Reg. Trib. Milano n. 418 del 02.07.2007 - Direttore responsabile: Elisabetta Brunella

International Edition No. 212 - year 18 - 19 June 2023

Special issue on the occasion of CineEurope 2023

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Dear Readers,

Elisabetta Brunella

in this issue we continue to explore the world of added content, a topic which was already the star of the DGT ONLINE INFORMER we published for the Cannes Festival.

This time, we start out from the research carried out by The Cinema Foundation, to take a look at the picture in the US.

In the column "All different, all digital" the spotlight is on the Filmclub Capitol, a cinema that has the special characteristic of addressing both an Italian- and German-speaking audience at the same time.

Enjoy your reading

Elisabetta Brunella
Secretary General of MEDIA Salles



What's added content? Different approaches in Europe and in the US
by Elisabetta Brunella

The digitization of screenings has given cinemas the chance to broaden their programming well beyond films in the traditional sense.

If this is well known by now, the type of content that is already offered or might be offered on the big screen in different parts of the world is less well known. For many spectators in Europe it has become normal practice to visit the cinema to watch a musical or theatrical event or to see so-called art-based films whose aim is mainly to give visibility to exhibitions devoted to the figurative arts.

The movie theatre has thus assumed the role of "multiplier" for the enjoyment of shows and events originally conceived for other spaces devoted to art, culture or entertainment.

The terminology commonly used in Europe for this type of content refers on the one hand to their "diversity" with respect to films and on the other to the mode of programming. Expressions such as "alternative content", or the broad French definition "hors films" lean towards the former.

Here at MEDIA Salles we use "added content", which may be considered a variation of the two formulas already quoted but which seems preferable because it suggests a complementary role to films and an added opportunity both for exhibitors and for audiences. The term "event cinema" has also become widespread, placing the accent not so much on the nature of the content, but on the mode of programming, generally concentrated in just a few days, if not one only for live events.

For years now, MEDIA Salles has been monitoring the market for added content in Europe, identifying the typologies and main indicators, such as admissions and box office. The results of the latest research - which takes into account the figures for 2022 in relation to those for the past decade - will be published shortly but some advance information has already been presented and commented upon in DGT online informer no. 211.

But what is going on outside Europe? In this respect it is interesting to take a look at the study carried out by The Cinema Foundation, the non-profit organization that the US exhibitors’ association (Nato) set up in 2022 with the objective of providing members and stakeholders with research tools on the market and its trends.

In the study entitled "Theatrical audience and growth opportunities", which involved around six thousand interviewees, it emerged that both those who are more or less regular visitors to cinemas, and those who do not visit it at all, show interest in added content.

The top preferences are television programs: interviewees declare they would like to see previews on the big screen. Some people may recall that at the dawn of digitization, in Europe too, this possibility was offered - particularly for a crime series in Belgium - but at present TV at the cinema does not come into Europe's preferences for added content.

Common to the top preferences on both sides of the Atlantic is music: concerts are the second most frequently quoted type of content in the American study and so-called visual music attracts diverse audience segments in Europe, from lovers of pop music to those who prefer classical opera.

The US classification continues with cooking lessons – in third place - followed by videogames, sport, (book readings, party games and e-sport competitions: these are categories that rarely make their appearance in European viewing. To find another point of contact we have to move on to the ninth place in the US charts, i.e. the theatre. On the Old Continent, productions by the National Theatre and the Comédie Française in particular play an important role in cinemas’ offers in the United Kingdom or in France, although not only there. Thanks to this type of added content, they manage to broaden and make more popular performances that are usually considered more for an élite audience.

The last item in the US top ten also represents a surprise compared to Europe: bets on sporting events.

Apart from showing how different audience preferences are in Europe and the US, not only in terms of more traditional cinema-going, this US classification reveals a chart of added content centering almost exclusively around the lack of any ties to film production. Not by chance The Cinema Foundation's research uses the expression "non theatrical", also very similar to the French "hors films" which, however, seems to include a more diversified range of content.

Indeed in Europe, although not all countries specifically report admissions for added content and those that do, follow non-standard criteria, not infrequently this type of content includes animated films, in particular Japanese anime, re-editions of classical or cult films or documentaries with an artistic theme.

There is instead harmony between the US and Europe when it comes to the spectators’ willingness to pay "a special price" for added content. Although the majority of US audiences would rather pay the same price for added content and films, a considerable proportion (19% of the overall total) would be willing to pay extra. In Europe, the fact that the average price for added content is higher – though varying in different countries – is now consolidated. And there is a precise reason for this: the relatively high incidence of events which - when seen at the theatre or the opera house - would command a very high price. On the big screen they cost more than a film but nevertheless not as much as a seat at the Scala or at the Royal Opera: the spectator knows and appreciates this!


Bolzano's Filmclub Capitol: tailor-made programming for two different linguistic communities
by Elisabetta Brunella

No. of screens
Digital screens
number and technology
3 - Kinoton

Bolzano takes Sundays seriously: shops and supermarkets are closed and not even all public places are open.

In the old town centre the typical little streets with arches across them and the roads bordered by historical buildings with coloured frescoes and bay windows are mostly tranquil.

Quite the contrary to the extreme vitality of Saturdays, which are the shopping days par excellence.

The exception is Via Streiter. Here, in the afternoon, a fair number of bicycles - either in movement or parked at the side of the road - are a sign of vivacious comings and goings: those of the audiences at the Film Club Capitol.

This landmark for quality cinema is housed in a modern building which does not, however, fail to exhibit one of the prime elments of architecture in Alto Adige: the polychrome façade, albeit in a XXth-century version.

There are those who are leaving the screening that has just ended and those who are arriving for the one about to begin, but many in both groups take advantage of a moment of relaxation with the benefit of a light breeze: they take seats on the sofas looking out onto the road or at the tables hidden further back in the internal courtyard, beneath a green pergola.

A typically Mediterranean-tasting bruschetta, together with a glass of one of Alto Adige’s precious wines or something from other Italian wine-growing areas encourages the exchange of opinions on the film that has just been seen or the critics’ views of the one about to be seen.



This is the period in which the Capitol, like hundreds of other cinemas in the Bel Paese, is showing Nanni Moretti’s latest film*. It may not have won the Golden Palm but Italian cinema audiences are establishing its success.

And since the Capitol has three screens, for a total of 387 seats, and offers multi-programming, whoever doesn’t appreciate Moretti or has already seen the film at Cannes, can choose from three more titles which are screened in Italian, in the original-language or dubbed version, and three in German.

Of course, because Alto Adige, of which Bolzano - eighty or so kilometres from the Austrian border - is the regional capital, is bilingual, Italian/German.

And so the cinemas satisfy the demands of the two main linguistic groups, which are also accompanied by a minority of Ladin speakers.

This does not, however, mean that the same films are presented in two languages but that each audience sector is offered the programming that best suits its demands. In this particular period, for example, German-speaking audiences can choose between "Sparta", "Der Lehrerzimmer" and “Stams - Österreichs Kaderschmiede", with the addition of " Sommer-Rebellen" for children and young people.

For Italian speakers, instead, Marco Bellocchio’s feature (“Rapito” which competed at Cannes) and Pupi Avati’s ("La quattordicesima domenica del tempo ordinario") or "Ritorno a Seoul", are offered in the original version with Italian subtitles.

And so, programming in original-language versions - quite rare in Italy, especially outside big cities - is another carnation in the buttonhole of the Capitol in Bolzano, a city with just over 100,000 inhabitants.

*This cinema was visited at the end of May

The Filmclub circuit
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Release date in Italy: 20/04/2023 - Distributor in Italy: 01 Distribution - Word sales: Kinology

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Edito da: MEDIA Salles - Reg. Trib.
Milano n. 418 dello 02/07/2007
Direttore responsabile:
Elisabetta Brunella
Coordinamento redazionale:
Silvia Mancini
Aleksandra Georgieva    
Raccolta dati ed elaborazioni statistiche: Paola Bensi, Silvia Mancini