The irreplaceable role of the theatrical space as a “temple” of the cinematic experience, to be integrated without demonising platforms and social media; the need for strong curation, community building and creativity in launch and acquisition strategies; the importance of festivals and public-support systems in championing debut filmmakers and quality titles: these were the key takeaways from the panel “The Independent Film Distribution Arena: Embracing Change,” held on Thursday 9 October as part of MIA | Rome International Audiovisual Market. Moderated by Cineuropa journalist Davide Abbatescianni, the discussion featured commercial director at Italy's I Wonder Pictures (Italy) Benedetta Caponi; president of Kino Lorber Media Group (USA) Richard Lorber; head of sales and co-founder of Lucky Number (France) Ola Byszuk; and managing director and programmer at the Sofia International Film Festival and head of Sofia Meetings (Bulgaria) Mira Staleva,.

In a sector which is continually evolving and grappling with post-pandemic challenges (falling admissions, a polarised offer, fragmented audiences), are platforms a threat? “In Italy, we haven’t returned to 100 million admissions. We’re at less than 70 million a year, but platforms have allowed audiences to keep in touch with films,” Benedetta Caponi began. “I believe that what we call ancillary revenues – everything that comes after the theatrical window – are extremely important to the overall industrial vision of distribution, so the entire value chain must be managed harmoniously.”

“What’s the point of staying in this business?”, is the question Richard Lorber asks himself every day. “The answer is that we must be curators and identify the best films – quality, intelligent works – to reach audiences who are looking for something different. Not the big commercial films, but ones that truly nourish mind and spirit.” His company doesn’t release titles on 3,000 screens but on 200–300 dotted across the United States: “Every title we distribute has to be tailored to particular market realities and to the interests of specific audience segments.”

Ola Byszuk added: “From a sales perspective, the consequences of people going to the cinema less, and of being increasingly used to watching formatted content conveniently at home, are plain to see. But it makes us more attentive because we’re ever more on the lookout for original projects, and I think filmmakers and producers are aware of this. It’s an opportunity.”

“I believe cinemas are the temples of film as an art form, so it’s up to us to create that need and to make clear to audiences that nothing compares to the theatrical experience,” Mira Staleva stated. “We’re working to create another experience and another connection, not only with the cinematic arts but also with the people around us. I strongly believe in community building; cinema’s main strength is its ability to engage with people emotionally.”

The conversation then shifted to social media. “You can’t imagine promoting films today without going through social media,” observed Caponi. “In truth, I can’t currently quantify how the massive contribution of socials translates into admissions. Virality makes all the difference. In my experience with The Substance [+lire aussi :
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fiche film] and The Zone of Interest [+lire aussi :
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fiche film], there was a moment when they became ‘the films to see’. With very precise positioning – also via social networks – they achieved very significant audience numbers.”

“Social media fragments audiences”, Lorber reminded us, “but since newspapers have, generally speaking, laid off all their reviewers, much of the best talent – the sharpest critical minds – have taken refuge on social media. You have to find them. You have to work closely with them, or find a platform that brings a community’s interests together, as Letterboxd has done. We collaborate closely with them, and with major film festivals whose platforms and voices are far more persuasive than a social feed.”

“We are all trying to understand the real influence of social media on theatrical admissions,” Staleva confirmed. “For me, social media is a big community, offering a chance to reach far more people than with other physical tools. But the future of cinema lies with curators. That’s why I draw a line between traditional marketing and curation, which is different – it’s an approach to art: I like this film and I recommend you see it. And that’s exactly what festivals do.”

Among the success stories cited was The Voice of Hind Rajab [+lire aussi :
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fiche film], released by I Wonder Pictures right after Venice: “It’s a film that overturned all the conventional rules of the distribution system,” Caponi explained. “When it reached Venice, it sparked a groundswell that wasn’t marketing-based – it started at a grassroots level, with the press. So we decided to move the release forward, also gauging whether the market could absorb it. Going out without a poster and with a non-dubbed film – in Arabic, a language unfamiliar to audiences – was quite a challenge. We initially turned to arthouse cinemas, but within 15 days its reach was huge. The initial 424 screens turned into 446 the following week – an out-of-the-box theatrical path showing that, under certain conditions, traditional rules can be upended.”

The panel wrapped by underlining festivals’ role in launching new talent (“There are so many films being produced that, without festivals shining a light on them, many new directors would go unnoticed,” according to Staleva), the importance of public funding for distribution, and the value of star support for challenging projects, as in the case of Joaquin Phoenix who was executive producer on The Voice of Hind Rajab.