Boxoffice Pro CineEurope 2024

$6.95 /June/July 2024
®
2024
CINEEUROPE
NAC EXPO
IND/EX
The Official Magazine of the National Association of Theatre Owners

28/05/2024 09:05:40

op_24_june_cineeurope_8_size.indd 1 25/05/2024 14:20:36

op_24_june_cineeurope_8_size.indd 2 25/05/2024 14:20:38

op_24_june_cineeurope_8_size.indd 3 25/05/2024 14:20:45

op_24_june_cineeurope_8_size.indd 4 25/05/2024 14:20:52

June/July 2024
CONTENTS
12
CGF
The Global Cinema
Federation is Changing
the Narrative
26
Indie Focus
The independent
cinema community
gathers for IND/EX
42
CineEurope UNIC
Achievement Award
Clare Binns,
Picturehouse Cinemas
58
Primed for Recovery
AMC Theatres CEO
Adam Aron on
Reclaiming Momentum
for Theatrical Exhibition
62
A New Beginning
Exhibition Veteran
Eduardo Acuña Begins
a New Era as the CEO
of Cineworld
70
Concessions &
Entertainment Guide
The Latest
Concessions Products
and Technologies
CineEurope 2024 5
bop_24_june_cineeurope_9.indd 5 27/05/2024 23:57:54

CONTENTS
INDUSTRY
12 CGF
The Global Cinema Federation
is Changing the Narrative
16 Trade Talk
22 Charity Spotlight
A Recap of Industry-Wide
Charity Initiatives
26 Indie Focus
The independent cinema
community gathers for IND/EX
CINEEUROPE
32 CineEurope 2024
A Welcome from UNIC's
Laura Houlgatte
34 Giants of Exhibition: Europe
Ranking Europe's Top 50
Cinema Chains
42 UNIC Achievement Award
Clare Binns, Picturehouse Cinemas
46 Icon Award
Nicolas Seydoux, Gaumont
50 International Exhibitor
of the Year Award
Apollo Kin0
54 Milestone Award
Kinepolis Group
55 Gold Award
THEATER
58 Primed for Recovery
AMC Theatres CEO Adam Aron
on Reclaiming Momentum
for Theatrical Exhibition
62 A New Beginning
Exhibition Veteran Eduardo Acuña
Begins a New Era as the
CEO of Cineworld
66 Movies with a Kick
A History of the
Movie Theater Nacho
70 Concessions &
Entertainment Guide
116 The Latest Concessions
Products and Technologies
78 ICTA EMEA Awards
122 The International Cinema
Technology Association
Announces 2024 Honorees
ON 128 SCREEN
82 Event Cinema Calendar
A Sampling of Event Cinema
135 Programming Hitting
the Big Screen in 2024
84 Booking Guide
136
6 CineEurope 2024
“In addition to Spotlight,
there’s a whole microcosm
of vendor partners out there
who also know that art
houses depend on a different
type of relationship with
their vendors and partners.
It’s collaborative. We have
to talk. We have to create
products and services that
are unique to the art houses.”
-Indie Focus
bop_24_june_cineeurope_9.indd 6 27/05/2024 23:57:56

op_24_june_cineeurope_8_size.indd 7 25/05/2024 14:21:17

BOXOFFICE PRO
CEO
Julien Marcel
PRESIDENT
Stan Ruszkowski
SVP CONTENT STRATEGY &
EDITORIAL DIRECTOR
Daniel Loría
VP ADVERTISING
Patricia Martin
DEPUTY EDITOR
Rebecca Pahle
CREATIVE DIRECTION
Olivier Robert
COPY EDITOR
Heidi Bollich
STAFF WRITER
Chad Kennerk
CONTRIBUTORS
Laura Houlgatte
Erin von Hoetzendorff
INTERNS
Onry Jacobo Navarro
Samuel O'Hara
Caity Rigas
ADVERTISING
Patricia Martin
63 Copps Hill Road
Ridgefield, CT USA 06877
patricia.martin@boxoffice.com
SUBSCRIPTIONS
Boxoffice Pro
P.O. Box 215
Congers, NY 10920
833-435-8093 (Toll-Free)
845-450-5212 (Local)
boxoffice@cambeywest.com
CORPORATE
Box Office Media LLC
63 Copps Hill Road
Ridgefield, CT USA 06877
corporate@boxoffice.com
Boxoffice Pro has served as the
official publication of the National
Association of Theatre Owners
(NATO) since 2007. As part of this
partnership, Boxoffice Pro is proud
to feature exclusive columns from
NATO while retaining full editorial
freedom throughout its pages.
As such, the views expressed
in Boxoffice Pro reflect neither
a stance nor an endorsement
from the National Association of
Theatre Owners.
Due to Covid-19, Boxoffice Pro
will be adjusting its publishing
schedule. For any further
questions or updates regarding
your subscription, please do not
hesitate to contact our customer
service department at boxoffice@
cambeywest.com.
ON THE COVER:
4K Laser projection,
3D Dolby Atmos sound,
reclining VIP seating,
and ICE Immersive® technology:
Embark on an immersive journey
with ICE Theaters®, the premium
large format created by an
exhibitor, for the exhibitors.
Boxoffice Pro (ISSN 0006-8527), June/July 2024. Boxoffice Pro is published by Box Office Media LLC,
63 Copps Hill Road, Ridgefield, CT USA 06877. corporate@boxoffice.com. www.boxoffice.com.
Basic annual subscription rate is $75.00. Periodicals postage paid at Beverly Hills, CA, and at additional mailing
offices. POSTMASTER: Send all UAA to CFS. NON-POSTAL AND MILITARY FACILITIES: send address
corrections to Boxoffice Pro, P.O. Box 215, Congers, NY 10920. © Copyright 2024. Box Office Media LLC.
All rights reserved. SUBSCRIPTIONS: Boxoffice Pro, P.O. Box 215, Congers, NY 10920 / boxoffice@cambeywest.com.
833-435-8093 (Toll-Free), 845-450-5212 (Local). Box Office Pro is a registered trademark of
Box Office Media LLC. (Jun–Jul 2024) 2,566 / Print - 2,101 / Digital - 465
8 CineEurope 2024
bop_24_june_cineeurope_9.indd 8 27/05/2024 23:57:57

EXECUTIVE LETTER
WELCOME
TO THE SHOW(S)
"As we celebrate the power
of communal experiences,
let’s not take for granted
the opportunities we as an
industry have to gather
in person. You can hop on
a Zoom call from your sofa,
but—as we all know—there’s
nothing like a shared,
in-person experience."
At a spry 104 years old, Boxoffice
Pro is still expanding its boundaries.
The team that produces this
magazine (and the Boxoffice Podcast—
please forgive the shameless plug) is
constantly looking for new ways to inform,
connect, and uplift the global cinema
industry. This issue epitomizes the level
of dedication that defines our publication,
as it’s going to not one but three industry
conventions … in addition, of course, to
finding its way into the mailboxes of
cinema professionals around the globe.
You may be picking up this issue in
Barcelona while attending CineEurope:
The festival is organized by our friends at
the Film Expo Group and features an
amazing four days of programming
thoughtfully put together by the
European trade group UNIC. As a
supplement to the program, in these
pages you’ll find features on some of this
year’s major award winners, including
exhibition veteran Nicolas Seydoux of
Gaumont and France’s Anti-Piracy
Audiovisual Association (ALPA); Clare
Binns of the storied distributor and
exhibitor Picturehouse; and Kadri Ärm
of Apollo Kino, CineEurope’s International
Exhibitor of the Year. The wider
world of European exhibition is represented
by the third edition of Boxoffice
Pro and UNIC’s Giants of Exhibition:
Europe, a ranking of the top 50 chains in
Europe by screen count. Elsewhere in
this issue you’ll find interviews by
Editorial Director Daniel Loria with the
CEOs of the top two European giants:
Adam Aron of AMC Theatres, parent
company of Odeon Cinemas Group, and
Eduardo Acuña of Cineworld.
Turning to a different continent,
a different show, and a different corner of
the industry, this issue’s Indie Focus
column—sponsored by Spotlight Cinema
Networks—provides a sneak peek at the
first-ever Independent Film Exhibition
Conference, or IND/EX, kicking off in
Chicago on June 25. Last but certainly
not least, Boxoffice Pro will be in
St. Louis, MO, for a show celebrating a
core part of the cinema experience for
multinational giants as well as single-screen
indies: concessions. We’ve
included our second-annual Concessions
and Entertainment Guide and a look into
the history of Ricos Products, the
inventor of the movie theater nacho, to
coincide with the National Association of
Concessionaires’ Concession and
Hospitality Expo (July 16-19).
These events, like Boxoffice Pro, rely
on the support of the cinema industry
and its participants. A sincere thank-you
to everyone whose time and money
allows these shows to continue operating.
As we celebrate the power of communal
experiences, let’s not take for granted the
opportunities we as an industry have to
gather in person. You can hop on a Zoom
call from your sofa, but—as we all
know—there’s nothing like a shared,
in-person experience.
REBECCA PAHLE
Deputy Editor, Boxoffice Pro
CineEurope 2024 9
bop_24_june_cineeurope_9.indd 9 27/05/2024 23:57:57

op_24_june_cineeurope_8_size.indd 10 25/05/2024 14:21:24

Global Cinema Federation 12 | Trade Talk 16 | Charity Spotlight 22 | Indie Focus 26
INDUSTRY
Dolby’s latest innovation, Dolby Atmos + Dolby Vision, will be
available to exhibitors outside Dolby Cinema partners in 2025.
Boxoffice Brings French Exhibitors to Los Angeles
and Las Vegas, Trade Talk, p. 16
CineEurope 2024 11
bop_24_june_cineeurope_9.indd 11 27/05/2024 23:57:58

INDUSTRY | GCF
THE GLOBAL
CINEMA FEDERATION
IS CHANGING
THE NARRATIVE
BY ERIN VON HOETZENDORFF
DIRECTOR OF MEMBERSHIP AND GLOBAL AFFAIRS, NATO
The most recent edition of
CinemaCon saw a change in
leadership at the Global Cinema Federation
(GCF) as Alejandro Ramirez Magaña,
the inaugural chair of the GCF and
CEO of Cinépolis, passed the baton to Jane
Hastings, CEO of EVT Limited.
Hastings ascends to chair from the
position of vice chair, with Sean Gamble,
CEO of Cinemark, taking on the vice chair
role. Additionally, the group voted to revise
the terms of the chair position so that each
chairperson will serve a one-year term
following their one-year term as vice chair.
Following meetings with studios and
creative partners in Los Angeles prior to
CinemaCon, the GCF executive committee
reconvened at the Vegas event to conduct a
formal vote on leadership changes and to
chart the organization’s future course.
As a refresher, the GCF was launched in
2017 to address issues faced by the global
exhibition industry and to raise the profile
of cinema with global regulatory bodies
and industry partners, thus informing,
educating, and advocating on behalf of the
sector worldwide. Today, the GCF executive
committee includes representatives from
leading exhibitors and trade bodies: AMC,
Cinemark, CJ GGV, Cineplex, Cinépolis,
Cineworld, Event Cinemas, Kinepolis,
Pathé Cinémas, PVR Inox, Toho Cinemas,
Wanda Cinemas, Vue International, the
National Association of Theatre Owners,
and the International Union of Cinemas.
The GCF continues to reevaluate its
purpose and goals. During the pandemic,
the GCF became a vital hub for sharing
Covid-safe practices, affirming cinemas as
secure spaces worthy of reopening.
Serving as a unified industry voice, it
12 CineEurope 2024
JANE HASTINGS
CEO, EVT Limited
Chairperson, Global Cinema Federation
“The main priorities
for the GCF right now
are to encourage more
big-screen titles and
a greater variety
of films to be released
throughout the year
in cinemas worldwide.”
advocated for reopening cinemas in
pivotal markets like New York City, which
bore fruit when the reopening of cinemas
was announced less than two weeks later.
The GCF executive committee also came
together to advocate for a resolution
between guilds and studios during the
recent writers’ and actors’ strikes, acting
for the sake of the industry at large.
So, what’s next for the GCF? We figured
we’d go right to the source and ask the
newly appointed chair. See below for
Hastings' insights on what’s on the horizon.
What is the GCF currently focused on?
Our focus areas co ntinue to evolve to
reflect current industry opportunities and
challenges. The main priorities for the GCF
right now are to encourage more big-screen
titles and a greater variety of films to be
released throughout the year in cinemas
worldwide. We also see an opportunity to
improve the exhibition industry’s
narrative with increased insights into the
habits of global moviegoers and by
showcasing the significant innovation
taking place in the cinema space.
We were encouraged by conversations
during our recent visits to major studios. It
is well understood that the combination of
the Covid shutdown and last year’s strikes
has impacted film production, resulting in
short-term gaps on the film release slate.
However, the desire and momentum to
rebuild the release slate is evident
throughout 2025 and 2026. We also met
with the Directors Guild of America and
the Producers Guild of America. There is
undoubtedly an abundance of great films
yet to be created.
Piracy is a key area that will always
bop_24_june_cineeurope_9.indd 12 27/05/2024 23:57:58

emain on our agenda. As soon as a digital
copy hits PVOD or SVOD services piracy
strikes, which is why the exclusive
theatrical window is so important. Our
ecosystem recognizes the importance of an
exclusive theatrical window so that movies
can have the greatest chance of success.
You mentioned improving the exhibition
industry’s narrative—what are some
examples of how it could be improved?
There are misconceptions regarding the
exhibition industry.
Most research or data points referenced
are based on the North American market
and, perhaps, a small sample of international
markets. The GCF is working on
ways to provide insightful data relevant to
the global market, offering views of trends
and moviegoer behavior. It is key to
provide a more global perspective,
considering that more than 70 percent of
the global box office is generated outside of
the domestic market.
We know there is a direct correlation
between box office and the number of films
released. As an example, between 2019 and
2023 there were approximately 25 percent
fewer wide release films to hit screens.
Over that same period, box office was down
approximately 21 percent. The solution to
increasing box office is more films.
We know that to increase the frequency
of movie visits, we need films from different
Innovative auditorium designs
from GCF founding members Event Cinemas
(top) and CJ CGV (bottom)
CineEurope 2024 13
bop_24_june_cineeurope_9.indd 13 27/05/2024 23:57:59

INDUSTRY | GCF
genres that appeal to each demographic.
If there are fewer films released targeted
towards a particular demographic, there is a
corresponding reduction in visits from that
demographic. It makes sense but is often
misunderstood. We know that the film
lineup varies every year, so the makeup of a
particular slate can attract headlines that
do not represent the facts.
Right now, we have key demographics
starved for content. We need more films
for mature audiences and female
audiences. The demand from moviegoers
for good romantic comedies remains
high, and the successful release of Anyone
But You is evidence of this. We are pleased
to see that the family lineup is rebuilding.
We know that there is no genre of film that
will not work in a cinema. The solution is
simple: We need more films.
The GCF is also looking to encourage
more films to be released in more markets.
There are films that are only being released
selectively that would work globally. These
limited releases are missing box office
opportunities and foregoing the benefit of
our entire global ecosystem, leaving
money on the table as a result.
Film release dating is a focus area,
but not a new topic. The key holiday
seasons, like summer and Christmas,
have always been peak release periods.
However, there are months where fewer
films are typically released, and that
presents opportunities for studios to
consider. There are certainly no moviegoers
telling us that they only want to see
a movie in a particular month of the year.
“There are films that are
only being released selectively
that would work globally.
These limited releases are
missing box office
opportunities and foregoing
the benefit of our entire global
ecosystem, leaving money on
the table as a result.”
The additional benefit of releasing movies
outside of peak periods is greater access to
premium screens where box office can be
maximized. The popularity of premium
screens continues to grow, so choosing a
release date with less competition for
those screens makes commercial sense.
Lastly, as exhibitors, we are closest
to the customer, and we see an opportunity
to support the creative community
and studios with better insights into
moviegoers, represented by the millions
of customers represented in our databases
globally.
You mentioned premium experiences.
How is the cinema experience evolving?
Innovation of the global cinema
experience has been substantial. New local
premium formats regularly emerge,
including different seating options and
food and beverage services (such as
service-to-seat) alongside global premium
formats like Imax, Dolby Cinema, ScreenX,
and 4DX. It’s no longer just about choosing
between a standard seat or a recliner; the
range of seating and dining options has
significantly expanded, as evidenced by
box office growth in these formats.
New box office records are being set
when good movies are released.
This is a direct result of both great movies
and an improved cinema experience.
The GCF is focused on ensuring all parties
in the ecosystem are aware of these
innovations and can leverage the investment
for the benefit of customers,
studios, and exhibitors.
The GCF executive board
meets at the 2024 edition
of CinemaCon.
14 CineEurope 2024
bop_24_june_cineeurope_9.indd 14 27/05/2024 23:58:00

op_24_june_cineeurope_8_size.indd 15 25/05/2024 14:21:56

INDUSTRY | TRADE TALK
TRADE TALK
BOXOFFICE BRINGS
FRENCH EXHIBITORS TO
LOS ANGELES AND LAS VEGAS
FOR A TRAVELING
TOUR OF THE INDUSTRY
A delegation of 50 French exhibitors
made their way to Los Angeles and
Las Vegas this April as part of a new
initiative organized by The Boxoffice
Company, parent company of Boxoffice
Pro, to create closer ties between
international exhibitors and their
colleagues in the United States.
The group arrived in Los Angeles for a
week of meetings with studio executives
and leading cinema technology vendors
before heading to Las Vegas to attend
CinemaCon 2024.
The French delegation met with
international distribution executives at
Paramount, Universal, Disney, and
Warner Bros. ahead of the respective
studios’ CinemaCon slate presentations.
Julien Noble, president of international
marketing at Universal, shared marketing
activations planned for the studio’s
upcoming stage-to-screen musical
adaptation Wicked.
On Melrose Avenue, Helen Moss,
SVP of international distribution
at Paramount, highlighted the studio’s
decision to reposition titles originally
destined for streaming as theatrical-first
movies. The strategy has paid off, with
hits like this year’s Mean Girls musical
and the 2023 horror hit Smile, which
already has a sequel scheduled for release
in theaters this October.
The tour’s Los Angeles leg also
included stops at Cinépolis USA’s
award-winning Inglewood location and
visits to the offices of leading technology
vendors. Executives from Google, Dolby,
and Imax all shared exclusive looks at
some of their upcoming projects,
emphasizing the increasingly important
role that emerging premium format
technologies play in the moviegoing
16 CineEurope 2024
experience. As a highlight, the group was
introduced to Dolby’s latest innovation,
Dolby Atmos + Dolby Vision, which will be
available to exhibitors outside Dolby
Cinema partners in 2025.
The executive meetings culminated in
Las Vegas. Delegates were greeted by a
welcome message from Michael O’Leary,
NATO president and CEO, during the
State of the Industry address and were
treated to a candid closed-door interview
between Julien Marcel, The Boxoffice
Company CEO, and Charles Rivkin,
Motion Picture Association chairman and
CEO. A former United States ambassador
to France, Rivkin shared his insights into
the global nature of the cinema industry,
the importance of domestic production,
and the critical role played by exhibitors
worldwide.
bop_24_june_cineeurope_9.indd 16 27/05/2024 23:58:01

CINEWORLD GROUP
ANNOUNCES LEADERSHIP
TEAM WITH NEW
EXECUTIVE HIRES
Cineworld Group rounded out its
executive team following the 2023
appointment of Eduardo Acuña as chief
executive officer and the creation of a new
board chaired by Eric Foss.
Joining Acuña and the Cineworld
Group team are Thomas Song as chief
financial officer, Ben Hill as chief human
resources officer, John Henrich as general
counsel, and Javier Sotomayor as president
of Cineworld International. On the Regal
side of the business, Cineworld has
appointed John Curry as senior vice
president of commercial, Vince Fusco as
senior vice president of global accounting,
and Rob Westerling as senior vice
president of U.S. content.
Song brings over 25 years of experience
in corporate finance, development, and
investor relations. He most recently served
as CFO of Aimbridge Hospitality, a global
hotel management company. Before
Aimbridge, Song was CFO of full-service
restaurant company Dine Brands Global,
where he was responsible for the company’s
overall strategic and financial
management.
Over the past 20 years, Hill has worked
across most divisions of the company, now
called Warner Bros. Discovery, including
Warner Bros. Motion Pictures, Warner
Bros. Television, HBO, and CNN. During
that time, he led teams that designed,
built, and implemented high-impact
programs across talent acquisition,
organizational development, talent
management, compensation, benefits,
DEI, culture, and employee engagement.
Henrich has most recently been senior
vice president, general counsel, and
secretary at Sally Beauty Holdings Inc.
During his time at Sally, he led audit,
regulatory, information security, and
corporate strategy teams and drove the
establishment of the company’s SBH
Inspires Foundation.
Sotomayor has over 25 years of
experience in start-ups, marketing,
business development, supply chain
management, and strategic planning in
the retail, entertainment, and financial
services industries. He has worked in
Latin America, the U.S., Asia, and the
Middle East. Over the past 20 years, he
has held various top positions with
Cinépolis in marketing, strategy, supply
chain management, and business
development.
Curry brings with him over 32 years of
experience with Regal. Most recently, as
SVP of food services, Curry was responsible
for developing strategic initiatives,
innovations, and partnerships that
enhanced the company’s food and
beverage space. Prior to leading the food
services department, Curry held multiple
positions for the company, including
leadership roles in the food service,
operations, and training departments.
Regal welcomes back Fusco, who was
involved in the 2002 merger of three
theater circuits, including the United
Artists Theatre circuit. He spent 10 years in
multiple finance positions. Fusco was
instrumental in Cineworld’s 2018
acquisition of Regal, where he served as
SVP of U.S. finance.
Westerling is an industry veteran with
over 23 years of experience, including 21
years of experience with Regal. He will
oversee all U.S film buying and programming
responsibilities while continuing
to foster and grow relationships
with film studios and content providers.
Most recently, Westerling served as vice
president of content and programming for
Harkins Theatres in Scottsdale, Arizona.
Before Harkins, Westerling worked in
many capacities for Regal, starting in 2001
at West Town Mall in Knoxville, Tenn.
He then transitioned to the theater support
office in 2005, where he quickly rose
through the ranks of the film team,
becoming head of film in 2018.
PARAGON THEATERS WELCOMES
EXHIBITION VETERAN BRIAN HOOD
AS CHIEF OPERATING OFFICER
Exhibition veteran Brian Hood has assumed the role of
chief operating officer at Paragon Theaters, headquartered
in Deerfield Beach, FL. Hood will oversee the day-to-day
operational management and infrastructure support of the
cinema chain in its locations throughout Florida (Naples, Coral
Springs, and Davie) and North Carolina (Cary), along with
Paragon’s newest location in Falls Church, VA, which is under
construction and set to open in Q1 2025.
Hood joins Paragon from Studio Movie Grill, where he served as
chief operating officer, senior vice president of operations, and vice
president of organizational development. Under his leadership
and direction, SMG successfully navigated rapid development and
growth periods.
“I am thrilled to work alongside the passionate and
dedicated team at Paragon, whose vision pushes the boundaries
of hospitality and cinema,” said Hood. “Together, we will
redefine the moviegoing experience with our groundbreaking
Lux Box and Axis15 Extreme concepts, setting a new standard
of excellence in the industry. The best is yet to come.”
“Mike and I are thrilled to have Brian join our team.
With his proven track record of expertise, his financial acumen,
and his success as an operation executive at SMG, we are confident
that Brian will help catapult Paragon to new levels of success,”
said Michael Wilson, co-CEO at Paragon Theaters.
bop_24_june_cineeurope_9.indd 17 27/05/2024 23:58:02

INDUSTRY | TRADE TALK
SPOTLIGHT CINEMA
NETWORKS EXTENDS
PARTNERSHIP WITH
CINÉPOLIS LUXURY CINEMAS
Spotlight Cinema Networks and
Cinépolis Luxury Cinemas have
extended their cinema advertising
partnership, adding 47 more Cinépolis
screens to Spotlight’s national theater
network. Spotlight will now exclusively
represent Cinépolis’ 262 screens at 26
locations in Southern California, Texas,
Florida, New Jersey, Connecticut, Ohio,
and Maryland. The deal increases
Spotlight’s national theater network to
1,350 screens at nearly 250 locations
across the top 25 DMA states.
“Cinépolis’ Luxury Cinemas has been
with Spotlight since 2012,” said Michael
Sakin, the president of Spotlight Cinema
Networks. “They were Spotlight’s first
luxury exhibitor partner, and we are
thrilled this nationally recognized
luxury cinema leader will continue to be
our partner for years to come. Cinépolis
Luxury Cinemas has been, and remains,
a cornerstone of the luxury, dine-in
segment of Spotlight’s Exhibitor Partner
network.”
DOLBY MAKES DOLBY VISION
AND DOLBY ATMOS
AVAILABLE TO ALL PREMIUM
THEATER EXHIBITORS
Dolby Laboratories is bringing the
combined Dolby Vision and Dolby
Atmos premium moviegoing experience to
more theaters and audiences worldwide.
This new offering will give exhibitors
access to the same technologies that power
the company’s Dolby Cinema auditoriums—allowing
audiences to see, hear,
and feel the film exactly as the filmmaker
intended. Since the creation of Dolby
Vision and Dolby Atmos, over 600
theatrical features have been released, or
are confirmed to be released, in Dolby
audiovisual formats, including recent box
office hits like Dune: Part Two, Barbie,
Guardians of the Galaxy Vol. 3, and
Spider-Man: Across the Spider-Verse.
NEW MEGAPLEX THEATRES
LOCATION COMING
TO PARK CITY, UTAH
Larry H. Miller Megaplex Theatres
has announced plans to acquire and
renovate the former Redstone 8 Cinema
site at Kimball Junction in Park City, UT.
Larry H. Miller Megaplex Theatres and
Larry H. Miller Real Estate will begin
converting the space into a luxury theater
complex. The Megaplex team expects to
begin construction in July 2024 with a
grand opening celebration slated before
the upcoming holiday season. The
extensive renovation will temporarily close
the Redstone 8 complex.
The new Megaplex Theatres luxury
complex will feature comfortable
lounge-style recliner chairs throughout
each auditorium, premium snack and
beverage service, contemporary decor, and
more. Located at Kimball Junction, the
newly acquired Megaplex Theatres in Park
City will occupy the same lot as the
original theater, which was built in 2004.
Megaplex Theatres recently completed
premium luxury enhancements, including
luxury box seats that feature privacy
partitions and premium loveseat-style
recliners, at several Megaplex locations.
Additional projects are currently in
development, including four other
PlatinumX luxury seating conversions
expected to reach completion this year,
along with two cinema entertainment
center projects slated for 2025 and beyond.
18 CineEurope 2024
bop_24_june_cineeurope_9.indd 18 27/05/2024 23:58:02

STAR CINEMA GRILL SET
FOR HOUSTON’S CITYCENTRE
Houston-based cinema chain Star Cinema Grill
is set to open its 10th location at CityCentre, a mixed-use
development in the Memorial City district of Houston.
The milestone marks the 13th dine-in cinema for Culinary
Khancepts, whose brands include Hollywood Palms Cinema,
Reel Luxury Cinemas, and Houston staples like the
Liberty Kitchen, State Fare Kitchen and Bar, and the historic
River Oaks Theater, which is slated to reopen later this year.
Star Cinema Grill began transforming the former
Studio Movie Grill location in April, keeping the site open
while it undergoes a complete makeover. Star Cinema Grill
will revamp the interior and bring a new design that features
laser projection and Dolby sound systems, as well as luxury
seating with heated recliners, premium privacy pods
with blankets, and seat massagers. The renovation is slated
to be complete by mid-November 2024.
FANDANGO ENHANCES
TICKETING PLATFORM,
ALLOWING MOVIEGOERS
TO PRE-ORDER CONCESSIONS
WITH ADVANCE
TICKET PURCHASES
The Fandango ticketing platform
now enables moviegoers to
preorder concessions along with their
advance ticket purchase. The new feature
allows moviegoers to browse various food
and beverage options and place their
orders in advance, either at the time
of their ticket purchase or closer to the
movie showtime. Moviegoers can also
make multiple purchases tied to their
ticket purchases and even invite their
guests to make purchases.
Upon arrival at the theater, moviegoers
can skip the lines and head straight to the
designated pickup area to collect their
preordered items.
The new functionality first rolled out
with AMC Theatres, with more exhibitors
to follow.
According to Fandango’s recently
released 2024 Moviegoing Trends and
Insights Study of more than 6,000
moviegoers, 96 percent of general ticket
buyers surveyed confirmed they
purchased concessions at the theater in
the past year. As concessions are an
integral part of the theatrical experience,
preordering concessions is on the rise,
with one in four general ticket buyers
claiming that they have tried it in the
past, and 97 percent expressing satisfaction
with their experience.
CineEurope 2024 19
bop_24_june_cineeurope_9.indd 19 27/05/2024 23:58:04

INDUSTRY | TRADE TALK
HDR BY BARCO
PILOT PROGRAM TO LAUNCH
AT AMC, B&B THEATRES,
AND REGAL
Barco will bring its HDR by Barco
technology to select high-profile
theaters at AMC Theatres, B&B Theatres,
and Regal locations in the United States.
As part of the program, moviegoers in
Los Angeles, New York, Dallas, and other
major markets will be among the first to
experience first-run titles mastered for
high-dynamic range (HDR). The installs
are part of a commercial pilot program that
will bring the company’s groundbreaking
laser HDR light-steering technology to
moviegoers in time for the 2024 holiday
season.
Based on the company’s patented
light-steering technology, Barco’s HDR
strategically redistributes light on-screen
for images over six times brighter than
traditional cinemas. HDR by Barco is an
ecosystem for HDR theatrical entertainment
that includes projectors
for exhibitors as well as complimentary
technology and software toolkits
for postproduction professionals and
filmmakers.
The HDR by Barco pilot program opens
in theaters on September 1 and runs
through the end of the year. The rollout of
permanent HDR by Barco sites is expected
in 2025. The company is currently working
with the leading postproduction houses
for theatrical content to outfit them with
HDR by Barco and prepare a slate of
remastered HDR titles.
CHRISTIE’S RGB
PURE LASER PROJECTOR
EXPANDS FOOTPRINT
IN FRANCE
Christie’s laser projection technology
continues to pick up traction
globally, entering CineEurope riding a
wave of installs and commitments to
expand its RGB Pure Laser line across
several high-profile French cinemas.
CGR Cinémas, the second largest
cinema chain in France, will install
100 more Christie RGB Pure Laser
projectors across its circuit. CGR is working
with leading French cinema integrator
Ciné Digital to install projectors from
Christie’s wide portfolio of models, which
also includes CineLife+ Series projectors in
CGR’s ICE (Immersive Cinema Experience)
premium auditoriums across their
remaining locations.
That commitment to the premium
auditorium continues with the installation
of RGB Pure Laser projectors in the iconic
French cinema Le Grand Rex’s new
PLF concept, Infinite. Le Grand Rex’s
Infinite auditorium accommodates 296
patrons and features Dolby Atmos audio, a
RealD Ultimate screen, luxury reclining
leather seats, and 2km of customizable
LED lighting throughout the space.
A Christie RGB Pure Laser projector is
also powering the first Ōma Cinema
located in Mougins. Inspired by traditional
Italian-style opera house balconies—and
resembling a futuristic sci-fi layout—
Ōma Cinema features innovative
architecture, using circular seating pods
as part of a premium auditorium concept
to improve viewing. Each pod features
its own unique access point and
is customizable with different seating
IMAX AND MEGARAMA EXPAND
PARTNERSHIP WITH THREE NEW
LASER LOCATIONS ACROSS FRANCE
French circuit Megarama and Imax will install three new
state-of-the-art Imax with Laser systems across France.
The deal will bring the Imax experience to key locations across
the country, including one system set to open in 2025 in a large
city in the north of France and two locations scheduled to open
in 2026 in the suburbs of the country’s populous capital.
The new agreement doubles Imax’s footprint with the
Paris-based exhibitor in France and marks the two companies’
second deal in just over a year. Inclusive of this agreement,
Imax and Megarama currently operate two locations in France
—with four more on backlog in the country—and one additional
location on backlog in Morocco.
“This new agreement with Imax allows us to offer our audience
an enriched and distinctive cinematic experience, catering to
those seeking new emotions and premium technologies,” said
Jean-Pierre Lemoine, founder and president of Megarama.
The new agreement comes as Imax continues to ride a
consistent wave of momentum in France, which is a top-ten global
market for the company. 2023 was the country’s highest-grossing
year ever for Imax, delivering over $23 million at the box office.
In 2024, the company delivered its second-best Q1 ever in France,
driven by the record run of Dune: Part Two, which now stands as
the second-highest-grossing film ever in the country for Imax
20 CineEurope 2024
bop_24_june_cineeurope_9.indd 20 27/05/2024 23:58:04

THIS COULD BE
YOUR BRAND’S
ADVERTISEMENT.
Learn more about Boxoffice PRO Magazine’s custom
advertising packages and get your brand in the next issue.
Contact Patricia Martin
patricia.martin@boxoffice.com
203 - 788 - 1447
bop_24_june_cineeurope_8_size.indd 21 25/05/2024 14:22:23

INDUSTRY | CHARITY SPOTLIGHT
CHARITY SPOTLIGHT
A Recap of Industry-Wide Charity Initiatives
TICKETS FOR GOOD
AND FANDANGO TEAM UP
TO REWARD THOSE
WHO CONTRIBUTE TO OUR
COMMUNITIES WITH MORE
ACCESS TO THE CINEMA
Ticketing and audience development
platform Tickets for Good has formed
a new partnership with online movie
ticketing service Fandango in a collaboration
that will seek to increase access to
cinematic experiences for those who
contribute to their communities, such as
health care workers, charity workers, and
teachers.
"We are excited to join forces with
Fandango to reward those who give
selflessly to our communities with
complimentary and heavily discounted
movie tickets," said Steve Rimmer, founder
and CEO of Tickets for Good.
"This partnership allows us to combine our
passion for social impact with Fandango’s
extensive reach to more than 30,000
cinema screens across the country.
Together, we aim to provide unforgettable
moviegoing experiences to deserving folks,
while celebrating the significant role that
cinematic arts play in our culture and
society." Tickets for Good and Fandango
invite health care and charity workers,
teachers, and charitable organizations to
participate in this new initiative by visiting
the Tickets for Good website
(ticketsforgood.us) and applying for access
to complimentary movie tickets
(with a small booking fee).
VARIETY CHILDREN’S
CHARITY OF THE DESERT
In March of this year, the Ferrari Club
of America’s Coachella Valley
Chapter hosted an event at the Bighorn
Country Club in Palm Desert, CA,
benefiting Variety Children’s Charity
of the Desert and 12-year-old Angel,
who received a new wheelchair to assist
with his mobility.
MEDICINEMA
To celebrate the opening of Columbia
Pictures/Alcon Entertainment’s
The Garfield Movie in the U.K., special
public charity preview screenings took
place in over 350 cinemas across the
country on Sunday, May 12, ahead of the
film’s theatrical debut via Sony Pictures
Entertainment on May 24. Sony and
participating cinemas generously donated
all income received from ticket sales to
support the work of MediCinema, a
U.K.-based nonprofit that works with
hospitals to provide film screenings for
patients and their loved ones.
Patients were treated to a special screening
of The Garfield Movie on May 11 at
the cinemas run by MediCinema inside the
Serennu Children’s Centre in Newport,
the Royal Victoria Infirmary in Newcastle,
and the Chelsea and Westminster Hospital
in London.
VARIETY THE
CHILDREN’S CHARITY
OF ILLINOIS
Variety the Children’s
Charity of Illinois thanks
Classic Cinemas for their
consistent support of Variety’s
Gold Heart Campaign. Pictured
are Jim Toth, Classic Cinemas’
marketing director, and
Mark Mazrimas, chairman
of Classic Cinemas, along
with Angelique Barthel,
executive director at
Variety Illinois.
22 CineEurope 2024
bop_24_june_cineeurope_9.indd 22 27/05/2024 23:58:06

VARIETY KC
In their Variety Tales series, Variety
KC teaches kids about differences,
inclusivity, and acceptance—while
putting kids with a variety of abilities at
the forefront as book subjects. On March
20, Variety KC launched the third book in
their inclusive book series, Variety Tales:
Aubrey’s Dream. Aubrey’s Dream is about
a child who wishes to be a stage actress
and to meet her idol, Tony Award–
winning actress Ali Stroker. Stroker
wrote the foreword and was the keynote
speaker for the book launch event.
The fourth book in the series will be
launched later this year.
Variety KC also launched its inaugural
Heart of Inclusion Gala on April 20,
replacing their annual Variety Show.
The event saw over 650 attendees
celebrate accessibility and inclusion
while visiting preshow stations like
“A Day in the Live of a Variety Kid,”
grand raffles, a silent auction,
and more, all followed by a live auction
and fund-a-need programming.
At the end of the evening,
Variety KC announced that it had raised
a record-setting $1,021,928!
CineEurope 2024 23
bop_24_june_cineeurope_9.indd 23 27/05/2024 23:58:07

INDUSTRY | CHARITY SPOTLIGHT
UPCOMING EVENTS
JUNE 23
Come be a part of Variety KC’s 90th
birthday celebration. All Variety KC
families, friends, and supporters are
invited to a special birthday party
at Variety KC’s inclusive park and
play area at Leawood City Park in
Leawood, Kansas.
varietykc.org
JUNE 26
Tee up at the 2024 edition of the
Edmonton Supervillain Golf Charity
Golf Tournament, held at the Trestle
Creek Golf Course in Parkland
County, Alberta. The 18-hole,
four-player scramble event will
include proximity and length prizing,
prizes for best dressed and team
uniforms, and more—with proceeds
going to Variety the Children’s
Charity’s Alberta, Canada, chapter.
varietyalberta.ca
JULY 19
It’s summertime and school’s out,
so kids can sign up for a fun
pickleball camp! On July 19, Variety
KC is partnering with Chicken and
Pickle for an All-Ability Camp. Each
attendee will learn the basics of
pickleball and enjoy yard games.
Variety KC also donated two youth
sports wheelchairs to the two
Kansas City–area locations to
coincide with the event.
varietykc.org
JULY 20
It’s Variety KC Day at the K! Variety’s
Kansas City chapter is partnering
with the Kansas City Royals to have
a fun day out at Kauffman Stadium.
The morning will feature an
all-abilities family baseball camp
where kids can be their own
baseball star, followed by an
evening game where all Variety KC
supporters, families, and friends will
enjoy America’s favorite pastime!
varietykc.org
JULY 21-22
Monday, July 22, sees Variety of
Wisconsin host their annual Ben
Marcus Variety Golf Classic at the
Grand Geneva Resort and Spa in
Lake Geneva, Wisconsin. The
previous day, a winning bidder will
be golfing with top Marcus Theatres
executives; bidding closes on July 1.
varietywi.org
JULY 24
Join Variety’s Southern California
chapter for their 12th annual Poker &
Casino Night, held at the
Paramount Pictures lot in
Hollywood. Variety’s Charity Poker &
Casino Night has become one of
the most anticipated fundraising
events in the industry, as entertainment
execs and celebrities go
all in for a great cause. To date,
Variety SoCal’s poker events have
raised over $1 million to provide
lifesaving support for disabled,
abused, physically challenged, and
underprivileged children in Southern
California.
varietysocal.org
JULY 27
Polo on the Green is back and
better than ever in Des Moines,
Iowa. Join Variety’s Iowa chapter at
Powder River Ranch for an
air-conditioned evening of dinner,
an all-inclusive hosted bar, live and
silent auctions, and, of course, a
polo match complete with divot
stomping.
varietyiowa.com
JULY 27
Variety KC is hosting its first Variety
KC Family Bowl-a-Thon on July 27th.
Families, friends, and volunteers are
invited to hit the lanes to show off
their skills–and, more important, to
have fun with the theme of inclusion
and accessibility.
varietykc.org
JULY 29
The 21st annual Paul W. Smith Golf
Classic to benefit children’s charities
will be held on Monday, July 29 ,at
the Country Club of Detroit! This
event benefits four charities: Variety
- the Children’s Charity, Detroit PAL,
The Children’s Center, and the
Children’s Foundation. Since the
tournament’s inception in 2004, it
has raised more than $8.7 million to
support children in need.
variety-detroit.com
AUGUST 12
At the 36th Annual Leinenkugel Golf
Invitational, golfers will participate in
a four-person best-shot event at
one of Iowa’s top-rated golf
courses, located in Cedar Rapids,
Iowa. Participants will enjoy lunch,
games on the course, a raffle, a
Hy-Vee shopping spree opportunity,
a chance to win a vehicle on a
hole-in-one shot, a silent auction,
and a specialized bike presentation
to a local child. Proceeds from this
event benefit Variety - the Children’s
Charity and children in Eastern Iowa.
varietyiowa.com
AUGUST 22
Gather your friends, colleagues, and
clients for Variety’s annual
men’s-only stag event, held on
August 22 at the Powder River
Ranch in Cumming, Iowa. The
evening includes beverage
sampling, a steak dinner, an auction,
raffles, and a swag bag for each
guest.
varietyiowa.com
AUGUST 25
Variety Detroit’s Shine Fashion Show
returns this summer at the Somerset
Collection South Rotunda in Troy,
Michigan. This beautiful fashion
show, featuring the children of
Variety and friends from Far
Therapeutic Arts & Recreation, will
capture the hearts of all in
attendance as our models rock the
runway in the latest back-to-school
fashions from Somerset Collection
retailers. The children will be
accompanied by community
mentors whose dedication to these
programs is simply astounding. The
afternoon will benefit two
therapeutic programs for those with
special needs: Far’s Making Music
with Friends and the Variety 4-H
Horseback Riding program.
variety-detroit.com
AUGUST 28-29
Variety of Texas closes out
CinéShow in Dallas with two days of
events: First, on Wednesday, August
28, the nonprofit’s annual gala will
be held at Grandscape in The
Colony, Texas. The following day will
see attendees golf at the Dallas
Cowboys Golf Club in Grapevine,
Texas.
varietytexas.org
SEPTEMBER 3
Variety Manitoba is excited to once
again bring Variety’s Drive Fore the
Kids Golf Classic to the Glendale
Golf & Country Club. The
tournament promises to deliver a
unique experience with an exciting
$1 million hole-in-one shootout!
varietymanitoba.com
SEPTEMBER 5
Supervillain Golf hosts its third
annual Canmore Supervillain
Charity Golf Classic, held at the
Silvertip Golf Resort in Canmore,
Alberta, and benefiting the children
of Variety of Alberta. The 18-hole,
four-player scramble event will
include proximity and length prizes,
prizes for best dressed and team
uniforms, and more.
varietyalberta.ca
SEPTEMBER 17
Attendees at the Miller Lite Golf
Invitational will compete in a
four-person best-shot tournament
at the award-winning Legacy Golf
Course in Norwalk, Iowa. Participants
will enjoy lunch and dinner, games on
the course, complimentary gifts,
flight prizes, and hole-in-one
opportunities. After the tournament,
a specialized piece of mobility
equipment will be presented to a
local child with special needs.
varietyiowa.com
SEPTEMBER 18
Gather friends, colleagues, and
clients for eastern Iowa’s men’s-only
stag event held in support of Variety
- the Children’s Charity’s Iowa
chapter. The evening includes
beverage sampling, a steak dinner,
a silent auction, a raffle, entertainment,
and a gift for each guest.
All proceeds stay in eastern Iowa
and support Variety’s mission of
improving the lives of children who
are underprivileged, at-risk, critically
ill, or living with special needs.
varietyiowa.com
SEPTEMBER 19
This autumn sees Variety of Southern
California host their 52nd annual
Golf Classic, held at Moorpark
Country Club in Moorpark, California.
varietysocal.org
SEPTEMBER 24
Those who purchase entry to
The Drawing Party, held on, June 24,
at Variety Club Headquarters in
Lancaster, New York, will have a
chance to win a 1955 Chevy Bel Air.
varietybuffalo.org
24 CineEurope 2024
bop_24_june_cineeurope_9.indd 24 27/05/2024 23:58:08

CineEurope 2024 25
bop_24_june_cineeurope_8_size.indd 25 25/05/2024 14:22:52

INDUSTRY | INDIE FOCUS
INTRODUCING IND/EX:
INDEPENDENT CINEMA
GATHERS IN CHICAGO
BY REBECCA PAHLE
Today’s moviegoers require variety, not just
in what they see, but in the cinemas they
choose to patronize. In partnership with
Spotlight Cinema Networks, Boxoffice Pro
is proud to present Indie Focus, in which we
explore the wealth of experiences that
cinemas—from the high-end luxury theater
to the beloved community art house—offer
their audiences.
At the 2006 Sundance Film Festival,
representatives from 14 independent
cinemas gathered in Utah to share their
experiences and build community, taking
the first steps towards what in 2008 was
officially founded as Art House Convergence
(AHC). In the years since, AHC has
continually connected, advocated for, and
inspired the independent cinema exhibition
community in North America.
AHC’s efforts culminated in an annual
trade show (also named Art House
Convergence) that ran from 2008 to 2020 in
Midway, UT. In 2014, the community was
expanded and strengthened by the
addition of the Film Festival Alliance (FFA).
“Everyone is welcome. In the
past we’ve had folks from
multiplex exhibitors attend.
The only thing that we expect
of you when you show up is
that you are willing to share
your experience.”
Now, AHC’s conference is back in
action—with a new name, a new location,
and a renewed commitment to strengthening
the independent cinema community.
Now called the Independent Film
Exhibition Conference (or IND/EX), AHC’s
flagship event is reborn in Chicago, IL,
where attendees will enjoy four days (June
25-28) of insightful programming and
opportunities to foster relationships
between cinemas, film festivals, distributors,
and vendors. Back in the mix, too, is
Spotlight Cinema Networks, which has
been a key supporter of the show since its
inception. With the first IND/EX approaching,
Boxoffice Pro sat down with
Kate Markham, managing director of AHC;
Barbara Twist, executive director of FFA;
and Spotlight Cinema Networks CEO Jerry
Rakfeldt to get the scoop on the new show.
The last time AHC hosted a show was in
January 2020. In the years since, AHC
has really reinvented itself, first with a
new board and now with IND/EX. Aside
from the new name and location, are
there any substantial differences
between IND/EX and the old AHC events?
Kate Markham: In a sense, it’s the same
thing. You’re going to see a lot of familiar
faces. We’re going to be touching on a lot of
familiar topics. But [now] we are fully in
partnership with FFA. They had a presence
at AHC in the past, but this is a more
integrated partnership. We are really doing
this together, because the independent
film exhibition landscape requires the
cooperation of film festivals and art house
cinemas on a very regular basis. They go
hand in hand.
We’re working on this together and to
demonstrate that we changed the name to
the Independent Film Exhibition
Conference. We’re making it very inclusive.
It’s for film festivals and brick-and-mortar
cinemas, microcinemas, pop-up cinemas.
If you are an independent film exhibitor,
you are welcome at this conference!
Sponsored by Spotlight Cinema Networks
26 CineEurope 2024
bop_24_june_cineeurope_9.indd 26 27/05/2024 23:58:09

I like that, because when you say “art
house cinema,” a lot of people just
assume you’re talking about these
highbrow, inaccessible movies. But the
world of independent cinema exhibition
is so much wider than that.
Barbara Twist: Absolutely. In the
independent film sector, we’re not all only
playing extremely independent films. We
often play bigger titles. We play a lot of
classic films. Really, [IND/EX is] less about
programming and more about our ethos
and the community-based, mission-driven
perspective. We are independent in that we
are all independently run. Most of us are
non-profits, both on the cinema side and
the festival side, which means that we have
dedicated boards overseeing us. We often
derive a lot of our funding from our
communities in the form of memberships;
donations; and local, state, and federal
grants. In that sense, we’re not beholden to
a group of shareholders. There’s no “What
is the head office doing over in Los
Angeles?” That being said, we have
members on the film festival side and on
the art house side that are for-profit. But
their ethos is similar, in that we are all
community-based. We don’t care so much
about what your tax status is so much as,
“Are you invested in this sector?” In the
past, [AHC shows were more oriented
around] capital-A art house—the independent,
international films, anything
Sony Pictures Classics puts out. Now, it’s
that plus.
As cinemas and festivals dig deeper
into audience development, which is
something we’re going to focus on at the
conference this year, we are discovering
new ways of bringing in audiences. And
that naturally means that we’re seeking
out other types of films to show and other
types of events. Not just films, but films
with music, films with Q&As, things that
eventize regular screenings.
Everyone is welcome. In the past we’ve
had folks from multiplex exhibitors attend.
The only thing that we expect of you when
you show up is that you are willing to share
your experience.
Jerry, Spotlight Cinema Networks is the
only in-theater ad company that is
exclusively dedicated to independent
exhibition, which includes dine-in and
luxury cinemas in addition to your
independent and art house theaters.
There’s a lot of variety in this space. Can
you give us some background on how
Spotlight got involved with AHC?
Jerry Rakfeldt: What is most interesting
about Spotlight—and our predecessor, the
Art House Marketing Group, which first
went to the conference in 2009—is that, as
“In addition to Spotlight,
there’s a whole microcosm
of vendor partners out
there who also know that art
houses depend on a different
type of relationship with
their vendors and partners.
It’s collaborative. We have to
talk. We have to create
products and services that are
unique to the art houses.”
we built our models, basing them on the
needs of art house cinemas, [we found that]
they care a lot about what they put on the
screen. Everybody does. But let’s say that
art houses care perhaps more than other
types of cinemas. They have particular
needs. They’re small organizations. You
talk to the owners. You talk to the
executive directors. A lot of them are
family businesses. And their passion for
creating and sustaining these types of
theaters and exhibitions of art over the
years is very evident.
When I first went [to AHC] in 2009, it
was really eye-opening. To see the growth
from 2009, when there were 75 attendees,
to 700-plus people in 2020 has been
amazing. In addition to Spotlight, there’s a
whole microcosm of vendor partners out
there who also know that art houses
depend on a different type of relationship
with their vendors and partners. It’s
collaborative. We have to talk. We have to
create products and services that are
unique to the art houses. And then you
add in the Film Festival Alliance. Film
festivals have a whole different set of
needs. There are many, many partners
[who have worked with film festivals and
independent cinemas] over the years who
understand the value of art houses and the
need to tailor services to them.
BT: What we’ve found [through
collaborating with AHC] is just what you’re
saying, Jerry: Some of the operational
needs are different. Film festivals don’t
have year-round venues. When we think
about cinema advertising, it’s a different
framework. It’s so much more condensed.
You have a lot of people coming in over,
CineEurope 2024 27
bop_24_june_cineeurope_9.indd 27 27/05/2024 23:58:10

INDUSTRY | INDIE FOCUS
say, two weeks. It’s a lot of eyeballs, but it’s
not the same consistency.
Where Kate and I are really aligned is in
the idea that the film festival is a space of
discovery. It’s about getting audiences in.
People are inclined to buy a [festival] pass
and just see whatever. It might get them [to
watch movies] outside of what they would
normally consider. And once you have
that, then you have the art houses, which
are doing the heavy lifting year-round of
getting people in consistently, showing
them things they might not consider, but
also showing them things that are aligned
with their tastes. The two really work
hand-in-hand, and you can’t have one
without the other.
When you do have one without the
other, you miss out on either the discovery
or the habit-building. When they’re
together—looking at cities that have both,
whether it’s within one organization like
SIFF [Seattle International Film Festival] or
Milwaukee [Film] or something like that, or
a city like New York where you have a
bunch of theaters and a bunch of film
festivals—you see people being more
well-rounded moviegoers. And that
ultimately lifts up our industry.
This first IND/EX show is in Chicago,
which has a really robust cinema scene.
What are IND/EX attendees going to be
seeing of that?
KM: The nice thing about IND/EX
moving out of Utah is that we really get to
highlight our venues. We’re going to be at
the Music Box Theatre [pictured, right] on
Tuesday night. It’s stunning. In person, it
is truly an experience, and that’s one of the
reasons people like to visit. It’s not just
about going to the movies. Same thing
with the Gene Siskel Film Center, which
has been a stalwart in the art house circuit
and has built a reputation over many years
as a very trusted source of independent
cinema. They host film festivals that show
amazing films that you really cannot see
anywhere else.
The conference events run very heavily
on Tuesday through Friday, but we will
have some stuff on Monday as well. Folks
can come early, the weekend before, or stay
a little bit after. Chicago’s film culture is
really fantastic. There are so many things
to see: There are art houses; there’s Facets
[one of the longest-running independent
cinemas in the city]; there are art houses
out in the suburbs that you can visit;
28 CineEurope 2024
“We are really doing
this together, because the
independent film exhibition
landscape requires the
cooperation of film festivals
and art house cinemas on
a very regular basis.
They go hand in hand.”
there’s the Chicago Film Archives. So
many things were filmed in Chicago; you
can just look for classic film locations.
There are so many things to do. If you can
stay [beyond the run of the show], I highly
recommend it.
As Jerry pointed out, vendors that work
with independent exhibitors and film
festivals need to meet their specific
needs. Are those needs different now
than they were in 2020? A lot has
happened since then, obviously, but at
the same time, a lot of the conversations
we’re having now as an industry—the
importance of eventizing, of community
engagement, of being creative with
your programming—are things that
independent exhibitors were already
doing before the pandemic. What are
the needs of the independent exhibition
community now?
BT: I’d say the biggest thing is gathering
in person. Something that was really
beautiful about past gatherings was being
in a room full of people who understand
this totally wacky, weird space that we’re
in. It’s nice to be amongst people who
understand this unique space that we
occupy and the challenges that go into that.
Something that is very different this
year is our programmatic approach. We
have a really fantastic programming
committee. There’s a really large number
of people thinking about, “What are the
challenges we’re facing as a community?”
Not just on the granular level of, “I’m
frustrated by this ticketing platform.”
Really specific things can be talked
about at the bar after the day’s
programming.
BT: Exactly. [Our programming this
year is] a little bit more focused on soft
skills. For example: We don’t have the best
track record for HR in our industry,
whether [that industry is] film or non-profit
work. We’re subject to what’s called the
“passion tax.” We are passionate people
who are excited about doing what we do,
and that naturally leads to [the creation of]
more work than can actually be handled—
or more work than can be paid for. A lot of
the sessions this year are focused on those
deeper structural issues that we need to
address as a field so that we can get
healthier.
We’re going to talk about some larger
ecosystem issues. We’ve all felt the decline
bop_24_june_cineeurope_8_size.indd 28 25/05/2024 14:23:05

of print journalism. We’ve felt the decline
of film criticism. Those have real impacts.
Those were tried-and-true avenues for
getting folks in. These days, movie theaters
are the only people advertising [the
message of], “Go to the movies.” Everyone
else is saying, “Watch this movie,” but
they’re kind of platform-agnostic. So what
do we need to do as a field, as film festivals
and cinemas, to get people excited about
coming into our spaces? And it’s not just
“Let’s get new lounge chairs and offer 10
different types of popcorn.” It’s the hard
work of community outreach and audience
development and advocating on behalf of
our industry.
If we come together and talk about
these issues, we can ensure that [the
responsibility of coming up with solutions]
doesn’t fall on each individual theater and
that it doesn’t feel like a burden. Instead,
it’s an acknowledgment that these are
issues facing all of us. Together, we can
advocate and use our power collectively to
help make a shift so that we can access
more resources.
Can you give us some more examples of
the subjects IND/EX will be covering? Is
there anything in particular that you’re
most looking forward to, programming-wise?
There are so many issues to
pack into one week!
KM: Truly, there’s so much to cover. The
programming committee had to set aside
some things that we really wanted to talk
about, and I’m sure that FFA and AHC will
continue those conversations on other
platforms. Like Barbara said, human
resources is a big one. We’re going to have
“Meet the Distributors,” which is always a
big hit. [The same with] “Meet the
Vendors.” There are so many people out
there—like Spotlight Cinema Networks—
innovating solutions for our folks. As Jerry
alluded to earlier, [meeting in person and]
having those conversations is where we
really build solutions.
I’m very excited for every single one of
our programs, but in particular, I feel like I
could learn a lot from “No Platters Need
Apply,” [featuring a tech rundown from] a
group of really fantastic, talented
projectionists and technicians. I’ve always
been in front-of-house or fundraising, and
I don’t know all that much about the
technical aspects, so I’m really looking
forward to that session.
BT: A couple of sessions I’m really
excited about: We have what’s almost a
miniature accessibility track during the
conference. We are going to be addressing
the how and why of accessibility and
talking about the audience that you’re
leaving out when you don’t create an
accessible venue. And then [we’ll be]
digging into best practices by looking at
the New Orleans Film Festival, which has
invested heavily in accessibility and has
seen growth in audience.
I’m also looking forward to “Metrics
that Matter.” One of our big conversations
is around data. We’ll be really digging into
“Why is data important? How should we be
capturing it? What should we be capturing?”
And it’s not about taking in data
and then only being informed by an
algorithm. We’re always considering data:
“How hot is it out? What should I wear?“
“Data” has become a buzzword
encompassing so many different
concepts. It can be intimidating.
BT: [Our panel is about] taking the
scariness out of data. What is the information
that we collect every day that can
help us to make better decisions and
increase revenue [in a way that aligns with]
our mission? That’s what’s really beautiful
about nonprofits, or at least community-based,
mission-driven organizations.
Yes, we need to make money. Even if you’re
a nonprofit, you still need to make money
to be able to strengthen your organization
and pay people and things like that. But
the success of an organization is not just
whether it makes a profit. What’s the
impact on your community? Were you able
to bring in filmmakers? Did your audience
have a great time? There are so many other
elements to it, and data can really help us
to make those financial decisions and help
us understand what success looks like.
JR: The programming is great. But over
the years, the value to everybody there is
[knowing that] you’re not alone. There have
been a couple [of past attendees] who
wanted to start an art house or an
independent theater in some smaller town,
and they don’t know where to start. If
you’re a future cinema owner, this is where
you go. This is a collaborative, helpful
environment. You will cut to the head of
the line by going here and listening
because everybody’s willing to share their
experiences. For growing the community,
it has been instrumental. There have been
many cases where people I’ve met [at a past
event who were curious about starting a
theater] come back a few years later: “We’re
operating!”
The meetings are great. Sitting down
and talking is essential. Not feeling alone.
For me personally, [past shows have been]
sort of my EV quick charge. You get burnt
out. But I would go [to AHC], and I would
listen to these organizations and come out
charged and refreshed and ready to go. It’s
a halo effect of coming together. We’ve
missed it. I think it’s going to be great for
theaters and film festivals to come
together. It’s going to be great for vendor
partners [to have these conversations], so
we can figure out what the challenges are,
how to do more with less. We have a
responsibility to try to find solutions or
help develop those solutions.
BT: I 100 percent cosign that, Jerry. The
programs are great. But there’s also the
in-between. It’s the standing in line to pick
up your lunch. It’s the conversations that
happen here and there. While Kate and I are
very excited about the program, and we
think there’s a lot to learn, there’s also a lot
of downtime. It’s just going to be a lot of fun.
We have “Art House Tales,” where five
cinemas and festivals present little bits
and pieces of their history and exciting
programs that they’re doing. We have this
really fun event called “Trailer Wars,”
where cinemas and festivals submit
trailers either promoting a film series that
they’ve created or the festival [itself], and
we do a bracket-style tournament with one
winner emerging. We’re doing film trivia.
We have our closing night party, sponsored
by Spotlight Cinema Networks.
There are going to be so many fun
events. We really hope it’s a recharge. We
hope that you learn something, but more
important, we hope that you make those
connections and [feel that spirit of]
celebration. We are all working so hard
year-round. IND/EX is really a celebration
of our field and of the work that we’re
doing. And then we all go back the next
Monday and get back to work.
JR: I truly believe the development of
community is going to sustain art houses
and film festivals. It’s very difficult to
survive in the business world in general,
but even more so now as information is
hyperexchanged. You have to build a
community. You have to have followers.
And [in-person gatherings are] the core of
building communities within the
exhibition world.
CineEurope 2024 29
bop_24_june_cineeurope_8_size.indd 29 25/05/2024 14:23:07

op_24_june_cineeurope_8_size.indd 30 25/05/2024 14:23:15

Welcome to CineEurope 32 | Giants of Exhibition: Europe 34 | UNIC Achievement Award 42
Icon Award 46 | International Exhibitor of the Year 50 | Milestone Award 54
CINEEUROPE
“The beauty of cinema is not in retelling
the same story for the twentieth time, with minor alterations;
it’s to find new, totally original stories to share.”
CineEurope 2024 Icon Award: Nicolas Seydoux, p. 46
CineEurope 2024 31
bop_24_june_cineeurope_9.indd 31 28/05/2024 00:06:58

CINEEUROPE | WELCOME TO CINEEUROPE
CINEEUROPE 2024
BACK IN BARCELONA
BY LAURA HOULGATTE CEO, INTERNATIONAL UNION OF CINEMAS (UNIC)
Welcome to CineEurope 2024,
the International Union of Cinemas’s
(UNIC) annual convention!
UNIC is dedicated to communicating
the value of a vibrant cinema-going culture
and its resulting economic, cultural, and
social contributions. Our core mission is to
celebrate and promote the diversity of the
European cinema sector—and there is
certainly no better place to do so than
CineEurope.
2023 was a positive year for European
cinemas, with more than 7 billion euros at
the box office and 986 million admissions.
While a good deal of this success was
driven by strong U.S. titles— such as
The Super Mario Bros. Movie, Barbie, and
Oppenheimer—most European territories
also benefited from very successful
national releases.
2023 showed a clear appetite amongst
audiences for a wide range of cinematic
experiences, with record-breaking
performances for a number of releases.
We recorded highly successful titles
catering to specific age groups, such as
family comedies, children’s animation,
and horror and science fiction films. 2023
was also a year in which studios and major
distributors reaffirmed their trust in and
support for exclusive theatrical releases,
recognizing theaters as the optimal venues
to experience cinematic works.
This is in no small part thanks to the
continuous and significant investments
made by cinema operators across Europe.
From premium large formats to dine-in
options, from prescreening yoga sessions
to afternoon teas, from new subscription
models to diverse programming, the
European cinema ecosystem has something
for everyone. Europe is an incredibly
diverse landscape, with multiplexes,
single screens, municipality venues, and
independent cinemas all striving to
constantly innovate and remain cherished
social and cultural hubs, while also driving
local economies and providing local jobs.
“At its core, CineEurope
is about acknowledging the
challenges that cinemas
are currently facing and,
above all, about celebrating
cinema operators who do
their utmost to offer the best
to audiences.”
Given the strong results from the first
part of 2023, it has been frustrating to
witness the impact of the strikes on the
release schedule, particularly visible in the
last months of 2023 and early 2024.
The sector has also been facing an increase
in fixed costs, making daily business
operations challenging.
That said, in April of this year Gower
Street Analytics raised its projected global
box office to $32.3 billion. This revision
from their original projection of $31.5 billion
published in December 2023 takes into
account the EMEA region delivering results
up 11 percent from initial predictions.
CineEurope spotlights what makes our
industry so special. There is truly nothing
like watching a film on the big screen
and getting lost in a story. At its core,
CineEurope is about acknowledging the
challenges that cinemas are currently
facing and, above all, about celebrating
cinema operators who do their utmost
to offer the best to audiences.
This is exactly what CineEurope will
showcase this week in insightful panels and
seminars on marketing, retail, new cinema
concepts, and attracting and retaining
talent, just to name a few. And it wouldn’t be
CineEurope without a series of fantastic
presentations and exclusive screenings
from major international studios and
European distribution partners, as well as a
cutting-edge trade show.
And it goes without saying that
the success of our industry depends on the
outstanding efforts of those working
within it. To celebrate a few of 2023’s most
noteworthy contributions, the CineEurope
Gold Awards will be presented on the
afternoon of Thursday, June 20.
We are also glad to announce that
Clare Binns, managing director at
Picturehouse Cinemas, will receive this
year’s UNIC Achievement Award. We’re
delighted to recognize Apollo Cinemas as the
2024 International Exhibitor of the Year.
Kinepolis will receive a Milestone Award and
Nicolas Seydoux of Gaumont will receive an
Icon Award for his work against piracy.
This week UNIC will release its 2024
annual report, in which we have compiled
data and analytics about European
cinemas. Together with colleagues at
Boxoffice Pro, we’ll be publishing the
2024 Giants of Exhibition: Europe
rankings. The coming days will also see
UNIC announce the new mentors and
mentees in our UNIC Women’s Cinema
Leadership Programme. UNIC will also
introduce the central topic of this year’s
edition of the UNIC People Initiative,
launched at CineEurope 2023 to help the
cinema industry maintain its position as
an employer of choice.
This year’s edition promises to be four
full days of entertainment, insight, and
networking, and we’re delighted you’re here
to join us. Special thanks go to the Film
Expo Group and our UNIC colleagues who
work tirelessly to put the show together.
And we give a huge thanks to all of you,
colleagues and partners from across the
industry, for making CineEurope such a
special event.
I wish everyone a fantastic week!
32 CineEurope 2024
bop_24_june_cineeurope_9.indd 32 27/05/2024 23:58:12

op_24_june_cineeurope_8_size.indd 33 25/05/2024 14:23:30

CINEEUROPE | GIANTS OF EXHIBITION: EUROPE
Presented in Association With:
GIANTS OF
EXHIBITION:
EUROPE
34 CineEurope 2024
bop_24_june_cineeurope_8_size.indd 34 25/05/2024 14:23:30

RANKING THE TOP 50
CINEMA CIRCUITS IN EUROPE
For the third consecutive year,
Boxoffice Pro teams with UNIC, the
trade body representing the interests of
cinema operators across 39 European
markets, to present this annual ranking of
European cinema circuits.
This edition of Giants of Exhibition
ranks circuits by screen count across
European markets as of the end of 2023,
thus tracking the overall health of the
European cinema ecosystem as it, like its
North American counterpart, recovers
from a series of disruptions that includes
last year’s U.S.-based labor strikes. The top
two circuits in this year’s ranking—Odeon
Cinemas Group and Cineworld—have a
direct connection to the North American
market’s largest players: Odeon is owned
by AMC Theatres and Cineworld is the
parent company of Regal. Other circuits in
this year’s ranking are based in Austria,
Czech Republic, Denmark, Estonia,
France, Germany, Ireland, Italy, Nether-
lands, Poland, Portugal, Russia, Serbia,
Slovakia, Spain, Sweden, Switzerland,
Turkey, and Ukraine.
UNIC and Boxoffice Pro would like to
specifically highlight those chains
receiving special awards, presented by The
Boxoffice Company, at this year’s
CineEurope: Ireland’s Omniplex Group,
winner of the Fastest Moving Giant Award,
which went from 285 screens in last year’s
ranking to 342 this year, and three
Breakthrough Giant Award winners, given
to companies that have broken into
the top 50 European chains since last year:
Cines ACEC (Spain), Reel Cinemas (United
Kingdom), and NOE Cinémas (France).
As a statement of solidarity with
Ukrainian exhibitors and the Ukrainian
people, UNIC and Boxoffice Pro’s
corporate parent, The Boxoffice Company,
have decided not to include the names and
screen counts of the Russian companies
that would otherwise have featured in the
top 50.
CineEurope 2024 35
bop_24_june_cineeurope_9.indd 35 27/05/2024 23:58:13

CINEEUROPE | GIANTS OF EXHIBITION: EUROPE
RANKING THE TOP 50 CINEMA CIRCUITS IN EUROPE
1-2
01
ODEON CINEMAS GROUP
United Kingdom
Corporate Parent: AMC Theatres (U.S.)
Screens: 2,409
Locations: 274
European Brands: Cinesa, Filmstaden,
Finnkino, Odeon, UCI
European Markets: Finland, Germany, Italy,
Norway, Portugal, Spain, Sweden, U.K. and
Ireland
In this third edition of Giants of
Exhibition: Europe, Odeon tops the screen
count ranking for the third time, with
parent company AMC Theatres
maintaining its status as the largest
cinema chain in North America, Europe,
and the world. Looking forward into 2024,
Odeon continues to invest in premium
experiences, with a new multiplex in
Peterborough, U.K., slated to open later
this year with eight Imax screens.
36 CineEurope 2024
bop_24_june_cineeurope_8_size.indd 36 25/05/2024 14:23:36

02
CINEWORLD GROUP
United Kingdom
Screens: 2,232
Locations: 233
European Brands: Cinema City, Cineworld,
Picturehouse Cinemas
European Markets: Bulgaria,
Czech Republic, Hungary, Poland,
Romania, Slovakia, U.K.
2023 was a year of many behind-the-scenes
changes for Cineworld. Over the course of
the year, the exhibition giant emerged
from Chapter 11 bankruptcy—filed in
2022—and switched out much of their top
executive team, with former Cinépolis CEO
Eduardo Acuña taking the place of
longtime Cineworld head Mooky
Greidinger. Eric Foss, previously the
chairman and CEO of Pepsi Bottling Group
and Aramark, was another addition to the
leadership structure, coming on as
Cineworld’s new chairman of the board.
CineEurope 2024 37
bop_24_june_cineeurope_8_size.indd 37 25/05/2024 14:23:56

CINEEUROPE | GIANTS OF EXHIBITION: EUROPE
RANKING THE TOP 50 CINEMA CIRCUITS IN EUROPE
3-4
03
VUE INTERNATIONAL
United Kingdom
Screens: 1,926
Locations: 223
European Brands: CinemaxX, CinemaxX
VUE, MultiKino, The Space Cinemas, Vue
European Markets: Denmark,
Germany, Italy, Lithuania, Netherlands,
Poland, U.K. and Ireland
Vue International—the third-largest
cinema chain and largest privately owned
cinema chain in Europe—is the top chain
on this year’s list to see an increase in
screen count since last year’s ranking, with
new screens in the U.K., Italy, and the
Netherlands compensating for a more
modest drop in Germany, Poland, and
Denmark. In an earlier interview with
Boxoffice Pro, CEO Tim Richards
characterized 2024 as a “foundation-laying
year” for the chain in which they would
prepare for a more robust slate at the end of
2024 and through 2025. Part of that
foundation building was hiring Matt Eyre
as Vue’s COO in February 2024.
Eyre is a veteran cinema executive who
was previously COO at Cineworld’s U.S.
subsidiary, Regal.
38 CineEurope 2024
bop_24_june_cineeurope_9.indd 38 27/05/2024 23:58:13

04
PATHÉ CINÉMAS
France
Screens: 1,259
Locations: 122
European Brands: Pathé
European Markets: Belgium, France,
Netherlands, Switzerland
France’s Pathé Cinémas, the largest
cinema chain in Europe based outside of
the U.K., has made moves on the exhibition
and distribution fronts over the past year.
Their expanded partnership with Imax is
slated to bring five new Imax with Laser
systems to Europe, four of them in France.
On the distribution front, as part of the
same November 2023 deal, the Pathé
Cinéma subsidiary Pathé Live, a producer
and distributor of event cinema, will
release three films exclusively to the Imax
network.
CineEurope 2024 39
bop_24_june_cineeurope_8_size.indd 39 25/05/2024 14:24:08

CINEEUROPE | GIANTS OF EXHIBITION: EUROPE
RANKING THE TOP 50 CINEMA CIRCUITS IN EUROPE
5-50
5
PARIBU CINEVERSE
Turkey
Corporate Parent: CJ CGV
(South Korea)
Previously: Cinemaximum
Screens: 717
Locations: 85
6
CGR
France
Screens: 710
Locations: 74
7
KINEPOLIS
Belgium
Screens: 668
Locations: 63
European Markets: Belgium,
France, Luxembourg, Netherlands,
Spain, Switzerland
8
RUSSIAN CINEMA CHAIN
Russia
9 .
UGC
France
Screens: 595
Locations: 57
European Markets: Belgium,
France
10
CINEPLEX
Germany
Screens: 571
Locations: 91
11
CINE YELMO
Spain
Corporate Parent: Cinépolis
(Mexico)
Screens: 518
Locations: 51
12
RUSSIAN CINEMA CHAIN
Russia
13
CINEPLEXX
Austria
Screens: 440
Locations: 64
European Markets: Albania,
Austria, Bosnia and Herzegovina,
Croatia, Greece, Italy,
Kosovo, Montenegro, North
Macedonia, Romania, Serbia,
Slovenia
14
CINESTAR
Germany
Corporate Parent: Event
Cinemas (Australia)
Screens: 356
Locations: 45
15
OMNIPLEX GROUP
Ireland
Screens: 342
Locations: 43
16
HELIOS
Poland
Screens: 304
Locations: 54
17
NORDISK FILM CINEMAS
Denmark
Screens: 261
Locations: 46
European Markets: Denmark,
Norway, Sweden
18
OCINE
Spain
Screens: 260
Locations: 29
European Brands: Ocine,
Monciné
European Markets: France, Spain
19
RUSSIAN CINEMA CHAIN
Russia
19
RUSSIAN CINEMA CHAIN
Russia
21
SVENSKA BIO
Sweden
Screens: 240
Locations: 57
European Brands:
Biografkompaniet, BioRex,
Svenska Bio
European Markets: Denmark,
Finland, Sweden
21
MEGARAMA
France
Screens: 240
Locations: 30
European Markets: France,
Spain
23
NATIONAL AMUSEMENTS
United Kingdom
Corporate Parent: National
Amusements (United States)
Screens: 215
Locations: 16
European Brands: Showcase
Cinemas
24
CINEMAS NOS
Portugal
Screens: 214
Locations: 30
40 CineEurope 2024
bop_24_june_cineeurope_9.indd 40 28/05/2024 00:10:30

25
MK2
France
Screens: 196
Locations: 22
European Brands: Mk2, Cinesur
European Markets: France, Spain
26
BLITZ CINESTAR
Croatia
Screens: 182
Locations: 28
European Brands: CineStar
Cinemas, VCin
European Markets: Bosnia and
Herzegovina, Croatia, Kosovo,
Serbia
27
RUSSIAN CINEMA CHAIN
Russia
28
CINEMAPINK
Turkey
Screens: 169
Locations: 24
31
RUSSIAN CINEMA CHAIN
Russia
32
MULTIPLEX
Ukraine
Screens: 150
Locations: 26
33
KINOPOLIS
Germany
Screens: 149
Locations: 18
34
ODEON MULTICINES
Spain
Screens: 144
Locations: 15
35
RUSSIAN CINEMA CHAIN
Russia
39
LIGHT CINEMAS
United Kingdom
Screens: 97
Locations: 13
40
FILMPALAST
Germany
Screens: 96
Locations: 14
41
CINEMAX
Slovakia
Screens: 91
Locations: 16
European Markets: Czech
Republic, Romania, Slovakia
42
APOLLO CINEMAS
Estonia
Screens: 87
Locations: 17
European Markets: Estonia,
Latvia, Lithuania
46
CINEMARINE
Turkey
Screens: 81
Locations: 10
European Markets: Turkey,
Kosovo
46
AVŞAR SINEMA
Turkey
Screens: 81
Locations: 9
46
GIOMETTI CINEMA
Italy
Screens: 81
Locations: 11
46
CINEPLACE
Portugal
Corporate Parent: Orient
Cinemas (Brazil)
Screens: 81
Locations: 13
29
IMC
Ireland
Screens: 160
Locations: 21
European Markets: U.K. and
Ireland
30
EVERYMAN CINEMAS
United Kingdom
Screens: 155
Locations: 46
36
CINEVILLE
France
Screens: 129
Locations: 17
37
UNION CINE CIUDAD
Spain
Screens: 99
Locations: 11
37
CINESTAR
Czech Republic
Screens: 99
Locations: 13
43
CINES ACEC
Spain
Screens: 86
Locations: 10
44
GRAND ÉCRAN
France
Screens: 85
Locations: 11
45
BLUE CINEMA
Switzerland
Screens: 82
Locations: 9
50
REEL CINEMAS
United Kingdom
Screens: 78
Locations: 15
50
NOE CINÉMAS
France
Screens: 78
Locations: 23
CineEurope 2024 41
bop_24_june_cineeurope_8_size.indd 41 25/05/2024 14:24:24

CINEEUROPE | UNIC ACHIEVEMENT AWARD
CINEEUROPE 2024
UNIC ACHIEVEMENT AWARD:
PICTUREHOUSE CINEMAS’
CLARE BINNS
BY REBECCA PAHLE
Clare Binns has contributed
immeasurably to the culture of film
in the U.K. As the managing director of
Picturehouse Cinemas—a chain of
neighborhood theaters owned by
exhibition giant Cineworld—as well as its
distribution arm, Picturehouse
Entertainment, Binns and the rest of the
Picturehouse family have introduced
audiences to thought-provoking titles—
like Anatomy of a Fall, which Picturehouse
Entertainment distributed in the U.K. —
in a comfortable, community-oriented
cinema environment.
For her service to the European cinema
industry, Binns will receive the UNIC’s
Achievement Award at this year’s
CineEurope. “We are absolutely delighted to
honor Clare at CineEurope 2024,” said Phil
Clapp, president of UNIC. “The award
recognizes her incredible passion for the big
screen, her outstanding career, and her key
role in developing not just the U.K. cinema
sector, but an influence that goes far beyond
the boundaries of her home nation. Clare’s
contribution to cinema programming and
audience development have been widely
recognized, and her leadership continues to
shape the industry.”
In advance of this year’s CineEurope,
Binns took the time to speak with
Boxoffice Pro about her thoughts on the
state of the film industry today.
Between the pandemic and the strikes,
it’s been a rough few years, but we’re
finally getting back to a more robust film
schedule. Can you talk a bit about the
importance of midrange titles as part of
a well-rounded film slate?
Blockbusters are one thing, and small
art house films are another. But there are
42 CineEurope 2024
CLARE BINNS
“You can have as great
an experience watching a film
with 10 people at noon on a
Tuesday afternoon as you can
on the opening night of a
big film that is completely sold
out. It’s more that you’re
sharing a space.”
absolutely those midrange films that
cinemas need, and audiences do also. If
you look at the way a director gets a career
now—take the example of Rose Glass, who
started off with a small arthouse film,
[2019’s] Saint Maud, and now has made a
bigger film, Love Lies Bleeding, which fits
into that middle band. It’s a way for
directors to grow. It’s a way for audiences to
grow. It’s a way for cinemas to have enough
films and [to ensure] that there’s something
for everyone.
There’s been a real loss of those
midrange films, but I believe they’re
coming back. The writers’ and directors’
strikes obviously had an impact on that.
A lot of those films that were canceled or
delayed will be coming through in 2025.
I believe we do need those films. Those
films are out there.
There was some concern after the
pandemic arose that moviegoers would
get used to watching midbudget movies
on streaming. I think everyone’s kind of
realized that’s not the case, that most
movies that go directly to streaming
platforms struggle to find long-term
cultural relevance.
Cinema has been through so much
transition, from silents to sound, TV
coming in, DVD coming in, digital coming
in. It’s been a constantly changing
environment. What everybody knows is,
people will always want to gather together
to see films, to see theater, to see music. It’s
not the same [when you’re at] home. Being
at home is very nice, but it’s a different
experience. I’m feeling very positive about
the future of cinema.
When you look at the big Hollywood
directors working today, they’ve always, by
bop_24_june_cineeurope_9.indd 42 27/05/2024 23:58:14

and large, come up by making small and
midrange films. And directors make films
to be seen in the cinema. That’s where they
want their films to be shown.
Hirokazu Kore-eda’s Monster
Those early, reputation-making films
you see from directors are so important,
but they’re more difficult to market. The
world of cinema marketing is going
through such a change now, with severe
downsizing of print publications and the
rising importance of social media. How
do you approach marketing some of
those tougher titles?
[Picturehouse has] a film distribution
arm, and we have our cinemas. And we
have our marketing team [that works with]
both. There’s much more cross-pollination
with the marketing. We work very closely
with distributors on smaller films. We have
to find ways to reach our audiences
directly, which we do. Of course, it would
be great if we had huge budgets [to market]
smaller films. But people are finding their
information very differently than they did
10 or 15 years ago. Digital is just another
way of being able to reach audiences.
What we’re finding more and more is
that repertory is becoming quite important
because there are people who are in their
20s who have not seen a lot of the classic
films in cinemas. There are audiences who
want to see a Martin Scorsese film like Taxi
Driver [in the cinema]—or just a film they
may have only ever seen on Netflix or
Amazon. They actually want to come and
see [it on] the big screen, and [that’s why]
we are showing probably more repertory
films than we’ve ever shown. Younger
people want to see [older] films in cinemas,
so we’re making them available. You have
to market them. You have to make sure
that people know those films are out there,
but there’s a huge appetite for cinema
among younger people.
It’s refreshing. There’s been all this
hand-wringing about younger generations
and getting them into cinemas, and
it turns out they just want good movies.
Which has always been the case. That
hasn’t changed. You show good movies.
You show them in a comfortable environment,
on a nice, big screen. You can
have as great an experience watching a
film with 10 people at noon on a Tuesday
afternoon as you can on the opening night
of a big film that is completely sold out. It’s
more that you’re sharing a space. The
“Of course, it would be
great if we had huge budgets
[to market] smaller films.
But people are finding their
information very differently
than they did 10 or 15 years
ago. Digital is just another
way of being able to reach
audiences.”
lights have gone down, you’ve turned your
phone off, you’re concentrating on the film.
There may be only a few of you in there.
But it is a shared experience like no other.
What have you found effective
in marketing smaller films so that
customers will take a chance on them,
even if they don’t look like the typical
sort of thing they’d go see?
At Picturehouse we have a strand
called Discover, and we also have our Film
Club [membership program]. The Film
Club is [set at] an affordable price, as is
Discover. In Discover, we preview smaller
films, and in Film Club it could be a
classic [film] or [a current release]. What
I’m very proud of at Picturehouse is that
we have our audience’s trust. When they
come to a Discover film, [they know] we
will have programmed something that—
I mean, they may not say, “It’s the best
film I’ve ever seen.”
But they’ll come away saying, “That was
worth watching.”
It was worth seeing. And maybe they
will say it’s the best film they’ve ever seen.
We curate our cinemas. [We don’t just
program] the biggest films out that week.
It’s a mixture of all sorts of things so that
our audiences will feel that we are doing a
job for them, that we are saying, “These are
the films that we think will entertain you,
that will challenge you, that will inform
you.” We’ve been doing that for a very long
time, and it’s absolutely [what defines us]
as a group of cinemas. Every cinema is
slightly different in terms of what it’s
playing and when it’s playing it, because
we try to tailor [our programming] for the
audience that comes to our sites.
The films we bought at Picturehouse
Entertainment last year in Cannes were
Anatomy of a Fall, which turned out to be
a huge success, and The Taste of Things
with Juliette Binoche. We bought
[Hirokazu] Kore-eda’s Monster. And
[Stéphanie Di Giusto’s historical drama]
CineEurope 2024 43
bop_24_june_cineeurope_9.indd 43 27/05/2024 23:58:16

CINEEUROPE | UNIC ACHIEVEMENT AWARD
Stéphanie Di Giusto’s Rosalie
Rosalie, which [opened in the U.K. on June 7].
We’ve always made sure to have a very
diverse, interesting range of films that
audiences will be keen to see.
I know you started in the film industry
young, working as an usher. Do you
remember the first film you saw in a
cinema?
Not really. I know that there were films
that had a big impact on me. West Side
Story had a big impact on me. The Red
Shoes had a big impact on me. The thing
about when I first started working at a
cinema—it was at the Ritzy in Brixton—is
that we were mainly showing repertory
cinema. We showed between 10 and 14
different films a week, and I would catch as
many of them as I possibly could.
Tarkovsky, Herzog, Wenders. And all those
amazing American directors, like John
Waters [with] Divine. That was my film
education, being able to see all those
amazing films. It’s what I’ve always wanted
our cinemas to do. If [people] want to see
great films that are being made now or
have been made in the past, [give them] an
opportunity to see them.
How do you approach films once they’re
in their follow-up weeks? Some movies,
they come out and they just don’t hit
with audiences and that’s it. But with
others, you know they just need a bit of
time to find their audience.
It’s looking at the numbers. What
digital has allowed us to do is to be very
flexible. A film like [Ryûsuke] Hamaguchi’s
Evil Does Not Exist, which is a tiny little
film—if you pick the right shows each
44 CineEurope 2024
“We’re very much about
letting films breathe and not
just taking them off if they’re
working, and [finding a way to]
thread them through all
the other films.”
week, there’s an audience for it. When it
was 35mm, it was much more difficult, but
now you can slot things in and keep things
going. Anatomy of a Fall played at
[Picturehouse Central in London] for
26 weeks. All the people who work at
Picturehouse say, “Okay, this [film] does
particularly well with this audience. We
can play it at 9 p.m. on a Tuesday and it
will get 30 or 40 people in. And that’s
worth it.” You’re much more able to keep
films on [longer], which we do. We’re very
much about letting films breathe and not
just taking them off if they’re working, and
[finding a way to] thread them through all
the other films.
All the programmers at Picturehouse
are very adept at [putting a slate] together
like a jigsaw puzzle. Poor Things [had a long
run during Oscar season]—people kept
that going for ages. Or even the Bob Marley
film [Bob Marley: One Love]. Some cinemas
had odd shows here and there for weeks
and weeks and weeks. Audiences do seek
them out. Particularly for the smaller
films, people don’t rush out and see them,
so you have to find a way to thread them
through so people can still find them when
they want to.
You play a bit of everything at Picturehouse—first
run, big-budget actioners,
the festival hits, the smaller indie films.
Would you say there’s a typical
Picturehouse audience?
It depends on the film. I would say the
audience that we probably don’t have is the
15- to 20-year-olds. But then we have the
older audiences. But, again, we’ve seen
that older audience get younger. After the
pandemic, the older audience was quite
reluctant to come out again. They were
much more nervous. Then our audience
got younger, and our audience has
continued to get younger. And now, the
older audience has come back again!
The people who come to us just like the
Picturehouse experience. They like to
be in a building that’s showing Furiosa and
also Hit Man, the Richard Linklater film.
They can get a lovely cup of coffee and
have a nice piece of cake and some mochi
ice cream. Pizza, if they want it. Wine.
People love the fact that they get really
good beer and wine with us, and they can
take it [into the auditorium] and enjoy
the film with a nice glass of merlot.
What are some of the films coming up
that you’re excited about?
I’m looking forward to A Quiet Place:
Day One and MaXXXine. The Yorgos
Lanthimos film Kinds of Kindness.
Our own film, Rosalie, which we’re
releasing. We’re releasing the [Nuri Bilge]
Ceylan film About Dry Grasses, which we
bought at Cannes last year. It’s an amazing
film. And then there’s The Bikeriders,
Deadpool & Wolverine, and Sasquatch Sunset.
There’s lots and lots to look forward to.
bop_24_june_cineeurope_9.indd 44 27/05/2024 23:58:17

op_24_june_cineeurope_8_size.indd 45 25/05/2024 14:25:07

CINEEUROPE | ICON AWARD
CINEEUROPE 2024
ICON AWARD:
NICOLAS SEYDOUX
PRESENTED BY
BOXOFFICE PRO
Nicolas Seydoux, Chairman, French Anti-Piracy Audiovisual
Association (ALPA) Chairman of the Supervisory Board, Gaumont
Nicolas Seydoux is the 2024 recipient of
the CineEurope Icon Award, presented
by Boxoffice Pro and given in recognition
of his career and accomplishments.
At the helm of Gaumont for over half a
century, Seydoux’s unrivaled dedication to
the film industry and relentless fight against
piracy through his 15 years as chairman of
ALPA makes him an emblematic figure in
the cinema industry. His commitment to the
sector has shone through his promotion of
film culture in his writing, public speeches,
philanthropic actions, and, more recently,
his memoirs, Le cinéma, 50 ans de passion
“Cinema: 50 Years of Passion”. The
CineEurope Icon Award recognizes Nicolas
Seydoux’s exceptional career, passion for
cinema, and invaluable contributions to the
French and international film industry.
Boxoffice Pro France spoke with the
executive ahead of his recognition at
CineEurope, going over his career and
legacy in the cinema industry.
You recently came out with a book in
France that could be best described as a
professional biography. What motivated
you to share those experiences
with the public?
If we don’t know where we come from,
we won’t know where we’re going. All these
46 CineEurope 2024
experiences I’ve gone through in the
industry are things today’s employees at
Gaumont don’t know. I figured it would be
good for me to share these stories since I’ve
lived through them. I wrote the book with
our employees at Gaumont in mind as the
primary audience.
I arrived at Gaumont in 1974, and the
following year, we recorded 182 million
spectators in French cinemas. For context,
Italy registered 514 million moviegoers
that year. By 2019, France finished the year
with 213 million admissions. Even after the
pandemic, France could still recover to 181
million admissions. Italy, on the other
hand, has had its struggles. France is one
of the few European countries that has
been able to save its cinema industry.
Some would say it’s in large part due to
public support …
That support is not a state subsidy. It’s
the spectator’s money, the television
industry’s money, and—very recently—a
small share of the streaming platforms’
money. Our cinemas aren’t funded by
taxpayers but by the people who go to the
cinema and watch television. That tax is
managed by a particular government body,
the CNC (National Center for Cinema).
French cinemas do a lot more than simply
entertain their audience; they are creators
of wealth and jobs, with an excellent record
in exporting their films internationally. We
must dispel this idea that rich kids funded
by government subsidies comprise the
French cinema sector.
The story of French cinema over the last
five decades is also somewhat the story
of the Seydoux family. What drove you
to work in the family business?
I’ve often considered this question, and
I still don’t have an answer. My siblings
and I were lucky to be raised in a family
where painting, writing, and culture were
very present. When I was 7, my grandmother
took me to see my first film, Jean
Cocteau’s Beauty and the Beast, in a
cinema near the Saint-Lazare train station.
My younger brother, Michel, was the
first to enter the cinema business. I decided
to change sectors in 1970 while working in
an investment bank in the United States. At
that time, the French film industry was
weak in terms of American box office.
That was the era when prognosticators
were convinced that television would
end up killing the cinema—
But what would TV viewers watch on
that screen? Movies, of course. It was like
bop_24_june_cineeurope_9.indd 46 27/05/2024 23:58:18

“French cinemas do a lot more
than simply entertain their
audience; they are creators of
wealth and jobs, with an
excellent record in exporting
their films internationally.”
saying that the paperback would kill the
hardcover book. Cinema had a monopoly
on the moving image as far back as 1895. In
the United States, it became a duopoly
with television in the postwar era, around
1945-1946, and in Europe, with the
coronation of the queen of England in 1953.
From there, cinema attendance dropped.
Some countries reacted very quickly,
especially the United States, where studios
began producing television series in
tandem with films. The power of the
Hollywood studios is all the more
exceptional when you consider their films
are made to appeal to a country built on
immigrants—Irish, Italian, Chinese,
Japanese, and, more recently, Latin
American. When you make films for such a
diverse domestic audience, it stands to
reason they would have an intrinsically
global appeal.
How did the arrival of television impact
the rest of the cinema industry?
In the United Kingdom, the BBC had
nothing to do with cinema, whereas RAI
supported Italian cinema. But, there isn’t a
great Italian film that isn’t a French
coproduction—and every one in two or
three important French films of the time
was an Italian coproduction. Actors like
CineEurope 2024 47
bop_24_june_cineeurope_9.indd 47 27/05/2024 23:58:20

CINEEUROPE | ICON AWARD
Claudia Cardinale, Sophia Loren, and
Marcello Mastroianni were more wellknown
in Paris than in Rome or Milan.
What was the determining factor in
helping the French cinema compete with
television during that era?
After securing public funding after the
war, it became crucial to persuade the
television industry to participate in
financing the cinema industry. Canal+ was
born in 1984 with a revolutionary idea for
the time: to participate in that financing by
devoting a percentage of its revenue to
French cinema. If Canal+ failed, cinemas
could not blame it for stealing away
moviegoers. If Canal+ succeeded, those
viewers would help drive funding for the
cinema industry. That balance worked to
the benefit of French cinemas. 1992 and
1993 were dramatic years for our theaters,
each recording fewer than 120 million
admissions. The funding during that
period allowed French exhibitors to invest
in improving their sites to better appeal to
moviegoers. We saw those improvements
across the entire network of French
circuits, which today is one of the most
dynamic markets in the global exhibition
industry—appealing to audiences across
various concepts and prices.
Do you believe this is why the French
cinema sector has recovered quicker
than other markets since the pandemic?
If attendance is much better in France
than in neighboring countries, it’s also
largely due to the availability of films—
particularly French titles, which hold a
market share of around 40 percent. That’s
at least twice as much as the market share
of national cinema from our friends in the
United Kingdom, Germany, Spain, and
Italy. Those countries felt the effects of the
American writers’ and actors’ strikes much
more acutely than we did. I believe the
repercussions of this six-month work
stoppage in Hollywood from last year will
be felt for at least the next 18 months. For
that reason, 2024 will likely be a complicated
year, but I’m very optimistic for 2025.
The future of cinema is not only as an art
form but also as an industry.
Yes, but not an industry in serial
manufacturing inherited from the Henry
Ford model, so admirably expressed by
Charlie Chaplin in Modern Times. With an
average cost of nearly 5 million euros to
48 CineEurope 2024
“The beauty of cinema
is not in retelling the same
story for the twentieth
time, with minor alterations;
it’s to find new, totally
original stories to share.”
make a film, cinema investments indeed
fall within the industrial domain. Yet,
industry corresponds to a need; cinema,
conversely, corresponds to a desire. The
beauty of cinema is not in retelling the
same story for the twentieth time, with
minor alterations; it’s to find new, totally
original stories to share.
When I arrived at Gaumont, everyone
was talking about a film with a man-eating
shark, but the artificial shark posed a
problem during production because its
head would turn right but not left. That
situation eventually gave us Jaws. What
about the idea of making a film about the
largest civilian maritime disaster, which
led to 1,500 deaths, cast with no established
stars, and shot with a budget that
ballooned from $80 million to $250
million? In the end, that gave us Titanic.
And who could have imagined that a
French movie like Les Intouchables, the
story of someone who broke his spine in a
hang-gliding accident, would become the
greatest global success of our national
cinema? What saves cinema is audacity,
powered by imagination.
The history of cinema, including your own
history within the industry, isn’t a history
of success building on more success ...
No successful path is made up of
success alone; we only learn from our
failures. Moreover, a film with no viewers
is undoubtedly a failure—but that’s not
what determines the quality of a movie. In
this regard, Joseph Losey’s Don Giovanni
[produced by Gaumont in 1978] had the
ambition to bring the excellence of this
opera to the broadest audience via an
adaptation with the best artists. The
economic bet was that this film would
have universal appeal—exportable even
to the USSR without the threat of
censorship—and that it would be
regularly broadcast on all European
television channels.
In France, upon its release, the film
gathered 800,000 viewers, equivalent to
more than a million today. The gamble
paid off domestically. But internationally,
it was a total failure for reasons I still don’t
understand. I am nevertheless very proud
that we made that movie.
Another significant element of your
career is your involvement in the fight
against piracy. What role does piracy
play in the industry today?
I became the president of the Association
for the Fight Against Piracy in 2002
because I was afraid to see cinema go
through what was happening in the music
industry. It should be noted that in France
today, there are twice as few young
singer-songwriters being recorded as there
were 20 years ago. The fact that anyone
can download any piece of music or film
without being penalized is astonishing.
Throughout your 50 years in this
industry, is there a screening of one of
Gaumont’s releases that stands out the
most for you?
The screening of The Big Blue at Cannes
in May 1988. If the screening left us with
a cool reception, the dinner that followed it
was ice cold. One of my friends asked me,
“But Nicolas, how can you target a film with
three suicides in it to a teenage audience?”
I remember replying, “We didn’t see the
same film.” Fortunately, David, the son of
Daniel Toscan du Plantier, 23 years old at
the time, was very enthusiastic about it and
went back to see it the next day—like all the
teenagers of his generation. Their enthusiasm
was such that we had many parents
accompanying their kids to see the film,
which would end up attracting more than
9 million spectators in France.
bop_24_june_cineeurope_9.indd 48 27/05/2024 23:58:20

Congratulations to all the 2024 CineEurope award
winners. Boxoffice is honoured to recognise your
outstanding contributions to the world of cinema.
bop_24_june_cineeurope_8_size.indd 49 25/05/2024 14:25:22

CINEEUROPE | INTERNATIONAL EXHIBITOR OF THE YEAR
CINEEUROPE 2024
INTERNATIONAL
EXHIBITOR
OF THE YEAR:
APOLLO KINO
BY REBECCA PAHLE
Apollo Group is the largest entertainment
group in the Baltics. Since
its founding in 2000, the company has
brought shops, sports and entertainment
centers, restaurants, and film production,
distribution, and exhibition to the Baltic
states of Estonia, Latvia, and Lithuania.
Subsidiary Apollo Kino opened its first
location in 2014 and has become the
region’s largest multiplex chain, providing
premium amenities across a variety of
categories, from premium technology
formats like ICE Theaters to innovative
self-serve concessions markets and seat-side
ordering of restaurant-quality food.
The operator of 91 screens across
18 locations in the Baltics, Apollo Kino
is the winner of this year’s International
Exhibitor of the Year Award at
CineEurope—reflective, in the words of
Andrew Sunshine, president of Film Expo
Group, of the chain’s role in “building
a culture of modernization for cinemas
and changing the movie-going experience
with new concepts.”
50 CineEurope 2024
bop_24_june_cineeurope_9.indd 50 27/05/2024 23:58:21

Laura Houlgatte, CEO of UNIC,
commended how Apollo has “continued to
expand and strengthen in recent years and
consistently offer[s] a great experience to
its audiences across the Baltics.”
The chain will be celebrated as part of
the CineEurope Awards Ceremony, hosted
by the Coca-Cola Company on Thursday,
June 29, with CEO Kadri Ärm accepting
the International Exhibitor of the Year
Award on behalf of her company. In the
run-up to CineEurope, Boxoffice Pro
spoke with Ärm to learn more about Apollo
Kino, its history, and its culture of
innovation.
Can you give me a bit of background on
Apollo Kino?
Kadri Ärm: We started in 2014, so we
recently celebrated our 10th anniversary.
We actually grew out of the bookshop
business. Initially, when we started 10
years ago, our cinemas were connected to
neighboring Apollo bookshops, [and they
were] one operational unit. When business
grew, we decided to separate, and then the
bookshops and the cinemas started
operating separately. After a couple of
years, we were already the biggest [cinema
chain] in Estonia. In 2019, we started to
grow outside the Estonian border. In a few
years’ time, we became the biggest
operator in the Baltics.
“It’s very common
that a cinema is situated in
a shopping center surrounded
by restaurants, and
we collaborate with those
restaurants a lot in our dine-in
services and B2B events and
whatnot. That’s something
that has given us strength and
allowed us to grow further.”
advantage of expertise in various subjects]
and to collaborate [within Apollo Group].
It’s very common that a cinema is situated
in a shopping center surrounded by
restaurants, and we collaborate with those
restaurants a lot in our dine-in services
and B2B events and whatnot. That’s
something that has given us strength and
allowed us to grow further.
Your loyalty program, Apollo Club, is
tied to different parts of Apollo Group,
not just the cinema chain. It reminds me
of Cineplex’s loyalty program in
Canada, which integrates multiple
businesses—though, unlike Apollo, not
businesses that exist under one
corporate umbrella. I would imagine it
helps you on the cinema side to be able
Can you elaborate a bit on how Apollo
grew out of the bookstore business?
Our founders love cinema, and they
started off distributing movies by bringing
Hollywood content—on DVDs—into our
market. As you probably know, we used to
be very secluded from the Western world.
So one of our owners started the business
of bringing [home video] content into our
markets. The people who founded Apollo
gradually and very naturally got into
selling DVDs and VHS [tapes] and whatnot.
The overall idea was to grow an entertainment
business that included all sorts
of aspects of [entertainment].
By now, Apollo Group—we are part of
Apollo Group, both those bookshops and
Apollo Kino—also has a variety of
restaurants, movie production businesses,
and movie distribution businesses. It has a
[far-reaching] approach to entertainment.
That’s a lot of growth in only 10 years.
Having all those businesses in one
group definitely allows us to [take
CineEurope 2024 51
bop_24_june_cineeurope_9.indd 51 27/05/2024 23:58:22

CINEEUROPE | INTERNATIONAL EXHIBITOR OF THE YEAR
Looking at UNIC’s Annual Report from
last year, local films were strong in
Estonia and Lithuania—in Estonia, three
of the five top-grossing films in 2022
were local titles, and in Lithuania it was
two. You mentioned Apollo Group’s
early forays into providing entertainment
with their VHS and DVD
shops—did the local film space evolve
along with Apollo?
I would say that before Apollo got
into the production business and began
creating its own local content, pretty much
the local content was very artsy types of
movies which nobody understood, really,
about all the misery [of] our nation.
[Laughs] What we bring to the market with
Apollo Productions is that we aim to create
content that will attract the masses:
movies that will actually entertain them
and that people would like to watch in the
cinemas. Aside from a few exceptions, it
wasn’t at all typical for [local films to be
commercially successful] before we
entered into it. Now it’s a real strength for
us. It was one of the things that helped us
[rebound from Covid], to have our own
local content on the shelf while Hollywood
was still getting back on track with their
releases. We have this content that we can
release whenever we feel some kind of gap
in between releases, and we have cinemas
filled with people who want to see
entertaining local content.
to access data from Apollo’s other
entertainment sectors.
Yes, you’re absolutely right—the Apollo
Club assembles all those Apollo Group
businesses together. On top of the fact that
we can gather a lot of information and use
[the program] as a marketing tool, [it keeps]
the customer with our businesses by
offering a variety of entertainment for that
same customer. [It also allows us to do]
some cross-marketing and so on.
52 CineEurope 2024
“We have this content
that we can release whenever
we feel some kind of gap
in between releases,
and we have cinemas filled
with people who want
to see entertaining local
content.”
What sort of premium experiences do
your audiences respond to—whether
that’s on the technical side or on the
side of expanded food and beverages
and other amenities?
Back in 2016, we created a new concept
for our market, which was dine-in service in
recliner seats. By now, it has already
become standard. [We have] recliner seats
located mostly in the back rows of our
auditoriums, and guests are able to order
food and drinks through a digital tablet to
their seats throughout the screenings.
This is the kind of premium content that is
most loved by our audiences. I think
definitely this concept [of integrating
upscale food service into cinemas] is where
we see the most room to expand.
When it comes to PLF formats, the big
screen always excites people. The bigger the
better. But we have learned from our
audiences that they actually prefer, or are
more excited about, the level of comfort and
the services provided, rather than having
Imax screens or PLF formats.
We have an Imax in our Latvian market,
and it works well there. One of our newest
additions is [an ICE premium auditorium]
in our Solaris location [in Tallinn, Estonia].
But our focus is more on making the dine-in
service a more premium experience.
bop_24_june_cineeurope_9.indd 52 27/05/2024 23:58:23

How do you treat concessions outside of
the dine-in component?
Our concessions areas are something
that we are known for and we take a lot of
pride in. We were the first in the market to
introduce the self-service concept in our
[cinemas]. We’re all self-service in our
shops, so you select your food on your own,
you pay for it, and then you move through
self-service ticket gates into the auditorium,
where you are able to order even
more throughout the screening if you
choose [the applicable] seat group.
And your ticket sales are mostly
self-service as well—either through
on-site kiosks or mobile devices?
About 80 percent of our ticket sales are
done online. Very few tickets are still
bought on-site.
Across Estonia, Latvia, and Lithuania,
how much room is there for expansion?
And, separately, when you open new
locations, are they mostly new builds or
are you renovating existing buildings?
I would say that the market in Estonia is
pretty much already saturated. Of course,
we can’t rule anything out. There are still
“Our concessions areas
are somethingthat we are
known for and we take
a lot of pride in. We were the
first in the market to introduce
the self-service concept
in our [cinemas].”
some options. The most growth
[is possible] in Lithuania, just because of
the size of it. And in terms of whether
we build new cinemas or acquire old ones,
we do both. We just built an entirely
new cinema in Lithuania, but part of our
growth has been due to acquiring some
units from another cinema operator.
It’s a mix of everything, really.
CineEurope 2024 53
bop_24_june_cineeurope_9.indd 53 27/05/2024 23:58:24

CINEEUROPE | KINEPOLIS
CINEEUROPE 2024
MILESTONE AWARD:
KINEPOLIS GROUP
In recognition of its outstanding
accomplishments within European
cinema exhibition, Kinepolis Group NV is
the 2024 recipient of the CineEurope
Milestone Award. The award will be
presented to the Belgian company, which
operates 109 cinemas and 1,131 screens
worldwide, as part of the CineEurope
Awards Ceremony. The ceremony takes
place on Thursday, June 20, 2024, at the
Centre de Convencions Internacional
Barcelona (CCIB) in Barcelona, Spain.
Kinepolis Group NV, headed by CEO
Eddy Duquenne, reported record results in
2023. Compared with 2022, revenue
increased by 21 percent to 605 million
euros, with EBITDAL increasing by
32 percent to 151 million euros.
“This award recognizes
the company’s ability to drive
a wide range of audiences
to the big screen while always
maintaining unwavering
confidence in the future of
the industry.”
Net profit doubled to 56 million euros.
This strong revenue generation was
driven by a 20 percent increase in visitors
and an increase in sales per visitor, a
direct result of Kinepolis’ substantial
investment in premium concepts and film
experiences.
The CineEurope Milestone Award
recognizes Kinepolis’ ongoing efforts to
offer an exceptional experience to
cinemagoers over the past 25 years.
“We are delighted to see Kinepolis honored
at CineEurope 2024,” said Phil Clapp,
president of the International Union of
Cinemas (UNIC). “This award recognizes
the company’s ability to drive a wide range
of audiences to the big screen while always
maintaining unwavering confidence in the
future of the industry. On behalf of the
UNIC board and colleagues from across
the industry, I would like to congratulate
Kinepolis for this wonderful achievement.”
Andrew Sunshine, president of the Film
Expo Group, added: “CineEurope is thrilled
to recognize our friends Joost Bert, Eddy
Duquenne, and the entire Kinepolis team
for their noteworthy accomplishments and
confirmed expansion in the industry.”
54 CineEurope 2024
bop_24_june_cineeurope_8_size.indd 54 25/05/2024 14:25:37

CINEEUROPE | GOLD AWARD
CINEEUROPE 2024
GOLD AWARDS
Since 2018, UNIC and the
Film Expo Group (FEG) annually
present Gold Awards to a crop of cinema
professionals. These award recipients have
made an exceptional contribution both to
the ongoing success of their company or
organization and to the European cinema
industry. This year’s awards will be
presented as part of the CineEurope
Awards Ceremony on Thursday, June 20.
Phil Clapp, president of UNIC,
welcomed the awards. “Congratulations
to all this year’s nominees, whose
outstanding contributions and dedication
to excellence are a source of huge inspi-
ration,” Clapp said. “Each individual’s
recognition is richly deserved.”
Andrew Sunshine, president of the
Film Expo Group, added: “On behalf of our
entire team at the Film Expo Group,
we would like to congratulate all of those
being recognized with a Gold Award
this year for their continued support and
dedication to our great industry.”
“Congratulations to all
this year’s nominees, whose
outstanding contributions and
dedication to excellence are
a source of huge inspiration.
Each individual’s recognition
is richly deserved.”
2024 GOLD AWARD
RECIPIENTS
Christin Berg
Director of Programming
Nordisk Film Cinemas
Greg Hayko
Head of Film (U.K. and Ireland)
Cineworld
Stephan Herzog
Director of Administration - HR,
Legal and Compliance,
PR and Communications
Pathé Suisse
Gianluca Pantano
Director of Film Booking, UCI Italy
Odeon Cinemas Group
Grégoire Schnegg
Head of Real Estate Management
and Development
Blue Cinema
Andrea Stratta
CEO
Notorious Cinemas
Jurgita Vaišienė
Group Program Specialist
Cinamon Group
Kinga Zaborowska
Director of Film Booking
Helios
CineEurope 2024 55
bop_24_june_cineeurope_8_size.indd 55 25/05/2024 14:25:46

op_24_june_cineeurope_8_size.indd 56 25/05/2024 14:25:53

AMC 58 | Cineworld 62 | Ricos 66 | Concessions & Entertainment Guide 70 | ICTA EMEA Awards 78
THEATER
"We are a small operator with big ambitions
and we look forward to seeing where the journey takes us.”
ICTA EMEA 2024 Award Winners, p. 78
CineEurope 2024 57
bop_24_june_cineeurope_9.indd 57 27/05/2024 23:58:26

THEATER | AMC
PRIMED
FOR
RECOVERY
AMC Theatres CEO Adam Aron on Reclaiming
Momentum for Theatrical Exhibition
BY DANIEL LORIA
Adam Aron’s tenure as chief
executive officer of AMC Theatres
has been eventful from the start. Stepping
into the role in 2016, Aron helped
transform the circuit into the world’s
largest cinema chain while spearheading
AMC’s investments in digital ticketing,
premium large format (PLF), and
expanded food and beverage offerings.
The last four years on the job have been
fully devoted to, in Aron’s words, a “survive
then thrive” philosophy, as the chain
navigated the impact of the Covid-19
pandemic on the global cinema industry.
As the world’s leading cinema
chain, the company’s results are directly
tied to the box office. Nevertheless, AMC
has put a special focus on diversifying its
revenue stream since the pandemic. In the
last year alone, the circuit introduced
innovations like a retail popcorn line,
company-branded candy, and a foray into
theatrical distribution that already
delivered two world-class concerts to
movie theaters around the world.
AMC has also focused on achieving
increased efficiencies across its fleet of
cinemas. The circuit has closed 169
underperforming locations while adding
60 new sites to its circuit since 2020.
The contraction represents a 10 percent
decline in its location count, with the
60 new sites already outperforming
the 169 shuttered theaters.
Among its latest innovations in
the European market is the introduction
of XL-branded auditoriums.
These screens are situated between a
regular auditorium and a PLF screen and
are offered to moviegoers at a modest price
increase. There are currently more than
60 XL auditoriums across AMC’s European
circuit, with expansion possible once
it’s determined how moviegoers respond
to the concept.
Those efforts have begun making
an impact on the bottom line. According to
the latest quarterly earnings report, total
revenue per patron at AMC Theatres was
up 36 percent when compared against
Q1 2019. Boxoffice Pro spoke with
Adam Aron at CinemaCon 2024 to get
an update on AMC’s fleet of theaters,
future investments, and potential plans
for expansion.
58 CineEurope 2024
bop_24_june_cineeurope_9.indd 58 27/05/2024 23:58:27

How has the launch of your popcorn line
at supermarkets been going?
Adam Aron: Sales have been great, and
Walmart has made it available at more
stores. We expect more sales throughout
the year, and we like how it extends our
brand. The popcorn helps promote what
we do, but we’ll make a lot more money
from it in our theaters than in supermarkets—so
we’re not taking our eyes off
the main business.
The two big trends in exhibition today
are premium large format (PLF) and
family entertainment centers. AMC has
taken a leading position in investing in
PLF auditoriums throughout its global
circuit. Have you considered investing in
an entertainment center like many of
your competitors?
There are a lot of competing uses for our
capital, and we see a tremendous amount
of opportunity in how we can deploy
money going forward. We’re the largest
PLF player in the world. We have over
550 PLFs in our theaters. We’re the largest
Imax player outside of China. We’re the
largest player of Dolby Cinema in the
world. We’ve also been developing our
house brand, AMC Prime. We had 150 PLF
auditoriums when I joined AMC eight
years ago; today, we have 550. I can easily
see us adding another 150 PLF screens to
our circuit. They cost a lot of money;
we’ve spent a quarter of a billion, and
adding another 150 would cost another
quarter of a billion.
There’s also the opportunity to
add more theater chains to our system or
reinvest money into what we call our
“Battleship Theaters.” Do you know how a
navy is sustained by their battleships? We
have around 50 of our 1,000-plus theaters,
among the most significant in our system,
that have not yet been renovated—for
example, big, successful theaters like AMC
Empire and Lincoln Square in New York.
We could easily put $20 million into those
two theaters, and that’s just two out of 50.
Family entertainment centers are
another place where we could deploy
money. But at the moment, where we are
today, one has to be very careful about
spending because the industry has yet to
recover from the pandemic fully. I believe
2025 and 2026 will finally bring us to the
promised land. I think our industry will be
strong, healthy, and robust again in 2025
and 2026. We’ve made progress from the
“I believe 2025 and 2026 will
finally bring us to the promised
land. I think our industry will
be strong, healthy, and robust
again in 2025 and 2026.”
depths of where we were in 2020 to what
we achieved in 2023, but we’re not where
we need to be. That is why we need to be
very smart about having robust cash
reserves, which have been the key to
success in this industry since March 2020.
We will be very careful about deploying
money in the coming months because the
best thing to do with our reserves right
now is to have it in the bank. We ended
2023 with $885 million in the bank at AMC.
That’s a lot of cash. Chains that ran out of
cash failed. There are movie theater
companies that went bankrupt and entire
circuits that disappeared. AMC has stayed
strong and healthy through all of this.
We’ve also focused on innovating and
blazing new trails, like we did with Taylor
Swift: The Eras Tour. The key to pulling all
that off was having ample cash reserves.
Investing in a family entertainment center
takes up a lot of capital; it could take $25
million in real estate alone. A single
location could require $125 million of
capital—a large bet. Right now, I think the
smartest thing for us is to keep our money,
ensure our bank balance is high, and then
direct some capital to where we know we
have surefire, guaranteed returns.
Another big trend in the industry is
dine-in theaters. In the last few years,
AMC has invested in stand-alone dine-in
sites and expanded menus across its
circuit. What are the results so far?
We have 50 dine-in theaters in the United
States, representing around 10 percent of
CineEurope 2024 59
bop_24_june_cineeurope_9.indd 59 27/05/2024 23:58:28

THEATER | AMC
dine-in is at AMC today: a broad menu with
a delivery-to-seat model.
our fleet, and they do very well.
We’ve transitioned to a delivery-to-seat
model, where customers can order from
our app or website when buying tickets.
What we’ve found to be a failed concept is a
full-blown restaurant in a theater lobby.
We started experimenting with that
concept many years ago but increasingly
saw it as a suboptimal product.
There were two problems with that
model. One, it was disturbing to other
guests in the same auditorium to have
waitstaff constantly coming in and out of
the theater. Second, not only are wages in
the United States going up, but the
availability of labor has become tight, with
unemployment at its lowest level in
decades. It became distracting for our
customers to enjoy a movie under that
model while also being difficult for us to
afford and retain the required labor.
That is why we’ve shifted to a model where
a runner brings you your order rather than
a waitstaff taking your order. Economically,
it’s much better for us, which means
we can keep costs lower for the consumer,
which is beneficial. We’ve heard from
fellow patrons that this model doesn’t
distract them from the screen. That’s what
60 CineEurope 2024
“We’re certainly thinking
about bringing more movies
to theaters. We started with
two big hits, so the next step
is to crawl before we walk
and walk before we run.”
One of the most challenging aspects
of this recovery has been dealing with a
significantly reduced number of titles
reaching theaters—a situation that was
exacerbated by the actors’ and writers’
strike last year. AMC was able to
weather the storm by releasing a pair of
concert films from Taylor Swift and
Beyoncé, respectively. Are there plans
to continue this venture into theatrical
distribution?
Yes, yes, and yes. In just six weeks,
Taylor Swift and Beyoncé brought in $310
million in box office revenue for movie
theaters around the world. The domestic
number was around $200 million. Neither
of those movies existed in April 2023—it
all came together very quickly. It was five
months from the first phone call to Taylor
Swift’s camp to the world premiere. From
the first phone call with Beyoncé’s camp to
the world premiere in 100 countries, it was
two and a half months. That’s unheard of,
going from a first call to a world premiere
in that period. Both movies got an
A+ CinemaScore and have scores of 98
and 99 percent on Rotten Tomatoes.
It was a situation where everyone was
happy: our theaters, customers, and even
our competitors in exhibition.
We’re certainly thinking about bringing
more movies to theaters. We started with
two big hits, so the next step is to crawl
before we walk and walk before we run.
Given what we just pulled off, the
obvious thing to first consider is whether
there are other concert movies that would
be right in our wheelhouse. We’re talking
to other world-class artists to see if we can
get more concert films into theaters
worldwide. We have nothing to announce
today, but hopefully, we’ll be able to
announce something relatively soon.
This interview is coming out on the eve
of CineEurope, where you’re the region’s
leading player. What is your current
assessment of those markets?
AMC is the largest exhibitor in Europe,
resulting from two major acquisitions we
made in 2016 and 2017. We bought Odeon
in the U.K. and Nordic Cinema Group
based in Stockholm. We expanded and
invested in theaters there, opening new
ones as well. Europe comprises about
a quarter of our company’s revenues,
bop_24_june_cineeurope_9.indd 60 27/05/2024 23:58:29

a significant percentage of who we are
today. We operate it from Europe rather
than from Kansas City. It’s a big part of
who we are; we believe we’re pretty good at
it. Eight years later, we’re still the largest
exhibitor in Europe.
There is a morbid obsession among
the financial and trade press with AMC
filing for bankruptcy or getting
acquired. Do you ever get annoyed by
that speculation?
We are the biggest movie theater chain in
the world, and people focus on what we do
in the sector. I’m very proud of the fact that
we kept AMC strong through it all. We’ve
always been confident about our performance,
even when the so-called experts
were equally confident that we wouldn’t
make it past the pandemic. The good news
is we were right; they were wrong.
I’m very relaxed when I look ahead at
the future of our industry, even more so
when it comes to our company. For the last
two years, I’ve reiterated that our strategy
is to “survive and then thrive.” Through a
lot of deliberate actions and decisions on
our part, we’ve done very well in the
survival phase. When you look at our
earnings going up almost tenfold, it’s
significant. We went from $46 million in
2020 through 2022 to $425 million in 2023,
a tenfold increase. If we continue to see our
earnings come roaring back as part of this
recovery, we’ll be in a great position to
move from “survive” to “thrive.” By 2025 or
2026, I will be very proud of what we did
and feel good about proving wrong those
who were convinced we wouldn’t make it.
“I’m very relaxed when
I look ahead at the future of
our industry, even more so
when it comes to our company.
For the last two years, I’ve
reiterated that our strategy is
to ‘survive and then thrive.’”
assistance two years ago when Congress
approved money for all the small theaters
in the United States. If you were a public
company or had locations in more than
10 states, you were ineligible to receive
government support. Some chains that
survived only did so because Congress
bailed them out. Congress is not going to
be around to bail them out this time.
That’s why I expect to see more acquisition
opportunities for us in the coming years;
several circuits are already for sale.
As you can imagine, we get a call
whenever there’s a circuit up for sale.
There are several things we have to assess.
Number one, what’s the condition of the
theaters? To what extent do they compete
with us? If they don’t compete with us,
it’s an easy pickup from an antitrust point
of view. If they’re right across the street
from one of our locations, that will be a
problem. Third, what’s the price? Is it a
good buy or not? And finally, fourth, in the
grand scheme of things, where are we in
terms of keeping our cash reserves ample
and flush? I think it’s far more important
that we keep our bank balances strong
than adding 14 more movie theaters.
It’s not like we need 14 more theaters to be
the largest player in the United States.
Our market share is about two-thirds bigger
than the second-largest player in the U.S.
right now. While acquisitions are possible,
it’s not our company’s most immediate
strategic objective at the moment.
Are there any acquisition targets that
look interesting for AMC?
I’ve been running AMC for over eight and a
half years, and in that time, we’ve made
three significant acquisitions. Even more
recently, we’ve quietly done some strategic
pickups. We bought Cinetopia, a small
chain out of Portland, Oregon, in 2019.
We picked up around a third of ArcLight’s
locations, half of Bow Tie, and several sites
from Reading since the pandemic. Our
eyes are always open. We never want to
overpay, so we must be cautious about
where we direct our cash.
Looking ahead to the next two and a
half years, we’ll likely add more locations
via acquisition. There will be failing
circuits in that span because much of this
industry was propped up by government
CineEurope 2024 61
bop_24_june_cineeurope_8_size.indd 61 25/05/2024 14:26:15

THEATER | CINEWORLD
In the summer of 2023, Eduardo
Acuña, a nearly 20-year exhibition
industry veteran, was announced as the
new chief executive officer of Cineworld,
the world’s second-largest cinema chain.
His appointment came as the multinational
circuit emerged from Chapter 11
bankruptcy, tasking him with renegotiating
leases and bringing one of the
world’s most important cinema brands
back to prominence. Acuña took the role
after nearly a decade of serving as
president of the Americas at Cinépolis,
overseeing Cinépolis’ operations across 11
countries in North and South America. In
his new position, Acuña will take the
reigns of the United Kingdom’s largest
circuit and a multinational operation that
ranks among the leaders in North
America and Central and Eastern Europe.
Boxoffice Pro caught up with Acuña on
the eve of CinemaCon 2024 to speak about
his new venture in the world of exhibition—and
why he believes Cineworld,
and the rest of the exhibition sector, is
primed for a comeback.
A NEW
BEGINNING
Exhibition Veteran Eduardo Acuña Begins
a New Era as the CEO of Cineworld
BY DANIEL LORIA
Eduardo, you’re coming into this role
after a long tenure at another global
giant, Cinépolis. How have the first
months treated you as you’ve taken the
reigns at Cineworld?
They’ve been such wonderful months
because I have a dream job. Cineworld is
an excellent company to work for. I
remember joining the industry almost 20
years ago in Latin America. I remember
having Regal as the reference. It was the
biggest company in the world, and I
always said to myself, “Imagine one day
what it would feel like to work there.” And
I couldn’t be prouder and happier now
that I am the CEO of this great company.
We have a lot of work ahead of us, and I’m
very energized and excited to lead this
company into the future.
Premium formats have become an
essential element for major circuits
since the pandemic. You’ve seen just
how prevalent they’ve become
globally, specifically their proliferation
across Latin America. How does that
compare with the Cineworld fleet of
premium format auditoriums across
different markets in other regions?
4DX screens are our most productive
auditoriums at Cineworld. Customers in
our market have a real appetite for
62 CineEurope 2024
bop_24_june_cineeurope_8_size.indd 62 25/05/2024 14:26:18

premium formats. It’s the most advanced
technology we have to show movies—it’s
as immersive as it gets, and our numbers
show it. For example, we wanted to make a
big statement in the renovation of our
Regal Times Square location in New York.
That’s why we decided to install the
world’s largest 4DX auditorium in that
location.
Premium formats are a big part of our
strategy to give customers an excuse to
leave their houses. Home theaters have
been improving, but there’s nothing like
going to the movies. Going to a theater
and watching a movie is a communal
experience that can’t be replicated with
even the best home theater systems.
That’s why we need to leverage every
advantage available to us. Within that
strategy, we believe in giving our
customers the choice of how to enjoy their
night out with us.
Some customers will go with RPX; our
premium format solution at Regal is
designed to carry the largest screens with
the best projection and sound. Others
might want to go with screens from our
partners at Imax or ScreenX. They each
offer a different immersive experience.
“We have two significant
priorities ahead of us:
First is putting our customers
at the center of everything.
The second is focusing
on our culture.”
Other folks, all they’re looking for is a
comfortable recliner—and that’s precisely
why we’re undertaking a significant
recliner conversion across our entire
company right now. We look at premium
formats as a portfolio rather than any one
individual offering.
You’re coming into Cineworld as the
circuit emerges from bankruptcy. Does
it feel like a big reset for the company?
Ultimately, it’s a full reset. We have two
significant priorities ahead of us: First is
putting our customers at the center of
everything. The second is focusing on our
culture. Having our customers at the
center of everything directs our focus—
service, seating, premium formats,
concessions, you name it. On the second
point, we have the best people working for
us, but we did need a cultural reset. That
has been underway, and we’ve made
tremendous advancements in the past few
months. I couldn’t be happier or prouder of
what we have accomplished since I joined,
but more important, we’re setting up for
the future. We’re set up for a brand-new
Regal and Cineworld that will once again
be the best cinema company in the world.
CineEurope 2024 63
bop_24_june_cineeurope_8_size.indd 63 25/05/2024 14:26:24

THEATER | CINEWORLD
I know it’s early in your tenure, and
you’re probably reviewing current
lease agreements—but are you
considering any expansion opportunities
at the moment?
We’re reviewing everything and
finalizing the direction of our strategy. We
are primed for growth but must consider
where we can remodel and how best to
update and maintain our existing sites.
We have great locations, and we must
ensure they stay competitive before
embarking on anything else. We will look
at future growth opportunities as soon as
we update our circuit.
I hear Latin America, a region Cineworld
doesn’t have a presence in, has some
pretty dynamic markets …
[Laughing] I don’t want to go there and
compete with those guys; we have enough
on our hands with the U.S. and Europe,
but who knows what the future holds.
It’s been a difficult start to the year, with
one long hangover from the labor strikes
that affected Hollywood in 2023. What’s
your takeaway from 2024 so far?
I’m a huge optimist about our industry.
64 CineEurope 2024
“I genuinely believe our
industry doesn’t need fixing.
Our industry is just getting
back to where it needs to be.”
The future is very, very bright. I hate
hearing, “We have the pandemic, now we
have the strikes, and we need to get back
to fixing our industry.” I genuinely believe
our industry doesn’t need fixing. Our
industry is just getting back to where it
needs to be. We’re getting more movies—
and when we have movies, we perform
amazingly well. Four of the ten highest-grossing
films of all time were released
after the pandemic. That proves that
people will come out to see a good movie
at our theaters whenever there’s a good
movie. Yes, there was a hiccup with the
actors’ and writers’ strikes. We can look at
it as something horrible, or we can look at
it as an opportunity for us to get operations
back where they need to be and our
theaters back where they need to be.
I look forward to a fantastic second
half of the year and an excellent 2025 and
beyond.
This will be your first CineEurope with
Cineworld. What are you looking
forward to?
CineEurope is going to be extra special.
We’re the number one circuit in the U.K.
and across eight European markets. For
bop_24_june_cineeurope_8_size.indd 64 25/05/2024 14:26:28

the first time, I will not attend as a visitor
from Latin America but as one of the key
industry players. It should be very different
from all the other editions I have attended.
You spent a long time working with your
former employer in the Latin American
region. What are the differences and
similarities between Latin America and
the markets where Cineworld has a
presence?
The U.K. is more similar to the U.S.
market: expensive tickets, labor, and rent.
The economics in these two markets are
very similar. Now, when we talk about
Central and Eastern Europe, where we are
the most significant player, those regions
are very similar to Latin America.
It’s a growing market, as opposed to
the U.K. and the U.S,. which are more
mature and stable markets. In Central and
Eastern Europe, people love to go to the
movies and buy lots of concessions, which
is great for our businesses. They are
excited to see movies, and they have a lot
of local products. More often than not,
when it works well, it changes the outlook
for the year. I’ll give you a couple of
examples. The box office numbers in
Romania last year were higher than in
2019. We have several markets like that. In
2024, we expect huge things out of Poland
because of local production. The markets
that can benefit from having more titles
available to them are the ones that tend to
overperform.
As someone who travels around the
world visiting movie theaters, do you
have a favorite concession?
I only found out about this after
joining Cineworld. It’s sold throughout
Central Europe now, but it started in the
Czech Republic. We have an excellent
team in our retail and food services
department. When I came into the
company, I asked them to try new
concession concepts—and that team hit it
out of the ballpark. They brought in a new
product that I had never thought of:
nachos, where the tortilla is a jalapeño
green tortilla. I’m from Mexico and had
never seen a jalapeño green tortilla until I
went to the Czech Republic to see my
team implement the product. I’m a nachos
guy, and when you combine the jalapeño
green tortilla with Ricos nacho cheese, it
tastes fantastic.
What are the steps exhibition needs to
take in the coming years to surpass the
benchmarks of the 2010s?
I don’t think it will take long
for us to get back to those levels. It starts
with being better operators. We all need
to look at our clients, first and foremost,
and give them what they want in their
moviegoing experience. They want
frictionless interactions on digital, they
want comfortable seats, they want the
best image, they want the best sound—so
that’s what we have to deliver to our
customers.
Two things I always tell my company:
It’s about the customer, and it’s about our
culture. When you have a culture of real
service, you will come out on top. There
are many markets where there has been a
lot of deferred maintenance throughout
the past couple of years because of the
impact of the pandemic. That’s a big part
of it, being able to reinvest and take
better care of our existing buildings. If
you have the real estate part down, it
simply becomes about delivering
excellent service to the customer and
imparting a great corporate culture to
your staff.
CineEurope 2024 65
bop_24_june_cineeurope_8_size.indd 65 25/05/2024 14:26:33

THEATER | RICOS
MOVIES WITH A KICK:
A HISTORY OF THE
MOVIE THEATER NACHO
BY REBECCA PAHLE
For more than a century, family
businesses have been a cornerstone of
the North American cinema industry,
contributing to what we see, how we see it,
and what we snack on while we’re watching.
Anyone who loves a movie theater
nacho—whether you’re a consumer who
loves the taste, crunch, and zing or a
cinema operator who loves the profits—has
one family-owned company, in large part,
to thank for them: Ricos Products. Founded
by Frank Liberto in 1976 and currently run
by his grandson Tony, Ricos introduced the
movie theater nacho into a trio of cinemas
in Dallas and turned it into a cinema staple.
But the Libertos didn’t do it alone. Key to
Ricos’ ongoing domination of the movie
66 CineEurope 2024
theater nacho scene is Charlie Gomez,
winner of the Bert Nathan Memorial Award
at this year’s Concession and Hospitality
Expo, put on by the National Association of
Concessionaires (NAC) in St. Louis,
Missouri, from July 16-19. Gomez, vice
president of specialty markets at Ricos, is
only the eighth person in the NAC’s 80-year
history to be honored with both the Bert
Nathan Memorial Award and the prestigious
Mickey Warner Memorial Award,
which he received in 2020.
In honor of Gomez receiving this year’s
Bert Nathan Memorial Award, Boxoffice
Pro takes a look back at the history of the
movie theater nacho.
The concession stand nacho was
invented by Frank Liberto in 1976 when
he introduced the product in Arlington
Stadium in Arlington, Texas, then the
home of the Texas Rangers baseball team.
The product was a near-instant hit, driving
sales not just of the nachos themselves but
of cold beverages, a result of the jalapeño
kick that Ricos still prides itself on today.
At the time, Liberto Specialty Company—a
Ricos Products’ spinoff created to
handle the rising popularity of its flagship
product in sports stadiums—already did
business with movie theaters. They started
with popcorn distribution to a trio of United
Artists (UA) Theatres in Corpus Christie,
Texas, two years before. Still, it took some
convincing from John Rowley, UA’s
bop_24_june_cineeurope_9.indd 66 27/05/2024 23:58:29

president, for Liberto to sell Ricos nachos
in cinemas. Rowley had taken a liking to the
snack after trying it at a drive-in theater,
and he wanted to sell it at three of his
cinemas in Dallas. Despite his initial
concerns about the potential messiness of
the product, Liberto took the plunge—and
movie theater nachos were off to the races.
And race they did. Ricos' cinema test run
had taken place in the late months of 1977;
within the next year, UA Theatres was
selling them in cinemas nationwide. (Ricos'
nachos would find their way to German
cinemas when UA expanded in the late
'80s.) To help spread the word about the
product, Liberto commissioned a short
trailer, featuring the animated characters
Rico (a droplet of cheese sauce), Nacho (a
tortilla chip), and Pepe (a jalapeño slice).
The spot still plays at the Mahoning
Drive-In Theater in Lehighton, Penn.,
where it has amassed a cult following.
(For more on the Mahoning, specifically its
success in catering to horror fans with
eventized screenings, see Boxoffice Pro’s
November/December 2023 issue.) The
Northeast was the last region to catch on to
the nacho craze, but catch on it did. By the
time Boxoffice Pro wrote about the
snack’s popularity outside the American
West and Southwest in the November 1988
issue, they were already selling in “nearly
all of [AMC Theatres’] theaters, including
the ones in Connecticut, Philadelphia,
Virginia, and Washington, D.C.,” per
AMC’s Al Bowes.
By the ‘80s, the appeal of nachos as a
cinema concession was firmly cemented,
as was Ricos’ own dominance of the space.
It wasn’t until the middle of that decade,
recalls Tony Liberto, that they saw
competition on the movie theater nacho
“Anyone who loves a movie
theater nacho—whether
you’re a consumer who loves
the taste, crunch, and zing
or a cinema operator
who loves the profits—has one
family-owned company, in
large part, to thank for them:
Ricos Products.”
front. The ‘80s saw Ricos expanding their
business, opening new offices, introducing
their products into grocery stores, and
moving their headquarters to San Antonio,
Texas. In 1992, at the industry conference
ShoWest (which would later evolve into
CinemaCon), Ricos introduced 3 ounce
pre-packaged servings of their cheese
sauce. The efficiency of the product—
which kept theater employees from having
to mix ingredients—contributed to Ricos’
expansion, which continued over the
following decades.
Today, Ricos owns the majority
of the cinema nacho market. Their
products—including popcorn and pickles
in addition to cheese sauces, chips, and
jalapeños—are sold in roughly 70 percent
of American cinemas.
The Ricos Museum in San Antonio, Texas
CineEurope 2024 67
bop_24_june_cineeurope_9.indd 67 27/05/2024 23:58:30

Stay up to date on all
things CineEurope
Podcast.
Tune in each day during the week of CineEurope to get the latest
news on Europe’s biggest cinema industry event of the year.
Scan the QR code to listen
to the Boxoffice Podcast.
bop_24_june_cineeurope_8_size.indd 68 25/05/2024 14:27:20

Listen to the June 27th episode of
The BoxOffice Podcast for all things CINITY.
Available on all your favorite podcast platforms.
Visit CINITY at
cinitytoinfinity.com
Booth #301
bop_24_june_cineeurope_8_size.indd 69 25/05/2024 14:28:26

THEATER | CONCESSIONS & ENTERTAINMENT GUDE
CONCESSIONS
& ENTERTAINMENT
GUIDE
Showcasing the Latest Movie Theater
Products and Technologies.
Agile Ticketing Solutions
AgileTix
agiletix.com
Transforming cinema box offices since 1999, AgileTix empowers
cinema operators with cutting-edge point-of-sale and web
ticketing solutions. From seamless concessions management to
fostering customer relationships and delivering real-time
analytics, Agile drives success by connecting operators with
audiences, converting ticket buyers into loyal patrons.
Barco
Barco HDR Lightsteering
barco.com/cinema
HDR by Barco creates a new wave of definition for the cinematic
experience. By unlocking the full potential of the big screen, Barco
HDR Lightsteering projection unleashes HDR brightness, deep
blacks, and breathtaking contrast. Leveraging all the advantages
of laser projection and a patented approach, the Barco HDR
Lightsteering projector steers light to deliver an unparalleled
image.
70 CineEurope 2024
bop_24_june_cineeurope_8_size.indd 70 25/05/2024 14:28:40

BeforeTheMovie
beforethemovie.com
BeforeTheMovie’s preshow generates income for exhibitors by
offering a blend of national and local advertisements. National ads
ensure a steady revenue stream, while local ads target specific
markets, increasing relevance and engagement. This dual
approach maximizes ad revenue potential. Local businesses
benefit from targeted exposure to cinema audiences, driving foot
traffic and sales. Exhibitors profit from increased ad sales and
enhanced viewer experiences, resulting in a mutually beneficial
revenue model.
The Boxoffice Company
Boost Food & Beverage
company.boxoffice.com
The cinema experience begins the moment moviegoers buy their
tickets online. Why not include the popcorn too? The Boxoffice
Company’s Boost Food & Beverage solution streamlines the
purchasing process, so concessions are just a tap away. This
white-label product adheres to the brand and lets customers tailor
their experience, whether they’d prefer to pick up concessions at
the kiosk or have them delivered to their seats. Want to know
more? Drop us a line at sales@boxoffice.com to get started.
CP4415-RGB
CP4420-RGB
CP4425-RGB
CP4435-RGB
CP2415-RGB
CP2420-RGB
CP4445-RGB
CP4455-RGB
Betson Enterprises
betson.com
Today’s consumers are more selective than ever when choosing
entertainment options. Betson can help your brand stand out with
additional enhancements to drive foot traffic and revenue. An
arcade game room with a prize redemption center is a strategic
investment that has proven successful for many theater owners.
With guidance from Betson, customers have seen significant
returns on their investment. Comprehensive financial programs,
excellent customer service, and ongoing wellness and educational
programs help keep exhibitor knowledge and games up to date.
Christie
CineLife+ Real|Laser, Phazer, and Xenon
cinemaster.christiedigital.com
Christie’s cinema illumination technology brings cinema to life,
with Christie’s Real|Laser projectors giving best-in-class energy
efficiency. Christie now offers Phazer projection for boutique
cinemas and has the only new Xenon projection. Christie’s
future-proofed projectors are capable of 4K 120fps playback at
6000:1 contrast ratio. Explore options for every theater and budget
with their cinema projection calculator.
CineEurope 2024 71
bop_24_june_cineeurope_8_size.indd 71 25/05/2024 14:28:52

THEATER | CONCESSIONS & ENTERTAINMENT GUDE
C. Cretors and Company
High Roller Grill
cretors.com
C. Cretors and Company reduces the burden of cleaning with their
patented tip-up roller grill design. The exclusive tip-up cleaning
position design is not found on any other roller grill on the market.
The nonstick or stainless steel roller sleeves easily slide off and can
be effortlessly cleaned in a sink. Two adjustable individual heat
zones provide a wide range of temperature settings with easyto-use
temperature control. The grill plugs into any standard 15
amp outlet.
Digital Cinema United
DCU Connect
digitalcinemaunited.com
Digital Cinema United connects content creators with worldwide
audiences. The DCU Connect platform offers secure, cost-effective,
and reliable e-delivery for feature films, movie trailers, cinema
advertising, and event cinema to theaters around the world. A free
service for exhibitors, DCU Connect only takes 10 minutes to install
and enables art houses, drive-ins, independent theaters, and major
circuits to realize the benefits of digital transformation—timelier
deliveries and less manual intervention. Most importantly, DCU
Connect support is second to none. Email us.office@digitalcinemaunited.com
to join the DCU Connect e-delivery network today.
D-BOX
d-box.com
Fandango
fandango.com
With over 25 years of experience creating immersive haptic
experiences, D-BOX offers moviegoers around the world the
opportunity to go beyond sight and sound with movements,
vibrations, and textures perfectly synchronized to the action
on-screen. With the possibility of having effects in a full auditorium
or just in select rows, as well with a range of chairs that go
from compact to luxury recliner, D-BOX caters their premium
experience to every theaters’ needs. Their more than 65,000
hand-coded haptic effects make every movie moment memorable.
Fandango, the nation’s top online movie ticketer, serves 50 million
moviegoers per month with best-in-class movie information,
ticketing to 31,000 U.S. screens, trailers and original video, and
more. Moviegoers can find the best seats at their favorite theaters
with leading ticketing brands Fandango, MovieTickets.com, and
Flixster and discover movies to see on the big screen with review
site Rotten Tomatoes. Fandango has a robust social footprint with
over 100 million followers across its portfolio of social media
channels.
72 CineEurope 2024
bop_24_june_cineeurope_8_size.indd 72 25/05/2024 14:29:03

Gold Medal Products Co.
Recirculating Filtration Poppers
gmpopcorn.com
Say goodbye to old-school vents! With Gold Medal’s Elite Standard
Series of large poppers, recirculating filtration means there is no
venting out of the top of the unit. But there isn’t a sacrifice in
quality because the air filtration levels are superior to nearly all
other methods. Engineered for convenience, this popper series
also includes an easy drop-down filter (no need for ladders) and
touch-screen controls. See why the Elite Standard Series is ideal for
cinemas.
Lighting Technologies International
Extreme LongPlay Lamps
ltilighting.com
Extreme LongPlay lamps provide dynamic improvements in
lumen maintenance, providing a longer life expectancy. Proprietary
anode coating improves heat dissipation and reduces
envelope darkening. Improved cathode design reduces flicker.
Extreme LongPlay lamps offer a longer life, fewer lamp changes, a
reduced cost of ownership, and a longer warranty. Visit the LTI
website to learn more about Extreme LongPlay lamp technology,
features, and benefits.
ICE Theaters
icetheaters.com
Mobile Moviegoing
mobilemoviegoing.com
The ICE Theaters experience gathers premium sound and image
quality, deluxe seating, and state-of-the-art ICE immersive
technology: a visual experience that features LED panels on each
side of the auditorium, filling the moviegoer’s peripheral vision
with supplementary ambient colors and shapes and complementing
the action on the main screen. Awaken moviegoers’
senses and embark on an immersive journey with ICE Theaters.
Mobile Moviegoing’s cutting-edge web design and innovative tool
suite deliver top-tier custom websites and mobile apps. Enhance the
moviegoing experience and boost guest satisfaction by seamlessly
integrating online ticketing, concessions, and gift card sales. Their
tools improve search visibility through AI-enhanced SEO and allow
seamless integration with loyalty programs while maximizing
customer engagement. They offer paid loyalty and subscriptions to
further boost profitability and competitiveness in the marketplace.
Now is the time to leverage the power of Mobile Moviegoing and
start boosting profits today. Call: 888-453-SHOW[7469].
CineEurope 2024 73
bop_24_june_cineeurope_9.indd 73 27/05/2024 23:58:31

THEATER | CONCESSIONS & ENTERTAINMENT GUDE
Moving iMage Technologies
LEA Connect Series
movingimagetech.com
Moving iMage Technologies (MiT) is a one-stop shop for superior
cinema products, custom fabrication, and integration services.
MiT highlights their latest brand for the global cinema community:
LEA Professional. The LEA Professional Connect Series
amplifiers provide an intelligent amplifier platform that complements
signal-processing brands and loudspeaker systems. The
LEA Connect Series amplifiers are available in analog and digital
input versions, with two- and four-channel models and power
output ranging from 80 to 1,500 watts per channel.
PIM Brands
Sun-Maid Pure Milk Chocolate Covered Raisins
pimbrands.com
Moviegoers love this permissibly indulgent treat! Sun-Maid Pure
Milk Chocolate Covered Raisins engulf America’s #1 Raisins—the
best, most plump and juicy California raisins—with the purest,
creamiest milk chocolate. Feel good knowing raisins provide two
servings of real fruit in every delicious cup. Sun-Maid Pure Milk
Chocolate Covered Raisins are available in a 5 ounce peg bag and
3.5 ounce concession box.
Packaging Concepts Inc.
Bagasse Plates and Bowls
packagingconcepts.com
New for 2024, as part of an ever-growing line of concession
packaging from Packaging Concepts Inc. (PCI), comes a stock line
of Bagasse eco-friendly 10x10-inch square plates and 7x7-inch (32
oz.) square bowls. These are the perfect solution for both hot and
cold foods. PET-domed lids are available for both items as well. As
movie exhibitors continue to increase their concession offerings,
PCI is there to assist with design, graphics, and delivery of quality
concession packaging at an economical cost.
Proctor Companies
proctorco.com
For over 50 years, Proctor Companies has been the leading
supplier of concession stands, box offices, and food and beverage
systems for the cinema and family entertainment center industries.
Proctor specializes in design and build services, custom
millwork, kitchen and bar equipment, furniture, parts and
supplies—and provides the best customer service in the business.
Give them a call at 800-221-3699 to discuss future projects.
74 CineEurope 2024
bop_24_june_cineeurope_9.indd 74 28/05/2024 08:44:59

Q-SYS
The Q-SYS Platform
qsys.com
The Q-SYS Platform offers multiplexes a comprehensive network-based
solution that can be used to monitor a single screen or
an entire global chain of networked theaters with its comprehensive
catalog of audio, video, and control solutions, all designed
to create exceptional experiences for moviegoers. Q-SYS recently
announced a plugin for Barco Series 4 Digital Cinema projectors
that allows users to control and monitor projector functionality,
helping streamline theatrical venue operations, increase automation,
and save time and money.
Ready Theatre Systems
rts-solutions.com
Since 1993, Ready Theatre Systems (RTS) has set the standard for a
quick and easy point-of-sale system. Their software is fast,
feature-rich, and economical. RTS was created by a theater owner
for his small family-operated chain to optimize operations. RTS’s
roots are directly reflected in their selling interfaces. With
minimal steps, ease of use, and a database that finalizes transactions
in milliseconds, it is evident RTS was built for theater owners
by a theater owner.
Qubica AMF
Fly’n Ducks
qubicaamf.com
Fly’n Ducks is duckpin bowling reimagined. It packages the
excitement of duckpin bowling into a smaller footprint, making it
the perfect anchor attraction for businesses like cinemas and
restaurants. It delivers an engaging experience that is the right
challenge level for adults but is still suitable for teens and younger
guests. With Fly’n Ducks, cinemas are able to deliver the best
duckpin experience at the lowest operational cost, while also
maximizing profitability.
Ricos Products
ricos.com
Ricos Products Co. Inc. has been family-owned since 1909. Frank
Liberto, CEO of Ricos, originated concession nachos in 1976. Ricos
products can be found in over 60 countries in grocery stores, club
stores, theaters, and stadiums. Ricos also sells popcorn, pickles,
peanuts, snow cone syrups, nacho chips, restaurant-style chips,
multiple cheese sauces, and much more. Any movie, get together,
or sporting event is better with Ricos products!
CineEurope 2024 75
bop_24_june_cineeurope_8_size.indd 75 25/05/2024 14:29:57

THEATER | CONCESSIONS & ENTERTAINMENT GUDE
Sensible Cinema Software
Sensible Reserve Options
sensiblecinema.net
Sensible Cinema Software now offers a reserved seating option for
its budget-friendly cinema POS. For drive-in theaters, reserved
section parking assigns designated parking areas for up to four
types of vehicles, showing the section color on the ticket. Reserved
space parking assigns the buyer a specific parking stall with row
and number printed on the ticket. Sensible Cinema has no
monthly or annual licensing fees. Call or text (615) 799-6366 for a
demonstration.
TAPOS by JACRO
taposapp.com
TAPOS cinema PoS is designed for circuits and busy independent
cinemas. With over 25 years’ continuous development, they help
cinemas to replace legacy and overly complicated PoS systems and
integrated third-party setups with a single PoS capable of targeted
newsletters, sophisticated F&B, online food sales, employee
management, custom reporting, data analytics, CRM, accounts
export, loyalty and membership, enterprise head office, cloud
access, websites, and even custom mobile apps. TAPOS is more
than a POS. It is a complete cinema management system focused
on combining massive capability with unparalleled ease of use.
Storming Images
stormingimages.com
Storming Images is a leading digital content delivery provider
serving the needs of cinema owners. Its Media Director Platform is
proprietary technology presenting a one-stop digital delivery
system for preshow, movie trailer, film, and event distribution.
Cinema owners no longer need to scramble last minute to get a
preshow, trailer, or event to their theaters. Simplify the management
of content with one easy-to-use system that provides
delivery verification and proof-of-play. Storming Images offers
seamless installation and 24/7 customer support.
Telescopic Seating Systems
Smart Programmable Compact Recliner
telescopicseatingsystems.com
TSS’s Smart Programmable Compact Recliner combines minimum
space with maximum comfort. Cinemas have the ability to
program the recline angle, compactness, and ottoman/back
control, as well as integrate with building safety, providing
complete control either in person or from a network. Thirty-six
recliners, including seat heaters, can fit on a single 20-amp circuit.
RBG under-seat lighting provides effects and visibility to cleaning
staff. The system can be programmed to only open seats for the
current show or shows throughout the day.
76 CineEurope 2024
bop_24_june_cineeurope_9.indd 76 28/05/2024 08:45:24

Veezi by Vista
veezi.com
Zinc Group
zincgroup.com
Veezi allows cinema management anywhere! Veezi is a cloudbased
solution, enabling multisite, single-screen, art house, or
drive-in theater operators to run their business from anywhere,
24/7. Engineered by Vista but designed for small to medium
cinemas, Veezi brings only the best of Vista’s innovation: point of
sale (including tips and tabs), reporting, film programming,
internet ticketing, vouchers and gift cards, loyalty, kiosk, and
more. Request a demo or start a free 30-day trial.
Zinc’s Dune popcorn bucket has taken social media and, more
importantly, consumers by storm. Not only that, but stay tuned for
upcoming programs from all major studios: Disney, Warner Bros.,
Universal, Sony, and Paramount. Keep an eye out and come see
them to view great new products from Deadpool & Wolverine,
Despicable Me 4, Venom: The Last Dance, Twisters, Alien: Romulus,
Beetlejuice Beetlejuice, Transformers One, and many more.
Come join the fun to find out how they can help triple investment,
impress guests, raise per caps, and make each cinema a location
for all things fun!
CineEurope 2024 77
bop_24_june_cineeurope_8_size.indd 77 25/05/2024 14:30:12

THEATER | ICTA EMEA AWARDS
2024 ICTA EMEA AWARDS
The International Cinema Technology Association (ICTA) honors technological leadership, design,
and innovation in the EMEA (Europe, Middle East, and Africa) region with its 2024 honorees.
thankful for the opportunity to spread the
love for arthouse cinema from such a
beautifully restored, monumental building,
equipped with state-of-the-art technology.
Therefore, this recognition is also a
testament to the dedication of everyone
involved in the creation of the cinema,
including our outstanding technological
suppliers. As we eagerly anticipate our
upcoming 50th anniversary in 2026, we will
cherish the award as motivation to reach
the next level. Vive le cinéma!”
David Deprez
Artistic Director, Lumière
Cinema Restaurant Café
BEST CINEMA
REFURBISHMENT OF THE YEAR
CINEMAXX BERLIN
(VUE INTERNATIONAL)
BERLIN, GERMANY
“We’re delighted CinemaxX Berlin
has been recognized by ICTA as the best
cinema refurbishment, following
its completion last year. The renovation
forms part of our wider program
of premiumization and investment in
Germany and included replacing
all seating with recliners as well as a
complete foyer refurbishment to ensure
we provide our customers with the very
best big screen experience.
We have several more refurbishments
planned in Germany this year including
our site in Munich, and by the end of 2024
circa 35 percent of our European estate
will be reclined. A huge congratulations
to the team involved that enabled
the site to remain open and continue
to welcome customers throughout its
transformation.”
Tim Richards,
Founder and CEO, VUE International
78 CineEurope 2024
BEST ARTHOUSE
CINEMA OF THE YEAR
LUMIÈRE CINEMA
RESTAURANT CAFÉ
MAASTRICHT, NETHERLANDS
“Thank you, ICTA! This award holds
great value for our entire team. Our mission
has always been to cultivate meaningful
cultural experiences within our community,
and serving as a dynamic and
inspiring meeting place is an essential part
of that commitment. We are deeply
BEST NEW BUILD
CINEMA OF THE YEAR
THE LIGHT REDHILL
REDHILL, U.K.
“We are surprised and delighted to
receive the award for Best New Cinema in
Europe this year. The Light is focused
on embedding cinema within a wider
entertainment offer to ensure that film
connects with as many people as possible.
Redhill is the latest iteration of our vision
which has been brought to life by our
talented team including our designer,
Jo Lee, and we are honored that it has been
recognised by our colleagues in the
industry. We are a small operator with big
ambitions and we look forward to seeing
where the journey takes us.”
James Morris
CEO, The Light Cinemas Group
bop_24_june_cineeurope_8_size.indd 78 25/05/2024 14:30:19

op_24_june_cineeurope_8_size.indd 79 25/05/2024 14:30:29

CINEMA TECHNOLOGY & MARKETING
Websites
Mobile Apps
Online Ticketing
Targeted Emailing
and more...
Scan the QR code to find out more.
bop_24_june_cineeurope_8_size.indd 80 25/05/2024 14:30:32

Event Cinema Calendar 82 | Booking Guide 84
ON SCREEN
THE WILD ROBOT
Fri, 9/27/24 WIDE
A look at upcoming releases heading to theaters.
Booking Guide, p. 84
CineEurope 2024 81
bop_24_june_cineeurope_9.indd 81 28/05/2024 00:16:33

ON SCREEN | EVENT CINEMA CALENDAR
EVENT CINEMA
CALENDAR
Updated through May 22, 2024
Contact distributors for latest listings
FATHOM EVENTS
fathomevents.com
855-473-4612
SOUTH PARK: BIGGER, LONGER &
UNCUT 25TH ANNIVERSARY
(FATHOM’S BIG SCREEN CLASSICS
2024)
Jun. 23, Jun. 26
Genre: Classics
SOMETHING TO STAND FOR
Jun. 27-Jul. 4
Genre: Documentary
CLOSE ENCOUNTERS OF THE
THIRD KIND
Jul. 7, Jul. 10
Genre: Classics
PRINCESS MONONOKE
(STUDIO GHIBLI FEST 2024)
Jul. 13 - Jul. 17
Genre: Anime
TURANDOT: MET SUMMER ENCORE
2024
Aug. 7
Genre: Opera
LAWRENCE OF ARABIA
Aug. 11, Aug. 12
Genre: Classics
PORGY AND BESS
(MET SUMMER ENCORE 2024)
Aug. 14
Genre: Classics
WHISPER OF THE HEART
(STUDIO GHIBLI FEST 2024)
Aug. 25, Aug. 27
Genre: Anime
REAR WINDOW 70TH ANNI-
VERSARY (FATHOM’S
BIG SCREEN CLASSICS 2024)
Aug. 25, Aug. 28
Genre: Classics
THE CAT RETURNS
(STUDIO GHIBLI FEST 2024)
Aug. 26, Aug. 28
Genre: Anime
BLAZING SADDLES 50TH
ANNIVERSARY (FATHOM’S BIG
SCREEN CLASSICS 2024)
Sept. 15, Sept. 18
Genre: Classics
SUPER/MAN: THE CHRISTOPHER
REEVE STORY
Sept. 21, Sept. 25
Genre: Documentary
HOWL’S MOVING CASTLE
20TH ANNIVERSARY
(STUDIO GHIBLI FEST 2024)
Sept. 26 - Aug. 3
Genre: Anime
MEAN GIRLS 20TH ANNIVERSARY
(FATHOM’S BIG SCREEN CLASSICS
2024)
Oct. 3, Oct. 6
Genre: Classics
KIKI’S DELIVERY SERVICE
(STUDIO GHIBLI FEST 2024)
Oct. 26 - Oct. 30
Genre: Anime
THE FIFTH ELEMENT (FATHOM’S
BIG SCREEN CLASSICS 2024)
Nov. 17, Nov. 20
Genre: Classics
THE NEVERENDING STORY 40TH
ANNIVERSARY (FATHOM’S BIG
SCREEN CLASSICS 2024)
Jul. 21, Jul. 22
Genre: Classics
LA BOHÈME: MET SUMMER
ENCORE 2024
Jul. 24
Genre: Opera
DISCIPLES IN THE MOONLIGHT
Jul. 24 - Jul. 28
Genre: Faith/Inspirational
MAN AND WITCH: THE DANCE OF
A THOUSAND STEPS
Jul. 28, Jul. 30
Genre: Family
LA CENERENTOLA: MET SUMMER
ENCORE 2024
Jul. 31
Genre: Opera
PONYO
(STUDIO GHIBLI FEST 2024)
Aug. 3 - Aug. 7
Genre: Anime
JESUS: A DEAF MISSIONS FILM
82 CineEurope 2024
bop_24_june_cineeurope_8_size.indd 82 25/05/2024 14:30:44

POM POKO 30TH ANNIVERSARY
(STUDIO GHIBLI FEST 2024)
Nov. 24, Nov. 26
Genre: Anime
THE TALE OF THE PRINCESS KAGUYA
(STUDIO GHIBLI FEST 2024)
Nov. 25, Nov. 27
Genre: Anime
MY NEIGHBOR TOTORO
(STUDIO GHIBLI FEST 2024)
Dec. 7 - Dec. 11
Genre: Classics
WHITE CHRISTMAS 70TH
ANNIVERSARY (FATHOM’S BIG
SCREEN CLASSICS 2024)
Dec. 15, Dec. 16
Genre: Classics
ICONIC RELEASING
iconicreleasing.com
JESUS: A DEAF MISSIONS FILM
Jun. 20
Genre: Faith/Inspirational
UFC 303: MCGREGOR VS.
CHANDLER
Jun. 29
Genre: Live Sports
UFC 304
Jul. 27
Genre: Live Sports
UFC 305
Aug. 17
Genre: Live Sports
STREAM
Aug. 21, Aug. 24
Genre: Horror
UFC 306
Sep. 14
Genre: Live Sports
UNTITLED ICONIC HORROR
ANNIVERSARY EVENT
Sep. 19
Genre: Horror
TERRIFIER 3
Oct. 11
Genre: Horror
UNTITLED ICONIC HORROR EVENT
Jan. 24 2025
Genre: Horror
TRAFALGAR RELEASING
trafalgar-releasing.com
RITE HERE RITE NOW
Jun. 20, Jun. 22
Genre: Music
CineEurope 2024 83
bop_24_june_cineeurope_9.indd 83 27/05/2024 23:58:34

ON SCREEN | BOOKING GUIDE
BOOKING
GUIDE
Release calendar for theatrical
distribution in North America
Release dates are updated through May 21, 2024.
Please contact distributors to confirm latest listings.
A24
646-568-6015
JANET PLANET
Fri, 6/21/24 LTD
Stars: Julianne Nicholson, Zoe Ziegler
Director: Annie Baker
Rating: PG-13
Genre: Dra
MAXXXINE
Fri, 7/5/24 WIDE
Stars: Mia Goth, Elizabeth Debicki
Director: Ti West
Rating: R
Genre: Hor
AMAZON MGM
310-724-5678
Ask for Distribution
BLINK TWICE
Fri, 8/23/24 WIDE
Stars: Channing Tatum, Naomi
Ackie
Director: Zoë Kravitz
Rating: R
Genre: Thr
PROJECT HAIL MARY
Fri, 3/20/26 WIDE
Stars: Ryan Gosling
Directors: Phil Lord, Christopher
Miller
Rating: NR
Genre: SF
ANGEL STUDIOS
POSSUM TROT
Thu, 7/4/24 WIDE
Stars: Elizabeth Mitchell, Nika King
Director: Joshua Weigel
Rating: PG-13
Genre: Fai/Ins
BLUE FOX ENTERTAINMENT
THE CONQUEROR: HOLLYWOOD
FALLOUT
Fri, 6/28/24 LTD
Stars: Sophie Okonedo
Director: William Nunez
Genre: Doc
BRAINSTORM MEDIA
GASSED UP
Fri, 6/28/24 LTD
Stars: Stephen Odubola, Taz Skylar
Director: George Amponsah
Rating: NR
Genre: Dra/Thr
CINEVERSE
TERRIFIER 3
Fri, 10/25/24 WIDE
Stars: Daniel Roebuck, Lauren
LaVera
Director: Damien Leone
Rating: NR
Genre: Hor
COHEN MEDIA GROUP
JUNE ZERO
Fri, 6/28/24 LTD
Stars: Koby Aderet, Adam Gabay
Director: Jake Paltrow
Rating: NR
Genre: Dra
DISNEY
818-560-1000
Ask for Distribution
DEADPOOL & WOLVERINE
Fri, 7/26/24 WIDE
Stars: Ryan Reynolds, Hugh
Jackman
Director: Shawn Levy
Rating: NR
Genre: Act/Adv/SF
Specs: Imax/3D
MOANA 2
Wed, 11/27/24 WIDE
Stars: Auli’i Cravalho, Dwayne
Johnson
Director: Dave Derrick Jr.
Rating: NR
Genre: Ani
MUFASA: THE LION KING
Fri, 12/20/24 WIDE
Stars: Aaron Pierre, Kelvin Harrison Jr.
Director: Barry Jenkins
Rating: NR
Genre: Ani
NICKEL BOYS
Fri, 10/25/24 LTD
Stars: Aunjanue Ellis-Taylor, Ethan
Herisse
Director: RaMell Ross
Rating: PG-13
Genre: Dra
RED ONE
Fri, 11/15/24 WIDE
Stars: Dwayne Johnson, Chris
Evans
Director: Jake Kasdan
Rating: PG-13
Genre: Act/Adv/Com/Fam
THE FIRE INSIDE
Fri, 12/25/24 WIDE
Stars: Ryan Destiny, Brian Tyree
Henry
Director: Rachel Morrison
Rating: PG-13
Genre: Dra
MUFASA: THE LION KING
Fri, 12/20/24 WIDE
84 CineEurope 2024
bop_24_june_cineeurope_8_size.indd 84 25/05/2024 14:30:57

op_24_june_cineeurope_8_size.indd 85 25/05/2024 14:31:08

ON SCREEN | BOOKING GUIDE
CAPTAIN AMERICA: BRAVE NEW
WORLD
Fri, 2/14/25 WIDE
Stars: Anthony Mackie, Harrison
Ford
Director: Julius Onah
Rating: NR
Genre: Act/Adv/SF
UNTITLED DISNEY 2025 1
Fri, 3/7/25 WIDE
Rating: NR
DISNEY’S SNOW WHITE
Fri, 3/7/25 WIDE
Stars: Rachel Zegler, Gal Gadot
Director: Marc Webb
Rating: NR
Genre: Fan
THUNDERBOLTS
Fri, 5/2/25 WIDE
Stars: David Harbour, Hannah
John-Kamen
Director: Jake Schreier
Rating: NR
Genre: Act/Adv/SF
UNTITLED DISNEY 2025 2
Fri, 5/23/25 WIDE
Rating: NR
ELIO
Fri, 6/13/25 WIDE
Stars: America Ferrera, Jameela
Jamil
Director: Adrian Molina
Rating: NR
Genre: Ani
THE FANTASTIC FOUR
Fri, 7/25/25 WIDE
Stars: Pedro Pascal, Vanessa Kirby
Director: Matt Shakman
Rating: NR
Genre: Act/Adv/SF
TRON: ARES
Fri, 10/5/25 WIDE
Stars: Jared Leto, Jeff Bridges
Director: Joachim Rønning
Rating: NR
Genre: Act/Adv/SF
BLADE
Fri, 11/7/25 WIDE
Stars: Mahershala Ali
Director: Yann Demange
Rating: NR
Genre: Act/Adv/SF
ZOOTOPIA 2
Wed, 11/26/25 WIDE
Rating: NR
Genre: Ani
UNTITLED DISNEY 2026 1
Fri, 1/16/26 WIDE
Rating: NR
UNTITLED MARVEL 2026 1
Fri, 2/13/26 WIDE
Rating: NR
Genre: Act/Adv/SF
UNTITLED PIXAR 2026 1
Fri, 3/6/26 WIDE
Rating: NR
Genre: Ani
UNTITLED DISNEY 2026 2
Fri, 3/27/26 WIDE
Rating: NR
UNTITLED DISNEY 2026 3
Fri, 4/17/26 WIDE
Rating: NR
AVENGERS: THE KANG DYNASTY
Fri, 5/1/26 WIDE
Director: Destin Daniel Cretton
Rating: NR
Genre: Act/Adv/SF
THE MANDALORIAN AND GROGU
Fri, 5/22/26 WIDE
Director: Jon Favreau
Rating: NR
Genre: Act/Adv/SF
TOY STORY 5
Fri, 6/19/26 WIDE
Rating: NR
Genre: Ani
MOANA
Fri, 7/10/26 WIDE
Stars: Dwayne Johnson
Rating: NR
Genre: Adv/Mus
UNTITLED MARVEL 2026 2
Fri, 7/24/26 WIDE
Rating: NR
Genre: Act/Adv/SF
UNTITLED DISNEY 2026 5
Fri, 8/14/26 WIDE
Rating: NR
UNTITLED DISNEY 2026 6
Fri, 9/18/26 WIDE
Rating: NR
UNTITLED MARVEL 2026 3
Fri, 11/6/26 WIDE
Rating: NR
Genre: Act/Adv/SF
UNTITLED DISNEY ANIMATION
2026
Fri, 11/25/26 WIDE
Rating: NR
Genre: Ani
UNTITLED STAR WARS 2026 2
Fri, 12/18/26 WIDE
Rating: NR
Genre: Act/Adv/SF
86 CineEurope 2024
bop_24_june_cineeurope_8_size.indd 86 25/05/2024 14:31:11

AVENGERS: SECRET WARS
Fri, 5/7/27 WIDE
Rating: NR
Genre: Act/Adv/SF
ALIEN: ROMULUS
Fri, 8/16/24 WIDE
UNTITLED STAR WARS 2027
Fri, 12/17/27 WIDE
Rating: NR
Genre: SF/Fan
20TH CENTURY STUDIOS
310-369-1000
212-556-2400
ALIEN: ROMULUS
Fri, 8/16/24 WIDE
Stars: Cailee Spaeny, Isabela
Merced
Director: Fede Álvarez
Rating: NR
Genre: SF
Specs: Imax
THE AMATEUR
Fri, 11/8/24 WIDE
Stars: Rachel Brosnahan, Caitríona
Balfe
Director: James Hawes
Rating: NR
Genre: Act/Thr
AVATAR 3
Fri, 12/19/25 WIDE
Director: James Cameron
Rating: NR
Genre: Act/Fan/SF
AVATAR 4
Fri, 12/21/29 WIDE
Rating: NR
Genre: Act/Adv/SF
AVATAR 5
Fri, 12/19/31 WIDE
Rating: NR
Genre: Act/Fan/SF
FOCUS FEATURES
THE BIKERIDERS
Fri, 6/21/24 WIDE
Stars: Boyd Holbrook, Tom Hardy
Director: Jeff Nichols
Rating: R
Genre: Dra
TOUCH
Fri, 7/12/24 LTD
Stars: Egill Ólafsson, Palmi
Kormákur
Director: Baltasar Kormákur
Rating: NR
Genre: Dra
DÌDI
Fri, 7/26/24 LTD
Stars: Izaac Wang, Joan Chen
Director: Sean Wang
Rating: NR
Genre: Dra
PIECE BY PIECE
Fri, 10/11/24 LTD
Stars: Pharrell Williams
Director: Morgan Neville
Rating: NR
Genre: Doc/Ani
NOSFERATU
Fri, 12/25/24 WIDE
Stars: Bill Skarsgård, Nicholas Hoult
Director: Robert Eggers
Rating: NR
Genre: Hor/Com
IFC FILMS
bookings@ifcfilms.com
GHOSTLIGHT
Fri, 6/14/24 LTD
Stars: Keith Kupferer, Katherine
Mallen Kupferer
Directors: Kelly O’Sullivan, Alex
Thompson
Rating: NR
Genre: Com/Dra
DANDELION
Fri, 7/12/24 LTD
Stars: Thomas Doherty, KiKi Layne
Director: Nicole Riegel
Rating: R
Genre: Dra/Rom.
LD ENTERTAINMENT
NATIONAL ANTHEM
Fri, 7/12/24 LTD
Stars: Charlie Plummer, Eve Lindley
Director: Luke Gilford
Rating: R
Genre: Dra
LIONSGATE
310-309-8400
BORDERLANDS
Fri, 8/9/24 WIDE
Stars: Cate Blanchett, Kevin Hart
Director: Eli Roth
Rating: NR
Genre: Act/SF
Specs: Imax
THE CROW
Fri, 8/23/24 WIDE
Stars: Bill Skarsgård, FKA twigs
Director: Rupert Sanders
Rating: NR
Genre: Act/Thr
Specs: Imax
THE KILLER’S GAME
Fri, 9/13/24 WIDE
Stars: Dave Bautista, Sofia
Boutella
Director: J.J. Perry
Rating: NR
Genre: Act/Com/Thr
NEVER LET GO
Fri, 9/27/24 WIDE
Stars: Halle Berry, Matthew Kevin
Anderson
Director: Alexandre Aja
Rating: NR
Genre: Hor/Thr
WHITE BIRD: A WONDER STORY
Fri, 10/4/24 WIDE
Stars: Bryce Gheisar, Ariella Glaser
Director: Marc Forster
Rating: NR
Genre: Dra/Fam
THE BEST CHRISTMAS
PAGEANT EVER
Fri, 11/8/24 WIDE
Stars: Judy Greer, Lauren Graham
Director: Dallas Jenkins
Rating: NR
Genre: Fam/Dra
UNTITLED GUY RITCHIE MOVIE
Fri, 1/17/25 WIDE
Stars:Henry Cavill, Jake Gyllenhaal
Director: Guy Ritchie
Rating: NR
Genre: Act
THE UNBREAKABLE BOY
Fri, 2/21/25 WIDE
Stars: Zachary Levi, Meghann Fahy
Director: Jon Gunn
Rating: NR
Genre: Dra/Fam
MICHAEL
Fri, 4/18/25 WIDE
Stars: Jaafar Jackson
Director: Antoine Fuqua
Rating: NR
Genre: Dra
BALLERINA
Fri, 6/6/25 WIDE
Stars: Ana de Armas, Anjelica
Huston
Director: Len Wiseman
Rating: NR
Genre: Act
UNTITLED SAW XI
Fri, 9/26/25 WIDE
Rating: NR
Genre: Hor
CineEurope 2024 87
bop_24_june_cineeurope_8_size.indd 87 25/05/2024 14:31:22

op_24_june_cineeurope_8_size.indd 88 25/05/2024 14:31:30

CINEMA TECHNOLOGY & MARKETING
Your audience is
evolving. Make sure
your e-commerce
tools are too.
Scan the QR code to find out more.
bop_24_june_cineeurope_8_size.indd 89 25/05/2024 14:31:32

ON SCREEN | BOOKING GUIDE
UNTITLED DIRTY DANCING
SEQUEL
Summer 2025
Stars: Jennifer Grey
Director: Jonathan Levine
Rating: NR
Genre: Dra/Mus
MAGNOLIA PICTURES
212-379-9704
Neal Block - nblock@magpictures.
com
THELMA
Fri, 6/21/24 LTD
Stars: June Squibb, Fred Hechinger
Director: Josh Margolin
Rating: PG-13
Genre: Act/Com
NEON
hal@neonrated.com
LONGLEGS
Fri, 7/12/24 LTD
Stars: Nicolas Cage, Maika Monroe
Director: Oz Perkins
Rating: R
Genre: Hor
CUCKOO
Fri, 8/2/24 WIDE
Stars: Dan Stevens, Hunter Schafer
Director: Tilman Singer
Rating: R
Genre: Hor
PARAMOUNT
323-956-5000
A QUIET PLACE: DAY ONE
Fri, 6/28/24 WIDE
Stars: Lupita Nyong’o, Joseph
Quinn
Director: Michael Sarnoski
Rating: NR
Genre: Hor
Specs: Imax
TRANSFORMERS ONE
Fri, 9/20/24 WIDE
Stars: Chris Hemsworth, Scarlett
Johansson
Director: Josh Cooley
Rating: NR
Genre: Ani
INTERSTELLAR (RE-RELEASE)
Fri, 9/27/24 WIDE
Stars: Matthew McConaughey,
Anne Hathaway
Director: Christopher Nolan
Rating: PG-13
Genre: Dra/SF
Specs: Imax
SMILE 2
Fri, 10/18/24 WIDE
Stars: Naomi Scott, Lukas Gage,
Kyle Gallner
Director: Parker Finn
Rating: NR
Genre: Hor
GLADIATOR II
Fri, 11/22/24 WIDE
Stars: Paul Mescal, Denzel
Washington
Director: Ridley Scott
Rating: NR
Genre: Act/Dra
SONIC THE HEDGEHOG 3
Fri, 12/20/24 WIDE
Stars: Ben Schwartz, Jim Carrey
Director: Jeff Fowler
Rating: NR
Genre: Act
BETTER MAN
Fri, 12/25/24 LTD
Stars: Damon Herriman, Steve
Pemberton
Director: Michael Gracey
Rating: NR
Genre: Mus
THE SMURFS MOVIE
Fri, 2/14/25 WIDE
Stars: Rihanna
Director: Chris Miller
Rating: NR
Genre: Ani/Mus
NOVOCAINE
Fri, 3/14/25 WIDE
Stars: Jack Quaid, Amber Midthunder
Directors: Robert Olsen, Dan Berk
Rating: NR
Genre: Thr/Act
MISSION: IMPOSSIBLE 8
Fri, 5/23/25 WIDE
Stars: Tom Cruise
Director: Christopher McQuarrie
Rating: NR
Genre: Act
Specs: Imax
UNTITLED TREY PARKER/MATT
STONE/KENDRICK LAMAR/DAVE
FREE
Fri, 7/4/25 WIDE
Rating: NR
UNTITLED NAKED GUN
Fri, 7/18/25 WIDE
Stars: Liam Neeson
Director: Akiva Schaffer
Rating: NR
Genre: Com
VICIOUS
Fri, 8/8/25 WIDE
Stars: Dakota Fanning
Director: Bryan Bertino
Rating: NR
Genre: Hor
THE SPONGEBOB MOVIE:
SEARCH FOR SQUAREPANTS
Fri, 12/19/25 WIDE
Rating: NR
Genre: Ani
90 CineEurope 2024
bop_24_june_cineeurope_8_size.indd 90 25/05/2024 14:31:35

UNTITLED AANG AVATAR FILM
Fri, 1/30/26 WIDE
Rating: NR
Genre: Ani
PAW PATROL 3
Fri, 7/31/26 WIDE
Rating: NR
Genre: Ani
TMNT 2
Fri, 10/9/26 WIDE
Director: Jeff Rowe
Rating: NR
Genre: Ani
QUIVER DISTRIBUTION
FRESH KILLS
Fri, 6/14/24 LTD
Stars: Jennifer Esposito, Annabella
Sciorra
Director: Jennifer Esposito
Genre: Cri
ROADSIDE ATTRACTIONS
323.882.8490
IT ENDS WITH US
Fri, 8/9/24 WIDE
FIREBRAND
Fri, 6/21/24 LTD
Stars: Alicia Vikander, Jude Law
Director: Karim Aïnouz
Rating: NR
Genre: Dra
KILL
Wed, 7/3/24 WIDE
Rating: NR
MY PENGUIN FRIEND
Fri, 8/16/24 LTD
Stars: Jean Reno
Director: David Schurmann
Rating: PG
Genre: Dra/Fam
LEE
Fri, 9/27/24 WIDE
Stars: Kate Winslet, Josh O’Connor
Director: Ellen Kuras
Rating: R
Genre: Dra
SIDESHOW/JANUS FILMS
LAST SUMMER
Fri, 6/28/24 LTD
Stars: Catherine Breillat, Pascal
Bonitzer
Director: Catherine Breillat
Rating: NR
Genre: Dra/Thr
SONY
212-833-8500
FLY ME TO THE MOON
Fri, 7/12/24 WIDE
Stars: Scarlett Johansson,
Channing Tatum
Director: Greg Berlanti
Rating: PG-13
Genre: Com/Rom
HAROLD AND
THE PURPLE CRAYON
Fri, 8/2/24 WIDE
Stars: Zachary Levi, Zooey
Deschanel
Director: Carlos Saldanha
Rating: PG
Genre: Fam
IT ENDS WITH US
Fri, 8/9/24 WIDE
Stars: Blake Lively, Justin Baldoni
Director: Justin Baldon
Rating: NR
Genre: Rom/Dra
THE FORGE
Fri, 8/23/24 WIDE
Stars: Karen Abercrombie,
Priscilla C. Shirer
Director: Alex Kendrick
Rating: PG
Genre: Fai/Ins
THEY LISTEN
Fri, 8/30/24 WIDE
Stars: Katherine Waterston,
John Cho
Director: Chris Weitz
Rating: NR
Genre: Hor
WOLFS
Fri, 9/20/24 WIDE
Stars: Brad Pitt, George Clooney
Director: Jon Watts
Rating: NR
Genre: Thr
VENOM: THE LAST DANCE
Fri, 10/25/24 WIDE
Stars: Tom Hardy
Director: Kelly Marcel
Rating: NR
Genre: Act/Adv/Fan
Specs: Imax
HAROLD AND THE PURPLE CRAYON
Fri, 8/2/24 WIDE
KRAVEN THE HUNTER
Fri, 12/13/24 WIDE
Stars: Aaron Taylor-Johnson,
Russell Crowe
Director: J.C. Chandor
Rating: NR
Genre: Act/Adv/SF
Specs: Imax, Dolby Vis/Atmos
CineEurope 2024 91
bop_24_june_cineeurope_9.indd 91 27/05/2024 23:58:35

2024 ADVERTISING SCHEDULE
July
Giants of Exhibition
Ad Reserve: June 10
August
CinéShow | Aug 26
Rocky Mountain NATO | Sept 10
Ad Reserve: July 12
September
Geneva Convention | Sept 24
Ad Reserve: August 9
October/Nov
ShowEast | Oct
Ad Reserve: Sept 9
Dec/January 2025
CineAsia | Dec
ICTA | Jan
Ad Reserve: Nov 8
For more information,
contact Patricia Martin, VP of Advertising
patricia.martin@boxoffice.com
bop_24_june_cineeurope_9.indd 92 28/05/2024 08:40:03

ON SCREEN | BOOKING GUIDE
TWISTERS
Fri, 7/19/24 WIDE
PADDINGTON IN PERU
Fri, 1/17/25 WIDE
Stars: Olivia Colman, Antonio
Banderas
Director: Dougal Wilson
Rating: NR
Genre: Fam
KARATE KID
Fri, 5/30/25 WIDE
Stars: Jackie Chan, Ralph Macchio
Director: Jonathan Entwistle
Rating: NR
Genre: Act
Specs: Dolby Atmos
UNTITLED SONY/MARVEL LIVE
ACTION 2025
Fri, 6/27/25 WIDE
Rating: NR
Genre: Act/SF
Specs: Imax
ANIMAL FRIENDS
Fri, 8/15/25 WIDE
Stars: Ryan Reynolds, Jason
Momoa
Director: Peter Atencio
Rating: NR
Genre: Com
MY EX-FRIEND’S WEDDING
Stars: Ariana DeBose, Amanda
Seyfried
Director: Kay Cannon
Rating: NR
Genre: Com
SPIDER-MAN: BEYOND
THE SPIDER-VERSE
Stars: Shameik Moore, Hailee
Steinfeld
Directors: Joaquim Dos Santos,
Kemp Powers, Justin K. Thompson
Rating: NR
Genre: Ani
SONY PICTURES CLASSICS
Tom Prassis
212-833-4981
KNEECAP
Fri, 8/2/24
Stars: Móglaí Bap, Mo Chara
Director: Rich Peppiatt
Rating: R
Genre: Com/Dra
BETWEEN THE TEMPLES
Fri, 8/23/24
Stars: Jason Schwartzman,
Carol Kane
Director: Nathan Silver
Rating: R
Genre: Com
CRUNCHYROLL
BLUE LOCK THE MOVIE
-EPISODE NAGI-
Fri, 6/28/24 WIDE
Stars: Nobunaga Shimazaki, Yuma
Uchida
Director: Shunsuke Ishikawa
Rating: NR
Genre: Ani
UNIVERSAL
818-777-1000
DESPICABLE ME 4
Wed, 7/3/24 WIDE
Stars: Steve Carell, Kristen Wiig
Director: Chris Renaud
Rating: PG
Genre: Ani
Specs: Imax
TWISTERS
Fri, 7/19/24 WIDE
Stars: Glen Powell, Daisy
Edgar-Jones
Director: Lee Isaac Chung
Rating: PG-13
Genre: Act/Adv
Specs: Imax
SPEAK NO EVIL
Fri, 9/13/24 WIDE
Stars: James McAvoy, Mackenzie
Davis
Director: James Watkins
Rating: NR
Genre: Hor
THE WILD ROBOT
Fri, 9/27/24 WIDE
Stars: Lupita Nyong’o, Pedro Pascal
Director: Chris Sanders
Rating: NR
Genre: Ani
UNTITLED UNIVERSAL
EVENT FILM 2024
Fri, 11/1/24 WIDE
WICKED
Wed, 11/27/24 WIDE
Stars: Ariana Grande,
Cynthia Erivo
Director: Jon M. Chu
Rating: NR
Genre: Mus
UNTITLED FOURTH FILM
DIRECTED BY JORDAN PEELE
Wed, 12/25/24 WIDE
Director: Jordan Peele
Rating: NR
THE WOMAN IN THE YARD
Fri, 1/10/25 WIDE
Stars: Danielle Deadwyler
Director: Jaume Collet-Serra
WOLF MAN
Fri, 1/17/25 WIDE
Stars: Christopher Abbott
Director: Leigh Whannell
Rating: NR
Genre: Hor
DOG MAN
Fri, 1/31/25 WIDE
WITH LOVE
Fri, 2/7/25 WIDE
UNTITLED UNIVERSAL
EVENT FILM 2025 1
Fri, 2/14/25 WIDE
Rating: NR
CineEurope 2024 93
bop_24_june_cineeurope_9.indd 93 27/05/2024 23:58:38

ON SCREEN | BOOKING GUIDE
BEETLEJUICE BEETLEJUICE!
Fri, 9/6/24 WIDE
UNTITLED UNIVERSAL
EVENT FILM 2025 2
Fri, 2/21/25 WIDE
UNTITLED UNIVERSAL
EVENT FILM 2025 3
Fri, 4/11/25 WIDE
Rating: NR
HOW TO TRAIN YOUR DRAGON
Fri, 6/13/25 WIDE
Director: Dean DeBlois
Rating: NR
Genre: Act
M3GAN 2.0
Fri, 6/27/25 WIDE
Rating: NR
Genre: Thr/Hor
ALL-NEW JURASSIC WORLD
EVENT FILM
Wed, 7/2/25 WIDE
Rating: NR
THE BAD GUYS 2
Fri, 8/1/25 WIDE
GABBY’S DOLLHOUSE: THE MOVIE
Fri, 9/26/25 WIDE
Rating: NR
Genre: Ani
THE BLACK PHONE 2
Fri, 10/17/25 WIDE
Stars: Ethan Hawke, Mason Thames
Director: Scott Derrickson
Rating: NR
Genre: Hor
WICKED PART 2
Wed, 11/26/25 WIDE
Stars: Ariana Grande, Cynthia Erivo
Director: Jon M. Chu
Rating: NR
Genre: Mus
UNTITLED UNIVERSAL
EVENT FILM 2026 1
Fri, 1/16/26 WIDE
Rating: NR
UNTITLED UNIVERSAL
EVENT FILM 2026 2
Fri, 2/13/26 WIDE
Rating: NR
UNTITLED BLUMHOUSE EVENT FILM
2026 1
Fri, 3/13/26 WIDE
Rating: NR
UNTITLED ANIMATED
FILM BASED ON THE WORLD
OF SUPER MARIO BROS.
Fri, 4/3/26 WIDE
Rating: NR
Genre: Ani
UNTITLED UNIVERSAL
EVENT FILM 2026 4
Fri, 6/12/26 WIDE
Rating: NR
UNTITLED UNIVERSAL
EVENT FILM 2026 5
Wed, 7/1/26 WIDE
Rating: NR
UNTITLED UNIVERSAL
ANIMATED EVENT FILM 2026
Fri, 9/25/26 WIDE
Genre: Ani
UNTITLED BLUMHOUSE
EVENT FILM 2026 2
Fri, 10/16/26 WIDE
Rating: NR
UNTITLED UNIVERSAL
EVENT FILM 2026 6
Fri, 11/13/26 WIDE
Rating: NR
UNTITLED UNIVERSAL
EVENT FILM 2026 7
Wed, 12/23/26 WIDE
Rating: NR
UTOPIA
CHESTNUT
Fri, 6/21/24
Stars: Natalia Dyer, Danny Ramirez
Director: Jac Cron
Rating: NR
Genre: Dra
VERTICAL ENTERTAINMENT
THE EXORCISM
Fri, 6/21/24
Stars: Russell Crowe, Sam
Worthington
Director: Joshua John Miller
Rating: R
Genre: Hor
VIVA PICTURES
200% WOLF
Fri, 8/23/24 WIDE
Stars: Ilai Swindells, Samara
Weaving
Director: Alexs Stadermann
Rating: NR
Genre: Ani
SCARYGIRL
Fri, 10/11/24 WIDE
Stars: Jillian Nguyen, Sam Neill
Directors: Ricard Cussó, Tania
Vincent
Rating: NR
Genre: Ani/Adv/Fan
WARNER BROS.
818-977-1850
HORIZON: AN AMERICAN SAGA
CHAPTER 1
Fri, 6/28/24 WIDE
Stars: Kevin Costner, Sienna Miller
Director: Kevin Costner
Rating: R
Genre: Wes/Dra
TRAP
Fri, 8/9/24 WIDE
Director: M. Night Shyamalan
Rating: NR
Genre: Thr
94 CineEurope 2024
bop_24_june_cineeurope_9.indd 94 27/05/2024 23:58:42

HORIZON: AN AMERICAN SAGA
CHAPTER 2
Fri, 8/16/24 WIDE
Director: Kevin Costner
Rating: NR
Genre: Wes/Dra
BEETLEJUICE BEETLEJUICE!
Fri, 9/6/24 WIDE
Stars: Michael Keaton, Jenna
Ortega
Director: Tim Burton
Rating: NR
Genre: Com
Specs: Imax
JOKER: FOLIE À DEUX
Fri, 10/4/24 WIDE
Stars: Joaquin Phoenix, Lady
Gaga
Director: Todd Phillips
Rating: R
Genre: Dra/Thr
THE LORD OF THE RINGS:
THE WAR OF THE ROHIRRIM
Fri, 12/13/24 WIDE
Director: Kenji Kamiyama
Rating: NR
Genre: Ani/Fan
MICKEY 17
Fri, 1/31/25 WIDE
Stars: Robert Pattinson, Naomi
Ackie
Director: Bong Joon Ho
Rating: NR
Genre: Act/Dra/SF
Specs: Imax
UNTITLED RYAN COOGLER FILM
Fri, 3/7/25 WIDE
Director: Ryan Coogler
Rating: NR
ALTO KNIGHTS
Fri, 3/21/25 WIDE
Stars: Robert De Niro, Debra
Messing
Director: Barry Levinson
Rating: R
Genre: Dra
MINECRAFT
Fri, 4/4/25 WIDE
Stars: Jason Momoa, Jack Black
Director: Jared Hess
Rating: NR
Genre: Ani
FLOWERVALE STREET
Fri, 5/16/25 WIDE
Stars: Anne Hathaway, Ewan
McGregor
Director: David Robert Mitchell
Rating: NR
Genre: Thr
Specs: Imax
UNTITLED NEW LINE
EVENT FILM 2025 1
Fri, 5/30/25 WIDE
UNTITLED NEW LINE
EVENT FILM 2025 2
Fri, 6/20/25 WIDE
SUPERMAN: LEGACY
Fri, 7/25/25 WIDE
Stars: David Corenswet, Rachel
Brosnahan
Director: James Gunn
Rating: NR
Genre: Act/ADv
UNTITLED PAUL THOMAS
ANDERSON MOVIE
Fri, 8/8/25 WIDE
Director: Paul Thomas Anderson
UNTITLED NEW LINE HORROR
EVENT FILM 2025 1
Fri, 9/25/25 WIDE
THE BRIDE!
Fri, 10/3/25 WIDE
Stars: Penélope Cruz, Christian
Bale
Director: Maggie Gyllenhaal
Rating: NR
Genre: Dra/Hor
UNTITLED NEW LINE
EVENT FILM 2025 3
Fri, 10/24/25 WIDE
UNTITLED NEW LINE
EVENT FILM 2025 4
Fri, 11/21/25 WIDE
UNTITLED WB
EVENT FILM 2025
Fri, 12/19/25 WIDE
Rating: NR
THE CAT IN THE HAT
Fri, 3/6/26 WIDE
Stars: Matt Berry, Bill Hader
Directors: Alessandro Carloni, Erica
Rivinoja
UNTITLED NEW LINE
EVENT FILM 2026 1
Fri, 3/27/26 WIDE
UNTITLED DC
EVENT FILM 2026
Fri, 5/29/26 WIDE
UNTITLED NEW LINE
EVENT FILM 2026 2
Fri, 6/19/26 WIDE
UNTITLED NEW LINE
EVENT FILM 2026 3
Fri, 7/3/26 WIDE
UNTITLED NEW LINE
EVENT FILM 2026 4
Fri, 8/7/26 WIDE
UNTITLED NEW LINE
HORROR EVENT FILM 2026
Fri, 9/11/26 WIDE
THE BATMAN PART II
Fri, 10/2/26 WIDE
Stars: Robert Pattinson
Our Sponsors
Advertiser
Agile Ticketing Solutions 30
Barco
Page
Image Credits & Acknowledgments
BC
CineEurope 10
Cinity/Christie 69
Cretors 79
Digital Cinema United 4
Gold Medal 90
ICE Theaters Cover, 7
Kinepolis 56
Lighting Technologies Int’l 3
Moving Image Technologies 2
Packaging Concepts Inc. 77
Premiere 53
Picturehouse 45
Q-SyS 96
Ricos Products 65
Rocky Mountain Theater Convention 86
Ready Theater Systems 21
Screenvision 85
Sensible Cinema 83
Spotlight Cinema Networks 25
St. Jude 88
TAPOS by Jacro 33
Telescopic SeatingSys
Cover: Art courtesy ICE Theaters
Page 5: Quiet Place Day One, Courtesy of
Paramount Pictures. © 2024 Paramount
Pictures. All Right Reserved.
Page 6: Courtesy Music Box Theatre
Page 11: Courtesy Marion Delique, The
Boxoffice Company
Page 12: Jane Hastings headshot
courtesy NATO
Page 13: Photos courtesy EVT (top) and
CJ CGV (bottom)
Page 14: GCF Board photo courtesy
NATO
Page 16: Courtesy Marion Delique,
The Boxoffice Company
Page 17: Stacy Bratton at Bratton
Photography
Page 18: Photo courtesy Stephen Brouzet
Page 19: Photos courtesy Star Cinema
Grill
Page 20: Photo courtesy Christie
Page 22: Tickets for Good image courtesy
Fandango; Classic Cinemas/Variety -
Photo courtesy of Variety the Children’s
Charity
Page 23: Variety KC - Aubrey’s Dream
photos by Allison Bush; Heart of Inclusion
Gala photos by Shawn Hale; courtesy
Variety the Children’s Charity
Pages 26-27: Pigprox/Adobe Stock Photo
Page 28: Courtesy Music Box Theatre
Page 31: Photo courtesy Cineworld
Page 32: Photo courtesy UNIC
Pages 36-39: Photos courtesy their
respective chains
IFC, IBC
The Boxoffice Company 15, 21 49, 80, 89
The Boxoffice Podcast 68
Vista 1
Pages 42-44: Courtesy Picturehouse
Pages 47: Francesca Mantovani/
Gallimard
Pages 50-53: Courtesy Apollo Kino
Page 54: Courtesy Kinepolis
Page 55: romanb321/Adobe Stock Photo
Page 57: Photos courtesy ICTA
Pages 58-61: Photos courtesy AMC
Pages 62-64: Photos courtesy Cineworld
Pages 66-67: Images courtesy Ricos
Products
Page 70: Yeti studio/Adobe Stock Photo
Pages 70-77: All photos and logos
courtesy of their respective companies
Page 78: Photos courtesy ICTA
Page 81: The Wild Robot photo courtesy
DreamWorks
Page 82: JESUS: a Deaf Missions film still
courtesy of Iconic Events Releasing
Page 84: Mufasa: The Lion King, Photo
courtesy of Disney. © 2024 Disney
Enterprises Inc. All Rights Reserved.
Page 87: Alien: Romulus, Photo courtesy
of 20th Century Studios. © 2024 20th
Century Studios. All Rights Reserved.
Page 91: (top) It Ends with Us, Courtesy
of Sony Pictures. © 2024 CTMG, Inc. All
Rights Reserved. (bottom) Harold and the
Purple Crayon, Courtesy of Sony Pictures.
© 2024 CTMG, Inc. All Rights Reserved.
Page 93: Twisters, Courtesy of Universal
Pictures. Photos by Melinda Sue
Gordon/Universal Pictures; Universal
Pictures, Warner Bros. Pictures & Amblin
Entertainment
CineEurope 2024 95
bop_24_june_cineeurope_9.indd 95 27/05/2024 23:58:42

op_24_june_cineeurope_8_size.indd 96 25/05/2024 14:32:50

cover_layout.indd 2

of brilliance
with Barco Series 4
Visit Barco at CineEurope
Location: MR 111 – P1 Level