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(From Left) Juan Garcia (Odeon Multicines), Howard Kiedaisch (DCDC), Christof Papousek (Cineplexx) and Marion Rosset (ADDE) during the Technologies Shaping Tomorrow’s Cinema Experiences panel at the ICTA 2026 Cinema Technology Experience on June 21, 2026 in Barcelona Spain

Cinema Technology Is Advancing Faster Than the Business Model Supporting It

At the 2026 ICTA Barcelona Cinema Technology Experience, executives from Odeon Multicines, Cineplexx and DCDC examined how exhibitors can identify the technologies audiences will value – —and whether cinema’s current economics can sustain the industry’s accelerating upgrade cycle. Asked where cinema…

(From Left) Gregory Theile (Kinopolis Group), Tomasz Jagiello (Helios Cinemas), Karl Geraghty (Stella Cinemas) and Araceli Vaello (CinemaNext) during the panel discussion with 2025-2026 ICTA EMEA Award Winners at the ICTA 2026 Cinema Technology Experience on June 21, 2026 in Barcelona Spain

The Best Cinemas Aren’t Competing With Netflix. They’re Competing With a Night Out

Three award-winning cinema operators at the 2026 ICTA Barcelona Cinema Technology Experience explain why memorable design, hospitality and flawless execution increasingly matter as much as what appears on the screen. When cinema executives talk about competition, the conversation usually turns to st…

(From Left) David Ong (AAM-Qube), Andreas Stier (OneCinema), Seneit Debese (Greta Apps), Sophie Doherty (TAPOS) and Timo Holtkamp (Gofilex) during the Connected Cinemas panel discussion at the ICTA 2026 Cinema Technology Experience on June 21, 2026 in Barcelona Spain

Cinema Technology Has Never Been More Sophisticated, So Why Is It Still So Disconnected?

Cinema technology vendors at the 2026 ICTA Barcelona Cinema Technology Experience examine why the systems handling ticketing, content delivery and theatre operations still struggle to share data, what those disconnections cost exhibitors and whether open standards or consolidation will finally bring…

(From left) Moderator Zac Ntim of Deadline, Oscar-winning producer Mollye Asher ("Nomadland," "The Rider," "On Swift Horses") and film marketing strategist Mathias Noschis of Alphapanda participate in the "Audience First: Rethinking Film Marketing Before Distribution" panel at the Karlovy Vary IFF on July 6, 2026.

Indie Film Marketing Can’t Wait Until the Film Is Finished

A panel at Karlovy Vary examined the need to begin the marketing conversation at the earliest possible stage… even before production begins. At Karlovy Vary’s Industry program (July 5-9), a sharp conversation held on July 6 on audience strategy argued that independent films can no longer afford to t…

Cinerama Dome - Hollywood, California

Cinerama Dome Revival Gives Sony a Hollywood Flagship for Its Exhibition Ambitions

Sony Pictures and Alamo Drafthouse will restore the landmark cinema and reopen the adjoining ArcLight complex in early 2028, returning a major moviegoing hub to Los Angeles while giving Sony’s growing experiences business its most recognizable venue yet. For six years, Hollywood’s Cinerama Dome has…

IND/EX 2026 brought independent cinemas and film festivals together in Chicago to focus on community, sustainability, advocacy and resilience

IND/EX 2026: Big Theatre Chains Have Customers. Independent Cinemas Have Communities.

As consolidation, shifting release windows and funding pressure reshape the film business, IND/EX 2026 showed independent exhibitors and festivals organizing around community value, operational resilience and a stronger collective voice. While much of the global exhibition business gathered in Barce…

2026 Box Office - January through June - First Half

International Box Office Recovery Accelerates as Local Films Gain Ground

Selected markets across Europe, Asia and Australia reported stronger revenue or attendance during the first half of 2026, with China the major exception and domestic productions increasingly powering the rebound. One year ago, the international theatrical recovery still looked fragile, uneven and he…

Malta Film Commissioner Johann Grech has ambition plans for the island nation's future as a filming location, and he's using the Mediterrane Film Festival to bring Malta to the industry's attention (Photo: Courtesy Mediterrane Film Festival)

How the Mediterrane Film Festival in Malta Is Putting the Island on the Map for Filmmakers

Speaking to Celluloid Junkie during the festival, Malta Film Commissioner Johann Grech lays out his ambitious strategy for the film festival, and how he hopes it will act as a springboard for further investment in the island country as a filming location. This year, the Mediterrane Film Festival ret…

(From left) Host Aylin Kazi; TikTok creator Melo Nsuka; Jackie Meire, EU Head of Social at Amazon Prime Video, UK; and actress Runa Greiner, who participated in the EFM 2026 panel "From Community to Box Office: How Fandom on TikTok Drives Impact," held on Feb 13, 2026. (Photo: Winson, courtesy of EFM)

Social Media, Fandom and the Hard Question of Conversion

The question of whether social media buzz can actually drive potential audiences to cinemas is as pertinent as ever. As the first reactions for “The Odyssey” break, we reflect on panels that explored this topic at the European Film Market earlier this year… The news that Christophe…

(From left) Ruun Nour, Vancouver International Film Festival programmer and No Evil Eye Cinema co-founder; Can Sungu, artistic director of SİNEMA TRANSTOPIA; Kira Simon-Kennedy, film producer and volunteer member with La Clef collective; and moderate Jeremy Chua, producer at Potocol and executive director of the Singapore International Film Festival, who participated in the Cannes Docs panel “Micro Cinemas and Macro Impact: Independent Exhibition as a Social and Communal Practice,” held on May 16, 2026 (Photo: © Cyril Chateau / Marché du Film)

Micro Cinemas, Major Impact: How Grassroots Exhibitors are Rebuilding Film Culture

At a time when traditional distribution remains under pressure, micro cinemas and independent exhibition spaces may be offering one of the most concrete answers to the question of how films can still find committed, physically present audiences. That was the central argument emerging from the Cannes…