Owner and operator of a cinema — negotiates with distributors over titles and box office. Makes money from ticket sales and concessions.
The exhibitor stands at the other end of the distribution chain—not at the shoot, but where the film actually meets its audience. They manage the physical location, negotiate release dates and film selection with distributors, and bear the financial risk. This sounds like pure business, but it has a direct impact on production: Which films get screens, how long do they run, how much marketing support do they receive from the distributor? The exhibitor has a say in this.
Practically, this means: An exhibitor negotiates exhibition contracts—typically, the distributor receives 50–60% of ticket revenue in the first two weeks, after which their share decreases. The exhibitor covers rent, staff, technical maintenance, and operating costs from their portion. Larger multiplex chains have purchasing power—they can reject films or fight for better booking conditions. A single arthouse cinema has to take what it can get. This asymmetry is real and influences which films gain access to the screen at all. Documentaries, experimental films, or niche cinema require specialized exhibitors who consciously work against the mainstream.
The daily work is unglamorous: monitoring ticket sales, adjusting lighting, receiving and storing film reels (or digital packages), maintaining projection equipment, cleaning auditoriums. For festival films or with limited equipment, the exhibitor might even become the editor—sorting reels, synchronizing, adjusting projection settings. With digital distribution (DCP, KDM keys), they need IT expertise or must employ a technician.
The world of exhibitors has brutally consolidated: multiplex chains dominate, owner-operated cinemas are disappearing. This has consequences for film culture—arthouse cinemas show what distributors and studios don't want. Therefore, the exhibitor's mentality is also an attitude: Some consciously fight for diversity, program against quotas, and support premieres by local directors. Others optimize solely for popcorn revenue and Hollywood blockbusters. For producers and directors, it is crucial to know—whoever holds the screen holds visibility.