The recommendations in section 1 are based on findings from Crescine Task “Piloting alternative forms of audience engagement to attract new audiences”. The task aimed to identify effective strategies for fostering audience engagement in on-site cinema venues to enhance the theatrical experience. This task was focused on recognising barriers to cinemagoing and understanding its values across various socioeconomic contexts. The task involved experimental pilot screenings in Portugal. The demographics considered include: 1) older adults, 2) children, and 3) young adults. Additionally, four sessions have been dedicated to specific accessibility concerns: 1) expats and migrant communities in Portugal with limited language skills in their country of residence, 2) deaf or hard of hearing (DHH) individuals, 3) blind or low vision individuals, and 4) neurodivergent individuals. For more details on methodology and findings see Chervyakova et al. (2025).

Based on the experiences from the experimental pilots and patterns in participants’ responses, we have compiled the conclusions in these recommendations. The current recommendations are designed for stakeholders in cinema exhibition as strategic actions to improve the cinema-going experience and align it with expected value. These recommendations are general, with some directed towards particular demographics.

1.1 Recommendations for increasing cinema-going in small European markets

1.1.1 Cultivating group experiences to enhance the social aspect of cinema-going

The report on task 7.5 demonstrated the acknowledged social value of the cinema-going experience. To effectively leverage cinema’s inherent capacity for social interaction, venues can proactively work with audiences to improve the group experience. This involves strategies that move beyond individual ticket sales to promote collective attendance as a primary driver.

Enhancing pre- and post-screening communal spaces (general), such as lounge areas or dedicated discussion zones, can facilitate social interaction, transforming a film viewing experience into a more comprehensive social event that adds unique value to the cinema beyond watching one film. As an example, the film center Batalha, in Portugal, develops special programs involving families and migrant communities, among other groups, creating a constant audience and adding social and cultural value.

Thinking of “who” and not “what” in programming (general). The films, both new releases and curated retrospectives, are still the essence of the cinema venues’ in the communication of their value proposition. However, due to competition from other modes of watching film, on-site cinema-going may incorporate sociality and unity, drawing inspiration from people united by social causes, relationships, communities, and hobbies. In Ireland for example, cinemas host a parent and baby programme facilitating access to people with very young children or a Cinema Book Club for people who want to talk about cinema and literature, film adaptations, etc.

Establishing cinema clubs for systematic community(s) engagement (general). To foster deeper engagement and systematic involvement of diverse social groups, the creation of cinema clubs is highly recommended. These clubs, united by specific causes, genres, or cultural interests, can provide a structured framework for regular cinema attendance.

Examples include foreign language film clubs, documentary clubs, classic film societies, or clubs focused on films addressing social issues. This initiative not only cultivates loyal audiences but also establishes cinema as a community hub, fostering a sense of belonging and shared identity that encourages sustained involvement and consistent patronage across diverse social demographics.

Increasing the frequency of cinema-going experiences for children through classes or after-school activities, combining two intentions: education and entertainment. Children participating in the focus group mentioned that they appreciate their time with friends in the entertainment setting. The school, along with the cinema venues, can engage children not only with class-related materials but also with entertainment that could be a helpful component in their personality development. Those screenings must add value, compared to multiplex or home viewing, namely, questions and answers at the end of the screening.

Examples of school-cinema programmes can already be found in many of the small markets in the Crescine consortium, such as Tartu Elektrikteater school cinema in Estonia, the Danish Film Institute’s programme Med Skolen i Biografen, the Portuguese National Plan for Cinema and its project O cinema está à tua espera with ca. 650 schools participating, the Lithuanian Cinema Bus for school children in grades 1-12, or the Irish Film Institute’s Film Education programme.

Creating children’s cinema clubs that foster the atmosphere of autonomous time spent with friends in a safe and secure environment. These clubs reflect what children look for in cinema sessions: a sense of bonding, an immersive experience, and a chance to escape their routine. This is already practiced in Denmark, for example, often on local level (e.g. Århus Børnefilm, Ry Børnefilmklubber).

The cinema-going experience is very often a part of the night out. Hence, considering spaces that facilitate cinema as a social space for young adults (i.e., open-air sunset cinema, bar, additional entertainment), adding extra factors for socialising and film discussions, creating a multi-layered social event. An example is the Lithuanian initiative Cinema under the Stars described in the Good Practice section (section 7).

For older audiences, the issue of a lack of partners to attend the film was raised. This environment can vary across countries, with different approaches to the activities of older adults and their socialisation. Specific communication could inspire older adults to treat the cinema-going experience as a social gathering to engage with new people could be a possibility to overcome this barrier. Active theater cooperation with retirement houses and adapted sessions to this audience could increase the coming of groups. In Ireland, for example, Silver Screen for over 65s offers reduced price and coffee for older audiences.

1.1.2 Providing pricing flexibility

Implementing tiered group discounts for larger parties (e.g., more than five individuals) can incentivise shared outings, and family tickets, making cinema a more attractive and affordable social activity.

Recognizing young adults as the most price-sensitive, but inclined to use cinema-going as part of socialising, it could consider discounts on group tickets (i.e., for groups of 4 or more people). Implementing a tiered discount system for group cinema attendance (e.g., for groups of 6 or more) can be a potent incentive to increase attendance. This strategy directly addresses the social aspect of cinema-going, encouraging shared film-viewing and easing the financial burden.

Despite no explicit mention of a financial barrier among older citizens, the price has a non-negotiable character. For those who find the price high, this barrier is inevitable. Moreover, the benefits of loyalty programmes have been discussed during the focus group. Hence, we recommend establishing pricing measures for such groups. For instance, the “suspended coffee” analogy when one can pay in advance for strangers’ ticket in need voluntarily can be applied to tickets that allow to attend the cinema.

1.1.3 Delivering additional value through experiences

To increase the desire to commit to on-site cinema viewing, venues must provide extra experiences that may only take place within the cinema setting. This involves curating bespoke events that elevate the standard film screening. It could be beneficial to redefine the cinema as a multi-functional social space, not merely a venue for film viewing.

Include thematic screenings that group films by genre, director, era, or cultural significance.

Integrated hospitality bars and lounges offering gourmet food and drinks to encourage pre- and post-screening socialising,

Atmospheric screenings that use unique locations to enhance the cinematic experience, which can also be transferred to non-traditional venues.

Launching a series of post-film discussions as curated events with competent moderators or subject-matter experts would lead to dialogue on the film’s themes and correlated topics. Offering exclusive content —such as director’s cuts, behind-the-scenes footage, or Q&A sessions —available only in cinemas would create a compelling reason for audiences to commit, transforming the film-viewing experience into a premium, multisensory event.

1.2 Recommendations and best practices for accessible cinema sessions per target group

1.2.1 Sessions with migrant and expats groups

Cinemas can benefit from greater consistency in the availability of non-English-language films with English subtitles. For original non-English-language films, comprehensive English subtitles are essential across all screenings to cater to the extensive and diverse international community, which is a potential audience for these films. Expat cinema – weekly screenings of foreign language films with additional English subtitles. This initiative enhances the versatility of the cinema experience, moving beyond an over-reliance on English-market films for these groups.

To improve the discoverability and awareness of these linguistically diverse film offerings, cinemas can benefit from implementing targeted promotional strategies through direct collaboration with expatriate communities. This includes partnering with, for example, expat social groups, international schools, and cultural institutes. This approach fosters community engagement and positions cinemas as inclusive cultural venues. Galleries Cinemas in Brussels, for example, offers

1.2.2 Sessions with Deaf and hard-of-hearing (DHH) and blind and low-vision audiences

Best practice for organising sessions for hearing DHH audiences

Providing Subtitles in the local language helps to meet needs of deaf and hard of hearing-people who prefer text over Sign Language.

Implementing Sign Language Video in for specific cinema screenings for children or adults who are not proficient in written language. Sign Language Video is already explored practicev in public service broadcasters, i.e in RTP in Portugal, SL video with 1/18 (+/-) of the screen size, without background, and at the lower right of the screen (spectator point of view), seems to be a good balance between Deaf audiences’ needs and “screen disturbance” for hearing persons; using a black bar at the bottom of the screen helps to highlight the LGP video and minimise conflict with the film’s image, while still leaving space for the SDH subtitles.

• It is useful to ensure that shorter children can see the entire video.

• A preference for having a deaf person in charge of the SL video, as the presence of a deaf person would inherently validate the national sign language and reinforce its acceptance within the deaf community.

• Avoid terms without a direct sign equivalent, particularly if the film is aimed at children. Check vocabulary with a deaf sign language teacher to ensure clarity and linguistic adequacy, especially if the film is intended for children. Keep descriptions concise and reinforce those texts in the SL video.

• In large groups (i.e., schools), ensure the presence of a Sign Language interpreter during preparation, during travel to the cinema, and at the screening session.

• Do not neglect the sound because, even if experienced differently from a hearing person, it is an added value for DHH children.

• Before the film begins, show an introductory video about the story, characters, and relevant terms to contextualise the movie.

• Include an interval if the film is longer than 60 minutes.

• Provide teachers with materials containing key vocabulary from the film in local language Sign Language and written local language, to aid in understanding the content and familiarisation with main concepts.

• Facilitate a discussion after the film, with a deaf facilitator or with interpreter support, where students can share their opinions, clarify doubts, and deepen their understanding of the film’s themes.

• Provide visual resources, such as comic strips or illustrated sequences of the narrative’s key moments, to reinforce memory and promote reflection.

Best practice for sessions with blind and low vision audiences

• Audio Description: In commercial cinemas, prioritise the use of headphones for audio description.

• Promote awareness sessions for blind people in schools and similar settings, with audio description integrated into the film’s main sound. This model requires careful audio description to avoid conflicts with the overall sound.

• Avoid audio description coinciding with speech or dialogue.

• There appears to be a preference for an “impartial descriptive” model, where audio description describes the visual aspect without adding interpretations (e.g., “Maria smiles” versus “Maria is happy” — the latter introduces an interpretive element that is best avoided).

• Avoid repeating phrases like “you see...” before the descriptive text. The repetition of this term during the pilot session was deemed redundant and tiring.

Best practice for screenings for blind and low vision children

• Consider adjusting the age range for films based on narrative and dialogue density. It’s advisable to validate this with reference institutions specialising in the education and support of blind children.

• Adjust vocabulary to the comprehension level of the target age group; avoid overly technical or abstract terms.

• Encourage specific training for audio describers working with children’s content, focusing on pedagogy, child development, and cultural sensitivity.

• In case of complex themes or unusual contexts (historical, social, or other) consider either a brief introduction to prepare the younger audiences for the film, as used successfully by film festivals.

Supplementary Session Materials

• To aid comprehension during the session, provide a plot summary, an introduction to the main characters, and a description of the setting before the session. This can be done in person or by sending an audio file in advance for listening at home.

• To support the mental construction of the film’s world, whenever possible and appropriate to the film’s format, provide tactile exploration materials. Examples include miniature character models, raised maps of the settings, or embossed illustrations.

Best practice for sessions with neurodivergent individuals

• Using subtitles for films is generally preferable. Even when participants do not have auditory accessibility needs, subtitles can significantly enhance understanding. This is because subtitles help to create a stronger connection between the audio and the action on screen, allowing viewers to follow the narrative more easily.

• Include an intermission during the session to provide a comfort break, essential support, and an opportunity to take a pause and receive feedback on any concerns from the audience

• Provide an opportunity to choose from various seating options, highlighting them with pictorial information and signs. Clearly communicate what each seating option entails at the beginning of the screening. If feasible, offer additional sensory overload accommodations, such as optional noise-canceling headphones, which should be readily available.

• Keep the cinema room doors open to ensure easy exits and reduce fear and anxiety associated with closed spaces.

• Do not completely turn off the lights, as this eases movement within the cinema room. It increases visibility and comprehension of the space, providing necessary comfort.

• Reduce the overall volume of the film, while being mindful of the varying levels of sound between dialogues and special effects or music. This will help maintain clarity during conversations and ensure that key moments stand out without overwhelming the audience

• Provide training for staff on the diverse aspects of sensory processing and communication styles to enhance accessibility during general sessions. This will help create a more inclusive environment for all participants.

1.2.3 Strategic recommendations for improving accessibility of cinema venues through strategic collaborations with organisations

Addressing the critical issue of accessibility for non-English language films and audiences with special needs requires a two-pronged approach: securing dedicated financing for accessible screenings and establishing systematic collaborations with relevant organisations. These partnerships can facilitate the effective promotion of accessible screenings directly to target audiences, ensuring that diverse communities are not only catered to but also actively informed and encouraged to participate in the cinema experience. This reliable proactive approach underscores a commitment to inclusivity, broadening the cinema’s reach and societal impact.

For expats and migrants from English and non-English speaking cultures, increasing the advertising of planned screenings and expanding the range of non-English films with subtitles. This addresses a significant market gap and helps increase audience and exposure for European cinema. Partnering with foreign embassies, cultural centres, and international student associations can ensure that promotion reaches the intended audience directly.

For blind, low vision, and DHH individuals, systematic collaboration with organisations can provide valuable feedback on accessibility features, assist in promoting screenings directly to their members, and ensure the most appropriate experience, as screenings will be supervised and advised by professionals. Train cinema staff to be knowledgeable and empathetic regarding the needs of these audiences, ensuring a welcoming and supportive environment.

Establish formal partnerships with local senior centres and retirement communities, or others providing support to older adults. These collaborations can facilitate group outings, provide discounted tickets, and help promote dedicated screenings. As mentioned, the partnership must be systematic, planned, and heard to make a difference and attempt to create a change in the public’s cinema-going habits. Our experiment demonstrated participants’ interest, provided that specific conditions were met, including preliminary scheduling for the event’s inclusion in the program and responsiveness to the audience. The creation of systematic, pre-scheduled, and managed activities can foster this audience’s active involvement in preferring the on-site cinema experience and support the development and enforcement of the socialisation potential presumed as a value of the experience. As a supplement to the recommendation, we emphasise the importance of supervision of the employees from the organisation supporting older adults, as it contributes to the dialogue before the sessions (to select the film or the session), to assist the audience during the session, as they can create the atmosphere of trust and comfort for some participants.

1.2.4 Recognizing the potential of incorporating accessibility into general sessions

Participants emphasized the importance of being able to share their cinema experiences with loved ones and having easy access to the latest film releases. They expressed a desire for cinema venues to not only provide special sessions tailored for individuals with specific needs but also to integrate inclusive practices into their regular programming, not just in an exceptional setting. Hence, these sessions with Sign language and audio description could be scheduled and explicitly marked in the programming so the audience is aware of alterations made to the film. This way could create a more accessible experience and solidarity of the audience with these communities.

To achieve this, it is recommended that cinemas incorporate in some prime-time screening sessions features that are essential for individuals with specific accessibility needs such as Sign Language videos and subtitles, as well as audio descriptions, available with or without headsets., etc. By creating such an inclusive environment, cinemas can accommodate diverse groups, promote joint experiences among people with varying conditions, and increase the audience removing accessibility barrier. This inclusive approach not only fosters tolerance and awareness of our differences but also enriches the cultural fabric of the city, ultimately contributing to a more welcoming and diverse community for everyone. Making these adjustments can help ensure that all individuals have the opportunity to enjoy films together, creating shared memories that strengthen social bonds.