When the trash of many becomes a treasure for everyone
by Elisabetta Brunella

Not to resign ourselves to “trash” is one of the messages that emerges from the animated film “Trash - La leggenda della Piramide Magica”, which narrates the adventures of a series of waste products - a cardboard box, a soft-drink bottle, a battery container - all looking for a second life. But it is also one of the objectives clearly taking shape in the strategies of cinema exhibition businesses in their path towards sustainability.

Science and technology have a lot to say in this innovative approach. Suffice it to quote the exemplary case of Prof. Alireza Kharazipour, a keen film buff, who followed the intuition that came to him at the cinema, to re-use popcorn waste. Today the university where he teaches, the Georg-August in Göttingen, is in the avant-garde of experimentation in the application of this new material in various fields: from packaging (one of the sectors where most plastic is consumed) to furnishings, from the insulation of buildings to tableware. Single-use yes, but compostable.

Several cinemas are attempting to limit the use of plastic - often almost “invisible”, yet ever-present - for example in the form of the film covering the inside of paper containers.

There are two main directions in the most frequently adopted measures: to opt for biodegradable materials or those that can be recycled or to make sure that plastic recipients can be re-used several times.

The cinema Lux in Massagno, Canton Ticino, – newly renovated and with thermal insulation coating – has opted to re-use cups and flûtes, which have been personalised with the cinema’s own logo.

From the United States, in particular from the NCG chain with its 25 complexes in 9 states, comes the “free refill” formula, aiming to encourage the spectator to spend around 20 dollars on a giant bucket of popcorn at his first visit. Afterwards, for a whole year, the owner of the “magic bucket” can refill it as full as they like for just 4$ every time they revisit the cinema.

The “Recup / Rebowl” initiative also focuses on re-use. Widely used in Germany, it offers all businesses selling food and drinks in plastic containers a formula for encouraging the customer to return the classical coffee cup or salad bowl to one of almost 12,000 locations. As for the movie theatres, amongst the “early adopters”, the Cinecitta in Nürnberg stands out, the famous complex founded in 1995, which has continued not only to add to the number of its screens, but also to adopt increasingly advanced technology.

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An Italian exhibitor at CineEurope, in search of good ideas for the future of his cinema
Interview with Donato Cosmo, Cinema Gerardo Guerrieri, Matera

Why did you decide to take part in this year’s CineEurope?

With the aim of leaving the pandemic behind me, I came here in search of new developments. I’ve always been curious and understanding what lies just round the corner is important to ensure a future for the cinema. This is the attitude that inspired me from the start of the digital shift to take part in the training courses offered by MEDIA Salles in various European countries. And I’d also like to offer my audiences something new.

Who is your audience?

I might define it art house. Our spectators like quality films - and this is very stimulating for a programmer - whilst, on the other hand, they find it hard psychologically to get back to the cinema.
Unfortunately, the fact that in Italian theatres masks have remained mandatory even after the first of May, while this measure has been lifted in other places, has indirectly fuelled the idea that the cinema is not as safe compared, for instance, to a restaurant.

Many Italian cinemas lately have applied for access to the PNRR funds devolved for innovation and energy saving. Have you done so?

The cinema I manage in Matera was recently renovated, when the town was nominated the European cultural capital. The renovation work affected various aspects, more or less directly visible to the spectator. The armchair seats, for example, were replaced and the heating and air conditioning was overhauled.

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CineEurope was indeed a very good show for Strong-MDI and I trust for the whole cinema industry. There were more than encouraging and positive signs coming from our partners and from exhibitors during our multiple
meetings. It looks like there is more confidence in a better future.

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It was reassuring to hear from all the studios and key players that they are still largely committed to a meaningful theatrical window. The pandemic might still make a comeback and that commitment could be put to the test.
But all in all, it was very inspiring to see the optimism and confidence of the industry after such a rocky couple of years.