In last week’s Marquee newsletter I stepped right into a trap that has snagged many a rookie award winner throughout the years.
Nominees for entertainment industry awards are often warned against thanking colleagues, associates, companies, etc. by name in acceptance speeches. Not only can rattling off such lists of names be boring to most of the audience for such ceremonies, but inevitably, in the midst of your big moment, you’re going to forget to mention someone important, like a publicist, a makeup artist, a producer, an agent, or if you happen to be Hilary Swank, your spouse.
So in last week’s Marquee when I began listing all the film industry events happening in the last four months of 2024, I knew I might miss one… maybe two. Thanks to you, our loyal readers, I was reminded of more than just a couple. Starting off with UNIC Cinema Days 2024, which is being put on in Brussels right now by the International Union of Cinemas and where our very own Helen Budge is in attendance. This is usually a very informative two days chock full of cinema industry insights, like the kind that can be found in their recent “Box Office and Beyond” report authored by Omdia’s David Hancock.
I also shockingly overlooked Big Cine Expo, an industry trade show which took place the first week of October in Mumbai, India. Another gathering in our rear view mirror is the International Film Distribution Summit which happened in Cologne, Germany last week. In this week’s newsletter we detail some of the learnings on film distribution in Africa that were discussed during the event. Meanwhile, last week in Saudi Arabia, the country put on the second Saudi Film Confex. As you’ll see from our stories about the event on Celluloid Junkie and below, the conference is specifically geared toward transforming the Kingdom into a global film industry hub and covers everything from production to exhibition.
For those looking to add more cinema industry events to their 2024 itinerary, you can always catch Ms. Budge’s presentation at Film & Kino’s Norwegian Cinema Conference taking place in Lillehammer, Norway from 4-7 November. Or you can head to Australia’s Gold Coast for the 2024 Australian International Movie Convention (AIMC) which starts on 28 October.
Interestingly, this year’s AIMC is being “Powered by Vista Group” and when I saw that I began to reflect on the multitude of events supported by the cinema industry’s manufacturers and service providers. That Galalite presented Big Cine Expo or that the latest Barco projectors were used during CineEurope is surely to be expected, as these are exhibition and distribution driven conference. However, it is easy to forget that Dolby has been providing the sound for the Sundance Film Festival for years, if not decades.
Barco has provided technical and projection support for the Berlinale (Berlin Film Festival). This year alone Christie has provided support for the Cannes Film Festival (where Harkness Screens is also a partner), the Toronto International Film Festival, SXSW Sydney, and the London Film Festival among many others. Meyer Sound brought its solutions to the Telluride Film Festival in September. Even software developers like Arts Alliance Media are lending a hand by providing their theatre management solutions to festivals such as San Sebastian, Rome and Sitges.
What might be just as beneficial to film festivals as the in-kind equipment and technology these companies supply is the technical support that comes with it. Just like at CinemaCon or ShowEast, these companies are making a major commitment in human resources to partner with festivals. For instance, Harkness Screens and Christie have staff in Cannes throughout each year’s festival. A cinema tech from Dolby spends weeks in Park City, Utah working with Boston Light & Sound to pull off Sundance.
It’s kind of nice to remember and appreciate, every so often, how much effort the cinema industry vendors we all rely on for movie theatres, put into all of the conferences and cultural events we attend.
Conferences & Trade Shows
Saudi Film Confex Places Kingdom’s Film Industry on World Stage
Saudi Arabia continues to position itself as a global hub for film the film industry as was quite clear during the second edition of the Saudi Film Confex, a four day event which took place 9-12 October in Riyadh. Minister of Culture Prince Badr bin Abdullah opened the event with a keynote speech that detailed the ambitious vision to “empower talents and open up horizons for strategic partnerships” in film production, distribution, and exhibition. He emphasized the need for infrastructure development and creative content that will enhance the Saudi film industry’s competitiveness on both regional and international stages.
Saudi is already the top movie market in the Middle East, by box office, a mere six years after lifting its 35-year ban on movie theatres. The Confex registered over 70,000 attendees made up of a diverse group of filmmakers, producers, and industry experts, and at least one A-list actor; Will Smith. They were able to participate in numerous panel sessions and workshops covering the cultural and economic impact of the growing film industry in the Kingdom. As well, over 130 companies and government agencies participated either by attending or actually setting up booths and meeting spaces a the event.
Among the major announcements at the event, Muvi Studios, the production arm of Saudi Arabia’s leading cinema chain, unveiled several new deals, including a partnership with Sirb Production on the anticipated social satire “Lail Nahar.” Directed by Abdulaziz Almuzaini, the film is set to release in December and is said to be a blend humor and commentary on the Saudi entertainment industry. Muvi Cinemas CEO Adon Quinn expressed excitement for the project, stating that it represents the creative future of Saudi cinema. “This film represents the bold, forward-thinking approach we are committed to bringing to the Saudi film industry,” he said. Additionally, Muvi signed deals with Black Light Productions and filmmaker Ayman Khoja, further solidifying its commitment to nurturing local talent and producing Saudi-made films.
Source: Celluloid Junkie
Conferences & Trade Shows
International Film Distribution Summit Spotlights African Market
Challenges and opportunities for African film distributors were a key focus at the European Work in Progress (EWIP) sessions and International Film Distribution Summit (IFDS) in Cologne, Germany last week. Mike Strano, co-founder and COO of Kenyan distributor Yakwetu, highlighted the difficulties facing local filmmakers in Kenya, where cinema attendance is low. “You’re looking at an audience of 200,000 out of a total population of 56 million,” Strano said, noting that Hollywood and Bollywood films dominate the screens due to the lack of demand for local content.
Strano also pointed out the massive impact of piracy in Africa, especially in Kenya, where the penetration of subscription video on demand (SVOD) services remains below 1%. “We estimate that, in Kenya alone, the country is losing $2.2 million a day to piracy,” he revealed, emphasizing that piracy affects multiple sectors, including cinema, TV, music, and book publishing. With 54,000 informal “movie shops” offering pirated content, Strano called for stronger efforts to combat this issue and support local film distribution.
Julien Razafindranaly of Berlin-based Films Boutique discussed the benefits of structuring films as European co-productions when distributing European films in Africa. He cited “The Blue Caftan,” a Morocco-set film, which benefited from EUR €600,000 in European subsidies to aid its release. However, Razafindranaly acknowledged that selling European films in Africa remains challenging due to the continent’s limited exhibition landscape, despite some new developments in Morocco, Tunisia, and Egypt.
Source: Screen Daily
People
NATO Appoints Andrew Stewart as Chief Communications Officer
The National Association of Theatre Owners (NATO) has appointed Andrew Stewart as its new Chief Communications Officer. Stewart will now handle the association’s communications and media relations strategies. Based in Los Angeles, Stewart will report directly to NATO President & CEO Michael O’Leary, with key responsibilities including raising awareness of the industry’s $2.2 billion investment in theater upgrades and enhancing the visibility of CinemaCon, NATO’s annual exhibition convention.
Stewart brings extensive experience from his previous role as Vice President at 42West, where he led strategic communications across various industries, including entertainment and technology. His background also includes roles at Participant and IMAX, where he contributed to campaigns for major films such as “Wonder,” “The Post,” and “Star Wars: The Force Awakens.” O’Leary praised Stewart’s strategic vision, saying, “Andrew will be invaluable to ensuring that exhibition is part of the ongoing conversation about the future of filmed entertainment.”
Stewart expressed his enthusiasm for the new role, citing his passion for storytelling and moviegoing. “The opportunity to join NATO and tell their story on behalf of the exhibition community is nothing short of perfect,” he said. Stewart’s journalism background, including his time at Variety, has earned him multiple awards, and he holds degrees in journalism and film studies from the University of Nebraska.
Source: Celluloid Junkie
Technology
AgileTix Releases Enhanced Version of Ticketing Solution
AgileTix has rolled out version 6.35 of its Agile Ticketing System software, which is utilized by many arthouses and indie cinemas throughout North America. The Tennessee-based company says the update introduces several key improvements aimed at enhancing distributor management, event and film handling, and overall user experience. One of the most significant updates is the integration of Maccsbox, a tool that streamlines film title matching, automates reporting and streamlines distributor workflows. The new feature allows a reporting method to be assigned by distributor — whether manual, via email, Comscore, or Maccsbox — simplifying the process of managing gross revenue reports.
The update also brings several customer-focused enhancements, including a redesigned web interface and an improved ticket purchasing experience. Moviegoers can now return paid tickets and receive refunds as account credits, offering greater flexibility. Additionally, the update introduces improved event and film management features, including the ability to manage distributors and set reporting preferences within the system. The platform also offers better account management options, enabling an exhibitor’s customers to update profiles, payment methods, and track purchases more easily.
In terms of security and privacy, AgileTix v6.35 includes new features like account deletion, where moviegoers can permanently erase their personal data, and enhanced security via Google reCAPTCHA v3 to guard against bot traffic. Other useful updates include better reporting options for abandoned carts and credit card settlements. After watching the demonstration video the company published, it seems like the upgrades were designed to improve functionality and efficiencies not only for direct customers of AgileTix, i.e. movie theatre operators, but also make life a little easier for the vendors their customers interface with regularly, i.e. film distributors. Two birds, one stone… or in this case, one software update.
Source: AgileTix
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Celluloid Junkie is the leading online resource dedicated to the global film and cinema business. The Marquee is our newsletter focused on motion picture exhibition; keeping industry professionals informed of important news, the latest trends and insightful analysis