With this second instalment, Cineuropa continues its monthly European Networks series devoted to the most influential organisations protecting and promoting European cinema. After focusing on sales agents through Europa International, we now turn to the exhibitors’ side of the chain.

Founded in 1992 with the support of the European Commission’s MEDIA programme and France’s CNC, Europa Cinemas was created by a group of 30 exhibitors who shared one simple conviction: that European films deserved to be seen beyond their national borders. Over three decades later, that conviction has blossomed into the first international network of cinemas dedicated to European works, now encompassing 1,279 venues and 3,146 screens across 39 countries. Its reach extends beyond the European Union to Eastern Europe, the Balkans, Turkey and, more recently, Canada. A long-term partnership with the Institut français has also allowed the network to link 54 screens in 53 cities around the world, creating bridges with cultural and non-commercial venues in Asia, Latin America and beyond.

Fatima Djoumer, who took over as CEO in 2023 after more than a decade with Europa Cinemas, attributes the network’s remarkable growth to several main factors: “It really comes down to three things: a clear cultural mission, steady public support that’s well targeted and a strong culture of sharing between cinemas. From the very beginning, the network has been about one thing: getting non-national European films in front of audiences. That focus, backed by Creative Europe – MEDIA, the CNC in France and Eurimages, gave cinemas the confidence and funding they needed to take risks on more diverse programming.

“Over the years, we’ve built a community that learns from each other – through our Audience Development & Innovation Labs, Training Boot Camps, Collaborate to Innovate scheme and annual conferences – so when something works in one city, others can pick it up and make it their own. That’s how we’ve grown to more than 1,200 cinemas and 3,000 screens across 39 countries – growth powered by a strong sense of purpose, not just expansion for its own sake.”

That sense of purpose has been anchored in a funding model that rewards cultural ambition. “We’ve built that balance right into the way our support works,” Djoumer explains. “The core of Europa Cinemas’ funding is directly linked to how much non-national European content a cinema shows, so the system actually rewards cultural ambition. Roughly 80% of the support is based on those European screenings, and the remaining 20% goes towards audience development and engagement. We also set limits to make sure no one market or nationality dominates. It’s a structure that keeps diversity on screen while helping cinemas stay competitive in a landscape where US movies still take most of the box office.”

This equilibrium between cultural and commercial objectives has made the network a model of sustainable growth. Its members — ranging from small municipal theatres to multiplexes — maintain full independence while benefiting from financial and strategic backing that helps them invest in long-term programming. In total, Europa Cinemas theatres account for around 82 million admissions annually, and an estimated 60% of all viewings of independent European films outside their country of origin take place in one of its member venues.

Equally important is the network’s role as a space for exchange and innovation. Europa Cinemas organises a major biennial conference, meetings in Cannes, and a variety of seminars, labs and exchange programmes that encourage exhibitors to share best practices. In recent years, the network’s training offer has expanded through the “Collaborate to Innovate” scheme. “We’ve found that a few types of support really make a difference,” says Djoumer. “First, there’s our programming support, which rewards cinemas that champion non-national European films. Then we have dedicated funding for young audiences – supporting school screenings and youth initiatives that build the next generation of filmgoers. Another key tool is Collaborate to Innovate, which helps groups of cinemas work together on projects around marketing, ticketing, data, inclusion or sustainability.”

Among the most successful case studies is Kinola in Estonia, a collaborative project that developed a shared ticketing and operations platform for independent cinemas, largely supported through this programme. “It’s made scheduling, reporting and data management so much smoother, freeing up staff to focus more on programming and connecting with audiences,” she notes.

Engaging younger viewers has become one of the association’s top priorities. Djoumer identifies three main strategies: hands-on film education through school partnerships, giving young people agency via juries and ambassador schemes, and turning festival experiences into lasting habits. Initiatives like 27 Times Cinema, the LUX Audience Award collaborations and the new LUX Young Talent Programme have been key in turning enthusiasm into long-term advocacy. “We track success through our Young Audience reports – looking at screenings delivered, schools reached and repeat visits – and use those insights in our labs and network reviews,” she notes.

Inclusivity is built into the network’s structure. Any cinema that meets the programming criteria can apply through the annual Creative Europe – MEDIA call, with transparent guidelines ensuring access for venues in Eurimages-eligible countries where MEDIA funding isn’t available. “Whether it’s a small municipal cinema or a big multiplex, if you’re committed to showing a solid share of non-national European films and doing active audience work, you can be part of the network,” Djoumer stresses.

Sustainability and innovation are increasingly integral to Europa Cinemas’ agenda. Through its labs and the Collaborate to Innovate programme, exhibitors exchange concrete strategies on energy efficiency, circular concessions, renewable energy and digital tools for smarter data management. “The idea is simple,” says Djoumer. “Help cinemas cut costs, cut carbon and stay resilient.”

Looking ahead, she sees clear priorities: “First, we want to strengthen the circulation of non-national European films, using results-based support and better data sharing to reach audiences beyond the major markets. Second, we’re expanding our young audience work – from school partnerships and young programmer initiatives to our collaborations with the LUX Audience Award – to turn those first festival discoveries into lasting cinema habits. Sustainability is another key focus: helping members reduce energy use and emissions while making their operations more resilient, especially for smaller venues. We’re also investing heavily in digital excellence: developing benchmarks, audience analytics and practical toolkits that cover everything from ticketing to CRM, to help cinemas make smarter, data-driven decisions. And finally, we’ll keep building international bridges. By growing partnerships in Asia, Latin America and North America, we’re aiming to bring European films to new audiences, but always through genuine cultural exchange.”