Key Trends in European Cinema 72

KEY TRENDS IN EUROPEAN CINEMA 72

Table of contents 29 BILLION ADMISSIONS IN 2018 ACROSS UNIC TERRITORIES

Executive Summary 2 Cinema-going in Europe in 2018 4 Looking forward 16 Policy update 30 Conclusion 40 Members and partners 44

Campeones, Spain (2018), Universal Pictures España 1. 2 3 Welcome from Phil Clapp 38 TERRITORIES & Executive Summary REPRESENTED BY UNIC CEO of the UK Cinema Association, President of the International Union of Cinemas 42,000 SCREENS ACROSS UNIC TERRITORIES

Welcome to this, our 2019 annual report, value attached to the Big Screen experi- detailing the key cinema trends in Europe ence across Europe and, more broadly, – one of the most diverse, innovative and represent almost a quarter of the global dynamic regions in the World. theatrical market for films – cementing Europe’s position as a key player within the UNIC, the Union Internationale des Ciné- international cinema exhibition sector. To build on this, European cinema opera- sent a highly valued and trusted resource mas/International Union of Cinemas, is tors continue to invest massively to enable for a broad range of local communities. the trade body representing key European A key contributor to the region’s standing these stories to find an audience in the most cinema operators and their national asso- on the global stage is its uniquely diverse engaging way and through the highest Looking ahead, UNIC will continue in its ciations across 38 territories. We promote cultural landscape, reflected in Europe’s quality experience. This investment ex- efforts to remain abreast of the fast-paced the cultural, social and economic bene- exciting and varied cinema community, tends far beyond the screening room and, world of cinema exhibition in the interest fits of a vibrant cinema-going culture in fuelling audiences’ strong appetite for a as cinema-going becomes an increasingly of showcasing the benefits of cinema- Europe, providing a strong and influential broad range of film content. eventful and digitally-connected experi- going on the European stage, supporting voice for European cinema operators on ence, operators now strive more than ever its members and ensuring a bright and issues of shared interest. In cities, towns and rural areas through- to engage with their audiences and tailor prosperous future for our industry. out the region, European cinemas provide their offers to best meet demand. Across the region, cinema-going continues spaces in which the expression of local, As we welcome a new European Parliament to flourish and remains firmly at the centre national and European identity can flourish. Whilst the sector’s continued success forms and Commission to Brussels, we very much of the European film ecology. Now more than ever, through reaching out an integral component of the health of the hope to bolster our existing relationships to different demographics and enabling hun- wider European film industry, cinemas’ and forge new ones at European, local and Last year marked the fourth consecutive dreds of millions of cinema-goers to engage noticeable multiplier effects on both na- international level to convey the value of year that cinemas across UNIC territories with stories from across Europe and further tional and local economies, along with the cinema-going for Europe today. welcomed over 1.25 billion admissions, afield, cinemas’ importance in terms of people that live within them, is also key. equating to € 8.1 billion at the box office. cultural expression, exchange and mutual They contribute to both national and Euro- We very much hope that you find this These figures illustrate the continued understanding cannot be overstated. pean GDP, boost employment and repre- report interesting and informative.

WELCOME 4 5

European cinema-going in 2018 Record performances in the UK, Poland and Turkey Almost 1.3 billion cinema tickets were sold UK exhibitors enjoyed a record-breaking across UNIC territories in 2018, with EU year with over 177 million admissions, the Member States alone welcoming more than highest level of cinema-going since 1970. 950 million visitors. Amassing close to € 8.1 Similarly, Polish cinemas attracted almost billion at the box office, European cinema 60 million cinema-goers, a 5.5 per cent Cinema-going operators experienced another strong year, year-on-year increase, bolstered by three although several factors – including a par- local productions leading at the box ticularly warm summer and the FIFA office including Kler and Kobiety Mafii. World Cup – contributed to mixed perfor- In addition, Turkish cinemas attracted mances in several leading European terri- over 70 million cinema-goers for the second tories and an overall dip of 3.4 per cent in year in a row, with a record-breaking 62.9 in 2018 admissions. per cent national films’ market share led by the local production Müslüm. Box office was mainly driven by international titles including, but not limited to, Avengers: Infinity War, Bohemian Rhapsody, Balanced results in France, Spain and Russia The Incredibles 2, Mamma Mia! Here We While France experienced a 4.0 per cent European Go Again and Hotel Transylvania 3: Summer fall in attendance, French exhibitors still Vacation. That said, a broad range of Euro- attracted over 200 million cinema-goers pean productions enjoyed great results in and enjoyed a record market share for several UNIC territories, highlighting once national films of almost 40 per cent, with again the importance of local content for three local films in the box office top five. the region. The same trend could be observed in Spain update (box office -2.0 per cent / admissions -2.0 per cent), finishing just shy of the symbolic 100 million admissions mark. Russia – after outperforming France in 2017 as the leading European territory in terms of cinema admissions – experienced its second-best year ever, despite a 5.5 per cent decrease in admissions, as local film Dvizhenie vverkh 1.29 BILLION ADMISSIONS led at the box office. 3.4 PER CENT DECREASE ON 2017

€ 8.1 BILLION BOX OFFICE REVENUE 5.6 PER CENT DECREASE ON 2017

Journal 64, Denmark/Germany (2018), Zentropa Entertainments CINEMA-GOING IN 2018 6 7

TOP 5 UNIC TERRITORIES FRANCE 201.1 MILLION ROMANIA IN TERMS OF ADMISSIONS RUSSIA 200.5 MILLION +252 % UK 177.0 MILLION GERMANY 105.4 MILLION SPAIN 97.7 MILLION

SLOVAKIA +149 %

ESTONIA +123 % Lacklustre year in German-speaking territories office top five, including the Danish film and Southern Europe Journal 64. Following a record-setting 2017 Germany (box office -14.8 per cent / admis- and despite a 23.6 per cent market share sions -13.9 per cent), Austria (box office -9.5 for national films, Finland experienced per cent / admissions -11.4 per cent) and an 8.2 per cent decline in admissions, TURKEY Switzerland (box office -12.5 per cent / while Swedish cinema operators had stable +83% admissions -12.9 per cent) all suffered from results with box office and admissions a lack of successful local and international declining by 1.0 per cent. content in 2018. Decreases were also wit- POLAND NETHERLANDS nessed in Italy (box office -5.0 per cent / +77% +52% admissions -6.9 per cent), Greece (box Outstanding performances for the Baltic States office -7.7 per cent / admissions -7.4 per The Baltic States experienced impressive cent) and Portugal (box office -3.7 per cent cinema-going levels in 2018, as Estonia / admissions -5.3 per cent). (box office +6.3 per cent / admissions +3.4 per cent), Latvia (box office +3.4 per cent / admissions +1.9 per cent) and Lithua- Mixed fortunes in Scandinavia nia (box office +11.1 per cent / admissions Denmark (box office +5.1 per cent / admis- +6.3 per cent) all enjoyed growing admis- BULGARIA +74 % sions +4.0 per cent) and Norway (box sions and box office, and a combined eight + office +9.1 per cent/admissions +3.0 per local productions made it to the box office THERE ARE STILL OPPORTUNITIES FOR GROWTH IN THE SECTOR, HUNGARY 65% RUSSIA +62% cent) enjoyed positive results, with several top five in the three territories. EVIDENT THROUGH INCREASING ADMISSIONS IN SEVERAL EUROPEAN TERRITORIES OVER THE LAST DECADE (2008–2018) CROATIA +45% local productions making it into the box

CINEMA-GOING IN 2018 8

ANNUAL VISITS TO THE CINEMA 1.5 ACROSS UNIC TERRITORIES TOP 5 UNIC TERRITORIES TURKEY 62.9% IN 2018 3.1 FRANCE IN TERMS OF MARKET SHARE FOR NATIONAL FILMS FRANCE 39.5% 2.1 SPAIN POLAND 35.5% 1.4 RUSSIA DENMARK 28.0 % 0.9 TURKEY LITHUANIA 27.5 %

Continued growth in CEE and the Balkans 1.5 annual visits With the exception of territories such as Admissions per capita for all UNIC terri- MARKET SHARE OF EUROPEAN FILMS Slovakia (box office -4.3 per cent / admis- tories remained stable at 1.5 visits per year. IN 2018 IN THE EU sions -10.9 per cent) and Bulgaria (box France and Ireland (at 3.1 and 3.3 respec- office -9.2 per cent / admissions -12.1 per tively) again experienced the highest rates cent) – both after breaking their all-time of cinema-going in Europe, while there box office records in 2017 – the majority of remains opportunities for growth in a territories in Central and Eastern Europe number of territories including Romania enjoyed another year of growth, including (0.7) and Ukraine (0.6). the Czech Republic (box office +13.2 per cent / admissions +7.3 per cent) and Hun- gary (box office +4.9 per cent / admissions Strong European and local content +2.0 per cent). The same upward trend was The market share of European films in- * experienced across the Balkans, with posi- creased slightly across the region in 2018, tive results in Croatia (box office +7.8 per reaching 29.4 per cent.* Continuing its cent / admissions +1.4 per cent) and Serbia recent success in terms of national produc- (box office +19.9 per cent / admissions tions, Turkey experienced a record 62.9 +18.0 per cent). Despite a slight decline per cent rate, followed by France (39.5 per of 3.8 per cent in admissions, Romania cent) and Poland (35.5 per cent). experienced its second-best performance ever with 13.3 million cinema-goers. * Source: European Audiovisual Observatory 29.4%CINEMA-GOING IN 2018 10 11

Growing screen count A record-breaking year ahead? The total number of cinema screens across The industry looks forward to a particu- UNIC territories continued to increase larly busy and promising release schedule in 2018, with 42,000 screens in the region in 2019, packed with highly anticipated alone. EU Member States averaged 55 European as well as international titles. screens per million inhabitants, a figure The first half of the year has already which has remained stable in recent years. brought us the record-breaking Avengers: Ireland (108), France (91) and Norway (89) Endgame, which took only 11 days to reach have the highest screen density in Europe, $2 billion at the global box office and while we continue to witness impressive might even surpass Avatar as the highest- screen growth in Eastern European terri- grossing film of all time. And releases such tories such as in Bulgaria, which went as The Lion King and Star Wars: The Rise Celebrating Europe’s from 95 screens in 2008 to 218 in 2018. of Skywalker are certain to attract millions of avid film fans of all ages to cinemas around the World. diverse film slate A wide range of local productions made it to the box office top five across UNIC territories in 2018, illustrating the strength and diversity of the European film sector.

SCREEN DENSITY 55 THE EUROPEAN UNION IN 2018 108 IRELAND 89 NORWAY 58 GERMANY 31 BULGARIA

WELCOME , France (2018), Pathé; Journal 64 Pathé; , Denmark/Germany Zentropa (2018), (2018), , France 3 Tuche Johnny English Strikes Again , UK/France/US Samsa Film; Les (2018), De Superjhemp retörns , Luxembourg/Belgium Central Partnership; Universal Pictures; Dvizhenie vverkh , Russia (2018), (2018), Arif V 216 Nordisk Film; Skjelvet , Norway CGV Mars D.; , Denmark (2018), , Turkey (2018), (2018), , Lithuania (2018), Per Acme Film; Lykke Seltsimees Laps , Estonia Pathé; (2018), Nordisk Film; La Ch’tite famille , France Film; Ilosia aikoja, Mielensäpahoittaja , Finland (2018), Taska Den 12. mann , Norway Nordisk Film; Klassikokkutulek Art, Russia (2018), debesu¸ 2 , Estonia (2018), Pictures Studio; Entertainments; (2017), Lyod pilku¸ Fénix Film; Tarp , Czech Republic (2018), muzˇi touzˇí cˇem Universal Pictures España; Po Amrion;, Spain (2018), Campeones (2018), StudioCanal; (2018), , France Grand Bain CGV Mars D.; Le Gigant Films; Müslüm , Turkey (2018), (2018), Studios; Planeta Singli 2 , Poland Archangel vetar , Serbia (2018), KinoJuzˇni Swiat; (2018), Nordisk Film; Kler , Poland Nordisk Film; Så længe jeg lever , Denmark (2018), COMETE Kriminalas ekselences fonds , Latvia (2018), Film Angels Studio; Homo Novus , Latvia Films. (2018), 51 52

If you are looking for 21 36 21 49 56 75 93 71 34 66 12 5 66 44 11 31 43 39 50 81 61 62 91 58 49 38 108 49 67 34 24 62 6 17 56 89 37 57 SCREEN SCREEN DENSITY more figures about the European cinema industry, please contact us at 2.8 % 27.4 % 21.0 % 3.7 % 3.4 % 17.5 % 16.9 % 6.4 % % 62.9 11.7 % 8.0 % 1.5 % 4.5 % 11.0 % 0.5 % 6.7 % 1.3 % 0.0 % 20.0 % 28.0 % 17.9 % 23.6 % 39.5 % 23.5 % 7.1 % 6.1 % 2.0 % 5.9 % % 23.0 22.1 % 27.5 % 4.9 % 1.0 % 0.4 % 10.5 % 23.7 % 35.5 % 1.5 % NATIONAL NATIONAL FILMS’ SHARE communications@ unic-cinemas.org

0.7 1.4 0.6 1.1 1.2 2.1 1.6 1.7 0.9 2.7 0.6 0.1 1.5 1.6 0.3 0.7 1.1 0.9 1.5 2.3 2.8 1.5 3.1 1.3 0.9 1.6 3.3 1.9 1.4 1.3 1.5 1.8 0.2 0.5 2.1 2.3 1.6 1.4 PER CAPITA -3.8 % -5.5 % +18.0 % -10.9 % +6.0 % -2.0 % -1.0 % -12.9 % -1.1 % +3.8 % -3.6 % +7.7 % -11.4 % -4.0 % +7.9 % -12.1 % +1.4 % +1.0 % +7.3 % +4.0 % +3.4 % -8.2 % -4.0 % -13.9 % -7.4 % +2.0 % -2.1 % -8.5 % -6.9 % +1.9 % +6.3 % -9.1 % -3.0 % +1.4 % -0.8 % +3.0 % +5.5 % -5.3 % CHANGE

SEE ALL TERRITORIES

13.3 200.5 4.1 6.0 2.4 97.7 16.4 12.1 70.4 177.0 27.0 0.4 12.8 18.8 1.2 4.9 4.7 0.8 16.3 13.0 3.6 8.1 201.1 105.4 9.4 15.5 15.8 16.7 85.9 2.5 4.3 1.1 0.4 0.3 35.7 12.1 59.7 14.8 2018 ADMISSIONS -1.4 % -5.6 % % +19.9 -4.3 % % +8.3 -2.0 % -1.0 % -12.5 % +3.0 % -0.1 % +2.1 % +17.7 % -9.5 % -0.7 % +7.1 % -9.2 % +7.8 % +1.0 % +13.2 % +5.1 % +6.3 % -8.4 % -3.2 % -14.8 % -7.7 % +4.9 % +3.1 % -8.4 % -5.0 % +3.4 % +11.1 % -8.6 % +7.2 % +2.4 % +3.5 % % +9.1 +4.7 % -3.7 % CHANGE

BOX OFFICE CURRENCY LOCAL IN 2018 160.0 46.0 21,947.7 22.4 263.0 50,299.0 1,602.8 33.0 12.6 585.7 1,940.7 183.6 896.8 1,277.1 2,430.0 117.8 6.1 147.4 6.5 2,268.9 1,136.1 20.6 90.3 1,336.1 899.3 60.0 117.3 533.4 555.7 13.3 7.5 87.9 1.1 312.4 1,376.0 1,123.3 78.7 211.8 ON CINEMA-GOING CINEMA-GOING ON AUSTRIA (EUR) AUSTRIA BOSNIA AND HERZEGOVINA (BAM) CROATIA (HRK) (EUR) CYPRUS CZECH REPUBLIC (CZK) (DKK) DENMARK (EUR) ESTONIA FINLAND (EUR) FRANCE (EUR) (EUR) GERMANY GREECE (EUR) IRELAND (EUR) ISRAEL (ILS) ITALY (EUR)* LATVIA (EUR) LUXEMBOURG (EUR) NORTH MACEDONIA (MKD) MONTENEGRO (EUR) NETHERLANDS (EUR) (NOK)NORWAY POLAND (PLN) BELGIUM (EUR) BULGARIA (BGN) HUNGARY (HUF) (EUR) LITHUANIA PORTUGAL (EUR) ROMANIA (RON) RUSSIA (RUB) (RSD) SERBIA SLOVAKIA (EUR) SLOVENIA (EUR) SPAIN (EUR) SWEDEN (SEK) SWITZERLAND (CHF) (TRY) TURKEY UK (GBP) UKRAINE (UAH) ALBANIA (ALL) ALBANIA NUMBERS NUMBERS FOR UNIC TERRITORIES IN 2018

WELCOME 12 13 21 36 21 49 56 75 93 71 34 66 12 5 66 44 11 31 43 39 50 81 61 62 91 58 49 38 108 49 67 34 24 62 6 17 56 89 37 57 SCREEN SCREEN DENSITY 2.8 % 27.4 % 21.0 % 3.7 % 3.4 % 17.5 % 16.9 % 6.4 % % 62.9 11.7 % 8.0 % 1.5 % 4.5 % 11.0 % 0.5 % 6.7 % 1.3 % 0.0 % 20.0 % 28.0 % 17.9 % 23.6 % 39.5 % 23.5 % 7.1 % 6.1 % 2.0 % 5.9 % % 23.0 22.1 % 27.5 % 4.9 % 1.0 % 0.4 % 10.5 % 23.7 % 35.5 % 1.5 % NATIONAL NATIONAL FILMS’ SHARE

13.3 200.5 4.1 6.0 2.4 97.7 16.4 12.1 70.4 177.0 27.0 0.4 12.8 18.8 1.2 4.9 4.7 0.8 16.3 13.0 3.6 8.1 201.1 105.4 9.4 15.5 15.8 16.7 85.9 2.5 4.3 1.1 0.4 0.3 35.7 12.1 59.7 14.8 2018 ADMISSIONS ional al Cinematografiei), RU (Nevafilm Research), distribútorov), SK (Únia filmov´ych UK (British Film Institute). , ), DE (Filmförderungsanstalt), EE (Eesti Filmi Instituut & Baltic Films Co-operation Platform), FR (Centre National du Cinéma et de l’Image Animée), -1.4 % -5.6 % % +19.9 -4.3 % % +8.3 -2.0 % -1.0 % -12.5 % +3.0 % -0.1 % +2.1 % +17.7 % -9.5 % -0.7 % +7.1 % -9.2 % +7.8 % +1.0 % +13.2 % +5.1 % +6.3 % -8.4 % -3.2 % -14.8 % -7.7 % +4.9 % +3.1 % -8.4 % -5.0 % +3.4 % +11.1 % -8.6 % +7.2 % +2.4 % +3.5 % % +9.1 +4.7 % -3.7 % CHANGE

Национален филмов център BOX OFFICE CURRENCY LOCAL IN 2018 160.0 46.0 21,947.7 22.4 263.0 50,299.0 1,602.8 33.0 12.6 585.7 1,940.7 183.6 896.8 1,277.1 2,430.0 117.8 6.1 147.4 6.5 2,268.9 1,136.1 20.6 90.3 1,336.1 899.3 60.0 117.3 533.4 555.7 13.3 7.5 87.9 1.1 312.4 1,376.0 1,123.3 78.7 211.8 ON CINEMA-GOING CINEMA-GOING ON ), HR (Hrvatski Audiovizualni Centar), HU (Nemzeti Média- és Hírközlési Hatóság), IE (Wide Eye Media), (Lietuviu LT Filmu Centras & Baltic Films Co-operation Platform), (Nacionàlais LV kino centrs & Baltic Films AUSTRIA (EUR) AUSTRIA BOSNIA AND HERZEGOVINA (BAM) CROATIA (HRK) (EUR) CYPRUS CZECH REPUBLIC (CZK) (DKK) DENMARK (EUR) ESTONIA FINLAND (EUR) FRANCE (EUR) (EUR) GERMANY GREECE (EUR) IRELAND (EUR) ISRAEL (ILS) ITALY (EUR)* LATVIA (EUR) LUXEMBOURG (EUR) NORTH MACEDONIA (MKD) MONTENEGRO (EUR) NETHERLANDS (EUR) (NOK)NORWAY POLAND (PLN) BELGIUM (EUR) BULGARIA (BGN) HUNGARY (HUF) (EUR) LITHUANIA PORTUGAL (EUR) ROMANIA (RON) RUSSIA (RUB) (RSD) SERBIA SLOVAKIA (EUR) SLOVENIA (EUR) SPAIN (EUR) SWEDEN (SEK) SWITZERLAND (CHF) (TRY) TURKEY UK (GBP) UKRAINE (UAH) ALBANIA (ALL) ALBANIA

NUMBERS NUMBERS FOR UNIC TERRITORIES IN 2018 All box office and admissions figures are in million. Ελληνικό Κέντρο Κινηματογράφου Κέντρο Ελληνικό Co-operation Platform), ME (Filmski centra Crne Gore), PT (Instituto do Cinema e do Audiovisual), RO (Centrul Nat *Cinetel data: 95 per cent of the market Source: UNIC members ( BG Distributoru), Filmovych (Unie CZ from information Complementary WELCOME GR ( TOP 5 FILMS ACROSS UNIC TERRITORIES

TOP 1 TOP 2 TOP 3 TOP 4 TOP 5 Jumanji: ALBANIA Welcome to the Jungle Aquaman Avengers: Infinity War Fifty Shades Freed Black Panther Mamma Mia! Fantastic Beasts: AUSTRIA Avengers: Infinity War Here We Go Again Fifty Shades Freed The Crimes of Grindelwald Bohemian Rhapsody Jurassic World: Fantastic Beasts: BELGIUM The Incredibles 2 The Fallen Kingdom Avengers: Infinity War The Crimes of Grindelwald Fifty Shades Freed BOSNIA AND HERZEGOVINA Južni vetar Fifty Shades Freed Avengers: Infinity War Venom Deadpool 2 Hotel Transylvania 3: BULGARIA Summer Vacation Avengers: Infinity War Bohemian Rhapsody Venom The Grinch

CROATIA Bohemian Rhapsody Avengers: Infinity War A Star is Born Deadpool 2 The Grinch Johnny English Hotel Transylvania 3: CYPRUS Strikes Again Avengers: Infinity War Summer Vacation The Grinch Aquaman CZECH Fantastic Beasts: Hotel Transylvania 3: REPUBLIC Bohemian Rhapsody Avengers: Infinity War Po čem muži touží The Crimes of Grindelwald Summer Vacation

DENMARK Journal 64 Så længe jeg lever Lykke-Per The Incredibles 2 Avengers: Infinity War

ESTONIA Klassikokkutulek 2 Bohemian Rhapsody Eia Jõulud Tondikakul Seltsimees Laps The Incredibles 2 Mamma Mia! Ilosia aikoja, FINLAND Here We Go Again Mielensäpahoittaja Bohemian Rhapsody Avengers: Infinity War BlacKkKlansman Les Tuches 3: Liberté FRANCE The Incredibles 2 Egalité Fraternituche La Ch’tite famille Avengers: Infinity War Le Grand Bain

Fantastic Beasts: Hotel Transylvania 3: GERMANY The Crimes of Grindelwald Avengers: Infinity War Fifty Shades Freed The Incredibles 2 Summer Vacation Hotel Transylvania 3: GREECE Avengers: Infinity War The Nun Summer Vacation Deadpool 2 Fifty Shades Freed SEE ALL TERRITORIES Mamma Mia! Jurassic World: HUNGARY Avengers: Infinity War Bohemian Rhapsody Here We Go Again The Fallen Kingdom Deadpool 2 Mamma Mia! Jurassic World: IRELAND Here We Go Again A Star is Born Avengers: Infinity War The Incredibles 2 Fallen Kingdom Hotel Transylvania 3: Mission Impossible: ISRAEL The Incredibles 2 Summer Vacation Avengers: Infinity War Bohemian Rhapsody Fallout Fantastic Beasts: Hotel Transylvania 3: ITALY Bohemian Rhapsody Avengers: Infinity War Fifty Shades Freed The Crimes of Grindelwald Summer Vacation Hotel Transylvania 3: Kriminalas LATVIA Summer Vacation Homo Novus Nameja gredzens ekselences fonds The Grinch Klasės susitikimas: Hotel Transylvania 3: LITHUANIA Tarp pilkų debesų berniukai sugrįžta! Bohemian Rhapsody The Grinch Summer Vacation

LUXEMBOURG Superjhemp retörns Avengers: Infinity War Bohemian Rhapsody Black Panther n/d NORTH Jumanji: MACEDONIA Avengers: Infinity War Aquaman Black Panther Welcome to the Jungle Fifty Shades Freed Johnny English MONTENEGRO Južni vetar Fifty Shades Freed Strikes Again Ferdinand Venom

La Ch’tite famille La Ch’tite Fantastic Beasts: Mamma Mia! Jurassic World: NETHERLANDS Bohemian Rhapsody The Crimes of Grindelwald Avengers: Infinity War Here We Go Again Fallen Kingdom Mamma Mia! Mission Impossible:

, France (2018), Pathé (2018), , France NORWAY Here We Go Again Skjelvet Fallout Den 12. mann Avengers: Infinity War

POLAND Kler Kobiety Mafii Planeta Singli 2 Fifty Shades Freed The Incredibles 2 Hotel Transylvania 3: PORTUGAL The Incredibles 2 Bohemian Rhapsody Summer Vacation Fifty Shades Freed Avengers: Infinity War

ROMANIA Venom Avengers: Infinity War Aquaman Bohemian Rhapsody Black Panther Fantastic Beasts: RUSSIA Dvizhenie vverkh Venom Avengers: Infinity War The Crimes of Grindelwald Lyod Hotel Transylvania 3: SERBIA Južni vetar Summer Vacation Fifty Shades Freed Avengers: Infinity War The Grinch Hotel Transylvania 3: SLOVAKIA Bohemian Rhapsody Summer Vacation A Star is Born Avengers: Infinity War Fifty Shades Freed Hotel Transylvania 3: Mamma Mia! SLOVENIA Bohemian Rhapsody Summer Vacation Here We Go Again The Grinch Fifty Shades Freed Jurassic World: SPAIN The Fallen Kingdom Bohemian Rhapsody The Incredibles 2 Avengers: Infinity War Campeones Mamma Mia! SWEDEN Here We Go Again Avengers: Infinity War A Star is Born Black Panther Bohemian Rhapsody Fantastic Beasts: Mamma Mia! SWITZERLAND Bohemian Rhapsody Avengers: Infinity War The Crimes of Grindelwald Here We Go Again A Star is Born

TURKEY Müslüm Arif v 216 Ailecek Şaşkınız Yol Arkadaşım 2 Deliha 2 Mamma Mia! UK Avengers: Infinity War Here We Go Again The Incredibles 2 Black Panther Bohemian Rhapsody Fantastic Beasts: Hotel Transylvania 3: UKRAINE Avengers: Infinity War Aquaman Venom The Crimes of Grindelwald Summer Vacation 14 TOP 5 Black Panther Rhapsody Bohemian 2 Deadpool The Grinch The Grinch Aquaman Hotel Transylvania 3: Summer Vacation Avengers: Infinity War The Incredibles 2 BlacKkKlansman Le Grand Bain Hotel Transylvania 3: Summer Vacation 2 Deadpool Jurassic World: KingdomFallen Mission Impossible: Fallout Hotel Transylvania 3: Summer Vacation The Grinch n/d Fifty Freed Shades Venom Jurassic World: KingdomFallen Avengers: Infinity War The Incredibles 2 Avengers: Infinity War Lyod Campeones Deliha 2 Fifty Freed Shades Rhapsody Bohemian A Star is Born Hotel Transylvania 3: Summer Vacation Fifty Freed Shades Hotel Transylvania 3: Summer Vacation Bohemian Rhapsody Black Panther Fifty Freed Shades The Grinch Fifty Freed Shades TOP 4 Fifty Freed Shades Fantastic Beasts: The Crimes of Grindelwald Venom Venom 2 Deadpool The Grinch Fantastic Beasts: The Crimes of Grindelwald The Incredibles 2 LapsSeltsimees Avengers: Infinity War Avengers: Infinity War The Incredibles 2 Jurassic World: The Kingdom Fallen The Incredibles 2 Rhapsody Bohemian Fantastic Beasts: The Crimes of Grindelwald Kriminalas ekselences fonds The Grinch Black Panther Jumanji: to Jungle the Welcome Ferdinand Mamma Mia! Here We Go Again mann 12. Den Fifty Freed Shades Fifty Freed Shades Fantastic Beasts: The Crimes of Grindelwald Avengers: Infinity War Arkadaşım 2 Yol Fantastic Beasts: The Crimes of Grindelwald Black Panther Mamma Mia! Here We Go Again Black Panther Fantastic Beasts: The Crimes of Grindelwald Deadpool 2 Deadpool Rhapsody Bohemian The Grinch Avengers: Infinity War Avengers: Infinity War ional al Cinematografiei), RU (Nevafilm Research), distribútorov), SK (Únia filmov´ych UK (British Film Institute). , TOP 3 Avengers: Infinity War Fifty Freed Shades Avengers: Infinity War Rhapsody Bohemian A Star is Born Hotel Transylvania 3: Summer Vacation Po čem muži touží Lykke-Per Eia Tondikakul Jõulud Rhapsody Bohemian La Ch’tite famille Fifty Freed Shades Hotel Transylvania 3: Summer Vacation Mamma Mia! Here We Go Again Avengers: Infinity War Avengers: Infinity War Fifty Freed Shades gredzens Nameja Rhapsody Bohemian Rhapsody Bohemian Black Panther Johnny English Strikes Again Avengers: Infinity War Mission Impossible: Fallout 2 Planeta Singli Hotel Transylvania 3: Summer Vacation Aquaman Avengers: Infinity War Mamma Mia! Here We Go Again The Incredibles 2 Şaşkınız Ailecek Avengers: Infinity War Fifty Freed Shades A Star is Born A Star is Born Fantastic Beasts: The Crimes of Grindelwald The Incredibles 2 Venom EU/NATIONAL QUALIFIED PRODUCTION ), DE (Filmförderungsanstalt), EE (Eesti Filmi Instituut & Baltic Films Co-operation Platform), FR (Centre National du Cinéma et de l’Image

TOP 2 Aquaman Mamma Mia! Here We Go Again Fifty Freed Shades Avengers: Infinity War Avengers: Infinity War Avengers: Infinity War Avengers: Infinity War Så længe lever jeg Rhapsody Bohemian Ilosia aikoja, Mielensäpahoittaja Les Liberté 3: Tuches Egalité Fraternituche Avengers: Infinity War The Nun Rhapsody Bohemian A Star is Born Hotel Transylvania 3: Summer Vacation Avengers: Infinity War NovusHomo Klasės susitikimas: sugrįžta!berniukai Avengers: Infinity War Aquaman Fifty Freed Shades Fantastic Beasts: The Crimes of Grindelwald Skjelvet Kobiety Mafii Rhapsody Bohemian Avengers: Infinity War Venom Hotel Transylvania 3: Summer Vacation Hotel Transylvania 3: Summer Vacation Hotel Transylvania 3: Summer Vacation Rhapsody Bohemian Arif v 216 Jurassic World: The Kingdom Fallen Go Again Here We Aquaman Avengers: InfinityWar Avengers: InfinityWar Mamma Mia! Национален филмов център ACROSS UNIC TERRITORIES TERRITORIES UNIC ACROSS NON-NATIONAL EU FILMS

), HR (Hrvatski Audiovizualni Centar), HU (Nemzeti Média- és Hírközlési Hatóság), IE (Wide Eye Media), (Lietuviu LT Filmu Centras & Baltic Films Co-operation Platform), (Nacionàlais LV kino centrs &

TOP 1 Jumanji: to Jungle the Welcome Avengers: Infinity War The Incredibles 2 vetar Južni Hotel Transylvania 3: Summer Vacation Rhapsody Bohemian Johnny English Strikes Again Rhapsody Bohemian 64Journal Klassikokkutulek 2 Mamma Mia! Here We Go Again The Incredibles 2 Fantastic Beasts: The Crimes of Grindelwald Avengers: Infinity War Avengers: Infinity War Mamma Mia! Here We Go Again The Incredibles 2 Rhapsody Bohemian Hotel Transylvania 3: Summer Vacation pilkųTarp debesų Superjhemp retörns Avengers: Infinity War vetar Južni Rhapsody Bohemian Mamma Mia! Here We Go Again Kler The Incredibles 2 Venom Dvizhenie vverkh vetar Južni Rhapsody Bohemian Rhapsody Bohemian Jurassic World: The Kingdom Fallen Mamma Mia! Go Again Here We Bohemian Rhapsody Müslüm War Avengers: Infinity Avengers: Infinity War Ελληνικό Κέντρο Κινηματογράφου Κέντρο Ελληνικό ALBANIA AUSTRIA BELGIUM BOSNIA AND HERZEGOVINA BULGARIA CROATIA CYPRUS CZECH REPUBLIC DENMARK ESTONIA FINLAND FRANCE GERMANY GREECE HUNGARY IRELAND ISRAEL ITALY LATVIA LITHUANIA LUXEMBOURG NORTH MACEDONIA MONTENEGRO NETHERLANDS NORWAY POLAND PORTUGAL ROMANIA RUSSIA SERBIA SLOVAKIA SLOVENIA SPAIN SWEDEN SWITZERLAND TURKEY UK UKRAINE NATIONAL FILMS NATIONAL TOP 5 FILMS Source: UNIC members ( BG Distributoru), Filmovych (Unie CZ from information Complementary Animée), GR ( Baltic Films Co-operation Platform), ME (Filmski centra Crne Gore), PT (Instituto do Cinema e do Audiovisual), RO (Centrul Nat 16 17

As illustrated by growing admissions in sharing and community and have incredi- Europe over the last decade, cinema opera- bly positive effects on our local economies. tors continue to successfully adapt to the changing needs and preferences of their In a market characterised by cultural and audiences. While this ongoing positive linguistic differences, cinemas provide an trend highlights the well-being and opportunity for people to understand and strength of the 42,000 screens represented express their sense of local, national and by UNIC and the wider European cinema European identity, reaching out to young industry, recent business developments and old and those from different back- have brought several new challenges and grounds, ultimately celebrating European opportunities to the sector. diversity. Cinemas are modern meeting places that help stimulate dialogue on a range of important issues, combat social The value of cinema exclusion, revitalise interest in culture and Cinemas are an essential component of foster innovation and creativity. They help Europe’s cultural and creative fabric. They create awareness around and interest in play a central role in the promotion of a both European and international films and vibrant and diverse cinema-going culture enable hundreds of millions of visitors to across the region. Regardless of size or discuss stories that entertain us, make us Looking location, they are local hubs of creativity, think and reflect on everyday life. CINEMA ADMISSIONS ACROSS UNIC TERRITORIES forward 2008–2018 (IN MILLION)

’08 ’09 ’10 ’11 ’12 ’13 ’14 ’15 ’16 ’17 ’18 1140 1210 1220 1230 1200 1180 1190 1260 1300 1340 1290

Müslüm, Turkey (2018), CGV Mars D. LOOKING FORWARD 18 19

Cinemas create value for the entire Europe- UNIC EXPERT GROUPS an film industry – revenues from cinema tickets are redistributed, contributing to the creation and promotion of a vast range customer loyalty schemes, to name but a of content and the overall well-being of few examples. These initiatives are under- the European cultural sector. Cinemas pinned by sophisticated data analytics The UNIC Technology Group is composed of senior contribute to each country’s GDP and have programmes that help reach individual UNIC cinema technology executives from more than 20 member above-average multiplier effects on neigh- cinema-goers in a more personalised territories. As continuous innovation and change are today bouring commercial activities, boosting manner. central elements of the cinema business, the Group’s urban regeneration by creating new jobs Technology main objective is to monitor and evaluate technology and attracting investors, small businesses In recent years, cinema operators have trends while at the same time ensuring interoperability and new residents. They are essential to been experimenting with innovative and Group and access to films for all types of cinemas. the development of the creative industries, creative solutions both inside and outside a cornerstone of modern knowledge-based of the screening room to deliver audiences economies. the most engaging, diverse and immersive experience possible. These efforts help Fuelled by its appetite for innovation and ensure that audiences continue to attach engagement with audiences – including great value to seeing films together in cine- The UNIC Marketing Group gathers marketing digitally – the sector confidently competes mas and are ready to reward creativity as UNIC executives from major European cinema operators. with the myriad of online entertainment well as the investments made into provid- It enables its members to share key audience options available to consumers today. ing exclusive, state-of-the-art audiovisual trends and analyse the latest engagement European cinema operators are global experiences. Marketing opportunities in cinema and its related industries. leaders in terms of cutting-edge technology, a result of substantial investment Group and continued innovation. Industry collaboration Cinemas offer their audiences unique Nowadays, the cinema-going experience cultural and social experiences, at the starts days before stepping into the lobby same time allowing films to truly do justice and operators are experimenting with new to their director’s vision and, through their The UNIC Retail Group is formed of retail techniques to connect with potential guests exclusive nature, creating unparalleled and concession managers from leading European before, during and after screenings. Digital excitement around their release. UNIC cinema operators. The group aims to help engagement strategies are multifaceted and exhibitors of all sizes and locations to optimise can include online ticketing, automated This fair and transparent business model Retail social media engagement and innovative of longstanding and proven benefit ensures their retail business by conducting research that the film and cinema sector continues Group and sharing best practice. to respond to evolving audience tastes and preferences.

LOOKING FORWARD 20 21

VOD platforms are asserting themselves as Ultimately, meaningful theatrical exclusivity major players in the film industry. Bringing creates value, which in turn enables guests renewed competition to the marketplace, to enjoy films on the Big Screen – as origi- Walt Disney Studios announced this year nally intended by their directors – and helps the launch of its own streaming platform, maximise their social reach and financial Disney+, while NBCUniversal, WarnerMe- returns, to the benefit of the industry and dia and Apple are in the process of devel- cinema-lovers alike. Shorter releases – or oping their own streaming services – all no windows at all, sequential or otherwise of which will be competing to attract the – will ultimately lead to less choice across most subscribers and the best content. all platforms. In addition, Netflix has joined the Motion Picture Association of America (MPAA), Audiences have always sought diversity – of alongside the major US film studios. content as much as of experience. Preserv- ing their ability to choose can only strength- Cinema and streaming can not only co- en the sector and encourage European exist but can further complement each creators to experiment and deliver content other. Many of the most frequent cinema- of unparalleled quality. Cinemas provide goers are also significant consumers of windows into the lives of others through films online. Furthermore, cinema opera- the stories they showcase and enable audi- Global Cinema tors welcome anyone who brings quality ence access to a vast range of top-quality In June 2017, the World’s leading cinema film content to their screens, as proven by films, as well as offering a shared out-of- Federation operators announced the establishment of the Global the hundreds of new films being released home experience. The unique relationship Cinema Federation, a worldwide grouping intended to represent cinema every year in cinemas throughout Europe. between cinemas and their community is exhibition’s global interests. Operators involved recognise the extent to one that is both intimate and reciprocal which the business opportunities and policy challenges they face are shared The cinema exhibition sector firmly and it would be somewhat short-sighted to by counterparts across territories. To address these and raise the profile of believes that the interests of both the audi- destroy the principles that make this possi- ence and the wider film industry itself are ble for the sake of immediate, individual cinema with global regulatory bodies and industry partners, eleven leading best served by the existence of a clear and and at-home consumption of content. cinema operators and the two most internationally-active trade bodies have sustainable “window” between the release come together to found the Global Cinema Federation, a federation of of films in cinema theatres and on other interests intended to inform, educate and advocate on behalf of platforms. This system is both a reflection the sector worldwide. of and an engine for Europe’s rich cultural diversity and allows the industry to tailor content to a range of local audiences, with GLOBALCINEMAFEDERATION.ORG inherently unique tastes and preferences.

Tarp pilkų debesų, Lithuania (2018), Acme Film 22 23

This is precisely why, when it comes to the a key building block of the global film in- more specific issue of festival selections, dustry, accounting for almost a quarter of we believe that given their position as key total box office revenues, growing admis- generators of awareness and prestige, lead- sions around the World have redefined our ing film festivals should only consider films historic conception of the film business. that receive a full theatrical release. The Countries such as Mexico, Brazil, Nigeria, inclusion of films in their official selection Indonesia, Vietnam, South Korea and in that are within everyone’s reach and not particular China are today making head- just that of streaming platform subscribers lines not only in terms of audience growth, would benefit the audience as a whole. but also technical developments and inno- Should films be available solely on these vative marketing approaches. $41.4b platforms or receive only a limited “techni- GLOBAL BOX OFFICE cal” release in another window – yet still Consolidation is a prime illustration of such benefit from festival selection as a market- globalisation, as we continue to witness the ing tool in addition to their considerable development of a growing number of inter- resources – most of their potential audience national cinema groups that benefit from would be denied access to a wealth of great increased efficiencies and economies of content. scope and scale. However, the existence of these international groups has not hindered As proven time and time again, cinema the continued existence of a large tier of remains the prime space to showcase quali- highly successful independent and local EUROPEAN ty films – programmed by true film-lovers, cinemas in many territories, particularly BOX OFFICE VS. EUROPE 22% cinema operators themselves – and create in Europe. B.O. IN THE US AND THE REST US 27% memories that last long after the credits OF THE WORLD IN 2018 REST OF THE WORLD 51% roll. We trust that colleagues from the film This trend has also affected other strands value-chain recognise the value of exclusive of the cinema industry, most notably in theatrical windows and their integral role distribution with Walt Disney Studios' in providing over a billion cinema-goers acquisition of 20th Century Fox – a merger across Europe with the opportunity and recently approved by the European Com- means to see hundreds of films of all mission. This development is certainly a genres, year after year. game-changer for the entire media land- SCREENS GLOBALLY scape, as the combined market share of IN 2018 both studios will potentially provide Dis- Global trends ney with significant additional bargaining Reflecting the wider audiovisual sector it- power in negotiations with exhibitors. self, cinema has evolved into an increasingly global business. While Europe remains Source: IHS Markit 188,091 LOOKING FORWARD 24 25

The increasingly global nature of the cine- and video game competitions. The role of ma industry has overarching effects on a cinemas in increasing awareness of, and Installed in cinemas vast range of other business opportunities providing access to, a curated selection of and policy challenges – including interna- these titles is essential in order to maintain tional trade, piracy, theatrical exclusivity diverse offers and investment in local pro- worldwide in 2018: and accessibility – that are of relevance to duction. cinema operators worldwide. Understand- ing these global trends while at the same It has become even more crucial for the time developing local business strategies sector to understand its audiences and their has become one of the greatest challenges expectations. In order to make the cinema for our sector today and UNIC will support offer more-fine grained and personalised, European cinema operators in this endeav- cinema operators delve into the use of data our. In collaboration with local bodies, analytics in close collaboration with part- CINEMA we will continue to advocate for the sup- ners from the industry. Through employing LED DISPLAYS port of local production and distribution innovative marketing tools and in partner- activities with the objective of developing ship with some of the leading companies in 27 and sustaining a diverse and competitive the digital world, exhibitors have been able cinema ecosystem throughout Europe. to engage with their customers long before – and after – their visit to the cinema. 4D AND IMMERSIVE Innovation and diversity Cinemas continue to reinvent themselves MOTION SEATING To respond to this international and inter- and deliver state-of-the-art experiences. SYSTEMS connected landscape, European cinema They invest massively in innovation – both , operators have been proactively experi- inside and outside of the screening room – 1696 menting and innovating, adapting their to offer the very best “Big Screen” experi- offer to the changing needs and prefer- ence and customer journey to cinema-goers ences of their audiences. in theatres large and small. From Premium Formats to moving seats, virtual reality Recent box office successes in Europe and arcades to laser projection, cinema-goers PREMIUM LARGE around the World over the last 12 months can today choose between a vast range of SCREENS have once again highlighted the value of cutting-edge and ever more immersive ex- 3,651 diversity when it comes to content. With periences. Furthermore, the sector contin- the help of digital technology, cinema oper- ues to improve access to cinema for all, as ators have been programming an unparal- digitisation has facilitated the greater use leled offer of international, European and of subtitling and audio-description tech- local films – not to mention other types of nologies for deaf and visually-impaired

content, such as screenings of live events customers inside the screening room. Source: IHS Markit IMMERSIVE SOUND 6,000 INSTALLATIONS LOOKING FORWARD 26 27

The cinema offer has never been as diverse, Achieving gender balance dynamic and flexible as it is today, catering In many UNIC territories, women make to changing and increasingly fragmented up over half of the cinema audience, yet preferences. The future growth and sus- are not equally represented in the board- tainability of the industry depends on the room. Although limited data is available, ability of cinemas and their partners in estimates suggest that women are under- film distribution to attract, retain and grow represented at almost all leadership levels attendance amongst all audience groups, in the European cinema industry. which can only be achieved through delivering a broad range of high-quality The need to promote more women into content to the Big Screen. senior management positions in cinema is as strongly-rooted in business rationale as it is in equality. Numerous studies have EUROPE 29.4 % demonstrated that companies that strive US 63.2 % for gender-balanced leadership outperform EU MARKET SHARE OF FILMS EU INCLUDING US 5.4 % others in terms of profitability, turnover IN CINEMAS IN 2018 (BY COUNTRY OF ORIGIN)* REST OF THE WORLD 2.1 % and shareholder value. * Source: European Audiovisual Observatory Mentoring scheme NUMBER OF FILMS SCREENED IN In June 2017, UNIC launched its Women’s Cinema EUROPEAN CINEMAS HAS ALMOST DOUBLED Leadership Programme – a ground-breaking mentoring UNIC IN PAST 15 YEARS (2003–2018) scheme for women in cinema exhibition – aiming to provide an opportunity for talented women from the sector to receive one-to-one career advice, network WOMEN’S CINEMA LEADERSHIP PROGRAMME and learn from outstanding women executives across the cinema landscape. The initiative was warmly welcomed by the industry and has proved to be a great success as it entered its third edition involving new mentors and mentees in 2019. The key long-term objective is to broaden and deepen the talent pool for leadership in the sector and to further raise business awareness GERMANY POLAND UK ESTONIA around the importance of more gender-balanced leadership. +60% +102 % +112 % +175 %

LOOKING FORWARD 28 29

UNIC will continue to raise awareness and business success across the wider of these issues and encourage the industry cinema landscape. UNIC is also involved to redouble its efforts to encourage and with a number of European Commission empower emerging female professionals. projects dedicated to gender balance in the industry. UNIC also believes that it is equally important to bring the industry together Looking ahead, in 2019 UNIC will also more frequently to discuss how we can welcome a new European Parliament, a stimulate change. This is why in 2017 new European Commission and a whole 17–20 June 2019 CineEurope, UNIC’s official conven- UNIC launched the UNIC’s Women’s new set of priorities which will help define tion, is the perfect opportunity to Cinema Leadership Programme, of which our work for the next five years. We are 22–25 June 2020 celebrate cinema-going and discuss it has since rolled out three editions to eager to share our knowledge of the cinema many of the issues outlined in this provide “up and coming” female cinema industry, how it operates and what could report. With support from all of the major US Studios as well as leading professionals with a unique opportunity potentially affect it – positively or nega- to receive one-to-one career advice and tively – with policy-makers, and are confi- independent and European film companies, the event has become one of guidance from a senior female industry dent that together we can safeguard the the biggest cinema conventions in the international theatrical market. executive recognised for her leadership well-being of our sector.

Kler, Poland (2018), Kino Swiat 30 31

2019 began with all eyes turning towards The industry experienced some success the European elections. UNIC started rais- (the exclusion of audiovisual services from ing awareness of its key messages concern- the Regulation on Geo-blocking and the ing legislation affecting the sector and the new Article 13 of the Audiovisual Media significant cultural, social and economic Services Directive) and UNIC is currently contributions cinemas make in discussions monitoring Member State implementation Policy with representatives from all three EU in- on a number of policies. The Creative stitutions early on, with a specific focus on Europe MEDIA Programme has also been incoming MEPs and Commission officials. a priority for UNIC, in terms of ensuring that the audiovisual sector could build on Looking back, the 2014-2019 mandate its already sizeable achievements on both was certainly a busy period and one that a European and global scale but also to update challenged the key principles on which our cement the crucial impact of EU legislation industry relies, such as windows, the terri- in allowing cinemas and the wider Euro- toriality of copyright and contractual free- pean audiovisual industry to flourish dom. A high number of proposals put on regardless of the challenges they face. the table tried to weaken these corner- stones, including day-and-date release UNIC’s principal objective is to represent A further key objective is to strengthen projects, cross-border access to content the interests of cinema operators and their UNIC’s relations with policy-makers and and so on. national associations in discussions with industry representatives in all EU Member policy-makers and to provide support to States. More specifically, establishing its members across Europe. stronger relationships with national associations, operators and informal cinema Cannes and our The association engages both with the networks in Central and Eastern Europe European institutions and the industry to is a key priority, given UNIC’s relative lack collaboration with provide a strong, unified voice for cinema of representation in certain territories and UNIC is a supporter of the EU Film Contest, exhibition. Through regular meetings with the influence the region has in shaping a competition organised by the Creative high-level policy-makers (both on specific EU decisions. This of course goes hand- Europe MEDIA Programme to promote the the European policy issues and more generally to present in-hand with the need for even closer cultural diversity of European film to young our sector), organising events, participating collaboration with all film and cinema Film Contest in seminars, panels and conferences (both organisations based in Brussels. audiences in an accessible manner. policy and industry-led) and producing The 10 winners were invited to Cannes to have a behind- publications, UNIC strives to convey the On occasion, UNIC engages with national the-scenes look at the festival and the wider European film social, economic and cultural relevance governments and regulators to ensure that industry and met with representatives from cinema exhibition. of cinema-going, along with the industry cinemas are placed at the heart of national perspective on key policy issues. growth strategies for film and take the right approach to culture and cinema.

POLICY UPDATE 32 33

At the time of publication, a new European On portability – the Regulation which Parliament will have been elected and a ensures that users who subscribe to watch new Commission will be on its way, both films in their home country can access of which will help shape the association’s them when temporarily travelling in UNIC film premières work for the years to come. It will certainly another Member State –, a review of the UNIC – in collaboration with European producers and distributors be interesting to see if the new Commission implementation is scheduled for 2021. will pursue the Digital Market Strategy The objective of the audiovisual sector as – organises a programme of exclusive film premières dedicated to with the same zeal as its predecessor, or a whole will be to fight any attempts to EU policy-makers and cinema lovers. This allows us to share our passion whether it will be more aware of the poten- extend the scope of the Regulation and for the Big Screen as well as promoting the beautiful storytelling tially negative impacts that any attempts avoid pure and simple cross-border access of European films that also carry a strong social message. towards enabling cross-border access could to content. have on exclusivity, the theatrical window and – more broadly – the health of the entire European film sector.

Perhaps the most pertinent question is: On a positive note regarding the Satellite of view, and even though the European what will future policy bring? It is of and Cable Directive, the audiovisual indus- Commission and the European Parliament course difficult to say, as each new Parlia- EU Outreach try managed to reduce the scope to a mini- moved towards a position asking for more ment and each new Commission enters into mum. However, in the meantime the recent responsibility from online platforms, office with a new set of priorities and issues Members of the European commitments offered by a number of Holly- it would be a fair assessment to say that that they want to tackle during their five days Parliament and Commis- wood studios and Sky on the Pay-TV case very little was done due to most of the year mandate, in addition to the ongoing sion officials value insights from and and the Commission’s consequent accept- proposals being non-legally binding. implementation and transposition of a exchanges with senior executives ance – preceded by the dismissal of a court number of recent policies. from the European cinema industry case in which Canal+ questioned the valid- Moving on to environmental issues, to develop solid policies for the wider ity of the commitments – have sent a mixed UNIC followed the swift negotiation and The Geo-blocking Regulation – which so film sector. UNIC therefore organises message to the industry. adoption of a Directive on the reduction far excludes audiovisual services – will be EU outreach days, both for UNIC of the impact of certain plastic products reviewed in 2020 with a view to possibly member associations and CEOs On copyright, after a positive signal sent by on the environment, which includes bans expand its scope. The cultural and creative of key European cinema chains. the European Commission on the inclusion and reductions of the top ten plastic items sectors have already engaged in discussions of a new Article 17 in the proposed revised most commonly found in plastic litter on on the matter to ensure that – especially for Directive, we unfortunately witnessed a European beaches – some of which, includ- audiovisual content – the unique nature of complete weakening of the text during ing plastic straws, feature prominently in the sector is understood and it therefore negotiations in the Parliament and Council, cinema concession sales. UNIC therefore remains excluded from the scope. which led to a final Directive that is far plans to monitor the transposition of the from satisfactory and of which UNIC will Directive at national level and provide closely monitor transposition and imple- research and useful information to its mentation. From an enforcement point members in this transitional period.

POLICY UPDATE 34 35

We will also monitor the implementation In addition, UNIC will also monitor of the new Copyright Directive extremely the adoption of the final text for the new closely to see how its Article 17 will be Creative Europe MEDIA Programme, interpreted at Member State level and hoping that more projects dedicated to which consequences it will have from an cinemas will be funded and that the enforcement perspective. The sector will Commission will avoid efforts towards also keep a close eye on the upcoming day-and-date releases. decision from the European Court of Justice on the liability of YouTube when These upcoming milestones do not include it comes to the infringement of Intellectual all of the new proposals yet to be tabled Property Rights. The case, involving a and we very much look forward to the chal- music producer seeking compensation lenges that will accompany the European from both the uploader of his work and the Commission’s new strategy and the Euro- platform itself, could provide the industry pean Parliament’s new priorities. with a useful tool to fight illegal content. Cinema – along with the arts and cultural Member States now have until the end of and creative sectors in general – can play a 2020 to implement the new changes in- key role in re-establishing a positive and cluded in the Audiovisual Media Services forward-looking narrative for the European European Directive (AVMSD) and, by December project, at the same time strengthening cul- The European 2022 at the latest, the European Commis- tural diversity, social cohesion and econom- Film Forum is a Film Forum sion will have to submit a report on its ic development across all Member States. platform launched application. The new Article 13.2, support- in 2015 to create at CineEurope ed by UNIC, enables Member States to structured dialogue between policy-makers and request financial contributions from media the audiovisual sector. Although policies regarding service providers to their national funds, even if located in other Member States. audiovisual works rely mostly on national laws, the EU can support the industry through financing UNIC will also follow the implementation programs. UNIC is a co-organiser of the European of the Satellite and Cable Directive at Film Forum session taking place in Barcelona at national level. Whilst extending the time CineEurope. In 2019, the European Commission limit of the review clause to 6 years was was also present on the CineEurope trade show certainly a positive step, the implication floor, where it showcased a broad range of that the scope of the Directive will be innovative start-ups from the cinema sector. re-addressed does raise a number of concerns.

Le Grand Bain, France (2018), StudioCanal POLICY UPDATE 36 37

UNIC manages the exhibition sector’s UNIC is a member of Netopia, a web publication relations with the European Commission, and idea forum based in Brussels to stimulate the European Parliament and the Council Netopia – Forum for discussion on the future of the internet. Policy of the European Union. It also represents cinemas’ interests when dealing with other the Digital Society international bodies. The association is a partners member of several coalitions and industry Europa Cinemas is the network of cinemas focusing associations. Please find below a list of our Europa on European non-national films, uniting more than main policy partners. 2,700 screens across 34 MEDIA countries. Each year Cinemas they recognise stand-out innovative projects and approaches from their members with the Innovation Prize, with support from Creative Europe MEDIA.

The Confédération Internationale des Cinémas CICAE d’Art et d’Essai (CICAE) is a non-profit association Creativity Works! is a leading coalition established aiming at promoting cultural diversity in cinemas Creativity by UNIC and its partners, representing Europe’s and festivals. Works! cultural and creative sectors. UNIC is a member of the European Audiovisual UNIC is a member of the informal AV Coalition, EAO Observatory’s Advisory Committee, a body of the AV which brings together organisations working across Council of Europe. Coalition the audiovisual sector in Europe. UNIC is a private-sector representative of the UNIC is a member of the informal MEDIA Coalition, EUIPO European Union Observatory on Infringements of MEDIA a group of organisations concentrating its efforts on Intellectual Property Rights (EUIPO). Coalition the future of the Creative Europe MEDIA programme. UNIC serves as an observer at the World Intellectual UNIC is member of CICI, a group of major WIPO Property Organization (WIPO), the global forum CICI companies and trade bodies from across the for intellectual property services, policy, information creative industries. and cooperation.

POLICY UPDATE 38 DIRECTIVE LAYING DOWN RULES ON THE EXERCISE DIRECTIVE ON DIRECTIVE ON THE 39 OF COPYRIGHT AND RELATED RIGHTS APPLICABLE TO COPYRIGHT IN THE REDUCTION OF THE CERTAIN ONLINE TRANSMISSIONS OF BROADCASTING DIGITAL SINGLE MARKET IMPACT OF CERTAIN ORGANISATIONS AND RETRANSMISSIONS OF TELEVISION PLASTIC PRODUCTS AND RADIO PROGRAMMES ON THE ENVIRONMENT

REGULATION ON RESPONSIBILITY OF ADDRESSING UNJUSTI- ONLINE PLATFORMS FIED GEO-BLOCKING Key areas of interest

REGULATION ON AUDIOVISUAL REGULATION COPYRIGHT CROSS-BORDER PORTA- MEDIA SERVICES ESTABLISHING ENFORCEMENT BILITY OF ONLINE DIRECTIVE HORIZON EUROPE CONTENT

REGULATION DIRECTIVE ON CERTAIN ASPECTS TRANSATLANTIC ESTABLISHING THE CONCERNING CONTRACTS FOR THE SUPPLY TRADE & INVESTMENT CREATIVE EUROPE OF DIGITAL CONTENT AND DIGITAL SERVICES PARTNERSHIP (TTIP) PROGRAMME/MEDIA PROGRAMME

Ilosia aikoja, Mielensäpahoittaja, Finland (2018), Nordisk Film 40 41

Recognising and supporting the value of the key principles Cinemas need of theatrical exclusivity, territoriality of copyright your support in: and contractual freedom; Helping European cinemas bolster their vital role at both the heart of the European film value- chain and of wider society; and Conclusion Ensuring that the industry is invited to the negotiation table when legislation and practices that directly impact the sector are being discussed.

Preserving theatrical exclusivity, territoriality of copyright and Our key positions: contractual freedom; Rewarding creativity and As European cinema operators continue Together, we hope to continue to enable investment into cinemas, to attract and amaze audiences across the cinema operators to provide audiences region, UNIC’s role is to ensure that the with unparalleled and diverse film-viewing particularly in tackling piracy; foundations of this thriving business are experiences, while at the same time pro- Supporting digital protected and strengthened, to the benefit moting a fair, competitive and culturally opportunities and pushing the of the wider European film sector. diverse cinema ecosystem. boundaries of innovation; Allowing culture to flourish, In the coming months, our team in Brus- Like millions of cinema-goers across boosting business and sels will focus its efforts on meeting and Europe, we love the Big Screen and very establishing communities; engaging in dialogue with the European much look forward to a bright future for Ensuring accessibility and Parliament and the Commission. We will our industry. at the same time work closely with our in- that all film-lovers can enjoy dustry and association partners at Member the Big Screen experience; State level to fully engage with UNIC’s Ensuring fair and proportionate membership and better understand terri- taxation that reflects cultural, tory-specific legislative environments. social and economic value.

CONCLUSION 42 43

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Južni vetar, Serbia (2018), Archangel Studios 44 45

ITALY SWEDEN Associazione Nazionale Esercenti Cinema Sveriges Biografägareförbund Associazione Nazionale Esercenti Multiplex SWITZERLAND NETHERLANDS SKV – ACS Association Nederlandse Vereniging van Cinématographique Suisse Members Bioscoopexploitanten TURKEY NORWAY Turkish Cinema Film & Kino Operators’ Association

POLAND UKRAINE and partners Polish Exhibitor’s Association United Ukrainian Cinemas

RUSSIA UK Russian Association of UK Cinema Association Cinema Owners

SPAIN Federación de Cines de España

Association members

AUSTRIA FINLAND Operator members Fachverband der Kino-, Suomen Filmikamari Kultur und Vergnügungsbetriebe FRANCE CINAMON CINEPLEX BELGIUM Fédération Nationale Estonia, Latvia, Lithuania, Finland Germany Fédération des Cinemas de Belgique des Cinémas Français Federatie van Cinemas van België LES CINÉMAS PATHÉ GAUMONT CINEPLEXX GERMANY Belgium, France, the Netherlands, Albania, Austria, Bosnia and DENMARK HDF KINO e.V. Switzerland, Tunisia Herzegovina, Croatia, Greece, Italy, Danske Biografer Kosovo, Montenegro, North Macedonia, ISRAEL CINEMAX Romania, Serbia, Slovenia Cinema Industry Association Romania, Slovakia

MEMBERS AND PARTNERS 46 47

CINEWORLD AND CINEMA CITY INTERNATIONAL NORDISK FILM BIOGRAFER Bulgaria, Czech Republic, Hungary, Denmark, Norway Partners of European Cinema Ireland, Israel, Poland, Romania, Slovakia, United Kingdom, United States ODEON & UCI CINEMAS (AMC GROUP) Austria, Estonia, Finland, Germany, Exhibition Programme KARO FILM Italy, Ireland, Latvia, Lithuania, Russia Norway, Portugal, Spain, Sweden, UNIC is proud of its partnership with leading brands in the European cinema space United Kingdom K CINEPLEX Cyprus OMNIPLEX CINEMAS Ireland, Northern Ireland KINEPOLIS GROUP Belgium, Canada, France, SVENSKA BIO Luxembourg, the Netherlands, Denmark, Finland, Sweden Poland, Spain, Switzerland UGC KINOPOLIS Belgium, France Germany VUE INTERNATIONAL KINO ARENA Denmark, Germany, Ireland, Italy, Bulgaria Latvia, Lithuania, Poland, United Kingdom MARS ENTERTAINMENT (CJ-CGV GROUP) Turkey YELMO CINES (CINÉPOLIS GROUP) Spain MOVIES@CINEMAS Ireland

MEMBERS AND PARTNERS 48

BOARD OF DIRECTORS PRESIDENT 2017–2019* Phil Clapp (UKCA)

SENIOR VICE-PRESIDENT Jean-Pierre Decrette (FNCF)

VICE-PRESIDENTS Mario Mazzetti (ANEC) Jaime Tarrazón (FECE) Edna Epelbaum (ACS) Should you wish Kim Pedersen (Danske Biografer) to join UNIC, please Tomasz Jagiełło (Polish Exhibitors’ Association) get in touch via: *Board elections will be held in June 2019. EXECUTIVE TEAM Laura Houlgatte, CEO communications@ Guillaume Branders, Industry Relations Manager Diana Stratan, Project Manager unic-cinemas.org Chris Mill, Policy and Communications Officer Laure Galtier, Office Manager

CONTACT UNIC Union Internationale des Cinémas / International Union of Cinemas Av. Des Arts 10–11 1210 Brussels / Belgium

Early Man, UK (2018), StudioCanal DESIGN: sandraruderer.com 50

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