Multi-auditorium cinema complex under one roof — commercial model since 1980s allowing diverse programming without venue risk. Displaced single-screen theaters.
The multiplex strategy fundamentally revolutionized the cinema landscape starting in the 1980s – not for artistic reasons, but out of pure economic necessity. Instead of programming one screen and risking a 30% occupancy rate, five to ten different films are distributed across multiple screens simultaneously. The risk drops dramatically. A blockbuster runs in screens 1 to 3, the arthouse film in screen 7, the action film in screen 2 – and the operator fills all screens at night. This still works economically today, even if audience numbers are declining.
For us on the production side, this has concrete consequences: Multiplex operators now determine who gets into cinemas at all. They want films with broad, clear appeal – sequels, established franchises, superhero blockbusters. An introverted drama or an experimental documentary? Most cinema chains consider that too risky for one of their valuable screens. The result: Medium-budget films with specialized target audiences are disappearing from cinemas and landing on streaming platforms. The single-screen cinema operator – who previously might have had four to six screens and their own taste – has been displaced. As a result, some cities have lost their cinematic souls.
The practical implications in distribution are considerable: To get a film into a large multiplex, your distributor often has to make agreements with the cinema chain, no longer with individual local programmers. This means less flexibility in release dates, standardized run times, and pressure on marketing expenses. A small niche film today needs an arthouse circuit or independent art-house cinemas – though the latter are dying out.
On the other hand: The technical equipment in multiplex auditoriums is often better than in single-screen cinemas of the past. DCP projection, Dolby Atmos sound, air-conditioned auditoriums – this is standard. This is an advantage for large productions with high-quality sound mixes and color spaces. However, those working with the nuances of 35mm film material or pursuing a very specific visual concept must actively seek out the right cinemas. The multiplex logic is no longer just about business management; it has become curatorial – positive for some films, negative for many.