Rethinking Effective Marketing Strategies for Films Coming From Small European Markets
Executive Summary
This document presents Deliverable D6.3 – Report Article Series, developed under the leadership of Lusófona University as part of Work Package 6 (WP6): Platforms, Distribution, Exhibition, and Promotion. The deliverable is classified as OTHER and is publicly available (Dissemination Level: PU), with a due date set for Month 28 of the project timeline.
Deliverable D6.3 comprises a visual and video-format report, complemented by a series of online articles. These outputs contribute directly to the project’s outputs under WP6, as well as to the dissemination strategy, aiming to enhance visibility and engagement with key findings.
It is the outcome of Task 6.3 – Identifying Strategies for Increasing the Effectiveness of Promotion Campaigns. It outlines how marketing strategies in the audiovisual sector—particularly in small markets—should be developed, implemented, and evaluated.
The content of this deliverable is informed by a diverse range of inputs, including:
- The CresCine Description of Action (DoA) document,
- Quantitative data collected under WP2,
- Conceptual framework of “4 avenues” elaborated under WP3, and insight into distribution in WP6,
- A comprehensive literature review,
- Audiovisual content – film sample,
- 6 in-depth individual interviews with key stakeholders (expert, distributors, and producers),
- Contributions from a reviewer and suggestions from project members.
Together, these elements provide a robust foundation for strategic insights into promotional effectiveness, supporting the broader objectives of the CresCine project.
Co-Authors
Statement of Originality
This deliverable contains original unpublished work except where clearly indicated otherwise. Acknowledgement of previously published material and of the work of others has been made through appropriate citation, quotation, or both.
Disclaimer
The European Commission’s support for the production of this publication does not constitute an endorsement of the contents, which reflect the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
Introduction
Purpose and Scope
The CresCine project's overall objective is to enhance the competitiveness and the cultural diversity of the European film industry with a particular focus in small countries and markets.
This will be achieved by understanding, engaging with, empowering, and ultimately transforming European small markets through original research and piloting the results in 7 countries. In their “smallness", these underline the challenges and drivers one must consider to increase the competitiveness of the EU film industry. CresCine will systematically address the whole film production, distribution, and consumption value chain across the studied ecosystems. The aim is to innovate at all levels of the value chain, from policies to ways of data management and analytics, production business models, and modes of distribution.
CresCine will develop novel tools, methods, and strategic approaches that all build on the concept of smallness and the positive affordances it entails for the overall competitiveness of the European film industry. CresCine will provide an integrated comparative perspective.
Markets remain organised at a national level, and tackling the long-standing dilemma of how to foster free market trade in media goods and services within the European common market, while maintaining the richness of European national cultures, requires turning European inherent diversity is an advantage. CresCine advocates for a focus on ‘smallness’ and supports the uptake of opportunities by agile actors in these markets.
In line with CresCine’s strong social mission and commitment to open knowledge, parts of these deliverables are made publicly available on the project website, contributing to broader dialogue and impact across the European audiovisual sector.
Structure of the deliverable
This document is composed of five sections:
Section 1: This Section (Introduction) includes the purpose and structure of the document and its relationship with other Work packages and Tasks.
Section 2: We define the Methodological Framework.
Section 3: We present the concept of the articles and video-format report.
Section 4: Summary and conclusions of this document.
Relation to other WPs & Tasks
Deliverables are strongly related to the work undertaken in WP3, as well as in other tasks of WP6 are based on datasets provided by WP2. It also contributes to the dissemination activities (WP8) of the project.
Series of Articles
The three articles—"Effectiveness of Marketing Strategies," "Use of AI in Filmic Content Marketing," and "Unique Selling Proposition of Alternative Theatrical Venues"—form a cohesive and insightful series of position papers under the CresCine project. Together, they offer a strategic, actionable orientation for film marketing in small European markets, each addressing a distinct but interconnected dimension of the evolving audiovisual landscape.
This collection serves as a practical guide and thought leadership platform, showcasing how small European film markets can navigate structural limitations, digital transformation, and cultural complexity through innovative, human-centred marketing strategies.
Methodological Framework
Deliverable objective
Task 6.3 of the CresCine project focuses on identifying and understanding effective marketing strategies that can help small European film markets improve how they promote their films and reach wider audiences. These markets often face unique challenges due to limited resources and visibility, making it essential to find smart, adaptable approaches to marketing.
This task provides research-based evidence on what works in film promotion, offering practical guidance and explanation on current approach in marketing, distribution, and audience development. It also helps address a key knowledge gap: how to create stronger connections between marketing and distribution, so that promotional efforts are more aligned with how and where films are made available to audiences.
The main output of Task 6.3 is a video-format report, supported by a series of online articles. Together, these materials present the findings in an engaging and accessible way. The deliverable is based on:
(1) An analysis of the key factors that influence a film’s ability to attract broad audience interest—these are referred to as the drivers of marketing potential.
(2) A review of effective and innovative marketing strategies, with a focus on what has been successful in small markets and how these strategies can be adapted or scaled.
A particular emphasis is placed on the role of film festivals and distribution channels—two critical points in the value chain where marketing can have a significant impact. By studying how these elements interact, the task aims to offer actionable insights that can help small markets not only compete more effectively but also celebrate and share their unique cultural voices.
Process
The implementation of Task 6.3 followed a structured, four-phase process spanning from October 2024 to May 2025. The first phase, conducted in October and November 2024, focused on a literature review and initial research. During this stage, the team reviewed existing literature on film marketing strategies, created a dedicated Zotero collection within the CresCine group, and defined key parameters such as keywords, databases, and timeframes. Additionally, the team assessed the specific requirements for marketing and promotion across various EU countries and identified relevant strategies from the literature.
This phase concluded with a notes summarizing the findings and outlining the marketing requisites for small European markets.
The second phase, carried out in December 2024 and January 2025, involved the identification of case studies. The challenge was to identify films that had demonstrated successful integration of marketing and distribution efforts. As the year 2020 impacted the film industry, as well as the intensive development of AI, which offers new opportunities in film marketing and distribution, the sample window was defined as the last 2 years, and the most current data was collected on performance at film festivals and during cinema premieres. This phase resulted in a curated list of films along with detailed plans for each case study.
In the third phase, during February and March 2025, the team conducted qualitative and quantitative analyses. This included 6 in-depth individual interviews with key industry stakeholders such as film distribution and marketing experts, as well as producers and
distributors involved in the selected films (Kneecap, The Demons of my grandfather, On Falling, The Girls with a needle). Simultaneously, data analysis was performed using datasets from Work Package 2 (WP2). The insights from interviews were cross-referenced with quantitative data to validate the effectiveness of the identified marketing strategies. Outputs from this phase included interview transcripts, summaries, and an input to the script for a visual report mentioning key findings.
The final phase, in April and May 2025, focused on the development of the visual report. The team reflected marketing strategies in relation to the strategic orientations of film markets elaborated under WP3, and using this systemic approach, produced a video-format report that integrated both data analysis and qualitative insights. This phase culminated in a visual and video material ready for dissemination, along with a series of 3 articles offering actionable orientations for effective marketing strategies tailored to the EU film market.
Collection of data
The data collection in Task 6.3 involved a variety of sources, reflecting a mixed-methods approach. It included secondary data from academic and industry literature, collected through a literature review and organized in a Zotero database. Contextual data on national
film marketing practices was gathered through desk research. WP2 provided structured data on film performance on the national level and abroad. Additionally, case-specific data were collected on selected films, including their festival participation and release outcomes.
To complement this, qualitative data was obtained through interviews with producers and distributors, offering insights into strategic decision-making and providing input to a series of articles.
Concept and storytelling
A video-format report was designed as a dynamic, multimedia storytelling piece combining voice-over narration, animations, charts, infographics, and film footage to communicate effective marketing strategies for films in small European markets.
The visual report is structured as a scripted, chapter-based video presentation, integrating both quantitative data and qualitative insights. It aims to:
(1) Showcase tested marketing strategies for small EU film markets.
(2) Highlight the specific challenges and opportunities of small markets (Portugal, Ireland, Croatia, Estonia, Lithuania, Flanders, Denmark).
(3) Present case studies and audience segmentation data.
(4) Illustrate the four strategic orientations of European film marketing:
Cultural Resonance
Export
Festival/Cinematic Art
Production Service
The report uses film examples coming from the European market (e.g., Kneecap, Fatima, The Girl with a needle) and includes marketing materials, distributor data, and festival performance to support its findings.
It is accompanied by three articles with a focus on actionable orientations:
• Policy and metrics (Article 1),
• Technology and ethics (Article 2),
• Spaces and community (Article 3).
They provide a roadmap for small European film markets to build visibility, resilience, and cultural relevance in a rapidly changing media environment.
What is Still Relevant in Film Marketing?: Redefining Effectiveness in Film Marketing Strategy for Small European Markets
Challenges in Small European Film Markets
Small European film markets face numerous challenges that necessitate a redefinition of the effectiveness of their marketing strategies. Firstly, while local video-on-demand (VoD) services may feature films from small European countries, global platforms like Netflix and Amazon Prime rarely showcase a significant selection of these films. This restricts access to broader international audiences and limits the diversity of films available to viewers across Europe and beyond. Marketing budgets for European films are often extremely limited— sometimes as low as 1% of production costs—compared to US films, which may have marketing budgets equal to or exceeding their production costs. This disparity makes it difficult for small European films to achieve visibility, both domestically and internationally.
Most European films are shown almost exclusively in their country of origin, with limited cross-border distribution. National and regional support systems tend to focus on production rather than distribution and promotion, leaving a critical gap in helping films reach wider audiences. Europe's linguistic and cultural diversity, while a strength, also complicates distribution and marketing. Different language zones and fragmented markets make it difficult to implement unified strategies or negotiate global deals, leading to inconsistent access and visibility for small films. Small European film producers and distributors often lack the financial resources to invest in data analytics, digital marketing, and infrastructure needed to compete in the digital age. Scaling up to reach broader audiences is difficult without significant investment, especially since territorial licensing is complex, as films move across borders and platforms. A stable and adaptable legal framework is essential but often lacking, creating additional hurdles for small productions. Additionally, public funding tends to prioritize production over marketing, creating a critical gap in promotion capabilities. Without significant investment in digital infrastructure and analytics, small producers struggle to reach broader audiences. Complex territorial licensing and the lack of a unified legal framework further hinder scalability.
Given these challenges, traditional measures of marketing effectiveness, such as box office returns and theatrical reach, are increasingly insufficient. The digital transformation, changing audience habits, and the dominance of global players demand a new approach - a redefinition of what constitutes "effective" marketing.
Redefining Effectiveness: A New Framework
Effectiveness now hinges on adaptability, audience engagement, cross-border collaboration, and innovative use of digital tools. Success involves building sustainable relationships with audiences, fostering cultural resonance, and utilizing innovative distribution methods. This article explores paths and avenues to leverage their unique selling propositions to thrive in this competitive landscape.
From Supply-Led to Demand-Led Approaches
Traditional, supply-led models are no longer sufficient. Thanks to digital technologies, independent producers and distributors can now implement demand-driven strategies, where marketing and release schedules are aligned with audience needs. Instead of following fixed release windows, films can now be marketed and distributed according to audience demand, enabling tailored campaigns for each film and market segment. A new trend of “self-distribution” conducted by producers with the engaged community (or supported by collaboration with niche digital distribution experts) has emerged as a new approach to avoid the routine approach of distribution and generate a wider impact of the movie with engaged stakeholders.
Digital and Data-Driven Marketing
A strong online presence is essential for success. This includes having a dedicated website, compelling trailers, behind-the-scenes content, and active social media accounts tailored to the strengths of each platform. By leveraging data analytics to target audiences based on demographics, interests, and location, marketing efforts can shift from broad, traditional approaches to precise, algorithm-driven campaigns. This strategy helps build a loyal fanbase ahead of release and ensures the content reaches the right audience effectively. Instead of broad, traditional marketing, precision-driven, algorithm-powered campaigns can build dedicated fanbases and generate meaningful interactions prior to release.
International Co-Productions and Partnerships
Europe is a conglomerate of small markets and struggles with the scalability of its creative efforts; this is why collaboration with international partners can both raise budgets and access wider distribution networks. Moreover, support from EU programs for co-production, distribution, and promotion helps films from smaller markets compete globally. Partnerships across the film value chain—especially involving producers and distributors—are essential to building innovative, sustainable audience engagement strategies. Initiatives like Collaborate to Innovate, launched by Europa Cinemas with support from the Creative Europe MEDIA programme, offer a unique opportunity for such collaboration. The scheme supports collective, cross-border projects that aim to increase the visibility and circulation of European films, particularly among young and niche audiences. Eligible applicants must be Europa Cinemas network members who received programming support in 2022 or 2023, and each project must involve at least three economically independent exhibition organizations from eligible countries. The initiative encourages new and contextually innovative approaches, including the use of digital technologies, sustainable practices, and inclusive audience development models. Projects can receive up to €120,000 in funding, with the lead applicant (coordinator) responsible for implementation and distribution of funds. By participating in such initiatives, producers and distributors can contribute valuable insights, help shape more effective outreach strategies, and share best practices across borders—ultimately strengthening the reach and impact of smaller European films.
Moreover, the successful examples of collaboration in local contexts, such as with the Czech release of "Living Large," where collaboration with local influencers, themed merchandise, and community events drove engagement, demonstrating the power of grassroots strategies.
The success of the film Flow—celebrated internationally from Cannes to Annecy to the Oscars—demonstrates how global recognition can be complemented by smart, locally rooted strategies. In some regions, such as Austria, partnerships with local businesses like cat cafés and children’s stores helped the film connect with specific audiences in meaningful ways.
These kinds of grassroots collaborations, as highlighted in Europa Distribution’s case studies (Europa Distribution brings insightful case studies for animation films to Cartoon Movie 2025), show how local engagement can enhance visibility and deepen audience connection.
Tapping into local stories and cultural themes remains a powerful way to differentiate from global competitors and cultivate dedicated niche followings.
Success Beyond Box Office
To build lasting relationships with audiences and strengthen the brand value of films (filmmakers and production companies), it’s essential to track a broader set of metrics. By focusing on authentic storytelling and local perspectives, films can stand out in a crowded digital landscape and attract audiences looking for diverse and meaningful content. In this context, cultural specificity should become a strategic advantage—not a limitation. This is reflected in four strategic orientations in film policy, each aligned with specific goals, performance indicators, marketing approaches, and their relevance in both local and global contexts—referred to as “glocal” fit.
The first strategy, Cultural Resonance, focuses on promoting national identity through films that reflect local culture, language, and values. Its success is measured by domestic box office performance, cultural engagement, and educational outreach. Marketing efforts are business-to-business, highlighting tax incentives and promoting filming locations. This model is not inherently glocal, as it primarily serves external productions using local infrastructure.
Lastly, the Art Cinema strategy prioritizes artistic recognition and cultural prestige. Films in this category are often showcased at festivals and evaluated based on awards, critical reviews, and acclaim. Marketing is tailored to arthouse audiences, with campaigns led by directors and key cast members. While these films are deeply rooted in local authenticity, they tend to appeal to niche audiences both domestically and internationally.
Redefining effectiveness in film marketing for small European markets means focusing on adaptability, digital engagement, collaborative networks, and innovative audience development and also creating sustainable, engaged audiences and leveraging every stage of the value chain to ensure the long-term visibility and vitality of small European films. Success is no longer just about box office numbers, but about building sustainable, transnational audiences and leveraging every stage of the value chain for maximum impact.
References:
ECREA, What Future for the Cinema of Small European Countries? Call for papers https://ecrea.eu/page-18206/13440453
Europa Cinemas, Collaborate to Innovate, accessed online: https://www.europacinemas.org/en/activities/Support_for_cinemas/collaborate-to-innovate
Europa Distribution (2025), Europa Distribution brings insightful case studies for animation films to Cartoon Movie 2025, accessed online: https://www.europa-distribution.org/europadistribution-brings-insightful-case-studies-for-animation-films-to-cartoon-movie-2025/
European Parliament (2015), Report on European film in the digital era, accessed online: https://www.europarl.europa.eu/doceo/document/A-8-2015-0123_EN.html
Use of AI in Filmic Content Marketing: Human-Centered Approach in Marketing of Films
Analyzing the current discourse surrounding AI and the filmmaking industry one identifies a predominant focus on aspects such as enhanced product quality, streamlined production processes through automation, cost reduction strategies, and the pursuit of a formula for success, where marketing automation can play a key role. This efficiency-driven perspective in marketing is well in the recent article “How to Marry Process Management and AI - Make sure your people and your technology work well together” by Thomas H. Davenport & Thomas C. Redman (2025) published in the February 2025 issue of the Harvard Business Review. However, while the economic benefits and productivity gains of AI are important, it’s equally vital to remember that filmmaking is not just about producing marketable content.
Films are cultural artifacts that shape how we see the world, and this creative, humancentered dimension must remain central in conversations and research about the future of AI in cinema. This is also true about audiences and the role they perform, both as consumers but also recipients of the cultural value films entail. In the film industry, some business models rely heavily on an advertising-driven approach— success often depends on the ability to attract and retain viewer attention, or "eyeballs”. Consumer insights and market research play a key role in the development and distribution of content. In the age of AI, emerging AI driven solutions are also offering new opportunities to tap into consumer behaviour, market trends, and competitive landscapes. With the advent of artificial intelligence (AI) and machine learning (ML), there are unprecedented opportunities for deeper insights, faster analysis, and more accurate predictions. Providers of market research tools and services, such as IPSOS, are very enthusiastic about the emergence of what they name AI-enabled Consumer Intelligence (AICI) platforms.
Amongst the many key features these solutions propose, a key aspect concerns the use of AgenticAI. Agentic AI refers to intelligent, autonomous systems capable of perceiving their environment, setting goals, adapting to change, and making decisions without continuous human supervision. Along with other areas of intervention, one of the functions of these agents is to automatically create and refine customer personas using behavioural, demographic, and psychographic data. Agentic AI does this by connecting with CRMs, mobile apps, and analytics tools, and then continuously grouping users into evolving segments, adjusted based on dominant behaviour patterns. While this might be quite straightforward in many consumer industries, we postulate that the same is not directly applicable to the cultural and creative industries and in particular to the film industry. The general concerns about data privacy that we often find in relation with AI are not overwhelmingly serious here since data is not generated by humans. Here, the core problem is deeper and more complex. We have all experimented with AI’s potential for bias and normalization. If the data fed into an AI system is biased, or in this case, only based on criteria of segmentation grounded in dominant and more represented behaviours, the outputs will be as well, and new data being produced will be less and less diversified. This issue highlights the urgent need for transparency and fairness in AI-driven research, and even more importantly, for a humancentered approach to film marketing. Achieving this requires placing transparency— particularly through the use of open and accessible AI models—at the core of future AI development. Only by doing so can we ensure that technology serves both creators andaudiences in an ethical and inclusive way.
CresCine is a Horizon Europe research project designed to enhance the international competitiveness and cultural diversity of the “small European markets” film industry (HORIZON-CL2-2022-HERITAGE-01, project ID: 101094988). The project brings together academics, industry, and institutional partners across seven small European markets to assess the existing landscape and design new strategies and tools to support these small markets in increasing their competitiveness. As part of its endeavours, CresCine has been conducting experimental work with samples of film producers across Europe. These pilot experiments and trials of different AI solutions in the context of film production allowed us to identify two core segments of producers: the “awaiters” and the “adopters”. While the first group does not rush to be charmed by the new technologies and feels sceptical about the quality of the outputs they deliver, the second group does not hesitate to work with upcoming technologies and feels encouraged by experimenting with the newest tools. In common, they have an understanding that it is “how” and not “what” the AI tools bring in terms of innovation that will shape the future landscape where they operate, and that current key ongoing transformations mostly do not transform the storytelling development process but are mostly related to the execution and efficiency enhancement of the technicalities of the production process. For these producers, the “archaic” story arc we all know cannot be easily innovated. In the view of professionals, the technicalities and know-how of production can be “hacked” with ground-breaking AI-driven innovation, but the essence of powerful and innovative storytelling is not the object of formulas.
Whilst many of these producers affirm that post-production is the stage where producers notice the most innovative practices, and many see positive aspects in the way AI can help them in perform some of their tasks faster, few mention the potential of the technology in terms of market analysis and consumer profiling and segmentation, not to say that knowledge about the potential of agentic AI to produce consumer data is seldom mentioned.
This lack of attention by producers to the new realities AICI entails is extremely dangerous. The more those in the end of the value chain (i.e., broadcasters or distributors) resort to AICI, the more the orders producers get will be shaped by AI, potentially biased models, killing the diversity and uniqueness that the European Film industry strives on. The only way to contradict this, is for producers to further and deeply engage with AI and strive for openness in data and the training of models, along with a more level playing field where the moats some constantly push for, are challenged by a myriad of open models trained with diversified content that puts the interests of human consumers of cultural value at its centre instead of the mere profiling of data content consumers.
Unique Selling Proposition of Alternative Theatrical Venues in Small European Markets
The eroding windows model (Atkinson, 2015; Hammoud et al., 2025) is causing a transformation in the traditional cinema theatre's value proposition, potentially leading to its disruption. No longer the sole arbiters of premieres, cinema theatres now face emerging challenges, such as the discoverability of their programming offerings throughout their value chain (Lotz et al., 2022; Lobato & Scarlata, 2022). The challenge could hinder the context of the small film market and non-mainstream theatrical venues. This reality nudges us to revisit the unique selling proposition of theatrical spaces that practitioners currently consider.
Within the context of the Horizon Europe research project, CresCine, we questioned and discussed with industry representatives the challenges that the cinema theatre's value proposition currently faces across Europe. Empirical findings are based on a sample of qualitative, semi-structured interviews with representatives of arthouse cinema venues located in small European countries, which are targeted under the CresCine project. This included independent cinemas and cultural venues located in medium- to large-sized cities within the target markets. Although this is obviously not a representative sample, we argue that the arguments presented resonate across other European countries and can be used to define what could potentially be the value proposition of alternative cinema venues across Europe.
For alternative theatre venues, the issues of identity and social sustainability have become critical amid competition for platform-first strategies. On the other side, as smaller organisations, they are, theoretically, more flexible and may compete with mainstream players with unique missions and values, potentially expanding the tactical toolkit of audience engagement. Our preliminary analysis identified three core strategies mentioned by the participants during the interviews. We argue that identified strategies potentially create a counteroffer to the value proposition of large, commercial mainstream cinema venues, highlighting the human-centred approach of such sites, which can effectively position them in an increasingly competitive landscape. Selected venues establish a value proposal as a counteroffer to mainstream competitors in three ways:
1) City space that unites like-minded individuals and embraces “offline” experiences in #buildingsocialconnections
This goes beyond mere film exhibition, transforming the venue into a community hub. Imagine curated post-screening discussions with filmmakers or experts, themed social events connected to the films, or even a café space that encourages lingering and conversation. By fostering a sense of belonging and shared experience in a physical space, these theatres offer a powerful counterpoint to the potential atomisation of online streaming:
— So, possibilities of people coming together and occupying the space and feeling engaged with a cultural institution that we want to be as open as possible and as participatory as possible.[...] That's why we fought so much to have a bar, to have a library, a space to have a bookshop.This is an idea of an institution as a civic space.
(from the interview)
These cinema venues could also be considered part of the city's architectural landmarks.
While mainstream commercial cinemas are filling mostly places of convenience, alternative cinemas are more embedded in the city's landscape and architecture, defined by their signature signage, location, or the design of the building they occupy.
2) Inclusivity and exclusivity of programming and space to prevent “elitism”
This means showcasing a diverse range of films that resonate with different cultural backgrounds, experiences, and perspectives. First, the proposal of #inclusivity in Programming expands the variety of audiences to serve the needs of various communities.
Moreover, the #inclusivity in programming was foreseen by one of our participants as the method of fighting the image of such venues as elitist venues, strictly for a specific community:
— By being inclusive, it's really to explain to people that it is open to a certain idea of comfort that people can feel, because this is something that all cultural institutions strive against. [...] And it happened with us even before we opened; we already had the label of being elitist.
(from the interview)
To demonstrate an inclusive, community-oriented approach—rather than an elitist one—the films shown at the venue don’t necessarily have to be considered masterpieces, even subjectively. What matters is their significance in film history and their potential to spark conversation, foster social connection, and become shared cultural experiences within a group:
— We show cinema that drives people to think about things, you know, and that's our purpose. We can be showing, I mean, really trashy American blockbuster, but through it can be incredibly relevant. They can be incredible objects to think through in terms of politics and the history of film.
(from interview)
Secondly, by exclusivity, we mean not limited access to a privileged few, but instead offering unique and carefully selected content that reflects a curatorial vision. By emphasising the curator's authorial touch, these venues elevate the viewing experience beyond mere entertainment. This eclectic programming is at the core of the value proposition, maintaining the gatekeeping capability of the cinema. Last but not least, it also constitutes an element of excitement by adding an extra layer of subjective vision to the proposed cinematic experience:
— I do it for myself. If you've seen the programs of [...] over the last six months, you can try to understand, but I approach it in a very particular way, much like an editorial. It is my relationship with the cinema. With the films I respect, with the directors I respect, with the history of the cinema, I think it's important to go on showing. It is not all the films I'm showing. (from interview)
3) Mission-driven activism in programming and events, encouraging wider reflection on social problems beyond a film
Alternative venues can potentially play an active role in addressing social causes relevant to the city, the national public, and the employees of the specific cinema. That mission can be reflected in communication and PR, or more specifically, at the programming level by dedicating screenings to particular dates or people (e.g., a cause) and catalyzing a dialogue, thereby helping a cause. This could involve partnering with local organisations to host screenings followed by discussions on relevant social issues, curating film series that explore specific themes like environmental justice or social inequality, or using the platform to raise awareness and encourage action.
— We're going to host the celebration of the National Day of Bangladesh. People from the community gather for dinner at Batali, and then they host an event to give awards to migrant communities. Nothing to do with cinema and we're absolutely happy to do it.”
(from interview)
Or to encourage the dissemination of domestic films and organise festivals to promote young talents:
— But we try to take a different approach regarding this, having major concerns with Portuguese films having the opportunity to premiere, which is also some kind of award that we can give to the films that are selected at our festival, because most of the films that come to the festival have not premiered anywhere. To showcase Portuguese short films
(from an interview)
Preliminary conclusions drawn from our research into alternative forms of cinema exhibition, particularly the value proposition of these venues, reveal a high awareness of the challenges these venues face and the necessity to define unique, curated value propositions to offer visitors. When competing for attention, these venues are seemingly not playing the “utility” card but exploring the human-like relationships between the public and the facility.
Their offerings are expanding beyond the venue's core purpose of “screen and sound” delivery to include various forms of intervention with a strong social and cultural standpoint.
References:
Atkinson, S. (2015). Beyond the Screen: Emerging Cinema and Engaging Audiences. Bloomsbury Academic.
Visual Report
Summary & Conclusions
Deliverable D6.3 presents a comprehensive and multi-dimensional exploration of marketing strategies tailored to the needs of small European film markets. Developed under Task 6.3 of the CresCine project, this deliverable combines a visual report and a series of three position articles, offering both strategic insights and practical guidance for enhancing the visibility, competitiveness, and cultural relevance of films produced in smaller national contexts.
The report is grounded in a mixed-methods research approach and serves as a dynamic storytelling tool, illustrating four strategic orientations in film marketing—Cultural Resonance, Export, Festival/Cinematic Art, and Production Service—through examples and data visualizations. It is complemented by three articles that each address a key dimension of the marketing ecosystem.
Together, these outputs form a cohesive and actionable roadmap for small European film markets. They demonstrate how strategic marketing, ethical technology use, and community-oriented exhibition models can collectively strengthen the international competitiveness of European cinema.
All materials are publicly available on the CresCine website and disseminated via LinkedIn to ensure broad accessibility and engagement. This aligns with CresCine’s commitment to open knowledge, cultural diversity, and inclusive innovation in the audiovisual sector.