Category Archives: Analysis

Good Dose of Reality Is the Perfect Antidote For All the Netflix Fear Mongering

Crouching Tiger Sequel on Netflix and IMAX

It’s been a week since streaming media giant Netflix announced two big agreements which signal the company is aggressively moving into a space once occupied exclusively by motion picture distributors and exhibitors. One calls for a sequel to the martial arts classic “Crouching Tiger, Hidden Dragon” to be released next August day-and-date on Netflix and in select IMAX theatres. The other sees Netflix enter into a deal with actor Adam Sandler to finance and distribute four feature films.

In their pieces on the announcements journalists used phrases such as “landmark”, “game changer” and “paradigm shift” so often the words lost all meaning. A week later, it turns out the sun still rises in the east and sets in the west, North American movie theatres were just as crowded as ever over the weekend and cinema goers still gobbled up popcorn while watching the latest releases.

This is not to say Netflix’s moves weren’t noteworthy or significant, but rather that the pots of ink (both virtual and otherwise) spilled covering the news were, more often than not, used to write overblown treatises filled with hyperbolic predictions of the industry’s demise crafted primarily to play on the fears of those who depended on it for their livelihoods. Now that everyone’s initial excitement has died down we hope to bring some sanity back into the conversation by examining a few often overlooked concepts.

Crouching Content, Hidden Sequel
Before last week, how many of you actually knew that a sequel was being made to “Crouching Tiger, Hidden Dragon”? After last week’s Netflix news, you can more than triple the number of people who know about the movie, and that’s being extremely conservative. Mainstream media had hitherto paid little notice of the sequel being made to a fourteen-year-old Chinese-language film.

Sure, “Crouching Tiger, Hidden Dragon” was a blockbuster when it was released in 2000; the first foreign language film in the United States to earn more than USD $100 million and for years was the country’s highest grossing foreign language movie of all-time. The movie was also nominated for ten Oscars, the most Academy Award nominations ever received for a foreign language film, a record the film still holds. “Crouching Tiger” went on to win four trophies including Best Foreign Language Film and it served to jump-start the career of director Ang Lee, who was already a well respected helmer.

When it comes to the sequel none of that matters however, in part because so many of the elements which made the original “Crouching Tiger” film a success are missing. Stars Yun-Fat Chow and Ziyi Zhang are missing, leaving Michelle Yeoh as one of the few returning cast members. The screenwriters, including James Schamus, are absent as well. Perhaps most importantly, Ang Lee will not be directing.

Instead, Woo-ping Yuen has been tapped to direct the sequel being penned by John Fusco. Arguably an incredibly influential figure of the Hong Kong action genre, Yuen has only made one film in the past 20 years; “True Legend” in 2010 which cost RMB ¥122.6 million (USD $20 million) to make and only made RMB ¥46.5 million (USD $6.82 million). He has been working predominantly as a fight choreographer for movie such as “Kill Bill: Vol. 2″.

To be sure Yuen may be a fine and capable director, though currently is a bit of an open question due to his limited creative output in recent years. So too then is the quality of “Crouching Tiger, Hidden Dragon: The Green Legend” itself. When Netflix first announced they would finance and open the film it raised speculation that the sequel may not actually be any good. Realizing this, the movie’s distributor, The Weinstein Company, may have been trying to lay off some of their risk on the production, if not entirely recoup their expenditure, by selling Netflix the rights to distribute it.

Brooks Barnes of the New York Times echoed these sentiments as a guest on Showbiz Sandbox this week stating that The Weinstein Company “…got a huge big publicity pop for this sequel and that has to be viewed in that context. Yes it’s sequel to one of the best performing foreign films ever, but if you look closer at that film there are some questions about it…. you just kind of have to wonder what kind of sequel is this? Is this a route that gets them a big headline for something that may ultimately been a direct to home video title all along.”

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Early Release Of “Interstellar” On Film Is A Nostalgic Marketing Coup

Interstellar Film Ad

A heated industry debate was sparked last week by the announcement that Paramount and Warner Bros. would release director Christopher Nolan’s next movie, “Interstellar”, on film. Many of you may recall film as the sprocketed acetate material used by the motion picture industry to shoot, distribute and exhibit movies for more than a century before Hollywood studios “forced” cinema owners to install digital projectors. Adding insult to what some theatre operators see as injury, “Interstellar” will open two days early in theatres showing it on 35mm, the rarefied 70mm and IMAX.

I can understand the frustration certain exhibitors must feel at such news. Having shelled out millions to upgrade their facilities, they wind up watching those using analog technology get rewarded with exclusive access to a highly anticipated title (even if only for two days).

Maybe because of my age and generational ties, or maybe because I was trained at an educational institution commonly referred to as a “film school”, I am rather excited “Interstellar” will be shown on good old fashioned celluloid. I believe, with certain caveats, the decision can help boost the movie’s box office across all sites in which it is booked, no matter the method of projection.

Let me explain.

I used to own a phonograph. I don’t anymore, though kind of wish I did. My last turntable was part of a component stereo system which I purchased upon graduating high school. It was 1989, a time when record stores still stocked vinyl alongside shiny compact discs. Heck, it was even a time when record stores still existed. Ultimately, those reflective CDs took over more retail space and pushed vinyl records into a small corner of most stores. Some merchants just stopped carrying vinyl altogether.

I lugged that turntable around for the next 16 years from dorm room to dorm room and between every shack, apartment, and home I ever leased or owned. Even though I stopped unpacking my crate of vinyl records after moving into a new home, I’d still make certain to set up the phonograph… just in case someone stopped by with a first pressing of Led Zeppelin’s last album. At some point shortly after Napster had decimated the music industry through digital file sharing, I realized the absurdity of continuing to make room for the record player in my stereo cabinet. It was relegated to the garage… stored next to the crate of records it was meant to be playing.

The phonograph sat there gathering dust for a few years as any sentimental or psychological attachment I had to it withered. I finally gave it away to some friend of a friend. I can’t even remember who exactly. Of course, I would never give up my crate of records. There are some real gems in there dating all the way back to my days in primary school, including an autographed copy of “Bob McGrath Sings For All The Boys and Girls“.

At this point you might be wondering what my record player has to do with “Interstellar” being released on film. Technically, it doesn’t. Emotionally however, there are direct ties. To me, a phonograph and vinyl records evoke a certain nostalgia of a “simpler” time when musicians performed on real instruments, when recorded music sounded better than the compressed bytes we now listen to and when music was considered more important than it is today. Of course, the reality is that musicians were often playing instruments that required electricity, the audio quality of compact discs was far more consistent over time and music is just as important today as it was when vinyl records were en vogue. Still, the vinyl medium and technology are tied in my mind to memories that are generally positive.

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Zut Alors! France Discovers Secret to Reversing Cinema Decline

France 4 Euro scheme

While the US grapple with a poor summer box office (BO) most of western Europe seems to have accepted that as a mature cinema market, its countries will see stasis or gradual stagnation only interrupted by the occasional outsize local hit (Italy last year, Ireland this summer). German epitomises this trend, with the recent study of cinema attendance 2009-2013 showing an overall slow decline.

But one European country has challenged the notion that secular decline in the cinema sector is a structural inevitability of changing demographics, technological and economical trends – and it appears to have reversed that decline. Not surprisingly, perhaps, the country in question is France.

France is the only country in the world to take cinema seriously enough to consider the declining cinema attendance a national emergency. Having launched several public initiatives to counter it, the good news is that early indications are that the decline can not just be halted but reversed.

Focus on the Next Generation of Cinema Goers

We have reported earlier on preliminary findings, but these have now been confirmed by the the Centre National du Cinéma (the National Cinema Centre - CNC) in a major report.

On 1 January 2014 French exhibitors introduced a scheme whereby children under the age of 14 would only pay four euro (€4 – USD $5.25) for cinema tickets for every screening of every film for every day. This was a joint public-private effort with the French government doing its part, as noted in an article published a month before the scheme was launched.

This operation, “launching in 2014 but which is intended to continue beyond”, is in the context of the government’s decision to lower on January 1st the VAT on cinema admissions of 7.5% to 5% said Marc-Olivier Sebbag, General Manager of the FNCF (National Federation of French Cinemas).

The VAT reduction desired by the government, is being voted on by MPs. The Minister of Culture Aurélie Filippetti welcomed the “democratization initiative taken by members of the FNCF.”

There was some opposition from distributors at the time – I can’t imagine Disney in particular being thrilled about this – but with buy-in from all cinemas, as well as the Ministry of Culture, there was no way that Hollywood studios would be permitted to obstruct this initiative.

French films 2014 6-14 year olds

The FNCF was clear that the goal was to reverse the declining attendance, though they were prepared to re-appraise the terms and methods, based on how it played out.

For the federation, the goal is, “in a context of declining attendance,” to encourage young people to come “more easily and more frequently to the movies” and build audiences for the future. “This is a population that goes to the movies as a family, we therefore address the more general family audience,” said Marc-Olivier Sebbag.

“We will take stock at the end of the first year and we will see whether it should be adjusted, for example by changing the age or price,” said he said.

With under-14 accounting for eight to nine percent (8%-9%) of total admissions, or 16 million out of 200 million, this was a significant step as average ticket prices for this age group was €5.50, compared to the average cinema ticket price in France of €6.42.

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Chinese Box Office Growth Driven by Women and Millennials

Tiny times 3

The China Film Association and other units launched the “2014 Chinese Film Art Report” and “2014 China Film Industry Report” earlier this week in Beijing.

The reports analyse cinema consumption patterns of domestic Chinese films and finds that they are primarily driven by females, Millennials and repeat viewing, with an astonishing per head spending of several hundred dollars per month at the multiplex. The reports also worries about the “shallow” themes of some of the most popular Chinese films.

With foreign (mainly Hollywood) films restricted in the Mainland market under the 20+14 quota, China’s cinema growth is taking place mainly on the back of domestic films. The government is keen to encourage this growth, which is why it is focusing research efforts on understanding cinema consumption patterns.

These two reports look at 2013 releases, which totalled 311 movies, of which 250 were domestic films(1) and 61 foreign films(2). Out of these 219 were categorized as genre films, such as comedy, romance, and action films, while 31 were categorized as “non-genre”.

It notes that out of 59 films that earned more than one billion yuan at the box office 32 were domestic, with domestic films accounting for 58% of overall takings, the highest number ever for Chinese cinemas.

‘A Great Leap Backward’

The report and articles about it seize upon the youth focus and themes of the most successful films.

It is noteworthy that the themes about the current urban population of the urban youth film themes of love and youth, grow up to become a dark horse, and rescue. The higher box office films “To Youth”, “Tiny Times”, “Chinese Partner,” “Break the Contract”, “That Was Stolen Five Years”, etc., all have a youthful theme. But the report notes that, while a good number of youth films, many of the movie lacks intrinsic emotional power and creative artistic qualities, and themes of these films focus on youth and substance, youth and love, youth and nostalgia, but lack a richer ambiguity.

The article goes on to lambast the “speculative mentality prevailing” in many youth films with the highest market share, saying “the youth theme of this bonanza is shallow excessive consumption.” The sentiment is perhaps understandable as even western media has latched onto what makes films such as “Tiny Times 3″ so popular.

YouTube Preview Image

Here is for example what the BBC had to say about it:

Tiny Times couldn’t be further from Mao’s ascetic communism: it is a wholesale celebration of conspicuous consumption and materialism that has been described as a cross between Sex and the City and The Devil Wears Prada.

The series follows four attractive, fashion-obsessed young women in Shanghai: Lily, Ruby, Lin and Nan Xiang. It chronicles their lives and romances. The actresses look perfect – nicely groomed and slim. There are constant references to sports cars and expensive brands such as Prada and Gucci. The characters are often in opulent surroundings as they enter into relationships with handsome, well-dressed men.

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German Cinema Screen Trends 2009-2013: Specialist Screens See Strong Growth

German cinema screens 2009-2013

The German Federal Film Board (FFA) has just published a detailed study (pdf) of cinema screen trends over the last five years, with some surprising findings. As a mature exhibition market, multiplex numbers are static, but there is significant growth of outdoor and specialist screens.

The number of multiplex screens in 2013 was exactly the same as in 2009: 1,294, though peaking at 1,301 in 2010. There were more than twice as many non-multiplex/traditional screens, though these declined from 2,870 in 2009 to 2,737 in 2013 in a trend that is likely to continue and contributed to decline of total screens, though at just -0.2% in the most recent year (equivalent to seven screens), less pronounced than past years.

Though the report does not mention it, it is important to remember that these were the key years for digital cinema implementation in Germany. However, the full digital death toll is likely to only come in the statistics for 2014 when the termination of 35mm print distribution is likely to see a significant drop in the numbers of ‘traditional screens’.

What is most interesting to note is the growth of specialised screens, which increased from 570 in 2009 to 586 in 2012, before settling at 579 for the last year of the report. These include Community/Culture centre cinemas (162), Associations (136) and University cinemas (126), with other types of cinemas as well, most of which did not screen film on anything more than a weekly basis.

Falling Overall Attendance

German cinema attendance

Despite two small year-on-year rises in the years covered by the report, overall cinema attendance in Germany is showing a slow but steady decline. Interestingly traditional screens have held their own against multiplex screens, having nearly half of the total market – 49.2% against 46.9% for the multiplex screens. Multiplex screens only outperformed traditional screens in 2010, which was also the year of lowest overall cinema attendance.

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China Cinema Future – Barrage 2: Return of the Tucao

Cinema barrage

We were quite overwhelmed by the response to last week’s article about how China is inventing the future of cinema with the concept of ‘barrage’. (Thank you for all the tweets, Facebook posts, emails, LinkedIn mentions and other shares.) So we have decided to do what Hollywood always does when it has an unexpected hit on its hands, which is to quickly rush out a sequel.

The cinema barrage concept also stirred a lot of interest in China (we’ve found no less than 353 articles). In the last piece we focused on the trial involving The Legend of Qin (a.k.a. Qin’s Moon). This time we look at the other film to have tried this concept in a slightly different format at the same time, Generation 90 blockbuster Tiny Times 3.0.

Putting it all on the screen

Unlike the Legend of Qin special ‘barrage’ screening you can see from the picture above that for Tiny Times 3.0 the barrage was overlaid on the main screen showing the films, rather than projected onto the walls on either side of the screen. This makes the tucaos harder to ignore, so it is obviously only something for those cinema goers who seek out this activity, rather than casual cinema goers.

Call it striking up a conversation with the auditorium or turning the cinema screen into a graffiti wall for people to sign temporary messages.

JRJ.com interviews Wang Jun, who was responsible for the Tiny Times 3.0 barrage trial.

Mr Wang was keen to point out that this was an early experiment and is not something that should be expected to be rolled out to every screen any time soon. But the first question was about the equipment and cost.

Wang says that “the barrage is not complicated. There are numerous equipment package available now that add up to about 100,000 yuan [USD $16,240].” He then goes on to elaborate:

First, the film technology currently requires a digital movie player is a secret key [KDM?]. Simultaneous subtitles during playback and video cannot be implemented under the current terms from the policy. This broadcast mainly relies on our software. Only a screening device hardware is not speculation that the two were a movie projector screen with a barrage content superimposed on each other.

The current software was designed for 200 simultaneous participants, which Wang admits is a problem when you have sold 250 tickets. Questioned about whether the wifi network can handle that many simultaneous streams, Wang points out that because these are only short messages there is actually relatively little data being handled.

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Quarterly Results: RealD (Good) and NCM (Not)

RealD logo

We are coming to the end of the current season of quarterly financial results, with RealD and National CineMedia, Inc announcing their respective Q1 2015 and Q2 2014 results. One is good and the other one not so good.

Starting with 3D technology licensing company RealD, the figures should please investors, with a 43% EBITDA year-on-year growth and net income of over USD 5 million. The press release gives the details:

Total revenue was $55.4 million, comprised of license revenue of $36.0 million and product and other revenue of $19.4 million. For the first quarter of fiscal 2014, total revenue was $59.2 million, comprised of license revenue of $37.3 million and product and other revenue of $21.9 million.

China license revenue represented 14% of total worldwide license revenue, up from 8% in the first fiscal quarter of 2014.

GAAP net income attributable to common stockholders was $5.5 million, or $0.10 per share, compared to GAAP net loss attributable to common stockholders of $1.5 million, or $0.03 per diluted share, for the first quarter of fiscal 2014.

The key metrics are interesting in terms of showing RealD weathering a slowdown in North America, both in terms of deployment and box office, with growth in emerging markets more than compensating and in some cases overtaking US/Canada numbers.

  • Estimated box office generated on RealD-enabled screens(1) for the first quarter of fiscal 2015 was $787 million ($387 million domestic, $400 million international). In the first quarter of fiscal 2014, estimated box office generated on RealD-enabled screens was $838 million ($431 million domestic, $407 million international).
  • Ten 3D films were released in the first quarter of fiscal 2015, compared to eight 3D films in the first quarter of fiscal 2014. These figures reflect the number of 3D films released domestically during the periods.
  • International markets generated 63% of license revenue and 34% of product and other revenue in the first quarter of fiscal 2015.
  • As of June 30, 2014, RealD had deployed approximately 25,600 RealD-enabled screens, an increase of 9% from approximately 23,500 screens as of June 30, 2013, and an increase of 400 screens (50 domestic, 350 international), or 2%, from approximately 25,200 screens as of March 31, 2014.
  • As of June 30, 2014, RealD had approximately 13,450 domestic screens at approximately 3,000 domestic theater locations and approximately 12,150 international screens at approximately 3,000 international theater locations.

In the earnings call (transcript by Seeking Alpha, as always) CEO Michael V. Lewis pointed to a 20% cost reduction and significant growth in China, Russia and Latin America as keys to the company’s success in this quarter.

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China Just Invented the Future of Cinema Watching (But Everyone Older Than 30 Will Hate It)

The Legend of Qin - Qin's Moon

This week saw a cinema screening in China that may prove a watershed moment for how films are watched on the big screen. But chances are that unless you are a Millennial, particularly in Asia, you are not going to want to embrace it.

I’ve seen things…

Covering mainland China as a non-Mandarin speaker based in Singapore for me is a bit like watching an outdoor screening of Bladerunner from a neighbouring roof through a pair of binoculars; I can make out most of what is happening, pick up a lot of what is said, though I cannot pretend to understand everything that is going on. But to quote from the films memorable final monologue, “I’ve seen things you people wouldn’t believe.”

Because my perspective, disadvantaged though it may be, provides some fascinating insights into things happening in the Chinese exhibition industry, whether it is bizarre hammer attacks, concession food hygiene scares, Wanda IPO shenanigans or inherent structural market weaknesses - and that’s just in the last two weeks! And like Bladerunner this perspective offers a very real glimpse into the future – of cinema.

Because it is important to remember that the future of cinema does not lie in the west, which only offers stasis or a gentle decline of shrinking older audiences into wider, more comfortable and expensive seats, watching Avengers VII or a Met Opera. That is how THE END of cinema going as we know it plays out in cinema auditoriums everywhere from multiplexes in Manchester to art-houses in Atlanta, observed with gourmet popcorn and a glass of wine in our hand.

Whereas in China and Asia, cinema continue to grow and evolve as a social experience in the non-flickering digital projection light off the Imax/CFG screen. That is where we have to look to understand the future, particularly if we want to remain part of it.

China and Asia – the Cinema Innovators

We don’t need to rehash the already well-established importance of China to the global film and cinema business, whether it’s the gargantuan box office earning of Transformers 4 or the fact that it is the single most important growth market for Imax. What is important is not that China is now the second biggest cinema market in the world – though on uncertain foundations, as we’ve discussed many times before – but that it is a market that is continuing to expand.

This is equally true for the rest of the Far East and Southeast Asia, with the exception of Japan. The cinema business in South Asia is also growing, but with more restrictions, particularly in India where it is hampered by red tape and costly malls. (India also has a different and more traditionalist – not to say conservative – cinema going culture, that is in many way closer to that in the west than in China.)

So when we talk about China, it is often also a shorthand for talking about cinema developments in an arc across Asia that stretches from Seoul/Beijing/Tokyo, down through Singapore/Jakarta/Kuala Lumpur through to Chennai/Islamabad/Dubai.

It is in these markets that we are seeing the greatest innovations when it comes to cinemas. This comes from most of them being under-screened and unencumbered by legacy cinemas and multiplexes with their analogue heritage, as well as having a young population. It is easier to embrace the future if you can build it from scratch than if you have to retrofit it, particularly for audiences that don’t have a fixed concept of what ‘cinema’ should be. Asia is the only continent where the majority of cinemas that have never seen a 35mm print will soon outnumber those that at least once had a film projector. Asia *is* digital cinema.

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Can Filmmakers Really Help Kodak Craft A New Image?

Tired of Hearing Film Is Dead

The long standing uncertainty over the future of 35mm motion picture film was finally laid to rest this past week by the Eastman Kodak Co. causing the industry to heave a huge sigh of relief. That’s one way to look at the company’s announcement of an agreement with what the Wall Street Journal referred to as a “coalition of studios” for the guaranteed purchase of set quantities of film stock over the next several years. Another way to see the news is as a temporary stay of execution for the medium.

Whether the stay will turn into a permanent reprieve for film depends on many factors not the least of which are the length of the deal, the amount of film stock being manufactured and the continued creative preference of filmmakers. More importantly, it hinges on whether Kodak changes the strategy and approach of its historic motion picture business. If recent maneuvers are any indication, there may be some hope, however slim. Let me explain.

Mandatory Prerequisite Background
No story about the current state of the Eastman Kodak Co. or its future potential would be complete without reviewing the company’s last several years, specifically the time period leading up to and after January 19, 2012. That was the date the 124-year-old company filed for Chapter 11 bankruptcy protection. The adoption of digital imaging and photography both in the consumer and commercial markets devastated Kodak which wasn’t able to modify its business and product lines fast enough. The recent announcement about motion picture film stock finally gives us a little glimpse into the financial damage the company suffered during the transition to digital cinema.

According to Jeff Clarke, who took over as the CEO of Kodak this past March, the sale of motion picture film declined from 12.4 billion linear feet in 2006 to 449 million feet last year. You don’t need a degree from a fancy business school to know that a 96% decrease in revenue is a bad thing. The sale of film stock, once a profitable cash cow for the company, now accounts for under 10% of Kodak’s USD $2.2 billion annual revenue.

Since 2003 Kodak laid off 47,000 employees (and stand at around 8,500), closed 13 manufacturing plants along with 130 processing labs. The industry as a whole went from 260 motion picture laboratories capable of handling film in 2011 to 111 last year. As certain studios ceased the distribution of their releases on 35mm even giants such as Deluxe shuttered their film operations in the United Kingdom and United States, auctioning off their analog lab equipment.

This year Clarke reports Kodak will likely lose money manufacturing motion picture film and hopes to break even in 2015.

Examining The Past To Predict The Future
Much has been written over the past few years about how Kodak wound up in such dire straits despite having survived more than a century as one of the most widely recognized and dominant brands in the world. Most news stories focused on the company’s slow response to the transition toward digital photography. Though this may be true, Kodak may have avoided its financial difficulties if it had spent more time studying not only its own past, but also that of photographic technology which has never remained static for long.

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Cinema Audiences Getting Older, German Study Finds

FFA logo

The German Federal Film Board (FFA - Filmförderungsanstalt) has published its annual reports on cinema attendance and Top 75 films for Germany in 2013.

Noting successes for German titles last year, the two reports also record a significant decline in cinema attendance by young people but also a marked increase by older patrons. The findings are in line and emphasise trends in other developed markets, highlighting the needs to promote youth cinema attendance, while at the same time anchoring older audiences.

Demonstrating the customary German thoroughness and attention to detail, the reports were produced on the basis of the Media*Scope project from the Gesellschaft für Konsumforschung (GfK), whose film-related data FFA has exclusive use of, with the panel including no less than 25,000 participants and representatives of the German population over the age of 10.

The first report ‘Auswertung der Top 75-Filmtitel des Jahres 2013 nach soziodemografischen sowie kino- u. filmspezifischen Informationen’ (Evaluation of the Top 75 Movie Titles of 2013 by socio-demographic and cinema-and film-specific information)(PDF link) looks at the box office performance of German cinemas of the past year. While German box office as a whole declined from euro 1,033 million to euro 1,023 million (down one per cent) and attendance fell by 4% from 135.1 million to 129.7 million, as highlighted in the European Audiovisual Observatory 2013 annual report’s findings, the FFA report accentuates the positive by focusing on the success of German films.

Germany Top 75 Cinema attendance

Of the 75 most popular film of 2013 no less than 22 were German productions, which achieved an attendance record of 25.2 million tickets sold. This is more than twice as much as the 13 German productions that broke into the Top 75 in 2012 and only achieved attendance figures of 11.3 million ticket buyers. Local production “Fack Ju Göthe” is also the first German film since 2008′s “Keinohrhasen” to be the most successful film of the year, whether German or Hollywood. However, total attendance for both the Top 75 and all film were down on 2012. Even if they were up on the prior two years, the recent high-water mark is still 2009 (Avatar).

Germany cinema attendance age group

The report does an excellent job of breaking down cinema attendance for each Top 75 film by age (above), gender, income group, employment status, educational level, household size, day-of-the-week attendance, awareness of film’s genre and enough other categories to make even Nate Silver cry uncle!

It is the second report, however, that makes for more troubling reading: ‘Kinobesucher 2013 – Strukturen und Entwicklungen’ (‘Moviegoers 2013 – structures and trends’) (PDF link).

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