In its conclusions, the report reiterates that a theatrical release remains the backbone of the exhibition cycle, yet more flexible windows and a genuinely film-by-film approach are vital

The “Small European Films: Challenges and Drivers of Change for Distribution and Exhibition” report, authored by Ivana Kostovska (imec-SMIT-VUB), Jakob Isak Nielsen (Aarhus University) and Marius Øfsti (Aarhus University) as part of the EU-funded CresCine project under Horizon Europe, lays out some practical takeaways for producers and distributors in small markets. Theatrical remains the backbone of the exhibition cycle, but flexible windows and a truly film-by-film strategy are vital. There are no universal recipes for success – only different combinations that encompass cinemas, festivals and VoD, depending on each title’s potential.

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The document champions preserving theatrical exclusivity while modulating its duration by genre, target and market. Day-and-date releasing should be used sparingly, and only when the theatrical outlook is limited or cinema coverage is insufficient. Timing is decisive: clashes with blockbusters and major events should be avoided, with quieter periods being more favourable in order to secure screens and audience attention.

On the industry side, the report calls for strategic collaborations: closer deals with local exhibitors and arthouse circuits, synergies with television and specialist platforms, targeted audience-development actions (in-theatre events, Q&As, themed seasons and so on) and precision marketing for specific segments. For small markets, three obstacles remain: consolidating access to the domestic audience, maximising the festival effect for exports, and increasing international circulation.

Selection at the major festivals – Cannes, Venice, Berlin, Toronto and Sundance – remains key for accessing more territories, especially when international exposure is paired with co-productions geared towards the target markets. Different trajectories emerge from three oft-cited ecosystems: Ireland (export as a baseline thanks to language and a connected industry), Flanders (selective export driven by family animation) and Denmark (export as a by-product of a robust domestic market).

VoD offers additional, not substitute, windows: catalogue presence is broader in countries with consolidated value chains and strong national services. Global SVoDs remain selective, hence the importance of deals with national or regional platforms, yet case studies show that individual local films can achieve global reach when a platform decides to push them. It is an opportunity, rather than being the norm.

The report highlights cases where a partnership with the platform has delivered disruptive results. The Danish film A Beautiful Life by Mehdi Avaz reached 45.7 million hours viewed in June 2023 alone on Netflix (constituting about 30 million views), entering the non-English top ten in over 70 countries. These metrics clearly surpass even the international theatrical run of Thomas Vinterberg’s Another Round [+see also:
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Another example is Vikingulven: it garnered fewer than 8,000 domestic admissions and had no foreign release, yet it recorded 55.1 million views on Netflix. The report links this surge to industrial synergies with SF Studios and the momentum from the commissioned title Troll, which shares the same screenwriter.

On the policy front, the report recommends coordinated support packages in markets with a low domestic share: investments in audience-friendly titles, development of cinema infrastructure, school-and-cinema programmes and the nurturing of “draw” talents, alongside targeted co-productions for destination markets.

The CresCine project aims to improve the competitiveness and cultural diversity of Europe’s film industry. The report, coordinated by Lusófona University with various European partners, can be downloaded here.