UNIC Annual Report 2014–2015 1 Contents

1 Key Figures Welcome 02 from Phil Clapp 1.1. Cinema-going in 2014 04 3 The Year 1.2. Performance of Individual Films and at UNIC Welcome to this, UNIC’s latest annual report, 36 examining key European cinema industry and public Local Films’ Share policy trends across our 36 member territories. 10 3.1. Advocacy 1.3. Digital Roll-Out and 38 Over the past 12 months, UNIC has continued to raise the profile of European cinema exhibition 3d Screens’ Share 3.2. Services to Members with key policy-makers as well as our partners in 14 and Partners the international motion picture industry. 1.4. Screen Density 38 We have further developed our services for members 16 3.3. CineEurope and partners and are delighted to announce the recent 38 agreement of a long-term partnership with colleagues at Prometheus Global Media around CineEurope – 3.4. UNIC Activities UNIC’s annual convention. in 2014–2015 2 Taking Stock 40 I look forward to seeing many of you this year in Barcelona. In the meantime, I hope you enjoy reading and Looking this report. Forward Phil Clapp, CEO of the UK Cinema Association, 18 is President of the International Union of Cinemas 4 Members 2.1. Review of 42 Key Market Trends 21 2.2. Latest Policy 5 Partners Developments 44 26 2.3. Summary of UNIC’s Key Policy Positions 30 1 Key Figures 1.15 Billion visitors welcomed to cinema theatres ­ across UNIC territories in 2014

European Box Office vs. B.O. in the US and the Rest of the World in 2014

28%

46%

26%

28Europe USA Rest of the world +2646 Source: IHS

In 2014, box office revenue and cinema ­admissions slightly increased across UNIC territories. Total box office revenue ­increased by 0.6 per cent and admissions by 1.7 per cent. Kino International, Berlin, Germany, courtesy of Yorck Kinogruppe / Photo: Daniel Horn 4 key figures 5 key figures

Box office 2013–14 (Million, in local currency)

Country (Currency) 2014 2013 Change in %

Albania (ALL) 108.5 n/d n/d 1.1 Austria (EUR) 117.9 123.1 -4.2% Bulgaria (BGN) 41.3 40 +3.1% Croatia (HRK) 112.5 121 -7% Cinema-going in 2014 Czech Republic (CZK) 1,462.7 1,424.2 +2.7% Denmark (DKK) 985.6 1,055.2 -6.6% Estonia (EUR) 12.8 11.8 +8% Finland (EUR) 72.5 75 -3.3% France (EUR) 1,332.7 1,250.1 +6.6% Germany (EUR) 979.7 1,023 -4.2% Greece (EUR) 58 59.3 -2.2% Hungary (HUF) 14,601.6 13,490 +8.2% Ireland (EUR) 99.9 101.9 -2% Italy (EUR)* 574.8 618.7 -7.1% Latvia (EUR) 10.2 10.3 -1.3% -6.6 per cent; admissions -10.6 per cent), A slight increase in box ­office Lithuania (EUR) 14.4 13.1 +9.3% and admissions­ across UNIC territories Finland (box office -3.3 per cent; admissions -5.1 per cent), Italy (box office -7.1 per cent; Luxembourg (EUR) 8.5 9.1 -6.1% In 2014, average box office revenue and admissions -6.1 per cent) and Norway (box Macedonia (MKD) 73.9 n/d n/d ­cinema admissions increased slightly across office -1.2 per cent; admissions -6.1 per cent) Montenegro/Serbia (RSD)** 1,150.7 n/d n/d UNIC territories despite the football World also experienced weaker market performance Netherlands (EUR) 250.1 249.5 +0.2% Cup and primarily as a result of growth in a despite some strong local films. A number of few key markets driven by the success of smaller territories faced similar experiences, Norway (NOK) 1,082.1 1095.1 -1.2% mostly local films. Total box office revenue primarily due to the lack of a breadth of Poland (PLN) 726.9 665.2 +9.3% in UNIC territories increased by 0.6 per strong international titles. Portugal (EUR) 62.7 65.4 -4.1% cent1 and admissions by 1.7 per cent. As has often been the case, these results varied Romania (RON) 185.2 160.5 +15.4% significantly from one country to another. Russia (RUB) 43,316.1 41,158.7 +5.2% 1Total box office for UNIC territories was calculated on the basis of changing foreign currencies in Euro. This does not include Russia due to strong exchange rate variations in 2014. Slovakia (EUR) 20.8 18.9 +10.4% Source: UNIC members 2013–14 – with the exception of Belgium, Bosnia and Herzegovina Slovenia (EUR) 9.5 11.1 -13,9% Weaker performance in some territories and Israel Complementary information from BU (Bulgarian National Film Center), CZ (Unie Filmovych Distributoru), EE (Eesti Filmi Instituut & Baltic Films Co-operation Spain (EUR) 522.4 507.1 +3% The UK and Germany experienced challeng- Platform), GR (Greek Film Center), HR (Croatian Audiovisual Center), HU (Nemzeti Média- és Hírközlési Hatóság), LT (Lietuviu Filmu Centras & Baltic Films Co-operation Sweden (SEK) 1,652.1 1638.3 +0.8% ing conditions, with a reduction in both box Platform), LV (Nacionalais Kino Centrs & Baltic Films Co-operation Platform), PL (Polski Instytut Sztuki Filmowej), PT (Instituto do Cinema e do Audiovisual), Switzerland (CHF) 204.5 218.5 -6.4% office revenue (UK -2.4 per cent; DE -4.2 RO (Centrul National al Cinematografei), RU (Nevafilm Research), SL (Slovenian per cent) and admissions (UK -4.9 per cent; Film Center), SK (Union of Film Distributors) Turkey (TRY) 652.9 504.3 +29.5% *Cinetel: 90 per cent of the market. SIAE global results to be published in June 2014 DE -6.2 per cent). Denmark (box office **Data collected for Montenegro and Serbia are combined due to local distribution practices UK (GBP) 1,057.7 1,083.5 -2.4% 6 key figures 7 key figures

Admissions 2013–14 (Million) 2013 2014

n/d Albania 0.2 15 -6 % Austria 14.1 4.8 +2.3 % Bulgaria 4.9 4 -5 % Croatia 3.8 11.1 +4.5 % Czech Republic 11.6 13.7 -10.5 % Denmark 12.3 2.6 +1.6 % Estonia 2.6 7.8 -5.1 % Finland 7.4 193,6 +7.7 % France 208,4 129,7 -6.2 % Germany 121,7 9.2 -2.6 Greece 9 10.1 Hungary 11 +8.4 % 14.7 -2 % Ireland 14.4 97.4 -6.1 % Italy* 91.5 2.4 -2.8% Latvia 2.3 3.3 Courtesy of Kinepolis +2.8 % Lithuania 3.3 1.1 +1.4 % Luxembourg 1.1 n/d Macedonia 0.4 n/d Montenegro/Serbia** 3.2 30.8 +0,1 % Netherlands 30.8 11.8 and box office by 3.0 per cent. Several other -6.1 % Strong markets in France, Poland­ and Turkey Norway 11.1 UNIC territories also experienced positive 36.1 Poland +11.9 % French cinema exhibitors – riding on a wave market developments in 2014, notably 40.4 12.5 -3.4 % of successful local films – reached beyond the Czech Republic (box office +2.7 per cent; Portugal 12.1 9 +12,4 % the 200 million visitor mark and increased admissions +4.5 per cent), Hungary (box Romania 10.2 admissions by 7.7 per cent and box office office +8.2 per cent; admissions +8.4 per cent) 172.4 Russia +2.1 % by 6.6 per cent. Poland (box ­office +9.3 per and Slovakia (box office +10.4 per cent; 176.1 3.7 +11.5 % cent; admissions +11.9 per cent) and Turkey ­admissions +11.5 per cent). Slovakia 4.1 2.3 -17,4 % (box office +29.5 per cent; admissions Slovenia 1.9 Source: UNIC members 2013–14 – with the exception of Belgium, Bosnia and Herzegovina 77 +21.8 per cent) enjoyed equally positive +13.6 % and Israel Spain 87.4 ­results based on successful local films, having Complementary information from BU (Bulgarian National Film Center), CZ (Unie Filmovych 16.5 -1.7 % ­developed in recent years into resilient Distributoru), EE (Eesti Filmi Instituut & Baltic Films Co-operation Platform), GR (Greek Film Sweden 16.3 Center), HR (Croatian Audiovisual Center), HU (Nemzeti Média- és Hírközlési Hatóság), 14.1 -6.2 % growth markets. LT (Lietuviu Filmu Centras & Baltic Films Co-operation Platform), LV (Nacionalais Kino Switzerland 13.2 Centrs & Baltic Films Co-operation Platform), PL (Polski Instytut Sztuki Filmowej), 50.3 PT (Instituto do Cinema e do Audiovisual), RO (Centrul National al Cinematografei), +21.8 % Turkey 61.2 RU (Nevafilm Research), SL (Slovenian Film Center), SK (Union of Film Distributors) Spain, after some consolidation in recent 165.5 *Cinetel: 90 per cent of the market. SIAE global results to be published in June 2014 UK -4.9 % years, increased admissions by 13.6 per cent **Data collected for Montenegro and Serbia are combined due to local distribution practices 157.5 0 50 100 150 200 8 key figures 9 key figures

Admissions per capita in 2014

Albania 0.1 Austria 1.7 Bulgaria 1.1 Croatia 0.8 Czech Republic 1.1 Denmark 2.2 Estonia 2.1 Finland 1.4 France 3.1 Germany 1.5 Greece 0.8 Hungary 1.1 Ireland 3.1 Italy* 1.5 Latvia 1.2 Lithuania 1 Filmstaden Sergel, Stockholm, Sweden, courtesy of SF Bio Luxembourg 2.2 Macedonia 0.2 Montenegro/Serbia** 0.4 Netherlands 1.8 Norway 2.2 Poland 1.1 Portugal 1.2 Romania 0.5 Average 1.5 visits to the cinema per year Russia 1.2 Slovakia 0.8 The average annual number of cinema visits across all UNIC territories in 2014 remained Slovenia 0.9 relatively stable at 1.5 visits per capita. Spain 1.8 France and Ireland experienced the highest Sweden 1.7 cinema-going rates (3.1), while the rate Switzerland 1.6 ­increased in Spain (1.8) as well as in growth Source: UNIC members 2013–14 – with the exception of Belgium, Bosnia and Herzegovina and Israel Turkey 0.8 markets such as Poland (1.1) and Turkey Complementary information from BU (Bulgarian National Film Center), CZ (Unie Filmovych UK 2.5 (0.8). While admissions per capita remained Distributoru), EE (Eesti Filmi Instituut & Baltic Films Co-operation Platform), GR (Greek Film Center), HR (Croatian Audiovisual Center), HU (Nemzeti Média- és Hírközlési Hatóság), 0 0.5 1 1.5 2 2.5 3 stable in Czech Republic (1.1), Finland (1.4), LT (Lietuviu Filmu Centras & Baltic Films Co-operation Platform), LV (Nacionalais Kino Centrs & Baltic Films Co-operation Platform), PL (Polski Instytut Sztuki Filmowej), the Netherlands (1.8), Portugal (1.2), Sweden PT (Instituto do Cinema e do Audiovisual), RO (Centrul National al Cinematografei), (1.7) and Russia (1.2), it slightly decreased in RU (Nevafilm Research), SL (Slovenian Film Center), SK (Union of Film Distributors) *Cinetel: 90 per cent of the market. SIAE global results to be published in June 2014 other UNIC territories. **Data collected for Montenegro and Serbia are combined due to local distribution practices 10 key figures 11 key figures 1.2 Local films’ share 2013–14 (in % of adm.) 2013 2014

4.4 Austria 4.6 Performance of individual Bulgaria 0.8 3.5 11 Croatia 2 Denmark 28 films and local films’ share 26.5 5.9 Estonia 4,7 24 Finland 27 33.3 France 44 26.2 Germany 23.7 Greece n/d Leading at the box office Positive results for Scandinavian films 3 Hungary 1.3 Across UNIC territories, several films from Despite falls in admissions and box office 3.7 31.2 US major studios performed remarkably revenue in most Scandinavian territories – Italy* 27.8 well at the box office. Amongst these were: with the exception of Sweden – national Latvia 4.6 The Hobbit: The Battle of the Five Armies; films continued on their positive trajectory 7.6 Lithuania 16.9 The Hunger Games: Mockingjay Part I; and across the region. On average, local films 20.2 1.5 How to Train Your Dragon 2. represented around 25 per cent of total Luxembourg 1.2 ­admissions in those territories. Norway Macedonia n/d stood out, with 4 local films in the Top 5. 2.5 n/d Local films’ share in 2014 Montenegro/Serbia** 29.9 The market share of national films across Netherlands 20.6 Non-national European films: 20.9 UNIC territories remained stable. As was Norway 22.8 the case in 2013, Turkey led with a local continued success for French cinema abroad 24.4 Poland 19.8 share of 58.4 per cent. France came second French cinema continued to succeed abroad. 27.1 3.4 with an impressive 44 per cent as three Qu’est-ce qu’on a fait au Bon Dieu achieved Portugal 4.5 French films led at the box office. major results in several European countries, Romania 2.8 including Germany, Austria, Switzerland 2.2 Russia 18.5 and Luxembourg. France’s major production 18.7 Dutch and Polish success ­stories 4.4 Lucy – built around an international cast – was Slovakia 5.6 The slight increase in admissions and box amongst the most successful films world-wide 10.9 Slovenia 5.3 office revenue in the Netherlands can be in 2014. Spain 14 partly attributed to the impressive turn-out 25 Source: UNIC members 2013–14 – with the exception of Albania, Belgium, Bosnia and 25 for local films such as Gooische Vrouwen II. Sweden 25.1 Herzegovina, Czech Republic, Ireland and Israel Positive results in Poland can similarly be Complementary information from BU (Bulgarian National Film Center), EE (Eesti Filmi 8.4 Switzerland 5.1 explained by the success of several local Instituut & Baltic Films Co-operation Platform), GR (Greek Film Center), HR (Croatian ­Audiovisual Center), HU (Nemzeti Média- és Hírközlési Hatóság), LT (Lietuviu Filmu ­Centras Turkey 47 films, led by Bogowie. & Baltic Films Co-operation Platform), LV (Nacionalais Kino Centrs & Baltic Films Co- 58.4 operation Platform), PL (Polski Instytut Sztuki Filmowej), PT (Instituto do Cinema 22 e do Audiovisual), RO (Centrul National al Cinematografei), RU (Nevafilm Research), UK 26 SL (Slovenian Film Center), SK (Union of Film Distributors) 0 10 20 30 40 50 *Cinetel: 90 per cent of the market. SIAE global results to be published in June 2014 **Data collected for Montenegro and Serbia are combined due to local distribution practices 12 key figures 13 key figures

COUNTRY TOP 1 TOP 2 TOP 3 TOP 4 TOP 5

Albania The Wolf of Wall Street Rio 2 Penguins of Madagascar Dumb and Dumber To Interstellar Austria The Hobbit: The Battle of the Five Armies The Hunger Games: Mockingjay Part I Qu’est-ce qu’on a fait au Bon Dieu? The Wolf of Wall Street How to Train your Dragon 2 Bulgaria Lucy The Hobbit: The Battle of the Five Armies Noah Dracula: Untold Maleficent Croatia The Hobbit: The Battle of the Five Armies The Wolf of Wall Street Dumb and Dumber To How to Train your Dragon 2 Rio 2 Czech Republic T ˇr i b r a t ˇr i The Hobbit: The Battle of the Five Armies How to Train your Dragon 2 The Wolf of Wall Street Rio 2 Denmark The Absent One The Reunion 2 - The Funeral The Hobbit: The Battle of the Five Armies The Hunger Games: Mockingjay Part I How to Train your Dragon 2 Estonia The Hobbit: The Battle of the Five Armies Frozen Rio 2 How to Train your Dragon 2 Let’s Be Cops Finland The Grump The Hobbit: The Battle of the Five Armies Ricky Rapper and the Slick Leonard The Hobbit: The Desolation of Smaug Towards the Day of Doom France Qu’est-ce qu’on a fait au Bon Dieu? Supercondriaque Lucy The Hobbit: The Battle of the Five Armies Dawn of the Planet of the Apes Germany The Hobbit: The Battle of the Five Armies The Hunger Games: Mockingjay Part I Qu’est-ce qu’on a fait au Bon Dieu? How to Train your Dragon 2 Der Medicus Greece 300: Rise of an Empire Interstellar Maleficent Annabelle Dracula Untold Hungary The Wolf of Wall Street How to Train your Dragon The Hobbit: The Battle of the Five Armies Guardians of the Galaxy Transformers: Age of Extinction Ireland Mrs. Brown’s Boys D’Movie The Lego Movie Gone Girl Dawn of the Planet of the Apes The Wolf of Wall Street Italy* Maleficent Un Boss in Salotto The Wolf of Wall Street The Hobbit: The Battle of the Five Armies Il Ricco, il Povero e il Maggiordomo Latvia Rio 2 Penguins of Madagascar How to Train your Dragon 2 The Hobbit: The Battle of the Five Armies Frozen Lithuania Redirected Frozen Rio 2 Penguins of Madagascar Valentinas Behind the Doors Luxembourg Rio 2 The Wolf of Wall Street Qu’est-ce qu’on a fait au Bon Dieu? The Hunger Games: Mockingjay Part I The Hobbit: The Battle of the Five Armies Macedonia Dumb and Dumber To Interstellar The Hobbit: The Battle of the Five Armies The Wolf of Wall Street Maleficent Montenegro & Serbia** Montevideo 2 Mali Budo The Hobbit: The Battle of the Five Armies Maleficent Interstellar Netherlands Gooische Vrouwen II The Hobbit: The Battle of the Five Armies The Wolf of Wall Street The Hunger Games: Mockingjay Part I Rio 2 Norway The Hobbit: The Battle of the Five Armies Børning Doctor Proctor’s Fart Powder Captain Sabertooth and the Treasure of Casper & Emma’s Christmas Lama Rama Poland Bogowie The Hobbit: The Battle of the Five Armies Miasto ’44 Jack Strong How to Train your Dragon 2 Portugal The Hunger Games: Mockingjay Part I Lucy Penguins of Madagascar The Hobbit: The Battle of the Five Armies Rio 2 Russia Transformers: Age of Extinction Maleficent Guardians of the Galaxy The Hobbit: The Battle of the Five Armies How to Train your Dragon 2 Slovakia How to Train your Dragon 2 The Hobbit: The Battle of the Five Armies Rio 2 Interstellar 38 Slovenia Rio 2 Dumb and Dumber To The Wolf of Wall Street The Hobbit: The Battle of the Five Armies Maya the Bee Spain 8 Apellidos Vascos El Niño Dawn of the Planet of the Apes Maleficent The Wolf of Wall Street Sweden The 100-Year-Old Man Who Climbed Out The Hobbit: The Battle of the Five Armies Frozen The Hunger Games: Mockingjay Part I How to Train your Dragon 2 the Window Switzerland Qu’est-ce qu’on a fait au Bon Dieu? The Hobbit: The Battle of the Five Armies The Wolf of Wall Street The Hunger Games: Mockingjay Part I How to Train your Dragon 2 Turkey Recep Ivedik 4 Eyyvah Eyvah 3 Dugun Dernek Pek Yakinda Unutursam Fisilda UK The Lego Movie The Hobbit: The Battle of the Five Armies The Inbetweeners 2 Dawn of the Planet of the Apes The Hunger Games: Mockingjay Part I

Source: UNIC members 2013–14 – with the exception of Belgium, Bosnia and Herzegovina, Israel and Romania National films Non-national EU films *Cinetel: 90 per cent of the market. SIAE global results to be published in June 2014 Complementary information from BU (Bulgarian National Film Center), EE (Eesti Filmi Instituut & Baltic Films Co-operation Platform), GR (Greek Film Center), HR (Croatian Audiovisual **Data collected for Montenegro and Serbia are combined due to local distribution practices Center), HU (Nemzeti Média- és Hírközlési Hatóság), LT (Lietuviu Filmu Centras & Baltic Films Co-operation Platform), LV (Nacionalais Kino Centrs & Baltic Films Co-operation Platform), PL (Polski Instytut Sztuki Filmowej), PT (Instituto do Cinema e do Audiovisual), RU (Nevafilm Research), SL (Slovenian Film Center), SK (Union of Film Distributors) 14 key figures 15 key figures 1.3 Digital roll-out and 3D screens’ share in 2014 Digital roll-out (%) Share of 3D screens (%) Digital roll-out Austria 100 54.3 Belgium* 100 30.4 Bulgaria* 100 66 and 3D screens’ share Croatia 92.2 49.4 Czech Republic* 56.9 27.7 Denmark 100 55.3 Estonia 61.5 33.3 Finland 100 65 France* 100 48.8 Germany 90 49.6 Greece 98.8 27.3 Hungary* 87.9 61.6 Ireland* 100 37.6 Israel* 88.8 41.8 Italy* 90.7 26.8 Latvia 76.6 43.8 Lithuania 63.2 28.4 Luxembourg* 100 66.7 Netherlands 100 51.3 Norway 100 66.4 Poland* 92.6 57.7 Portugal 91.5 30.8 Romania 94.3 58 Russia 97.5 70.1 Kino Scala, Brno, Czech Republic, courtesy of Aerofilms Slovakia 97 88 Slovenia* 72 21 Spain* 91.5 25.1 The digital conversion rate amongst cinemas Sweden* 97.5 47.8 across UNIC territories in 2014 reached Switzerland 97.2 46.4 93 per cent, indicating that this seismic tran- sition in our sector is now close to completion. Turkey* 75.2 20.3 Impressive progress was made in the past UK 100 44.9 year in most Southern European territories, 0 50 100 0 50 100 and most significantly in Turkey, where the Data has kindly been contributed by UNIC’s partner IHS share of digitised screens grew from 30 per Source: IHS and UNIC members 2013–14 – with the exception of Albania, Bosnia and Herzegovina, Macedonia, Montenegro and Serbia cent to 75 per cent. * Includes forecast for total screen 16 key figures 17 key figures

Screen density per million inhabitants 2013–14 2013 2014

1.4 64.6 +0.8 % Austria 65.1 44.8 +2.8 % Belgium* 46 22.7 +19.2 % Screen Density Bulgaria* 27.1 36.4 -0.9 % Croatia 36 76.5 -1.3 % Czech Republic* 75.5 74 -0.4 % Denmark 73.8 51.3 +18.5 % Estonia 60.8 54.4 -0.7 % Finland* 54 85.2 +1.8 % France* 86.7 56.1 +0.3 % Germany 56.3 29.7 Greece 29.7 40.3 -1.8 % Hungary* 39.5 100.3 +6 % Ireland* 106.3 49.1 +0.2 % Israel 49.2 65.9 +0.2 % Italy* 66 32.2 -2.6 % Latvia 31.4 31.5 Lithuania 31.6 +0.3 % 66 Luxembourg* 64.5 -2.3 % 49.7 +1.5 % Netherlands 50.5 83.7 -0.3 % Norway 83.5 Kino International, Berlin, Germany, courtesy of Yorck Kinogruppe / Photo: Daniel Horn 31.4 +2.3 % Poland* 32.2 50.9 -0.2 % Portugal 50.8 The total number of cinema screens across 12.2 Romania +6.7 % UNIC territories remained relatively stable 13 24.4 +10.1 % in 2014. UNIC territories averaged 54 screens Russia** 26.9 34.7 -2.2 % per million inhabitants. Growth in Central Slovakia* 33.9 54.1 Europe and Russia stabilised as these markets -5.5 % Slovenia 51.1 came closer to saturation. The greatest 78.1 -4.6 % ­reduction in screen density amongst UNIC Spain* 74.5 80.9 -0.6 % members could be observed in Spain, where Sweden* 80.4 66.9 an ill-advised VAT increase on cinema +3.1 % Switzerland 69 ­tickets, continued high levels of illegal film 29.1 +7.2 % Turkey 31.2 viewing and difficult economic conditions Data has kindly been contributed by UNIC’s partner IHS 60.8 contributed to the closure of a significant Source: IHS UK +0.6% * Includes forecast for total screen 61.2 number of theatres. ** Neva Film screen data 2013–14 0 25 50 75 100 93 % of all screening rooms were equipped 2 Taking Stock and with cutting-edge digital technology in 2014, ­enabling more innovative and audience-­ focused programming and providing an ­unparalleled cinema-going experience Looking Forward to our visitors.

EU market share by region of origin in 2014 (in % of adm.)

3% 363.1% +3463 33.9%

Europe USA Rest of the world

Source: EAO

European cinemas depend as much on strong local and European films as US ­productions in offering audiences what they want to see on the big screen.

Sources: Qu’est-ce qu’on a fait au Bon Dieu, France, 2014, courtesy of UGC; Fasandræberne, Denmark, 2014, courtsey of NFP; Un boss in salotto, Italy, 2014, And digital technology enables them courtesy of Warner Bros.; Hundraåringen som klev ut genom fönstret och försvann, Sweden, 2014, courtesy of Studio Canal; Tˇri bratˇri, Czech Republic / Denmark, 2014, to show an increasing diversity of films courtesy of Bioscop; Klassefesten II – Begravelse, Denmark, 2014, courtesy of NFP; Bogowie, Poland, 2014, courtesy of Next Film; Recep Ivedik 4, Turkey, 2014, courtesy of Tiglon Film; Ocho apellidos vascos, Spain, 2014, courtesy of LazonaFilms and alternative content. 20 Taking stock and looking forward 21 Taking stock and looking forward

EU10: Box Office vs. Home 2.1 Entertainment

100% Review of Key

90% 80% Market Trends 70%

60%

50%

40%

30%

20% The opportunity to watch a film together on of global theatrical revenue, further under- 10% the big screen is enjoyed by billions of cinema lining how important the European market 0% fans of all ages and from all walks of life remains to the success of the international 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 across the world. In 2014, global box office motion picture industry. revenue reached € 33.5 billion, an increase

Cinema Physical Video Digital Video Pay-TV VoD of 1 per cent on the previous year, driven Despite the fragmented nature of the Euro- primarily by growth in the Asia-Pacific region. pean cinema landscape, European exhibitors Source: IHS EU10: includes Czech Republic, Denmark, France, Germany, Italy, Poland, Portugal, Spain, face a range of common challenges and Sweden and UK European cinema exhibition remained a development­ opportunities. cornerstone of this global phenomenon, with 2014 admissions (+1.7 per cent) and In 2014, audience initiatives such as the ­Fiesta box office revenue (+0.6 per cent1) increasing del Cine (Spain) and the 14 < € 4 Campaign slightly across UNIC territories despite the (France) illustrated the broad ­appeal of football World Cup and some modestly-per- ­cinema-going and realised the ­untapped The above clearly shows how important the theatrical success forming international titles. The contribution ­potential of new audiences. Such campaigns of a film remains to the entire cinema eco-system. Growth of cinema box office to total European film – coupled with sophisticated marketing in all markets should be enabled by more creative partnerships industry revenues also grew compared strategies involving social media, the use of across the sector and be based on these strong foundations. to other markets for film, as illustrated by ‘big data’ and mobile services – can help the the research from IHS. In addition, UNIC sector grow attendance during periods of ­territories accounted for around 28 per cent otherwise moderate consumer spending, ­demographic change and increased compe- 1Total box office for UNIC territories was calculated on the basis of changing foreigncurrencies ­ in Euro. This does not include Russia due to strong exchange rate variations in 2014. tition from other leisure sectors. 22 Taking stock and looking forward 23 Taking stock and looking forward

To enable the cross-sector collaboration ­necessary to harness true innovation in film …there is a clear op- distribution, new online platforms should portunity for European become active participants in, rather than companies to make films mere beneficiaries of, the highly interde- pendent European film eco-system. Further that audiences want to recognition by international players – see in their local theatres. ­including Netflix, iTunes, Google and ­Amazon – of the social and cultural value Policy-makers must of European cinema, including the role these ­recognise this opportunity stakeholders should play in its promotion, is therefore vital. and put the theatrical Courtesy of Finnkino success of European More needs to be done to promote responsible and fair media consumption online and films at the centre of raise awareness of the positive contributions their support strategies. of copyright amongst consumers. Cinema exhibitors will continue to work with their Above all else of course is the goal of offering Finally, when considering the year ahead, partners in film distribution to tackle illegal audiences an unparalleled film-viewing it is clear that the upcoming slate of interna- And at times when US studio partners seem recording in cinemas as well as promoting ­experience. Digital cinema technology has tional as well as European films looks very increasingly to be targeting film production awareness campaigns. However, there is already enabled exhibitors to broaden their promising. During CineEurope – UNIC’s on audiences in emerging markets – particu- also a real need for policy-makers to ensure offer and to develop more sophisticated annual convention – the sector will explore larly in Asia – there is a clear opportunity that ongoing industrial scale copyright ­programming strategies. It has also facilitated how cinema exhibition can further increase for European companies to create and pro- ­infringements are prevented, that all inter- rapid innovation in fields as diverse as Higher the value of its offer and attract more visitors mote films that European audiences want to mediaries contribute to fighting piracy, and Dynamic Range, Premium Large-screen to its theatres. As competition on smaller see in their local theatres. Policy-makers in that EU rules around copyright enforcement Formats, 4D-seating and wrap-around-screens, screens intensifies, over the coming years Brussels must recognise this opportunity are implemented more effectively across further upgrading the cinema experience. cinema exhibition has to further strengthen and put the theatrical success of European all Member States. If current piracy trends Identifying the ground-breaking innovations and grow its unique market position. films at the centre of their support strate- prevail, Europe puts at risk its cultural that will truly attract more audiences to gies. Moreover, well-intentioned but often ­diversity and its independent professional the cinema is a key challenge for our sector, misconceived attempts to interfere with film media sector – two essential cornerstones and something which UNIC seeks to address distribution strategies need to be avoided. of the European project. through its Technology Group. 25 Focus on audiences

Growing attendance in cinemas during times of demographic change puts an imperative on attracting younger audiences. Film literacy In Spain, the Fiesta del initiatives work best when developed in co-­ Cine, organised by the operation with exhibitors as cinema theatres are the natural place to shape young people’s Focus on audiences country’s leading audio- tastes and interest in film. visual organisations, has since its launch In the UK, the charity Cinema exhibitors across in 2012 quickly become a nation-wide favourite. Into Film encourages Europe ­continuously children and young strive to offer an people to set up their ­un­paralleled film-viewing Spanish cinema exhibitors have over the past ten years experienced a significant fall own film clubs, to make ­experience to their in admissions due to economic difficulties, high levels of piracy as well as the intro- their own movies, and ­audiences. duction of an ill-advised VAT increase on of course to experience cinema tickets. The Fiesta was a concerted In recent years, exhibitors have upgraded effort by cinema exhibitors to alter the films in cinemas. their cinemas with digital technology, enabling ­trajectory of their sector. The concept is the programming of even more films in a ­simple: twice a year, during the three days more customer-centred fashion, and deployed of the Fiesta, cinema tickets cost only € 2.90. Into Film reviews and recommends the innovative marketing strategies to attract As a result, the initiative attracts millions of very best new cinema releases for children film-lovers to their theatres. ­visitors all across the country, enabling them and young people and organises special to enjoy a great cinema-going experience. events and screenings in theatres, often in The Spanish now consider these few days partnership with film festivals. Not only per year their own ‘cinema holiday’. The suc- do initiatives like Into Film empower children cess of the latest edition in October 2014 has and teenagers to develop critical thinking no precedent in the history of Spanish cine- and media literacy, it also encourages them ma. The 85 per cent of all Spanish cinemas to become loyal cinema-goers in the future. that participated in the campaign attracted 2,196,101 cinema-goers. Coupled with a range of successful Spanish films the efforts of the sector to attract more audiences led to an increase in admissions by 13.6 per cent in 2014.

Cine Ideal, Madrid, Spain, courtesy of Yelmo Cines 26 Taking stock and looking forward 27 Taking stock and looking forward

Following European Parliament (EP) elections the backing of President Juncker, the Com- and a re-organisation of the European mission has over recent months embarked ­Commission (EC) in 2014, the current policy on an accelerated – some might say rushed environment across Europe presents a range – review of EU copyright and audiovisual of challenges and opportunities for cinema policies, with reform proposals to be exhibitors and the wider European film unveiled in 2015 and 2016 respectively. ­sector. In this context, UNIC has over the past 12 months continued to establish its Given ongoing critical and at times ill-­ position as an increasingly-recognised inter- informed statements by Commission decision­- national cinema industry advocacy body. makers regarding film industry distribution practices in Europe, it is essential that cinema exhibitors, together with their partners UNIC has over the past across the cinema eco-system, continue Le Métropole, Lille, France, courtesy of FNCF to explain convincingly how economic and 12 months continued cultural value is created in our sector and how our businesses as well as the diversity to establish its position of European cinema depend on commercial as an increasingly freedoms and resilient copyright laws. This of course includes the choice of the sector to 2.2 recognised international decide whether, when and where films will cinema industry advocacy be released in specific markets. Latest policy body. UNIC strongly believes that European policy-­makers should have more trust in the market to decide how films should be financed Developments In the Commission, Andrus Ansip (Estonia), and distributed so that they can reach Vice-President for the Digital Single Market, the widest European public possible. The and Günther Oettinger (Germany), Com- Commission in our view should not interfere missioner for Digital Economy and Society, if stakeholders or – as is the case in a few are now in charge of a comprehensive countries – national government agencies ­portfolio that encompasses Europe’s Digital choose to promote exclusive theatrical Single Market strategy, audiovisual policy, film releases in order to celebrate the culture cinema support as well as copyright. With of cinema-going and in order to create 28 Taking stock and looking forward 29 Taking stock and looking forward

­unparalleled excitement around a specific Developments in the European Parliament ­financial EU support for day-and-date releases laws that would mandate the dubbing of film – a strategy that ultimately benefits have to be considered in the context of in cinemas and on VOD – despite­ the failure ­international films – a choice that in our view all. The recently-launched European Film the above plans. The task of drafting a of previous publicly-funded projects in this should be left to the industry. ­Forum, a new platform initiated by the ­report on the implementation of the EU area – remains a cause of concern for UNIC. Commission to facilitate industry dialogue, copyright directive was given to Member of As has been clearly shown before, the value is a welcome opportunity to articulate the European Parliament (MEP) Julia Reda of the online market for films can only be our position and to discuss approaches to (Germany). Julia Reda is a Member of developed in a sustainable fashion on the What remains is UNIC’s promote a truly diverse and competitive the Pirate Party. Her ill-advised proposals to shoulders of a strong theatrical exhibition purpose: to speak with ­European film and cinema sector. reform EU copyright would significantly sector. European audiovisual policy in this weaken the rights of various film industry context has to be re-­focused to promote one voice to promote stakeholders and are currently debated more creative cross-sector collaboration by European policy-makers. Concurrently, ­between film makers, distributors, cinema and defend cinema We need to explain con- MEP Pavel Svoboda (EPP, Czech Republic) exhibitors and film publishers rather than exhibition’s interests vincingly how economic has drafted an action plan on the enforce- follow down a path that is opposed­ by the ment of intellectual property rights in overwhelming majority of theatre owners. and its social and and cultural value is the EU. An overall more positive report on cultural contribution created in our sector ­European film in the digital era has been UNIC over the past 12 months has continued drafted by MEP Bogdan Wenta (EPP, to work with its members to create more amongst our European and how our businesses ­Poland). The report recognises the flagship ­favourable framework conditions for cinema role of cinema exhibition within the exhibition in various Member States. A and international as well as the diversity ­European film eco-system and suggests ­recurring theme has been the need to counter partners. of European cinema that new online platforms should be more unreasonable attempts by governments transparent and contribute to the financing in some territories to raise VAT and enter- ­depend on commercial of European films. tainment taxes on cinema tickets despite the The association’s various activities in disastrous impacts that such increases have ­relation to the above issues are listed in freedoms and resilient At another level, the EU will continue to had for example on the Spanish exhibition ­other sections of this Annual Report. copyright laws. support the Europa Cinemas network in the sector. UNIC has also continued to highlight What remains is UNIC’s purpose: to speak coming years via the Creative Europe-­MEDIA to national governments the need to increase with one voice to promote and defend programme – a laudable undertaking. Europa efforts to limit industrial scale copyright ­cinema exhibition’s interests and its social The progressive decision to exclude audio- Cinemas should be considered a flagship ­infringements by online intermediaries. and cultural contribution amongst our visual services from the negotiation mandate initiative of EU cultural policy-­making and ­Finally – again in the case of Spain – UNIC ­European and international partners. of the EC regarding the Transatlantic Trade has been one of the strongest initiatives to has supported Catalonian as well as Spanish and Investment Partnership (TTIP) must be promote non-national European films over cinema exhibitors and distributors in their maintained. the past decade. Against that, continued attempts to prevent overly-rigorous language 30 Taking stock and looking forward 31 Taking stock and looking forward

Culture, business and community

Cinemas are a valued community resource – creative meeting places that provide much­- needed employment and have significant knock-on effects on other local businesses. Rewarding creativity and By showing a diversity of films they provide an opportunity for people to understand investment into cinema and express their sense of identity, reach out to young and old as well as to those from Copyright nurtures film-making and facilitates different backgrounds. Cinema exhibition investment into the production, distribution also remains the ‘gold standard’ for seeing and exhibition of great films that billions a film together – on the big screen – as of cinema-goers around the world enjoy each ­envisioned by the film-maker. Importantly, year. Illegal film viewing and recording – on cinemas represent a growing market share the other hand – endangers the diversity as amongst total film revenues and help finance well as the competitiveness of European film the creation of films. The spheres of culture, and cinema and puts at risk much-needed business and community therefore all come jobs for millions of Europeans working in together around the cinema-going experience. the creative industries. Cinema exhibitors This virtuous circle should be celebrated therefore fight illegal recordings of films and and nurtured. audio tracks in theatres. UNIC at the same time encourages public awareness campaigns Le Saint Germain des Prés, Paris, France, courtesy of Étoile Cinémas that highlight the positive contribution of the film and cinema sector to society. In its advocacy work, UNIC liaises with EU Digital opportunities decision-­makers and governments across Europe to ensure that copyright enforcement Digital technology enables cinema exhibitors rules are implemented in an effective way. to curate their offer in a more nuanced and On another level, UNIC promotes policies 2.3 customer-centred way. As financing arrange- that help ensure that new online operators ments around the acquisition of digital increasingly become participants in, rather ­cinema upgrades gradually come to an end, than mere beneficiaries of, European cinema. Summary of the full impact of digitisation will further They should help fight piracy more effectively, benefit independent films as well as ‘Event contribute to the financing of films and Cinema’. Upgrades with regards to image and ­become more transparent regarding to the UNIC’s key sound quality make the cinema experience value they add to the cinema eco-system. ever more immersive and distinguish it further from competition in home entertainment. policy positions On a different level, social media and mobile solutions help cinemas engage with audiences in new ways and further develop the social dimensions of cinema-going. 32 Taking stock and looking forward 33 key figures

Disability and access

Cinema exhibitors recognise everyone’s right Film release practices to enjoy the cinema-experience and as a ­result have made significant investments in Given the diversity of European cinema and improving access to their theatres and in rel- the fragmentation of film markets across Eu- evant facilities. The exhibition sector will rope, UNIC strongly believes that industry continue to do all it reasonably can to ensure stakeholders in each market should be able that disabled people are able to enjoy the big to adjust film financing and distribution screen experience. Inevitably, there are limits strategies in order to meet audience demand. to how much each cinema can do and it must This includes the ability to decide when, be for each individual cinema operator to where and how a film should be released, in decide when that point is reached. line with the principles of territoriality, ­commercial freedom and copyright exclusivity. In addition to this, national governments can at times intervene on the basis of specific cultural policy objectives and according to the principle of subsidiarity. EU decision­- Taxation makers should in this context have more trust in the market’s ability to meet consumer Cinemas in many UNIC territories benefit demand. from preferential VAT rates on tickets because of their cultural value. However, excessive taxation is increasingly endangering the live- lihood of cinemas in several European terri- tories, in particular those most affected by the recent economic recession. While these Music rights payments cinemas face significant falls in consumer spending and often an increased VAT rate Most cinemas across Europe make signifi- despite their cultural offer, they also need to cant payments to collecting societies to invest into digital cinema technology in or- ­reward songwriters, composers and other der to survive the nearing end of 35mm film creators for the use of their works in films distribution. UNIC works with its members and in their theatres. UNIC of course at national level to convince governments ­supports the right of creators to be rewarded that increasing VAT, entertainment taxes or for their efforts. But we also believe that the similar levies only creates a short-term boost level of payments should be fair and that to government returns while in the long term there should be a transparent way to calculate damaging the industry as well as the state and distribute fees paid to collecting socie- budget. ties. Challenging collecting societies and fee levels before national courts or relevant copyright tribunals should be possible for any cinema operator. Filmstaden Sergel, Stockholm, Sweden, courtesy of SF Bio 34 key figures 35 The cultural, economic and social impact of cinema exhibition

Cinemas have a significant economic impact

Cinemas contribute to a country’s GDP, The Cultural, economic ­create local jobs – especially amongst younger and social impact of people – and are essential to the development of the creative industries, a cornerstone of ­cinema exhibition modern knowledge-based economies. They are also, of course, increasingly important Cinema is to a country’s image abroad and help attract Cinema theatres are an investment. Across all UNIC territories, ­total an essential part of box office revenue increased by 0.6 per cent1 essential component of in 2014.Research also shows that each € spent Europe’s culture on a cinema ticket has above-the-average Europe’s cultural and multiplier effects on neighbouring commer- creative industries, a cial activities, creating jobs and employment Across UNIC territories, more than 30,000 in a range of areas, including the restaurant leading sector that screens create awareness around and interest sector and retail. ­employs 7 million people in European and international films, enabling hundreds of millions of visitors to discuss and generates 4.2 per stories that entertain us, make us think, and enable us to reflect on our everyday life. cent of EU GDP. Due to digital technology, cinemas can now screen more films than ever and meet new demands of ever-more-fragmented audienc- Cinemas have Cinemas are local hubs of creativity, develop- es. In a world where fast-paced cultural ex- ment and community and have incredibly periences are increasingly triggered by a powerful social positive impacts on our local economies. interaction with mobile devices – and yet at influence the same time often occur in solitude – the shared and singular experience of watching a film on the big screen becomes ever more Cinemas are modern meeting places that important. help stimulate dialogue on a range of impor- tant issues. Outside the theatre, cinemas contribute to the well-being of local commu- nities and facilitate urban regeneration by attracting new workers, small businesses and new inhabitants. These local communities 1Total box office for UNIC territories was calculated on the basis of changing foreign are provided with a highly enjoyable alter- ­currencies in Euro. This does not include Russia due to strong exchange variations in 2014. native to their everyday cares, thanks to Glasgow Film Theatre, Glasgow, Scotland, United Kingdom, courtesy of Glasgow Film Theatre an unparalleled entertainment experience. Representing cinemas in 11 ADVOCACY INITIATIVES 3 The year at Unic 36 ­European territories launched in individual UNIC countries

UNIC has in 2014 further developed its advocacy activities and considerably 12 press releases, extended its political reach and impact in the EU as well as across UNIC 10 meetings member territories. The role of the association as a forum for exchanging official letters and organised for ­insight and best practice further increased through­ our Retail, Marketing and pos­ ition papers ­ UNIC expert groups Technology Groups as well as in collaboration with the participants of our published Partner Programme. 3,000 participants attended CineEurope

4 European studios presented their films at CineEurope

12 presentations given at industry­ and policy events

Recruited 6 new members to Partner­ Programme

35 meetings with and 6 EU-policy events for EU decision makers

12 articles published in trade press / UNIC mentioned in 30 articles Courtesy of iStock/nullplus 38 The year at unic 39 key figures

3.2 Services to members and partners 3.1 UNIC offers a range of complimentary ­services to members and partners, including Advocacy data collection, bespoke research, the organ- isation of industry expert groups (on Tech- nology, Marketing and Retail respectively) UNIC works with policy-makers and partner­ and the management of a Partner Programme institutions in the EU and internationally involving key companies across the cinema to help shape policies and legislation that eco-system. enable cinemas and film to thrive.Recognition ­ of the fundamental role of ­cinema exhibition with regard to fostering the well-being of the entire film eco-system – as well as the wish to promote the cultural and economic benefits of our sector – ­informs our advocacy work in Brussels and across Europe. 3.3 Cineeurope

UNIC’s official annual convention, organised in collaboration with the Film Expo Group of Prometheus Global Media, each year brings together cinema exhibition professionals from over 50 countries. We hope to increase the success of CineEurope this year (22–25 June) even further, involving more European film companies and attracting even more Empire Cinema, London, United Kingdom, courtesy of Empire Cinemas participants. 40 The year at unic 41 The year at unic

Advocacy

– Meeting DG Competition: review of ­German Film Law – Creativity Works! letter to national ­ministers on copyright review – Letter to Commissioner Vassiliou on Services to Members ­growing EU film audiences – UNIC CEOs and Board meet and Industry EC Director General (DG Connect) Events – UNIC submits position on EU copyright – UNIC Technology Group Chair attends review – Film theft meetings with key studio ICTA Munich meeting 3.4 – Creativity Works! letter to Commission – Survey: union agreements on role of ­executives – LA President on copyright review – CinemaCon 2015 ­cinema projectionists – UNIC meets with French, Spanish and – UNIC participates in TTIP chief – UNIC update on cinema-going in 2014 Unic activities UK Permanent Representations in Brussels ­negotiator’s briefing –  UNIC Innovation Lab on Cinema Going – Press release commenting on the – Forum de Chaillot – Paris – Survey: awareness raising initiatives EC Film Communication – UNIC attends EAO conference – Cannes ­regarding film theft in 2014–2105 – Recommendations to Macedonian – Europa Cinemas meeting – Cannes – UNIC internal training at Cinema and ­Albanian governments regarding – Exclusive EU film screening for 120 EU Aventure in Brussels VAT-strategies for cinema decision-makers – Input for film education study of In 2014–2015 UNIC has been involved – Welcome letter to new Members of the – Event Cinema Association conference – ­uniFrance in a number of diverse activities to promote European Parliament London – UNIC Annual Report 2014 the social, cultural and economic value – Recommendation to Slovak government – UNIC presentation @ Norwegian – CineEurope 2014 welcomes more than of cinemas in Europe and abroad. regarding cinema levy Cinema Conference 3,000 cinema professionals – Media relations and advocacy in relation to – Jan Runge invited by EC to participate in – UNIC welcomes NEC, Harkness content quotas in certain UNIC territories EU film policy mission to China Screens, MasterImage 3D, Sony, – Breakfast meeting in European – Meetings with international distribution Barco and Ymagis to Partner Programme­ Parliament with MEPs leading on film heads of US studios – LA – UNIC secure long-term involvement in and copyright – Workshop inside the European Parliament CineEurope – Recommendation to Austrian government on “How to make a film” – UNIC Technology Group meeting in on VAT-rate for cinema ticket – New Cine Forum – Krakow ­collaboration with EDCF – High-level meetings with EC decision- – Launch of MEP Bogdan Wenta’s EP – UNIC Marketing Group meeting makers on copyright and film strategy ­report on film in the digital era – UNIC Retail Group meeting – UNIC meets with Commissioner – EC Twitter-events #AskAnsip and – UNIC and EDCF establish SMPTE-DCP Oettinger – Berlinale #AskOettinger roll-out project group – Film executives letter to Commissioner – Presentation for Catalan language – Survey: market share of Oettinger ­committee regarding film dubbing alternative content across Europe – Audiovisual coalition letter on the ­practices – Barcelona – UNIC initiates “Tales from the sector” importance of the principle of territoriality – Latvian Presidency event “Strengthening online article-series sent to EU officials the European audiovisual media market”– – Comparative survey: contributions – Creativity Works! issue position Riga of VOD, cinemas and broadcasters to on MEP Julia Reda’s copyright report – EAO Advisory Board meeting – Strasbourg ­national film funds 42 Members 43 Members 4 Members

Association members and Operator members affiliated members*

Austria Italy Cinémas Gaumont Pathé Nordisk Film Biografer Fachverband der Kino-, Kultur- Associazione Nazionale Esercenti Cinema France, the Netherlands, Switzerland Denmark, Norway und Vergnügungsbetriebe Associazione Nazionale Esercenti Multiplex Cinemax Odeon & UCI Cinemas Group Belgium Netherlands Slovakia Austria, Germany, Italy, Ireland, Portugal, Fédération des Cinemas de Belgique Nederlandse Vereniging van Spain, United Kingdom Bioscoopexploitanten­ Cineplexx Denmark Albania, Austria, Croatia, Italy, Macedonia, Svenska Bio Danske Biographer Norway Montenegro, Serbia, Slovenia Denmark, Finland, Sweden Film & Kino Finland Cineworld and Cinema City International UGC Finnish Cinema Exhibitors’ Association Russia Israel, Ireland, Hungary, Poland, Czech Belgium, France Kino Alliance* Republic, Romania, Bulgaria, Slovakia, France United Kingdom Utopia Group Fédération Nationale des Cinémas Français Spain Belgium, France, Luxembourg, Federación de Cines de España Kinepolis Group the Netherlands Germany Belgium, France, Poland, Spain, Switzerland Hauptverband Deutscher Filmtheater Sweden Vue Entertainment K i no e.V. Sveriges Biografägareförbund Kino Arena Denmark, Germany, Ireland, Italy, Bulgaria Latvia, Lithuania, Poland,­ Portugal, Taiwan, Greece Switzerland United Kingdom Federation of Greek Cinematographers* SKV – ACS Association Cinématographique­ Mars Entertainment Group Suisse Turkey Yelmo Cines Hungary Spain Mozisok Orszagos Szovetsege* Turkey Movies@Cinemas Turkish Cinema Operators’ Association­ Ireland Israel (SSID)* Cinema Industry Association Nordic Cinema Group UK Sweden, Finland, Estonia, Latvia, Lithuania, UK Cinema Association Norway 44 Partners 3 key figures

Should you wish 5 Partners to join UNIC, please get in touch with

Partner associations Jan Runge / representing the film sector [email protected]

Confédération Internationale des Cinémas d’Art et d’Essai CICAE Board of Directors Europa Cinemas (2013–2015) Europa Distribution President European Digital Cinema Forum EDCF Phil Clapp (UKCA)

Fédération Européenne des Réalisateurs Senior Vice-President de l’Audiovisuel FERA Jean-Pierre Decrette (FNCF)

Fédération Internationale des Associations Vice-Presidents de Distributeurs de Films FIAD Mario Mazzetti (ANEC) Jaime Tarrazon (FECE) Fédération Internationale des Associations Edna Epelbaum (ACS) de Producteurs de Films FIAPF Kim Pedersen (Danske Biografer)

International Video Federation IVF Treasurer Andreas Kramer (HDF-Kino) Motion Picture Association MPA A new Board of Directors will be National Association of Theatre Owners appointed at UNIC’s General Assembly NATO during CineEurope 2015. Contact

UNIC Union Internationale des Cinémas / International Union of Cinemas Av. Des Arts 10–11 1210 Brussels (Saint-Josse-ten-Noode) Belgium

Getting in touch

Tel: +32 2 880 99 39

Jan Runge Chief Executive [email protected]

Laura Houlgatte European Affairs Executive [email protected]

Guillaume Branders Project Manager [email protected]

www.unic-cinemas.org www.facebook.com/UNIC.Cinemas @JAN_at_UNIC