Cinemas in Crisis: Can Smart Programming Save the Day?

When Movie Theaters Face a Crisis

As I stepped into the dimly lit auditorium at Saint-Paul-de-Vence, I couldn't help but feel like I was witnessing history in the making. It wasn't the latest blockbuster or a star-studded premiere that caught my attention — it was the very real attempt by Regal Cinemas, the Independent Film & Television Alliance (IFTA), and the CNC to test whether smart programming could actually reverse the slide in theater attendance.

"We're not talking about new films, new screens, or subsidies. We're talking about rethinking how we program what's already there."

It was at the Lumière Summit, where the film industry's brightest minds gather to debate everything from artificial intelligence to piracy, that this pilot project was unveiled. The initiative, called the Future of Distribution, aims to see if creative programming — without any additional resources or films — can breathe new life into struggling theaters.

How the Pilot Works

The concept is deceptively simple yet refreshingly radical: participating cinemas make a number of idle screens and timeslots available to an independent programmer who's tasked solely with maximizing attendance. No studio relationships, no circuit priorities — just pure programming innovation.

Under this model, the neutral programmer works across a spectrum of content including wide releases, documentaries, repertory films, and even special events. The idea is to match what people want with where they are, rather than the traditional approach that's often dictated by studio schedules and distribution windows.

The Numbers Tell a Story

What's striking about this initiative isn't just its ambition — it's how dire the situation has become. In North America alone, theater admissions dropped by a staggering 37% from 2019 to 2025, despite relatively stable numbers of screens. Occupancy across the sector is running at just 11% to 15%. It's not a lack of audience that's the issue; it's a mismatch between films, venues, and showtimes.

This is where the Future of Distribution pilot steps in — not with flashy marketing or blockbuster premieres, but by focusing on how we can make the most out of what's already available. And for a sector that's been under immense pressure from streaming services and changing viewing habits, it's an experiment worth watching.

Five Key Principles

The pilot is built around five guiding principles:

• Cinemas join on an opt-in basis
• Existing windows and release schedules remain intact
• An independent oversight structure runs for a fixed period
• The initiative only uses capacity that would otherwise go dark
• All participating venues receive the results to inform collective learning

These principles are designed to minimize disruption while ensuring that the experiment can provide meaningful data. It's an elegant solution for a complex problem — one that might just give us some answers about how theaters can adapt in a rapidly changing world.

The Real Question: Can Programming Save Us?

Here's where I start to wonder if we're solving the right problem. While the Future of Distribution pilot is innovative and potentially valuable, it raises an even bigger question: What if the real issue isn't just poor programming but a fundamental shift in how people consume entertainment?

We're seeing more and more viewers choosing to watch content at home — especially with streaming services offering unlimited access to a wide variety of titles. And while I appreciate the effort to make theaters more appealing through smarter scheduling, there's a part of me that feels like we're treating the symptoms rather than the root cause.

But here's the thing — isn't this exactly what makes cinema so vital? When you're watching a film in a theater, you're not just watching; you're experiencing something communal, emotional, and immersive. The power of cinema is its ability to bring people together, to create shared moments that resonate long after the credits roll.

Is It Too Late for Theater?

Let's be honest — the future of cinema is uncertain. But as someone who's spent years covering the entertainment industry, I've seen how much resilience and adaptability the business can show. This pilot isn't just about saving theaters; it's about redefining what they can be in a digital age.

What if the goal isn't just to compete with streaming, but to offer something that can't be replicated at home? What if the future of cinema lies not in trying to mimic the convenience of Netflix, but in embracing the magic of live, shared experiences?

The Future of Distribution pilot might just be a small step in that direction. It's bold, it's experimental, and yes — it's a bit of a gamble. But for an industry that's been struggling to find its footing in recent years, sometimes you have to take a chance on something unconventional.

The Bigger Picture

What I'm hoping to see from this pilot isn't just an increase in attendance figures — though that would be welcome news. What I want is for it to spark a broader conversation about how we think about cinema, how we program it, and what makes it relevant in the 21st century.

It's not just about making theaters profitable again; it's about reasserting their role in our cultural landscape. If we can show that theaters are places where people want to be — whether for the experience, the community, or simply because they're part of something bigger — then we might just save more than just a few screens.

As I left Saint-Paul-de-Vence that day, I couldn't shake the feeling that this pilot could be a turning point — not just for Regal Cinemas or IFTA, but for the entire industry. It's time to stop thinking about how we can make the old model work and start thinking about what the new model could look like.

After all, if we want to preserve cinema as an art form and a cultural institution, we have to be willing to change — even when that means taking risks. The Future of Distribution pilot is our first real attempt at doing just that.