The data collection process was multilayered. It began with Google searches, focusing on expat and touristic websites which often list these types of venues that might not be captured by traditional film industry resources and that might spark an interest in tourists for their diverse offerings. Furthermore, social media accounts and websites of film clubs were examined, which are often utilizing these spaces for screenings and events. Additionally, recommendations from CresCine project partners were taken into account and integrated.
Inclusion Criteria
Venues were selected based on their geographic diversity to ensure a wide representation across different cultural and regional contexts. Venues from CresCine markets were prioritized. Additionally, the programming of these venues was a significant criterion; it was important that the venues not only offer diverse types of film screenings but also align with the innovative, community-focused models discussed in the literature review. Their alignment with the non-traditional cinema model—whether by offering unique viewer experiences, integrating cultural activities, or enhancing community engagement—was essential for inclusion.
Exclusion Criteria
While documentaries and short films play a significant role in the film industry, they were excluded from this phase of the study if the venue’s primary focus was limited to these formats without broader, more diverse programming. Venues with limited programming were less likely to fully embody the alternative distribution model characteristics central to this study and thus were not included.
Outcome
The desk research resulted in a compiled and categorized list of venues that represent the spectrum of non-traditional cinema spaces. This list serves as a foundational element for further analysis and understanding of how these venues operate, attract audiences, and contribute to the evolution of the cinema experience within their respective communities.
List of Venues (Annex 1)
The full list of venues, including their country, website, business model, and programming, can be found in Annex 1. The list includes for each venue:
its name
its website
its country
its “category”
its business model (public/community or commercial)
its programming
Typology
These uncommon venues are either Grassroots or Commercial. Grassroots venues are typically owned or operated by government entities, community groups, or non-profit organizations. Their funding sources can include a mix of government grants, corporate sponsorships, individual donations, and earned income streams, such as fees for services (Philanthropy Circuit, 2023). These venues aim to provide goods and services for the benefit of the community (BBC, n.d..). On the other hand, commercial and private venues are operated by private individuals and are motivated by profit. The financial gains from these organizations primarily benefit the owners, shareholders, and investors (BBC, n.d.).
They rely mainly on ticket sales, advertising revenues, and other commercial activities for funding (Independent Cinema Office, n.d.).
Independently from this distinction, our typology for the venues consists in four categories:
Travelling/Mobile + Pop-Ups offer temporary or travelling film experiences, often in various locations, and aim to reach broader or underserved audiences.
Art, Cultural Centers, Galleries, Museums are centered around cultural and artistic activities, often offering a variety of events beyond just film screenings.
Educational Institutions (Universities, Libraries) are part of educational institutions, emphasizing learning and cultural engagement.
Others do not fit neatly into the other categories but still play significant roles in their respective cultural landscapes. They include museums, film institutes, and other unique setups.
Interviews
The primary objective of this phase was to gather detailed insights from some of these venues. This was achieved through semi-structured interviews, which allowed for detailed exploration of various aspects related to these venues and their activities. Initially, the plan was to conduct interviews with a broader range of venues; however, so far, interviews have been completed with representatives from only seven venues.
The data collected from these interviews were systematically analyzed using qualitative content analysis methods. This approach helped identify common themes and patterns within the responses. To achieve the objective, a series of semi-structured interviews were conducted with representatives from different types of film venues, including traveling/mobile cinemas, pop-up cinemas, art and cultural centers, museums, and educational institutions. This qualitative content analysis not only helped in identifying common themes and patterns among these venues but also in navigating their challenges and deriving lessons learned.
It is worth noting that OpenAI’s language model, ChatGPT, was utilized to assist in the summarization of passages extracted from the interview transcripts. This tool helped to create bullet points and standardized terminology for easier analysis. By processing the text, ChatGPT facilitated the extraction of key themes and insights, allowing for a quicker and more efficient analysis of the qualitative data.
Key Thematics Explored
History, Mission & Activities
Programming & Distribution
Funding Model
Promotion & Marketing
European Film Inclusion & Promotion
Them vs. Mainstream Cinemas
Challenges
Future Trends
The following venues were interviewed (See Annex 2 for a detailed list)
1. Cinema Fernando Lopes (Portugal)
Year Opened: 2022: Location: Campus of Lusófona University, Portugal
2. Eye Filmmuseum (Netherlands)
Year Founded: 1946; re-established in 2012; Location: Inside an Art & Film Museum
3. RoadMovie (Switzerland)
Year Founded: 2002; Location: Small villages across Switzerland.
4. Lumière Aan Zee (Belgium)
Year Established: 2023; Location: CC Scharpoord in Knokke-Heist
5. Deep Rivers Run Silent (Lithuania)
Year Established: 2020; Location: Under the main bridge in Vilnius
6. Kunstnernes Hus (Norway)
Year Established: 2017; Location: Inside an Art Gallery
7. KUMU Art Museum (Estonia)
Year Established: 2006; Cinema: 2016; Location: Art Museum of Estonia
Literature Review
This short literature review establishes an understanding of uncommon venues as vital, evolving spaces that significantly influence the cultural and community aspects of the film industry.
The literature review started with the objective of identifying a general term that encapsulates the variety of “uncommon places” used for film exhibition and distribution. The term “microcinemas” emerged as the most fitting descriptor, capturing the essence of venues such as alternative spaces, art galleries, cafes, private homes, basements, churches, and even small theaters (Alvin, 2007). These settings are defined by their intimate, community-focused approach to film viewing, contrast to the impersonal nature of mainstream cinemas (Alvin, 2007).
The significance of microcinemas extends beyond their intimate and community format and setting. They are increasingly recognized as the future of the film industry, a sentiment cited by filmmakers and entrepreneurs alike (De Ville, 2014, p. 114). In recent years, especially post-Covid-19, Fech (2021) notes that attention has increasingly shifted increasingly has shifted to locations outside of the theatre and has “turned to past and contemporary alternative exhibition settings like microcinemas and pop-up cinemas; educational, and museum films” (p.11).
Institutionalization
Additionally, microcinemas often occupy unique and unconventional locations, utilizing public spaces or fill vacancies in economically distressed urban centers (Wolf, 2015). Their importance lies in the fact that they are not static entities; and their evolving nature is reinforced by the observation that “microcinemas are becoming very popular and also institutionalized within various cultural and educational institutions” (Wolf, 2015). They are now commonly found in cultural centers, universities, community cinemas and art and film museums (ibid), signaling an increasing trend towards their formal integration into the cultural sector and public sphere.
This creative use of space is even more pronounced in pop-up cinemas, which are an important part of this research. Unlike their microcinemas, pop-up cinemas operate without a fixed location or consistent scheduling (Wolf, 2015). They too, are evolving in nature, as they were originally conceived as socio-cultural initiatives to serve areas without traditional cinemas, and now many pop-up cinemas have transitioned into commercial ventures (Wolf, 2015). The resurgence of pop -up cinemas and microcinemas cinemas, as acknowledged above by these authors, highlights their dynamic nature and the adaptability and commercial potential of both microcinemas and pop-up cinemas in the current film landscape.
Role in Alternative Distribution
The evolving and dynamic nature of microcinemas is also strengthened as their function continues to evolve due to technological advancements and changes happening in the industry. For the most part, nowadays, “microcinemas operate as part of an extensive network of alternative exhibition and distribution” (De Ville, p.168). Rob Kenner, as cited by De Ville (2014), introduces microcinema as “a new way of creating, distributing, and screening movies,” focusing on the production and distribution facets, and discussing it as an effect of digital technology (p.114). For Kenner, the benefit of digital technologies and the internet lies in how easily the microcinema format enables directors to distribute their films independently and maintain direct engagement with their audience (De Ville, 2014).
De Ville (2014) further explores the distribution role of microcinemas by considering various perspectives. She references Schaub, who emphasizes the “immediacy of the direct link between the producers of alternative media and the consumers in the audience,” noting that microcinema effectively closes the gap between production and exhibition (p. 283). Additionally, Fech (2021) supports this view by pointing out that films shown at microcinemas often lack a traditional distributor, meaning any income from screenings is typically shared between filmmakers and exhibitors (p. 83).
However, it is important to note that the venues explored in our study presented a different scenario, as presented in our findings below. Interviews with these venues revealed that many actually collaborate with distributors. This demonstrates a diverse operational approach within the microcinema sector, where some venues might bypass traditional distribution channels while others maintain those relationships to enhance their offerings, further affirming their evolving nature.
Key Offerings
In addition to finding a general term that captures these uncommon venues, the literature review aimed at understanding the offerings associated with or adopted by these venues. Most literature on this topic conceptualizes microcinema as both about space but also about programming (De Ville, 2014). “Special Screenings”, “Tailored Events”, are associated with microcinemas and their role when it comes to diverse cinematic experiences. As Wolf (2015) emphasizes, these venues offer unique advantages that surpass even the most well-equipped local cinemas, TV channels, or video-on-demand services: they provide direct interactions between filmmakers and audiences, discussions with experts, post-film conversations, and opportunities for social networking through special screenings. Moreover, microcinemas offer a customized experience that enhances each showing, and they “share a utopian vision of cinema as a space of social possibilities” (Goodman, 2011). These offerings are not just operational strategies but are central to the mission of microcinemas to engage deeply with their audiences.
The importance of these offerings is also recognized by many current industry reports, panels, and discussions held across various film settings worldwide, predominantly in film festivals. For instance, strategies for tailored and special events were a key topic at the private workshop hosted by Europa Distribution during IDFA 2023 (Mutti, 2024). Moreover, the Europa Distribution Survey of Cinemas highlights the strategic importance of special screenings and events. This report is based on one of the most extensive ever surveys of Europe independent and arthouse cinemas, at a critical time in the history of film exhibition and it includes 300 cinemas from 33 countries (Gubbins, 2023) According to the survey, 74% of respondents from independent and arthouse cinemas across Europe are committed to creating more engaging experiences around new releases, featuring interactions with cast members, directors, or industry professionals (Gubbins, 2023).
Film Clubs within Microcinemas:
When exploring uncommon cinema venues, it’s crucial to consider both the venues and the communities that operate in them. Film clubs and their activities within microcinemas significantly enhances the cinematic experience, also allowing for community engagement and expansion.
For instance, EUNIC Ireland has collaborated with Dublin City Libraries to launch the EUNIC European Film Club, offering free screenings in library branches across Dublin. This initiative not only showcases films from 14 diverse EU countries (14) but also enriches the viewing experience with discussions in the original languages, supported by English subtitles (Alliance Française Dublin, 2024). Similarly, the Carnegie Cinema Club at Blackrock Library organizes unique film screenings where each one is an event. Opening with an introduction and concluding with a discussion led by film enthusiasts, this club brings together art-house and indie film lovers for screenings that include everything from Irish premieres to international documentaries and animated films (BlackRock Library, 2018).
Another example of a film club that screens in uncommon venues is the European Film Club, launched by the European Film Academy. This initiative engages young people across Europe in watching and discussing European films. Operating in 20 countries, the European Film Club includes partnerships with national film and cultural centers, film festivals, and educational institutions (European Film Academy, 2022). It serves as an excellent platform for young film enthusiasts to explore European cinema in various settings.
These examples show how film clubs can utilize uncommon venues like libraries, cultural centers, and educational institutions to extend their reach and engage with their community. They also highlight the essential role film clubs play in these venues.
Key Findings
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.
Conclusion
The research on these “uncommon venues” for film exhibition and distribution has produced a number of lessons and findings. These lessons emphasize the complexity and diverse nature of these venues, and they draw attention to both their advantages and disadvantages. Additionally, this research and their typology demonstrate that it is challenging to study them as a single entity because of their different programming, scope, and activities. However, it is worth concluding the research with the valuable lessons learnt from this study, and providing recommendations for further research.
Firstly, audience development plays a crucial role. These venues excel by engaging with their local communities and making their audience an essential part of them. They use effective audience engagement strategies to maintain audience interest. Innovative approaches, such as Q&A sessions with filmmakers, themed nights, and interactive screenings, significantly enhance audience engagement, setting these venues apart from mainstream cinemas.
In terms of programming, we can see that a strong emphasis on arthouse and independent films, particularly local and European productions, helps these venues distinguish themselves from mainstream cinemas. Furthermore, combining film screenings within other cultural activities such as exhibition; hybrid events, workshops; creates a stronger cultural experience and boosts their attraction and significance within their communities.
While these venues offer significant cultural value, their economic benefits are limited. Many of these venues rely heavily on public funding and support, highlighting the importance of continuous financial backing for their operations and survival. Moreover, distributor demands pose another significant challenge. Aligning with the demands of mainstream distributors can be difficult, as these distributors often prioritize financial returns over cultural value, creating a barrier for these venues in acquiring rights for single screenings in particular.
Despite these valuable insights, there remains considerable room for further research. The demographic variations of audiences across different types of venues complicate this research. Each venue attracts different audiences, making it challenging to develop a one-size-fits-all approach. As such, further research is needed to understand their audience. Moreover, their audience engagement strategies need deeper exploration to identify how effective these strategies really are for attracting and maintaining diverse audiences, especially younger audiences. Additionally, investigating the impact of special events on audience engagement and loyalty could provide better insights.
Their economic viability is another area for further study. Examining various funding models, including private donations, government grants, and membership programs, will help in understanding the financial sustainability of these venues, but also their challenges.
Finally, the blending of cinema with other cultural activities deserves more detailed analysis. Understanding how diverse offerings like workshops, exhibitions, and interactive events provide advantages over mainstream cinemas focused solely on movie screenings could reveal new ways to enhance the appeal and sustainability of these uncommon venues.
Bibliography
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www.jstor.org/stable/41690500
Alliance Française Dublin. (2024). EUNIC European Film Club.
https://www.alliance-francaise.ie/eunic-film-club/#/
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https://cordis.europa.eu/project/id/101094988
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https://spectrum.library.concordia.ca/id/eprint/978490/
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https://www.nytimes.com/2011/09/04/movies/microcinemas-pack-a-special-mission-in-a-small-space.html
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Annexes
Annex 1: List of Venues Identified
|
Name |
Website |
Country |
Typology |
| Kino Karavanas |
Lithuania |
- Travelling - Public - Diverse Films from Film Festival |
|
| Bygdekinoen |
Norway |
-Travelling - Mainstream, new releases, Norwegian |
|
| Roadmovie |
Switzerland |
- Travelling - Swiss Films |
|
| Mobile Kino |
Germany |
- Travelling |
|
| Solar Cinema |
Kosovo |
- Travelling |
|
| Kinobuss |
Estonia |
- Travelling - Public |
|
| Kinograph |
Belgium |
- Pop-Up - Public (Community Project) |
|
| Lumiere Aan Zee |
Belgium |
- Pop-Up |
|
| LAB 111 |
Netherlands |
- Innovative Cinema/Cultural Hub |
|
| Illegal Cinema |
Serbia |
- Basement Cinema - Underground; non mainstream films |
|
| Studio K |
https://studio-k.nu/over-ons/#pers |
Netherlands |
- Cultural Center - Public; Non-Profit - Mainstream; Niche; Classics; |
| Bio Oko |
Czech Republic |
- Bar - Mainstream; First- run; Classics |
|
| OT301 |
Netherlands |
- Cinema Inside Cultural Center - Public - Diverse programing; classics; experimental; documentaries; |
|
| ARCUB Cinețoc |
Romania |
- Cultural Center - Public - International and Romanian Films; |
|
| DKC Kino |
Croatia |
- Socio-cultural center - Public - International cinema; Croatian films; documentaries |
|
| Cinema Under the Stars |
Lithuania |
- Open – Air Pop – Up - Public - Classic films |
|
| Vasaros Kinas |
Lithuania |
- Open Air Pop – Up - Public - European Films |
|
| Deep Rivers Run Silent |
Lithuania |
- Open Air – Pop Up - International independent films |
|
| Kornél Coffee Shop |
Belgium |
- Bar - Commercial - Film Screenings |
|
| Kriterion |
Netherlands |
- Cinema Bar - Public - Independent; mainstream; arthouse |
|
| De Nieuwe Anita |
Netherlands |
- Bar - Commercial - Independent; mainstream; cult classics |
|
| KIC Budo Tomovic |
Montenegro |
- Cultural Institutions - Public - Genre-specific movies |
|
| Kotur Art Center |
https://www.spottedbylocals.com/blog/europes-best-art-house-cinemas/ |
Macedonia |
- Art Center - Public - Independent and arthouse films |
| Fortress of Culture |
Croatia |
- Cultural Institution - Public - International and local features and documentaries |
|
| De Balie Center for Arts |
Netherlands |
- Art Center - Public - Independent and arthouse films, documentaries, and features that tackle social, political, issues. |
|
| Lusofona University Cinema Fernando Lopes |
Portugal |
- University Cinema - Independent and Commercial + Funding - International Feature films; first works; animated movies |
|
| Filmhuis Cavia |
Netherlands |
- Alternative Cinema - Public; Non-Profit - Independent Films |
|
| Filmhuis Griffioen |
Netherlands |
- Cultural Center and University Cinema - Public - Recent hits; classic movies; documentaries |
|
| Huset KBH |
Denmark |
- Art and Community Center - Public - Everything from cult classics, to documentaries to live events. |
|
| Summer Screens |
|
UK |
- Open-Air Pop- Up - Commercial - BlockBusters and Classics |
| Zulu Sommer Bio |
|
Denmark |
POP – UP |
|
Kunstnernes Hus Kino
|
|
Norway |
- Art Center - Public - Independent and art-house films, documentaries, and retrospective series |
| KUMU |
|
Estonia |
- Museum - Public - Documentaries and Features |
| Kai Keskus |
|
Estonia |
- Art Center - Public - Arthouse; independent; documentaries; classics |
| Wolf Berlin |
https://wolfberlin.org/en/cinema-plus/about |
Germany |
- Basement Independent Cinema - Commercial because of bar and rental services but Public also; Non-Profit objectives - Feature Films |
|
Gaite Lyrique
|
https://www.gaite-lyrique.net/eutopia |
France |
- Cultural Institution - Public - Independent; arthouse; documentaries |
|
House de Kulturen de Welt
|
https://www.hkw.de/the-house/visit/visit#main |
Germany |
- Cultural Institution - Public - International cinema; documentaries |
| ARS project space |
https://www.eaa.ee/en/ars-art-factory |
Estonia |
- Gallery - Public - Film Festivals program |
| Time Quartet |
https://poff.ee/en/film/time-quartet/ |
Estonia |
- Cinema Project - Public - Black Film Festival; experimental films |
| USS Laine |
|
Estonia |
- Social/Community Center - Public - |
| ScreenShot Bar |
|
Czech Republic |
CLOSED 2021 |
| Rest Art |
|
Czech Republic |
- Bar/Club and Cinema - Independent and arthouse films |
| Europe Cafe |
https://eu4moldova.eu/europe-cafe/ |
Moldova |
- Café Bar - Public - European Films |
| Dublin City Libraries |
https://www.alliance-francaise.ie/eunic-film-club/#/ |
Ireland |
- Library - Public - European Films from 11 countries; documentaries |
| AarHus Library |
https://www.aakb.dk/section/film |
Denmark |
- Library - Public -Danish and international films; school films; |
| BlackRock Library |
https://libraries.dlrcoco.ie/events-and-news/library-news/carnegie-cinema-club-blackrock-library-0 |
Ireland |
- Library - Irish; arthouse; classics; documentaries |
|
Deichman Bjørvika
|
https://deichman.no/in-english |
Norway |
- Library - Public - Blockbusters; classics |
| Globe Bookstore |
|
Czech Republic |
- Bookstore - Commercial - Independent; classics |
| Prague City Library |
https://www.mlp.cz/en/?KNIHOVNA=0 |
Czech Republic |
- Library - Public - Film Club current releases from local distributors, independent films, and classic |
|
Library Esquerra de l'Eixample-Agustí Centelles:
|
https://ajuntament.barcelona.cat/biblioteques/bibcentelles/ca |
Spain |
- Library - Public - New releases; variety of films |
|
Library Vilapicina i la Torre Llobeta:
|
|
Spain |
- Library - Public |
| Francesco Candel Library |
https://ajuntament.barcelona.cat/biblioteques/bibfrancesccandel/ca |
Spain |
- Library - Public |
| Irish Film Institute |
https://ifi.ie/accessible-screenings |
Ireland |
- Film Institute - Public - Newly released independent films; blockbusters; classica |
| Eye Filmmuseum |
|
Netherlands |
- Musem and Archival Institute - Public and Commercial - New releases; blockbusters; independent films; retrospectives; documentaries; films from archive |
| Kino Mreza |
|
Croatia |
- Network from Partners |
| Cultural Center |
|
Croatia |
- Cultural Center - Public - Variety of international and Croatian films |
| KIC Croatia |
Cultural-Information Centre (KIC) |
Croatia |
- Cultural Center - Public - Art house; documentaries |
| CC Belgica |
|
Belgium |
- Cultural Center - Public - New releases; independent films |
| De Roma Antwerp |
|
Belgium |
- Cultural Center - Public - independent movies |
| Depot Lewes |
|
UK |
- Cultural Center - Public - Contemporary mainstream, art-house, independent films, world cinema, documentaries, and classic films |
Annex 2: Venues Interviewed
1. Cinema Fernando Lopes (Portugal)
Year Opened: 2022:
Location: Campus of Lusófona University, Portugal
Programming Focus:
Quality independent films
Local & International (NO US)
New voices and first works
Special events and film festivals
Funding Model:
Primary: Ticket sales
Additional: Subsidies from government; Portuguese Film Institute +
Unique Features:
Partnership with Lusófona + Universities
Focus on young, engaged audience
2. Eye Film Museum (Netherlands)
Year Founded: 1946; re-established in 2012;
Location: Inside an Art & Film Museum
Programming Focus:
First-run films & curated screenings from extensive film archives
Retrospectives & special events
Festivals & Showcases
Funding Model:
Ticket sales, private donations & substantial government subsidies
Unique Features:
Major film archive focused on both preservation & exhibition
Educational initiatives & interactive experiences (including VR)
Offerings that blend film screening with other cultural events & art forms
3. RoadMovie (Switzerland)
Year Founded: 2002;
Location: Small villages across Switzerland.
Programming Focus:
Contemporary Swiss films.
Afternoon: short films & animations.
Evening: feature films followed by Q&A with film professionals.
Funding Model:
Government subsidies, community contributions, no ticket sales
Unique Features:
Emphasizes film education through accessible film programming; workshops
Operates with a strong commitment to promoting Swiss cinema and enhancing local film culture.
4. Lumière Aan Zee (Belgium)
Year Established: 2023;
Location: CC Scharpoord in Knokke-Heist
Programming Focus:
Blockbuster & arthouse films
Funding Model:Ticket sales
Unique Features:
Pop-up cinema format, providing a temporary movie-going experience during the cultural center’s quiet months.
Engages with the community by offering them the only cinema in town.
High-quality screening equipment is available at the cultural center.
5. Deep Rivers Run Silent (Lithuania)
Year Established: 2020;
Location: Under the main bridge in Vilnius
Programming Focus:
Independent, experimental, classics
Local & International films
Funding Model:
Partnerships with local organizations.
Unique Features:
Uses unconventional urban spaces
Engages with the local community through special screenings and Q&As
6. Kunstnernes Hus (Norway)
Year Established: 2017;
Location: Inside an Art Gallery
Programming Focus:
Features, documentaries, and hybrids.
Local and international filmmakers.
Retrospectives; showcases
Q&A, mini-lectures, and collaborative events.
Funding:
Governmental funding and ticket sales
Unique Features:
The cinema is integrated within Kunstnernes Hus, emphasizing a collaborative model rather than operating independently.
7. KUMU Art Museum (Estonia)
Year Established: 2006; Cinema: 2016;
Location: Art Museum of Estonia.
Programming Focus:
Feature and documentary film
Curates films in collaboration with the Black Nights Film Festival
Funding:
Relying on grants and cultural endowment support.
Unique Features:
Winner of the European Museum of the Year Award in 2008.
Engages with local and international communities through curated screenings and educational initiatives.
Annex 3: Key Findings
The following sections detail the key findings from the interviews conducted with the seven uncommon film venues listed above. These findings highlight the unique strategies employed by these venues to differentiate themselves from mainstream cinemas, engage audiences, promote European cinema, and navigate challenges.
|
Theme |
Sub-theme |
Description |
Examples |
|
Differentiation from Mainstream Cinemas |
Location |
Unique locations enhance programming and community engagement. |
Eye Film Museum (Netherlands) integrated into larger cultural institutions; RoadMovie (Switzerland) traveling screenings. |
|
|
Diverse Programming |
Blend of mainstream blockbusters with niche arthouse movies, offering diverse cinematic choices. |
Lumiere Cinema (mainstream and arthouse films); Eye Film Institute (mix of first-run titles and retrospectives). |
|
|
Integrating Film Programs with Art Exhibitions |
Integration with art exhibitions enhances thematic exploration. |
KUMU Art Museum hosts film series complementing art exhibits; Eye Film Institute combines screenings with exhibitions. |
|
Audience Engagement |
Special Screenings and Events |
Special screenings and Q&A sessions enhance community engagement. |
Fernando Lopes Cinema (60 special screenings annually); Eye Film Museum (weekly special screenings and premieres). |
|
|
Community Building through Educational Activities |
Engaging with educational sectors to build communities. |
Fernando Lopes Cinema integrates cinema into university curriculum; RoadMovie organizes special screenings for children. |
|
|
Promotional Strategies and Visibility |
Effective use of local and online marketing, social media, and partnerships. |
RoadMovie and Deep Rivers Run Silent use local social and traditional media; Fernando Lopes Cinema's Ambassador Club. |
|
|
Audience Preferences |
Community involvement in film selection and feedback processes. |
RoadMovie involves local village councils in film selection; Fernando Lopes Cinema uses an open feedback book. |
|
Promoting European Cinema |
Inclusion in Programming |
Commitment to showcasing independent and culturally diverse European films. |
Fernando Lopes Cinema celebrates Italian cinema; Deep Rivers Run Silent includes diverse European films. |
|
|
Cultural Diversity |
Selecting films that address cultural, social, and linguistic issues. |
Fernando Lopes Cinema’s screening of "No Dogs and No Italians Allowed"; RoadMovie showcasing films in Switzerland’s official languages. |
|
|
Collaborative Efforts |
Collaborations with various entities to enrich programming and promote European cinema. |
Participation in cinema networks (Europa Distribution and CineVille); Deep Rivers Run Silent works with Polish, Irish, and French distributors. |
|
Challenges |
Funding |
Securing stable and adequate funding from a mix of sources. |
KUMU relies on grants and private donations; RoadMovie struggles with post-COVID funding. |
|
|
Operational Challenges |
Managing space and programming effectively. |
Fernando Lopes Cinema cannot use cinema during the day; Eye Film Institute faces space management difficulties. |
|
|
Facility Limitations |
Lack of social spaces like bars or cafes affecting audience retention. |
Fernando Lopes Cinema and Lumière struggle with the absence of social spaces. |
|
|
Rights and Distribution |
Difficulties in acquiring screening rights from mainstream distributors. |
RoadMovie and Deep Rivers Run Silent face challenges in securing rights. |