Celluloid Junkie

Nominations Open for CJ’s 2026 Top Women in Global Cinema List

Celluloid Junkie Staff — Fri, 08 May 2026 08:38:06 +0000

For the tenth year running, CJ’s Top Women in Global Cinema is back for its 2026 edition.

Over the past several months, we’ve been asked on numerous occasions when nominations would open for this year’s list. The good news is that nominations are now officially open.

Last year, we received a record number of nominations, which made selecting the final list more difficult than ever. As in recent years, we are again applying a set of simple criteria to help streamline the process, give nominators clearer guidance and ensure the selection committee has the information it needs to produce the strongest and most deserving list possible.

For those looking to nominate candidates — and we hope that’s everyone reading this — we ask that nominees meet the criteria below:

Candidates should have been working in the cinema exhibition industry for a minimum of two years.
Candidates should hold at least a management-level position.
Candidates should be able to demonstrate additional industry contributions, achievements, recognition or initiatives. These do not necessarily have to be directly related to exhibition, but they should be outlined in the submission form.

In order to be recognised on this year’s list, nominees should demonstrate how they have made a positive difference within their business beyond their daily work, as well as how they have contributed to the broader exhibition industry. Along with career highlights and background information, please be sure to include new and relevant accomplishments from the last 12–18 months.

These criteria will help the selection committee evaluate nominees. Ultimately, our goal is to make sure candidates are included because they are genuinely impressive — not simply because they are good at their job, which we would assume is a given.

If you’re unsure whether someone qualifies, or have any questions about the process, please get in touch with us at women@celluloidjunkie.com.

And finally, as we say every year — and cannot stress enough — we can’t compile the list without support from the industry. In other words: please get your nominations in. Submit them via this form.

If you’re interested in partnering with us on this project, please drop us a line at sponsorship@celluloidjunkie.com.

The deadline for submissions is 12 June 2026. We are currently scheduled to publish the list just prior to this year’s CineEurope, which takes place 22–25 June 2026 in Barcelona, Spain.

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CinemaCon 2026: The Studios Make Their Case for Theatrical

J. Sperling Reich — Thu, 30 Apr 2026 23:21:04 +0000

The Colosseum at Caesars Palace in Las Vegas was built for spectacle, which makes it the right room for the wrong argument. For four days in mid-April, the major studios (and several independent distributors) stood on its stage and walked theatre owners through 2026 and 2027 slates that were, on paper, the strongest the industry has fielded since the pandemic. The 2026 domestic box office entered April at its strongest post-COVID pace, up more than 20% year over year. Cinema United pegged its annual convention’s attendance up roughly 5% from last year. The mood at CinemaCon, as one veteran exhibitor put it on the floor, was the best since pre-COVID — but disciplined, not euphoric.

That mood traveled onto the stage. Anyone listening for the tone underneath the trailers and showreels heard something other than a victory lap. The 2026 studio presentations were carefully constructed arguments for why theatrical still works, pitched — with no small amount of urgency — to the people who already believe.

After several years in which the studio-exhibitor relationship was conducted in passive-aggressive press releases and shrinking windows, the ritual of reassurance was back. CinemaCon has always been part trade show, part revival meeting. In 2026, the revival was working overtime.

Franchise Gravity
The most obvious pattern across the week — and the one most likely to be dismissed as boring — was franchise gravity.

Disney closed the convention with the first full trailer for “Avengers: Doomsday,” fronted by stars Robert Downey Jr. and Chris Evans, alongside footage from “The Mandalorian and Grogu” and a pipeline of “Toy Story,” “Moana” and Marvel extensions, all wrapped in an Infinity Vision premium-format push. Warner Bros. brought along the seven-minute opener for “Dune: Part Three,” DC’s “Supergirl,” and Tom Cruise introducing his next film, “Digger” alongside its director, Alejandro G. Iñárritu. Universal leaned on Christopher Nolan’s “The Odyssey” and Steven Spielberg’s “Disclosure Day,” with Minions and Mario-era family business holding up the floor. Sony built its slate around “Spider-Man: Brand New Day,” not to mention the conclusion of the animated “Spider-Verse” trilogy, “Jumanji: Open World” and an animated adaptation of video game “Bloodborne.” Paramount pitched “Top Gun 3,” “Call of Duty,” “Scary Movie 6” and “Angry Birds 3.” Amazon MGM uncorked “Spaceballs: The New One,” “Highlander” and “The Thomas Crown Affair.”

If that reads like a list of the same studios repeating themselves, that is roughly the point. Theatrical’s reset has not produced a flowering of original storytelling; it has produced a re-investment in known IP and predictability. Don’t get us wrong, original films were not absent — filmmakers Damien Chazelle and Teyana Taylor on the Paramount slate, the Sony Pictures Classics and StudioCanal portions of the week, Warner’s announced a new specialty label named Clockwork — but they were not driving the conversation. The studios have decided that the safest way to refill auditoriums in 2026 is to reduce uncertainty about what audiences are walking into in the first place.

The more useful framing is not original-versus-franchise. It is eventized originality versus brand exploitation. Universal sold Spielberg and Nolan inside a franchise-rich showcase. Warner argued for original storytelling while flexing DC, Dune and a Cruise-Iñárritu pairing. Amazon MGM literally framed its strategy as “beloved IP and bold, original ideas.” Even Disney’s dominance was acknowledged in the room alongside a quieter anxiety that the machine has become too optimized. Bland brand exploitation is increasingly exposed; brands that can borrow auteur legitimacy, or originals that can become brands, are where the strategy has moved.

Filmmaker Christopher Nolan speaks onstage during the Universal Pictures and Focus Features Presentation at The Colosseum at Caesars Palace during CinemaCon on April 15, 2026, in Las Vegas, Nevada. (Photo: David Becker – Getty Images for CinemaCon)

Theatrical-First, Finally Aligned
Underneath the slates, the messaging was rigorously aligned in a way it has not been in years. “Only in theatres” was repeated so often it stopped sounding like a tag and started reading as doctrine.

Cinema United CEO Michael O’Leary used his State of the Industry speech to note that the average window for the top 100 films in 2025 had risen to 37 days, and would have hit 49 days had each of those titles been given a 45-day exclusive run. By the time the studio reels were over, exhibitors had heard:

Universal commit to at least five weekends of theatrical play for every release.
Paramount Skydance Chairman and CEO David Ellison promise a 45-day exclusive theatrical window “starting today,” with a 90-day path to streaming and a pledge of 30 theatrical films a year from a combined Paramount-Warner entity.
Amazon MGM extend the theatrical window on “Project Hail Mary” and tout more than $670 million from its first four 2026 releases.
Sony’s Tom Rothman openly agitate for longer windows.
Disney holding to its 60-day standard, treating it as table stakes rather than concession.

The remarkable thing, given the last five years, was the lack of disagreement. There is now a working consensus inside the major-studio system: a roughly 45-day theatrical-exclusive corridor, with premium video on demand (PVOD) tolerated sooner than subscription-streaming availability. That is not a return to the pre-pandemic 90-day window, and it is not the windowing theology of 2019. But it is closer to a stable settlement than the industry has had at any point since the pandemic — and the studios mostly arrived in Las Vegas wanting credit for it.

The catch is the obvious one. Messaging is an act of repetition, and you only repeat what you have not yet established. The reason the 2026 presentations were so heavy on theatrical-first rhetoric is that exhibitors have spent the last five years being told otherwise. Reassurance, almost by definition, is what you offer when the underlying question is still open, and still not fully answered.

(From Left) Tom Hanks and Tim Allen speak during the Walt Disney Studios presentation highlighting its upcoming release schedule at The Colosseum at Caesars Palace during CinemaCon on April 16, 2026, in Las Vegas, Nevada. (Photo: David Becker – Getty Images for CinemaCon)

Spectacle Is the Load-Bearing Argument
The other recurring pitch was sensory. Disney’s Infinity Vision rollout — formalizing a Disney-blessed premium large-format certification and clearer PLF consumer branding — was the most explicit version of this strategy, but it was hardly alone. Every studio at one point or another found a way to invoke Dolby, IMAX, Imersa, ScreenX, 4DX, 4D E-Motion or simply “the biggest possible screen.” Runtimes are creeping back up. Visual scale was repeatedly cited, often by talent themselves, as the reason to leave the house.

This is not a branding flourish. If the post-streaming theatrical model is going to defend itself, the argument cannot be made on price or convenience. It has to be made on experience. That makes premium large-format auditoriums and their elevated ticket prices structurally important to studio strategy in a way they simply were not five years ago. PLF is no longer a top-of-the-funnel marketing accent. It is becoming the load-bearing wall of the higher-margin theatrical economy — and most of the slates shown in Vegas were, implicitly or otherwise, built to monetize on those screens first.

The Calendar Problem Beneath the Slates
The slates also told a different story when read across the year rather than studio by studio. Even the strongest presentations revealed an industry still working with a lopsided release graph: clusters of tentpoles bunched around the traditional corridors, gaps of weeks elsewhere, and not enough mid-budget filler to keep auditoriums consistently full between events. The industry has gotten better at creating moments. It has not yet solved what happens between them. Universal’s volume and discipline were the exception that proved the rule; several other majors are still essentially organizing their release year around three or four moments and hoping the rest takes care of itself.

Exhibitors did not need the gaps pointed out to them. Cinema United and its members have been pleading for steadier mid-budget product for years. None of the 2026 studio presentations resolved that problem. In some cases, by stacking franchise cargo on the obvious release dates, they sharpened it.

Who Controlled the Room, and Who Needed It
There were tiers to the week, and the tiers were legible if you watched the room.

Universal walked in confident and walked out the studio that, in many attendee conversations, “won” CinemaCon — less because of any single trailer than because its package felt the most balanced and the least performative. It probably didn’t hurt to have both Nolan and Spielberg on stage to present an extended look at their upcoming films. Disney looked dominant, almost reflexively so; the conference treated it like a force of nature even as some attendees worried about creative conservatism creeping in around the edges of a studio that accounted for more than 27.5% of the 2025 domestic box office. Sony was unusually combative. Rothman told a roomful of theatre owners to “get off the ad crack,” shorten pre-shows and make moviegoing cheaper — language no exhibitor enjoyed hearing but few could dispute, at least publicly anyway.

Below them sat the studios that needed the room more than the room needed them. Warner Bros. showed up starrier than almost anyone — Cruise, Iñárritu, Villeneuve — but it arrived under the cloud of the proposed Paramount Skydance / Warner Bros. Discovery merger, and its presentation read in part as a reminder that the current creative leadership is still capable of cultural force whatever shareholders eventually decide. Paramount, anchored by Ellison’s commitments, was effectively running for political office. Amazon MGM was making the case that last year’s theatrical rhetoric was not a branding exercise, helped considerably by the 2026 outperformance of “Project Hail Mary” but still hedging on its more adult, director-driven titles.

But the asymmetry of need was unmistakable. The studios with momentum used the stage to consolidate authority. The studios without it used the stage to bargain.

Helen Moss, Head of International Theatrical Distribution, Amazon MGM Studios, speaks during the Amazon MGM Studios presentation of its upcoming slate at The Colosseum at Caesars Palace during CinemaCon on April 15, 2026, in Las Vegas, Nevada. (Photo: David Becker – Getty Images for CinemaCon)

The Showreel Economy
If there is a single artifact that explains why CinemaCon still matters in an era of permanent trailer drops, it is the sizzle reel. Most of the footage shown to exhibitors will never be released publicly in the form the room saw it. That is part of the argument.

A four-minute, thunderously cut, music-driven montage of a studio’s upcoming year — designed for a 4,000-seat auditorium with calibrated sound and a sympathetic crowd — is one of the most efficient persuasion tools the modern entertainment business has. It is emotional manipulation in the best sense: a controlled environment that turns belief in theatrical into something that can be felt rather than argued. The room is the message.

The studios know this. So do the exhibitors. So do the trade reporters who file dispatches that, more often than not, bend toward the rooms in which they sat. (Don’t get us started on the influx of influencers that showed up at this year’s event.) In a business built on anticipation, the showreel remains one of the industry’s most effective currencies — and CinemaCon is, more than any other convention in this business, the place where that currency is minted.

Confidence as Strategy, Not Solution
None of this means the studio presentations resolved the industry’s structural problems. The release calendar is still uneven. Mid-budget originals are still under-supported. Consolidation anxiety is still palpable, with O’Leary using the same convention to publicly oppose the Paramount/Warner transaction even as Ellison was promising more theatrical movies, longer windows and faster decisions. The 45-day window is a settlement, not a solution. And the deeper question — whether theatrical can sustain itself as a culturally indispensable channel rather than a premium niche — remains unresolved.

But CinemaCon 2026’s studio presentations did make a quietly significant case. They argued, more carefully than they did even a year ago, that at its best theatrical still has no equal — and that, for now, the studios believe that argument enough to make it again, on a stage in Las Vegas, in front of the people whose business depends on it being true.

If the State of the Industry address framed a business negotiating its future, the studio presentations showed how that future is being sold.

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CinemaCon 2026: A Merger Splits the House

J. Sperling Reich — Fri, 24 Apr 2026 22:14:16 +0000

CinemaCon has always been a place where the industry gathers to reassure itself. That was true again this year inside the Colosseum at Caesars Palace, where the annual State of the Industry presentations delivered a familiar message: theatrical is resilient, culturally vital, and firmly back on track.

But this year, any talk of industry unity came with an asterisk.

The proposed Paramount/Warner Bros. Discovery merger has divided the industry that gathered in Las Vegas in ways that make any messaging of solidarity look fragile. The Warner Bros. Discovery shareholders voted to approve the merger 23 April. Whatever happens next, CinemaCon made clear that unity, while still invoked, is no longer assumed.

The Official Narrative
On the Colosseum stage, the message was one of continuity and confidence.

Motion Picture Association (MPA) Chairman and CEO Charles Rivkin centered his remarks on a theme of trust; with a 91% public approval rating for the MPA’s ratings system as his evidence that the industry has built something durable. The framing was partly self-congratulatory but served a pointed purpose: differentiating the theatrical experience from the social media platforms under sustained regulatory scrutiny over children’s safety. When Instagram attempted to appropriate the MPA’s PG-13 designation for teen accounts, the MPA pushed back and won. “Let there be no doubt,” Rivkin said. “On my watch, no one will confuse movies shown in your theaters with user-generated content people watch on their phones.”

It was less a defense of theatrical than a line being drawn around what the industry still considers itself to be.

On copyright and artificial intelligence, Rivkin staked out the MPA’s consistent position: copyright protection and technological innovation are “twin pillars,” not competing priorities. The core copyright industries contribute more than USD $2 trillion to the gross domestic product of the United States and supports 11.6 million workers, he noted, and AI should be “a tool that can enhance human creativity, not replace it.” The MPA’s successful pushback against ByteDance’s Seedance 2.0 — a text-to-video platform that launched using copyrighted studio characters — was cited as a recent proof of concept: swift action produced guardrails.

Charles Rivkin, Chairman & CEO, MPA, speaks during the CinemaCon 2026 – The State of the Industry during CinemaCon 2026 – The State of the Industry at The Colosseum at Caesars Palace during CinemaCon on April 14, 2026 in Las Vegas, Nevada. (Photo: David Becker – Getty Images for CinemaCon)

His primary legislative objective remains a federal film tax incentive, a campaign he flagged at CinemaCon 2025 and reported progress on this year. If enacted, it would represent a structural shift in how the U.S. competes with Canada, the United Kingdom, and other jurisdictions that have long used production incentives to attract Hollywood shoots.

What Rivkin did not address was the defining corporate story hanging over the week. As head of an organization representing both Paramount and Warner Bros. Discovery, Rivkin avoided the merger entirely.

At CinemaCon, silence can be strategic.

Optimism, Genuine and Qualified
Cinema United President and CEO Michael O’Leary struck a similar tone of cautious optimism, but with a more grounded focus on the realities facing exhibition.

He opened with a personal anecdote — —recalling celebrating America’s bicentennial at age eight and his grandfather’s prediction that he might live to see the country’s 250th anniversary. “Good news,” O’Leary said, “I made it, and so did America.”

The point was not nostalgia, but resilience. The theatrical business, like the country it has accompanied for more than half its existence, endures through reinvention rather than inertia.

The numbers were genuinely encouraging. Gen Z is now the industry’s fastest-growing habitual moviegoing segment: frequency among 12-to-28-year-olds increased 25% in a single year, and a recent study identified moviegoing as the top leisure activity among young people. Five of the top ten domestic box office performers in 2025 were rated PG. Original films performed strongly. The first quarter of 2026 has sustained the momentum, with Amazon MGM’s “Project Hail Mary,” Disney’s “Hoppers,” and Universal’s “The Super Mario Galaxy Movie” all delivering for movie theatres.

What this suggests is not just recovery, but the return of habit — something the industry has spent the last five years trying to rebuild.

The newly formed Cinema United Filmmaker Leadership Council — led by Jerry Bruckheimer and Emma Thomas, with Brad Bird, Ryan Coogler, Jason Reitman, and Celine Song rounding out the charter membership — was a highlight of O’Leary’s pitch for a broader coalition. Reitman, who owns the Westwood Village Theatre in Los Angeles, appeared at the Independent Theatre Owners Coalition (ITOC) meeting in Las Vegas over the weekend.

But the optimism was qualified.

O’Leary quickly pivoted to the two issues that continue to define exhibition’s outlook: consolidation and windows.

(From Left) Charles Rivkin, Chairman & CEO, MPA, and Michael O’Leary, President & CEO, Cinema United, attend CinemaCon 2026 – The State of the Industry at The Colosseum at Caesars Palace during CinemaCon on April 14, 2026 in Las Vegas, Nevada. (Photo: Monica Schipper-Getty Images for CinemaCon)

The Window Debate Continues
Release windows remain unfinished business.

The average theatrical window for wide releases in 2025 was 37 days; a three-day increase over 2024, which qualifies as progress only relative to how far the baseline has fallen. Cinema United’s modeling suggests that a universal 45-day floor would have pushed that average to 49 days, a full two weeks longer.

Disney’s 62-day average window in 2025 — and its position as the only studio to generate a billion-dollar film that year, leading the domestic box office for the 12th time in 15 years — makes the correlation increasingly difficult to ignore. Universal’s announcement of a 45-day minimum across all its wide releases effective January 1st drew genuine praise from O’Leary.

And with at least two studios publicly backing a 45-day window, the pressure on holdouts is building. Sony Pictures CEO Tom Rothman has become an increasingly vocal advocate for restoring meaningful windows, having argued on the Colosseum stage during his studio’s Monday evening presentation (and in the New York Times) for a longer exclusive theatrical window.

What remains unresolved is the post-theatrical window. O’Leary said at Cinema United’s press breakfast that the organization would prefer 90 to 120 days before a film reaches a subscription service. Current practice falls well short.

A Consolidation Causes A Fracture
Meanwhile, the debate over the Paramount-Warner Bros. merger brought industry tensions into sharper focus. Even within Cinema United itself.

On one side: O’Leary, who used his State of the Industry address to warn that “further concentrating marketplace power in the hands of a smaller group of distributors that dictate the terms, windows, scheduling, screen-placement of movies, and access to historic film catalogs will have a real and lasting impact on Main Street and millions of movie fans around the world.”

On the other: AMC Theatres Chairman and CEO Adam Aron, who publicly backed the deal later in the week.

That two of the industry’s most prominent voices arrived at diametrically opposite conclusions about the same transaction captures the difficulty of the moment.

Cinema United’s name suggests a consolidated front. The reality, at least on this issue, is more complicated.

David Ellison, CEO of Paramount Skydance, speaks during the Paramount presentation at CinemaCon 2026 at The Colosseum at Caesars Palace during CinemaCon on April 16, 2026 in Las Vegas, Nevada. (Photo: David Becker – Getty Images for CinemaCon)

The Merger: Hollywood Takes Sides
If the proposed takeover of its parent company went completely unmentioned during Warner Bros. Pictures’ studio slot on Tuesday evening, the tension in the Colosseum came to a head during Paramount’s presentation on Thursday.

Paramount Skydance Chairman and CEO David Ellison stepped on stage to make his appeal directly.

“I wanted to look every single one of you in the eye and give you my word,” he told the assembled theater operators. He committed to a minimum of 30 films per year from the combined entity, a 45-day exclusive theatrical window, and a 90-day period before films move to any streaming service. “People can speculate all they want, but I am standing here today telling you personally that you can count on our complete commitment.”

On paper, it is the kind of framework exhibitors have been asking for. In practice, it is a promise attached to a transaction they do not control.

The commitments drew applause. They are also, on their face, more than exhibition has extracted from either studio independently. Paramount released eight films in 2025 and is planning 15 this year; the pledge of 30 per year is a significant escalation, especially with what many believe will be a leaner studio after potential layoffs.

Aron’s endorsement leaned into exactly that logic. “I am confident that David Ellison is sincere as to his intentions, and truly believe that he in fact will wind up delivering on these commitments,” he said in a statement issued Thursday.

Cinema United was not convinced. In a formal statement issued hours after Ellison’s speech, the organization said: “While recent pledges attempt to address the threats of consolidation to our industry, they are not yet sufficient in addressing our concerns. We remain open to tangible commitments that will ensure a vibrant global theatrical exhibition industry for years to come.”

One way to read that is: put it in writing, Mr. Ellison. Preferably in a contract.

History Is Rhyming, If Not Repeating
The structural argument against the deal draws on history.

The Walt Disney Company’s acquisition of Twentieth Century Fox’s entertainment assets in 2019 and Discovery’s takeover of WarnerMedia both resulted in widespread layoffs and production cutbacks. The latter saddled Warner Bros. Discovery with USD $43 billion in debt on day one, prompting deep cost cuts throughout the organization. The proposed Paramount merger would produce a combined debt load of USD $79 billion; a figure cited prominently by critics of the deal.

That concern has extended well beyond exhibition. An open letter opposing the transaction — organized with support from Jane Fonda’s Committee for the First Amendment and signed by nearly 1,000 artists at publication, with the number growing past 4,000 — included Denis Villeneuve, Joaquin Phoenix, Emma Thompson, Glenn Close, JJ Abrams, Ben Stiller, and Bryan Cranston among its signatories. “This transaction would further consolidate an already concentrated media landscape, reducing competition at a moment when our industries — and the audiences we serve — can least afford it,” the letter read.

At Cinema United’s press breakfast, O’Leary offered a blunt assessment of what consolidation could mean in practice: it would take eight high-performing independent films to replace the revenue of a single average Warner Bros. release.

“I don’t want to create the impression that we’re just going to fill the gap,” he said.

On the question of inevitability, O’Leary was more direct. “Things are inevitable until they’re not,” he said. For now, he added the strategy is simple: “We’re going to play until the whistle or until my board tells me to stop.”

Netflix, Still in the Room — Though Not in Theatres
That informal breakfast conversation was perhaps the most candid of the week.

On Sunday, before CinemaCon officially began, Netflix Co-CEO Ted Sarandos had been seen exiting Caesars Palace, after meeting with exhibition leaders on Cinema United’s board. Asked about it, O’Leary explained that the meeting had originally been arranged while Netflix was still in the running to acquire Warner Bros. Discovery. When Netflix withdrew from that bidding war, O’Leary expected it to be called off. It wasn’t.

“And so we came, had a candid conversation. In fairness, all of my conversations with them have been candid,” said O’Leary of Netflix. No commitments were made on either side during the discussion.

“I don’t want the message when we walk out of here [to be] that Netflix is coming to theaters,” he said. “I just think it was a good chance to get everybody in the same room together, develop and understand each other, and say, ‘Look, if there’s a path forward in the future, we should explore it.'”

When pressed on whether Netflix could one day present at CinemaCon, O’Leary did not close the door. “That door’s open to anybody who wants to be in theatrical in a meaningful way,” he said. “So if you’re asking me in two years if they were doing a Netflix presentation because there’s half a dozen movies going into theaters, with fully supported marketing and windows, yeah, absolutely, we’ll find time.”

That is not a negotiated position. It is, however, a signal: the conversation is now happening at the highest level.

The Terms of Coexistence
What CinemaCon 2026 made plain is that theatrical exhibition is no longer fighting for survival. It is now negotiating its terms of coexistence — with streaming platforms, with consolidating studios, with the economics of a supply chain that remains unsettled.

The question of who controls the content, and on what terms, is the one the industry came to Las Vegas unable to answer — and left still unresolved.

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How Filmhouse is Positioning Nollywood, and Its Own Business, within the Global Cinema Landscape

Chiamaka Okolo — Tue, 21 Apr 2026 16:37:14 +0000

On a typical weekend release night in Lagos, the line outside a Filmhouse cinema tells a story Nollywood has been trying to spread for decades, but never quite had the infrastructure to prove. The crowd is younger than you might expect. The tickets aren’t cheap. The screens are world-class. And the films once dismissed as “local” now carry the weight of something bigger: ambition.

For years, Nollywood has been one of the most productive film industries in the world, but productivity has never translated neatly into power. The industry has lived in a strange in-between; globally visible, culturally influential, but structurally underbuilt. Filmhouse Group is betting that the problem was never the story but the system. Chief Marketing Officer Mojisola Oladapo told Celluloid Junkie, “We are shaping how audiences perceive and engage with African stories. I say this because there used to be a time when Nollywood was perceived as substandard because of the quality of their film. You can tell it’s no longer the same.”

At a time when global audiences are increasingly hungry for diverse stories, Nigeria’s film industry — Nollywood — stands at a critical inflection point. Prolific yet often structurally constrained, the industry is now being transformed by companies that recognise storytelling alone is not enough. Among the most strategic of these is Filmhouse Group. They’re not just quietly making eligible films; they’re building a functional system that inspires growth and relevance in practical terms. “For us it goes beyond the stories,” said Oladapo. “We are the bridge.”

Strategic Thinking
What distinguishes Filmhouse is not simply its scale, but its philosophy: Nollywood’s global relevance cannot be achieved through content alone, but through infrastructure, partnerships, and systems that mirror and eventually rival those of Hollywood. Filmhouse is not just striving to build a film company but a strong ecosystem with compelling global relevance.

Filmhouse Group operates through a vertically integrated model that spans cinema exhibition (Filmhouse Cinemas), distribution (FilmOne Entertainment), and production (FilmOne Studios). This structure allows the company to control the entire value chain from how films are made, to how they are marketed, to where and how they are shown. This is significant because one of Nollywood’s historical weaknesses has been fragmentation. Films were often produced independently, distributed informally, and exhibited inconsistently. Filmhouse’s model has replaced that fragmentation with a coordinated structure that is currently reshaping Nollywood’s presence.

“The balance is deliberate as a business,” Filmhouse CEO Kene Okwuosa said. “Hollywood titles remain important for driving consistent footfall and sustaining cinema-going habits, while Nollywood continues to perform strongly across our cinema locations through premieres, talent, and storytelling.”

Under the leadership of Okwuosa, the company has grown into a dominant force, accounting for a substantial share of cinema ticket sales in Nigeria and distributing many of the country’s highest-grossing films: “A Tribe Called Judah” was the first Nollywood film to gross more than NGN ₦1 billion (USD $743,235), eventually reaching NGN ₦1.408 billion (USD $1.04 million), and “Behind the Scenes” took NGN ₦2.76 billion (USD $2.04 million). But scale alone is not the goal, standardisation is. Filmhouse’s leadership has been explicit about a key idea: global success requires global-standard infrastructure. This is why the company has invested heavily in cinema technology and boosting the moviegoing experience, introducing IMAX and other advanced formats into Nigeria, and expanding modern multiplexes beyond traditional elite urban zones.

Funke Akindele in a scene from “Behind the Scenes”, a box-office hit for Filmhouse that grossed took NGN ₦2.76 billion (courtesy of Filmhouse Group)

Adding Value
In a shifting economy with uncertainties (inflation hitting operating costs, piracy, competition from streamers), Filmhouse is maximising data, partnerships and collaborations to drive efficiency and expansion, with an eye on increasing Nollywood’s relevance and standing. These moves are not just about local market growth; they are about perception. The reception of a film by audiences, investors, and international partners is immediately elevated when it is presented in a world-class environment.

As Okwuosa puts it, the global appetite for African stories already exists. The challenge is building the systems to sustain and scale that demand: from licensing frameworks to exhibition standards to distribution pipelines.

In other words, Filmhouse is reframing Nollywood from a volume industry to a value industry through a strategic ecosystem that maximises collaborations and partnerships. Through FilmOne Entertainment, the company holds theatrical distribution relationships with major Hollywood studios such as Disney, Warner Bros., Sony, Angel, Empire, MGM, and Sun Africa Group. This is doing two things simultaneously. Firstly, it positions Filmhouse as a gateway for international content into West Africa. In turn, it creates reciprocal pathways for Nollywood films to access global distribution networks. This dual positioning is critical. Rather than isolating Nollywood as a regional industry, Filmhouse aims to embed it within the global film economy where collaboration, co-production, and cross-market distribution are the norm.

In addition, their presence at major international events like the Cannes Film Festival and the recently concluded CinemaCon further reinforces this ambition. By participating in global industry conversations, showcasing projects, and forming partnerships, Filmhouse is actively inserting Nollywood into the circuits where cinema is defined.

CEO Okwuosa, explained what Filmhouse’s international strategy looks like in practical terms. “As a business across exhibition, distribution, and production, Filmhouse Group’s international strategy is focused on scale and long-term positioning,” he said. “This includes strengthening studio relationships, maintaining a presence in key international markets, and building exhibition, distribution, and production infrastructure that aligns with global standards, while positioning African content for wider reach.”

Historically, Nollywood’s strength has been its cultural specificity, with stories deeply rooted in Nigerian and African realities. Filmhouse understands this dynamic, and is refining it and positioning it for global relevance. Filmhouse’s CMO Oladapo detailed how the company is balancing local content with Hollywood titles, calling it “a beautiful time to be alive and in the business. A decade ago, this wouldn’t be a conversation, Nollywood versus Hollywood in the same conversation. The power of storytelling excellence is what Nollywood is investing in. Stepping up, and proper execution is the reason we can have this conversation.”

Oladapo stated that Filmhouse’s core focus on distribution has been around portfolio optimisation. “Sometimes, particularly in the peak period like December, the past December was exceptional [for varied, complementary releases],” she said. “We had both ‘Avatar,’ with a wide audience, and ‘Behind the Scenes,’ a Nollywood new release, and both performed excellently. Hollywood tends to perform in specific periods like holidays, summer, etc. For Nollywood, we take advantage of specific windows and events. We achieve balance through dynamic scheduling for Hollywood, and for Nollywood, we eventify everything from targeted release timing to meet and greet events that pull audiences.”

Oladapo points to tech advantages that Filmhouse uses to retain an edge in the market. “We are diverse,” she said. “We have technologies that our competitors don’t have at the moment, so we tend to leverage that. The beauty of being the market leader is that your thoughts and ideas happen in real time. ‘Behind the Scenes’ did not just screen in Nigeria, it was distributed across audiences in the United Kingdom, United States and Canada. We window Nollywood titles beyond Nigeria leveraging on the diaspora demand. Sometimes, you don’t want to go with a strategy you are not sure will work in that market. You want to go where the talent has a presence. In the meantime, we are less focussed on building cinemas abroad immediately but more focused on exporting the demand first”.

Filmhouse Group is investing in the customer experience at its theaters, as well as the films that play on screen there. (Courtesy Filmhouse Group)

Filmhouse Projects A Bigger Picture
In particular, Filmhouse’s approach suggests a deliberate counterbalance. By strengthening theatrical distribution, building local infrastructure, and forming international partnerships on its own terms, the company ensures that Nollywood is not merely exported but controlled. When asked about the insights gained from distributing global films locally and how that informs Nollywood internationally, CEO Okwuosa said, “At FilmOne Entertainment, distributing global films locally has reinforced the importance of strong release strategy, audience understanding, marketing execution, and technical presentation. These are the core drivers of box office performance. We apply the same principles to Nollywood to ensure films are properly positioned and structured to perform across different theatrical markets, including beyond Nigeria.”

One key theme stands out in conversations with Filmhouse leadership: attention to detail. They have taken time to understand their audience and position themselves properly in the market. After grasping their audience, they have continued to build an ecosystem with global relevance, pushing Nollywood forward in the right direction.

Okwuosa went on to describe Filmhouse’s role in connecting African cinema to wider theatrical audiences as an ecosystem builder and connector. “Locally, it provides the infrastructure and platforms that allow African stories to thrive in cinemas,” he said. “Internationally, it engages global partners and industry platforms to position African films as commercially viable theatrical content for broader audiences.”

Filmhouse’s strategy is not just about solving structural challenges; it is about extending global expansion. What distinguishes Filmhouse Group particularly is that it is not just participating in Nollywood’s evolution; it is actively designing it. Its strategy can be summarised in three layers:

Dominate locally through exhibition and distribution
Standardise production and infrastructure to meet global expectations
Integrate globally through partnerships, festivals, and cross-border distribution

Speaking to CJ ahead of a visit to CinemaCon 2026, Okwuosa gave a glimpse of what he expected from the industry’s biggest convention of the year. “I have been going to CinemaCon for over 10 years, and it really reflects the scale of the industry,” he stated. “In 2026, it will be an important indicator of where things are heading, particularly around studio commitment to theatrical exclusivity, how release windows are evolving, focus on emerging markets, improvements in cinema technology and premium formats, and how exhibitors and distributors are working more closely together. It will also give a clearer sense of the major Hollywood titles to look out for across the year, and the overall strength of the studio slates.”

Stepping back to view the ambitious bigger picture, Filmhouse is not just a focus-driven, innovative company, but could also become a bridge between Nollywood and the world. While there has been visible progress, a question remains: can this group successfully build a premium film culture in a country where piracy remains a significant threat to revenue? Filmhouse is strongly betting that, over time, the answer will be yes. And if they’re proven right, it could be not only Nigeria but the world that reaps the benefits.

The post How Filmhouse is Positioning Nollywood, and Its Own Business, within the Global Cinema Landscape appeared first on Celluloid Junkie.

CinemaCon 2026 Product Preview: What’s Shaping the Cinema Business

J. Sperling Reich — Thu, 09 Apr 2026 16:39:00 +0000

Each year, CinemaCon offers a snapshot of where the cinema business is headed next. But beyond the studio presentations, the trade show floor tells a broader story – one defined by the technologies, products, and services reshaping how cinemas operate, engage audiences, and generate revenue.

But navigating the industry landscape, not to mention the trade show floor, isn’t always straightforward.

With hundreds of manufacturers and service providers showcasing everything from projection systems and seating to concessions and software platforms, it can be difficult to separate what’s incremental from what’s actually meaningful for operators.

The Celluloid Junkie CinemaCon Product Preview 2026 is designed to cut through that noise.

Sponsored by Vista Group
The CinemaCon 2026 Product Preview is sponsored by Vista Group, a global leader in cinema technology, providing solutions across cinema management software; loyalty, moviegoer engagement and marketing; film distribution software; box office reporting; creative studio solutions; as well as movie, cinema and streaming guides.

A Curated Look at What Matters
In the lead-up to this year’s show, we reached out across the industry to identify the products and solutions exhibitors are bringing to Las Vegas. The result is a curated preview of the technologies shaping how cinemas operate, engage audiences, and evolve their business models.

Rather than presenting this as a single list, we’ve organized the preview into a series of focused categories—reflecting the different layers of the modern cinema business, from ticketing and concessions to presentation technology and in-theatre experience.

How the Preview Is Structured
Over the coming days, we’ll be publishing a series of category-based posts, each highlighting a different part of the cinema ecosystem:

Each article focuses on what’s new, how these products work, and why they matter for exhibitors today.

What It Says About the Industry
Taken together, this year’s submissions point to several broader trends shaping the cinema business:

Greater system integration across ticketing, marketing, and operations
Increased focus on premium experiences, both inside and outside the auditorium
Operational efficiency and automation as key priorities
New approaches to driving revenue, from concessions to attractions

These themes reflect an industry that continues to adapt, not just to changing audience expectations, but to the realities of running a more complex and diversified business.

The post CinemaCon 2026 Product Preview: What’s Shaping the Cinema Business appeared first on Celluloid Junkie.

The Movie Poster Gets a Makeover: Samsung’s Spatial Signage Wants to Stop You in Your Tracks

J. Sperling Reich — Thu, 09 Apr 2026 16:15:00 +0000

Samsung is bringing glasses-free 3D display technology to the cinema lobby — and betting that immersive visuals could help exhibitors make the case for a more compelling night out.

Walk past the right display at CinemaCon this April, and something might make you stop cold. It won’t be a trailer, or a touchscreen kiosk, or even an unusually well-designed paper poster. It’ll be an 85-inch screen mounted flush to a wall — two inches deep — showing content that appears to float in three-dimensional space, without glasses, without a headset, and without so much as an awkward lean to catch the effect.

That’s the pitch Samsung is making with Spatial Signage, a new product in the company’s commercial display portfolio that the manufacturer officially launched in February and is bringing to CinemaCon for its first major exhibition industry showcase. The SMHX series — currently available as the SM85HX, an 85-inch portrait-orientation display — uses what Samsung calls a patented 3D Plate, which applies lenticular lens technology to create the impression of depth and dimension in standard content without any special viewing equipment.

“Think of the movie poster, but in a three-dimensional form,” said Christopher Simpson, Samsung’s Senior Business Development Manager – Cinema LED. “And then there’s the ability to have interactive where somebody could be standing in front of it, and there’s a camera embedded in the display, and they’re interacting with that piece of content, and they might have a takeaway piece for themselves that they can then use on social media. That in itself kind of becomes free advertising for the studio.”

From the Baseball Card to the Lobby Wall
The underlying technology behind the new display is older than it might appear. Lenticular printing, the process of layering an image with tiny cylindrical lenses to create the illusion of motion or depth, has been used in novelty products for decades. Samsung has effectively miniaturized and digitized the concept, embedding a lenticular layer into its 3D Plate and combining it with AI-driven processing to enhance depth and motion in real time.

Simpson offered a straightforward analogy: those baseball cards from the early 2000s — the ones that shifted slightly when you tilted them — created depth the same way. The difference now is that the technology has been scaled to an 85-inch commercial display, thinned to a 2-inch profile, and made capable of rendering full-motion video content.

“The real differentiator compared to the other technologies that were out there prior is the depth of the display,” Simpson explained. “Those were very, very deep, maybe three to four feet in depth, and looked mostly like a giant box with somebody standing inside of it. This has shrunk all that down to only a two-inch size. So you can mount it onto a wall instead of just having it on the floor.”

That last point matters more than it might seem. For most cinema lobbies, floor square footage is premium real estate; concessions, ticketing kiosks, merchandise, and foot traffic all compete for the same finite space. A display that mounts flush to the wall like a standard flatscreen, rather than requiring a dedicated footprint and structural rigging, changes the calculus of where and how a technology like this could realistically be deployed.

Samsung has embedded a lenticular layer into the 3D Plate in its Spatial Signage, combining it with AI-driven processing to enhance depth and motion in real time. (Source: Samsung Electronics)

The Lobby Problem
Samsung is entering a cinema market that’s increasingly focused on the question of what happens before and after the movie. Post-pandemic, exhibitors have invested heavily in the auditorium experience — laser projection, premium large format screens, upgraded seating — but the lobby has remained comparatively static. Paper posters still hang in many theatres. Flat digital signage displays cycle through the same promotional loops they always have. The lobby experience, for most moviegoers, is something to pass through, not linger in.

That calculus is increasingly under scrutiny. The global digital signage market was estimated at roughly $28.8 billion in 2024, with projections pointing toward $45.9 billion by 2030, and much of that growth is being driven by a push to make displays more immersive and more interactive in high-traffic public venues. In the U.S., digital out-of-home (DOOH) advertising hit a record-high third quarter in 2025, with DOOH accounting for roughly a third of total out-of-home (OOH) revenue and growing at 11.6% year over year.

Simpson sees cinema lobbies as a natural extension of that trend, and one that has remained underpenetrated. “When we think about how the theatre environment has changed post pandemic, it’s more important to get more people to go to the theatre than ever before” he said. “Not only are exhibitors thinking about how to make a premium experience for the auditorium, but how do they improve the overall entertainment value when you come into the theatre? And the studios seem to be embracing that as well.”

The core argument for dwell time is blunt but familiar to anyone in exhibition: the longer an audience lingers in the lobby, the more money they spend. Exhibitors have long wrestled with the audience member who arrives 15 minutes late to skip the pre-show and leaves the moment credits roll. A lobby compelling enough to keep people engaged early — or prompt them to arrive early to experience it — becomes, in effect, a revenue driver.

“Their worst case scenario is somebody coming into the movie theatre 15 minutes late, seeing the movie, and leaving,” Simpson noted. “What they want is for people to hang out longer, spend more time, so they’ll buy things.”

Who Makes the Content — and Who Pays for It?
The perennial challenge with lobby technology isn’t the hardware. It’s the content, and it’s the money.

Samsung’s answer to the content problem — historically where technologies like this stall — is a two-track approach. For exhibitors and studios with resources, the display supports custom 3D content created through third-party production pipelines — provided creators adhere to Samsung’s technical specifications for the format. For everyone else, Samsung has built AI Studio into its VXT cloud content management platform: upload an image, write a prompt, and the system converts it into a 3D-optimized video asset ready for the display.

“For somebody, maybe a smaller theatre chain that doesn’t have the resources or budget of a bigger one, they can still take the assets they have and turn them into a really effective experience with Spatial,” said Esther Kim, Samsung’s Head of Integrated Marketing for the Display Division.

That flexibility matters, because the economics of content production have historically been a sticking point. Studios spend enormous sums on physical lobby materials — even the standalone cardboard cutouts represent a non-trivial line item — but are rarely enthusiastic about absorbing costs for new display formats they don’t own. Exhibitors, for their part, tend to expect studios to fund the visibility. The result is a negotiation that has played out, in various forms, over every major lobby technology of the past two decades.

Samsung is clear-eyed about the fact that those conversations are just beginning. “We believe the potential is there, but it’s too soon to tell,” Simpson said, when asked whether exhibitors might be able to charge studios for placement on Spatial Signage displays.

The more immediate revenue hypothesis centers on advertising. As lobby ad networks — think NCM, Screenvision, and the programmatic DOOH ecosystem — continue to expand within theatres, a 3D display capable of running dynamic, glasses-free ads could command a meaningful premium over standard flat signage.

“If it’s a premium placement, a premium execution, advertisers are willing to pay more,” said Kim. “Our hypothesis currently is that, yes, if we can help build a premium advertising experience, then yes, advertisers should be willing to pay a premium for that.”

The display supports programmatic advertising out of the box; units are geotagged upon installation, which allows them to be entered into programmatic exchanges that pull demographic and traffic data based on location. A Coca-Cola or Mars Snacking campaign running on a 3D display in a cinema lobby would draw from the same DOOH infrastructure already in use for outdoor and transit advertising, just moved inside.

A diagram of the lenticular lens assembly embedded in the 3D Plate in Samsung’s Spatial Signage. (Source: Samsung Electronics)

Built to Scale
Historically, eye-catching lobby technology has struggled to get past the pilot phase. The list of products that generates genuine excitement at trade shows and then quietly disappears from theatre lobbies is a long one. Samsung, aware of this history, is aiming to make adoption easier.

“Spatial Signage was designed with scalability in mind,” Simpson said. “Rather than functioning as a standalone solution, it integrates into existing digital signage ecosystems through centralized content and device management with Samsung’s VXT platform. Exhibitors can manage these displays alongside their current network without introducing new workflows.”

Operationally, the installation requirements are minimal; power and a network connection. The display works with Samsung’s VXT software for remote monitoring and content management, but it also integrates with third-party cinema-focused CMS platforms and digital signage networks already in use at many exhibitors. It doesn’t require a new support relationship: Samsung sells through channel partners, and service support routes operate through those same partners. VXT also includes remote monitoring capabilities, so issues can be diagnosed and often resolved without a site visit.

A smaller 32-inch version of the display is expected later this year, which would open up additional use cases — countertop retail fixtures, concession stands, smaller lobby configurations — beyond the flagship 85-inch wall unit. Whether larger sizes are in development remains unclear, though is surely dependent on uptake of the current displays.

For CinemaCon, Samsung will be running two Spatial Signage units in its suite; one positioned in the corridor outside the entrance to stop foot traffic, and a second inside the suite itself aimed at something more interactive, content permitting. The company is also bringing its latest Onyx Cinema LED configuration, which will occupy a separate room in Samsung’s CinemaCon trade show suite.

The Bigger Picture
Skeptics will note, reasonably, that no cinema deployments have been announced yet, and that the product is in early discussions with studios and partners rather than rollout. That would likely be true of any product that is a few months old, and Samsung acknowledges as much.

But the argument Kim makes for it is less about novelty than about what exhibitors need to be in the business of delivering. “Every technology investment must deliver a clear business return, especially as cinemas seek new ways to differentiate and attract audiences,” she said. “By introducing dynamic 3D visuals into high-traffic areas, Spatial Signage extends storytelling beyond the auditorium and engages guests from the moment they enter the theatre. Stronger engagement has a direct impact on revenue, where capturing attention at key decision points, such as ticketing and concessions, can influence purchasing behavior.”

The theatrical exhibition industry has spent the better part of a decade making the case that the cinema experience is something television cannot replicate. That argument has mostly been made in the auditorium. Samsung is, in effect, proposing that it needs to start in the lobby.

Whether exhibitors are ready to make that investment, particularly smaller circuits and independents who don’t have the same capital headroom as the major chains, remains an open question. Simpson suggested that revenue-share advertising models could eventually make the technology accessible to operators who can’t absorb an upfront hardware cost. But the business model is still being developed, and the content ecosystem around it is still being built.

What Samsung has done is solve the physical problem that has held this category back: a glasses-free, 3D display that doesn’t require a room of its own. Whether the industry can solve the business case is the question that comes next.

The post The Movie Poster Gets a Makeover: Samsung’s Spatial Signage Wants to Stop You in Your Tracks appeared first on Celluloid Junkie.

CinemaCon 2026 Product Preview: Attractions, Arcade & Alternative Revenue

J. Sperling Reich — Thu, 09 Apr 2026 07:15:00 +0000

Even before the Covid pandemic shuttered cinemas for nearly two years, exhibitors had begun to expand beyond traditional auditorium models; attractions and location-based entertainment are playing an increasingly important role in driving attendance and revenue.

At CinemaCon 2026, amusement companies are showcasing a range of experiences designed to complement the moviegoing journey — from arcade games and bowling concepts to immersive entertainment environments and interactive installations. These offerings are not only extending dwell time within cinema venues, but also creating new reasons for audiences to visit outside of peak film releases.

For operators, the focus is on flexibility and integration. Many of these systems are designed to fit within existing lobby or adjacent spaces, allowing cinemas to activate underutilized areas while introducing repeatable, social experiences that go beyond a single screening.

Together, these solutions highlight how cinemas are evolving into broader entertainment destinations, where film remains central but is increasingly supported by a wider mix of attractions and revenue streams.

Sponsored by Vista Group
This post is part of Celluloid Junkie’s 2026 CinemaCon Product Preview series, sponsored by Vista Group.

Betson Enterprises

Location: Julius Ballroom — Booth 715J

Top Gun: Maverick Arcade Cabinet (Raw Thrills & Play Mechanix)

What’s New:
Betson is showcasing the “Top Gun: Maverick” arcade system from Raw Thrills and Play Mechanix, bringing a large-format, motion-based flying experience tied to the well-known film franchise to cinema and entertainment venues.

What It Is:
The attraction is a flight-based arcade game featuring a motion platform, dual 65-inch displays, and a cockpit-style setup with flight stick and throttle controls. The system supports linked cabinets — up to four units — enabling multiplayer gameplay built around competitive missions and score-based progression.

Why It Matters:
For cinema operators, large-format arcade attractions offer a way to increase dwell time and drive incremental spending in lobbies and adjacent spaces. Recognizable IP, particularly tied to theatrical releases, can further enhance visibility and engagement.With its combination of motion simulation, multiplayer capability, and familiar branding, “Top Gun: Maverick” is positioned as a high-impact attraction designed to draw attention and encourage repeat play, particularly in locations already incorporating family entertainment centers (FEC) or experiential elements.

Brunswick Bowling Products

Location: Julius Ballroom — Booth 920J

Spark Immersive Bowling & Sync Platform

What’s New:
Brunswick is highlighting ongoing updates to its Spark immersive bowling experience and Sync operating platform at CinemaCon, including new interactive content and continued refinements driven by operator feedback.

What It Is:
Spark adds projection-based gameplay and dynamic visuals to bowling lanes, turning them into interactive environments with themed experiences and social features. Sync is Brunswick’s integrated platform for scoring, POS, and venue management, incorporating tools such as mobile ordering and payments.

Why It Matters:
For operators incorporating location-based entertainment alongside cinema, keeping attractions fresh while maintaining operational efficiency is an ongoing challenge. Content updates and interactive features help sustain repeat engagement, while integrated systems can simplify day-to-day management across attractions and food and beverage.

By combining an evolving experience layer with a unified operating platform, Brunswick is positioning its offering as a connected system that supports both guest engagement and backend operations.

Delta Strike

Location: Julius Ballroom — Booth 331J

Laser Tag & Delta Matrix LED Game Floor

What’s New:
Delta Strike is showcasing its Delta Matrix LED game floor, a recently introduced attraction, alongside the latest generation of its laser tag system at CinemaCon.

What It Is:
The Delta Matrix is an interactive LED floor featuring a library of games designed for both competitive and social play, suitable for a range of age groups and venue types. It is complemented by Delta Strike’s laser tag system, a scalable, arena-based attraction built for high-throughput gameplay with customizable formats and layouts.

Why It Matters:
For operators exploring ways to expand beyond traditional exhibition, combining different types of attractions can help create a more flexible use of space. Open-format experiences like interactive floors can accommodate quick-turn play, while structured attractions such as laser tag support longer, group-based sessions.

Together, these formats allow venues to cater to different audience segments and visit patterns, offering a mix of experiences that can encourage repeat visits and broaden overall appeal.

Intercard

Location: Julius Ballroom — Booth 732J

Impulse Plus Hybrid Payment Reader

What’s New:
Intercard is introducing the Impulse Plus, a hybrid payment reader that allows arcade games to accept both traditional coin-based play and modern cashless payment methods, including credit cards.

What It Is:
The Impulse Plus is designed for entertainment venues operating a mix of legacy and updated systems, enabling operators to support multiple payment types within the same environment. It also provides real-time reporting on transactions, allowing operators to track performance across both cash and card-based activity.

Why It Matters:
As more cinemas incorporate arcade and location-based entertainment elements, payment flexibility becomes an important consideration. Many venues still operate coin-based equipment while also looking to accommodate card and mobile-first consumers.

Hybrid systems like the Impulse Plus offer a way to bridge that gap, allowing operators to modernize payment options without fully replacing existing equipment. This approach can help reduce friction at the point of play while giving operators better visibility into spending patterns across their entertainment offerings.

QubicaAMF

Location: Augustus Ballroom — Booth 2504A

Fly’n Ducks Duckpin Bowling & Neoverse Entertainment Environment

What’s New:
QubicaAMF is showcasing a compact bowling and immersive entertainment setup at CinemaCon, combining its Fly’n Ducks duckpin lanes with the Neoverse digital environment.

What It Is:
Fly’n Ducks is a smaller-footprint duckpin bowling system designed for venues where traditional lanes are not practical. The format simplifies operations by removing requirements such as specialized footwear and lane conditioning, making it easier to integrate into mixed-use entertainment spaces.

Paired with it is Neoverse, a venue-wide visual system built around large-format LED displays, synchronized lighting, audio, and interactive content. The platform is designed to transform bowling areas into more dynamic environments, with the ability to display branded content and live video feeds alongside gameplay. The setup is supported by QubicaAMF’s BES NV system, which introduces a more intuitive, streaming-style interface for guests.

Why It Matters:
Cinemas continue to figure out ways to extend dwell time in their venues while diversifying revenue. Thus, compact attractions that fit within existing footprints are becoming more attractive. Bowling, particularly in smaller formats, offers a familiar, repeatable activity that can complement the cinema experience.

At the same time, the integration of large-scale visuals and digital content reflects a broader shift toward more immersive, multi-use entertainment spaces. Systems like this aim to bring together physical activity and visual engagement, aligning more closely with the expectations audiences have for premium, experience-driven venues.

Shaffer Distributing

Location: Julius Ballroom — Booth 226J

Arcade Game Portfolio – ICEE Slush Rush, Star Wars Coin Pusher, Smurfs Goal Champs

What’s New:
Shaffer Distributing is highlighting a selection of arcade and redemption games at CinemaCon, including licensed and brand-driven attractions designed for high-traffic entertainment environments.

What It Is:
The lineup includes ICEE Slush Rush, a multiplayer skill game where players race to fill cups under time pressure, as well as a Star Wars-themed coin pusher developed with Lucasfilm and Disney. Also featured is Smurfs Goal Champs, a soccer-based redemption game built around quick-play mechanics and repeat engagement .

Together, the portfolio reflects a mix of recognizable IP and simple, accessible gameplay formats commonly used in arcade and family entertainment settings.

Why It Matters:
When it comes to cinema lobby entertainment and adjacent attractions, arcade games remain a straightforward way to increase dwell time and generate incremental revenue. Licensed content, in particular, can help draw attention and connect with audiences already engaged with theatrical brands.

Short-session, repeatable gameplay formats are also well suited to cinema environments, where guests may be looking for quick activities before or after a screening.

Explore more in the 2026 CinemaCon Product Preview series on Celluloid Junkie.

The post CinemaCon 2026 Product Preview: Attractions, Arcade & Alternative Revenue appeared first on Celluloid Junkie.

CinemaCon 2026 Product Preview: Seating & Auditorium Design

J. Sperling Reich — Thu, 09 Apr 2026 00:30:00 +0000

As cinemas continue to differentiate the in-theater experience, seating and auditorium design remain central to how audiences perceive value.

At CinemaCon 2026, exhibitors are highlighting a range of seating solutions and structural upgrades designed to improve comfort, flexibility, and overall presentation quality. From premium recliners and boutique-style seating to retrofit systems that simplify renovations, the focus is on balancing guest experience with operational efficiency and return on investment.

At the same time, innovations in materials, modular design, and installation approaches are helping operators upgrade auditoriums more quickly and cost-effectively — allowing cinemas to modernize existing spaces without the need for full-scale rebuilds.

Together, these developments reflect an ongoing shift toward more intentional auditorium design, where comfort, aesthetics, and functionality work together to enhance the moviegoing experience.

Sponsored by Vista Group
This post is part of Celluloid Junkie’s 2026 CinemaCon Product Preview series, sponsored by Vista Group.

Atom Seating

Location: Julius Ballroom — Booth 227J

Love Seat (Electron Shell)

What’s New:
Atom Seating is showcasing its Platinum Love Seat in the Electron Shell configuration at CinemaCon, highlighting new developments in smart seating integration and alternative materials aimed at improving sustainability.

What It Is:
The Platinum Love Seat is a premium cinema recliner designed for luxury and dine-in auditoriums, featuring integrated tables, privacy panels, and a paired seating layout. The Electron Shell adds an enclosed structure intended to enhance comfort and reduce distractions within the auditorium environment.

Why It Matters:
As cinemas continue to invest in premium formats, seating is increasingly expected to deliver more than comfort alone. Atom Seating’s approach combines physical design with operational considerations, including features that support maintenance, diagnostics, and overall seat management.

At the same time, the company is exploring alternative materials derived from natural fibers as a way to reduce reliance on traditional components such as PVC and foam. Together, these developments reflect a broader shift toward seating that balances guest experience, operational efficiency, and environmental considerations.

Encore (Palliser)

Location: Julius Ballroom — Booth 241J

U-Series Recliner (Quantum Motor) & Privacy Pod Configuration

What’s New:
Encore, part of Palliser, is showcasing updates to its U-Series recliner platform at CinemaCon, including a new Quantum Motor designed to improve retrofit flexibility, alongside a Privacy Pod seating configuration focused on more individualized viewing environments.

What It Is:
The U-Series recliner incorporates a motor system that increases egress space when fully extended, allowing existing auditoriums to be upgraded to recliner seating while maintaining aisle clearance requirements. The Privacy Pod configuration introduces a more enclosed, console-centered layout intended to create a lounge-style seating experience. Additional features include wireless charging, in-seat service controls, and integrated lighting elements.

Why It Matters:
When installing premium seating, retrofit constraints, particularly around spacing and accessibility, remain a key consideration. Solutions that allow operators to upgrade seating without major structural changes can help accelerate adoption across existing auditoriums.

At the same time, seating design is evolving beyond comfort alone, with increased emphasis on privacy, personalization, and differentiated experiences within the same auditorium. Configurations like the Privacy Pod reflect a broader shift toward creating more tailored viewing environments that align with premium ticket offerings.

EOMAC

Location: Julius Ballroom — Booth 721J

KWIK Acoustic Pod

What’s New:
EOMAC is introducing its KWIK Acoustic Pod to the North American market at CinemaCon, expanding a product already used in other regions into cinema and entertainment venues across the U.S.

What It Is:
A self-contained acoustic pod designed to create a quiet, private space within high-traffic environments such as cinema lobbies and family entertainment centres.

Why It Matters:
As cinemas evolve into broader entertainment destinations, not every guest interaction fits a high-energy environment. The KWIK Pod provides a practical way to offer privacy for phone calls, remote work, or short breaks without requiring guests to leave the venue. Its standalone design also makes it relatively easy to integrate into both new builds and existing locations.

Ferco Seating

Location: Augustus Ballroom — Booth 927J

Verona Zero Wall Zero Gravity Recliners

What’s New:
Ferco Seating is bringing the Verona Zero Wall Zero Gravity recliner to CinemaCon, combining space-saving motion with a comfort-focused seating position in a single integrated design.

What It Is:
The Verona recliner uses a Zero Wall mechanism that allows the seat to fully recline within its own footprint, making it suitable for auditoriums with limited row depth or wall-adjacent layouts. This movement is paired with a Zero Gravity position designed to distribute weight more evenly and support extended viewing comfort.

Why It Matters:
For exhibitors upgrading to premium seating, balancing capacity with comfort remains a central challenge. Recliners typically require additional space, which can reduce seat count and impact overall layout efficiency.

By integrating a space-efficient reclining motion with an ergonomically focused seating position, designs like the Verona offer a way to introduce premium seating while maintaining tighter auditorium configurations. This approach allows operators to improve comfort without fully sacrificing capacity — a trade-off that continues to shape seating decisions across the industry.

IMERSA Theaters

Location: Meetings by appointment

IMERSA Theaters Branding

What’s New:
IMERSA Theaters is being introduced at CinemaCon as the new international branding for the ICE Theaters premium format, reflecting its broader rollout beyond its initial European deployments.

What It Is:
IMERSA is a premium auditorium concept that extends the on-screen image into the theater environment using synchronized LED side panels and dynamic lighting. The system creates a wider field of peripheral vision while maintaining focus on the main screen. It is typically combined with laser projection or LED displays, immersive audio formats, and premium seating. The format currently offers a catalog of more than 300 titles created specifically for the immersive format.

Why It Matters:
Differentiating premium cinema formats increasingly relies on how the auditorium environment itself enhances the presentation. Formats that extend visual elements beyond the screen aim to create a more immersive experience without requiring entirely new projection technologies or changes to existing projection infrastructure.

By combining lighting, screen technology, and content adaptation into a unified format, IMERSA represents one approach to expanding the scope of the cinematic experience, particularly for exhibitors looking to position select auditoriums as event-driven or premium destinations within their circuit.

Infinity Seating

Location: Roman 1 & 2

Storm Sofa

What’s New:
Infinity Seating is introducing the Storm Sofa, a boutique-style seating option designed for premium and design-led cinema environments.

What It Is:
The Storm Sofa is a cinema seating solution that draws from residential furniture design, offering a more relaxed, lounge-style alternative to traditional recliners. Designed in the UK and manufactured in the United States, it features a clean, contemporary profile with a range of upholstery and finish options that allow operators to tailor installations to specific branding and interior concepts.

Built for extended viewing, the seating focuses on comfort and support, with cushioning and ergonomics suited to longer dwell times. The modular approach allows cinemas to configure layouts for boutique auditoriums, VIP screens, or smaller-format venues where design and differentiation are key.

Why It Matters:
As cinemas continue to invest in premium formats, seating is increasingly part of the overall brand and experience rather than just a functional component. Options that move beyond traditional recliner formats can help operators create more distinctive environments, particularly in boutique or high-end auditoriums where atmosphere and design play a larger role in attracting audiences.

Irwin Seating Company

Location: Julius Ballroom — Booth 203J

Spectrum Aura Seating

What’s New:
Irwin Seating is introducing Spectrum Aura at CinemaCon, a seating design focused on simplifying auditorium cleaning and maintenance.

What It Is:
Spectrum Aura incorporates a motorized mechanism housed within the arm casing, allowing the area beneath the seat to remain clear of obstructions. This design reduces the need to clean around complex recliner components and helps eliminate hard-to-reach areas where debris typically accumulates.

Why It Matters:
While much of the focus in cinema seating has been on comfort and premium features, day-to-day maintenance remains a significant operational consideration. Cleaning between shows — particularly in high-capacity auditoriums — can be time-consuming and labor-intensive.

Designs that simplify access to floor space and reduce hidden debris zones can help improve turnaround times and consistency of presentation. For operators managing staffing constraints and tight scheduling, even small efficiencies in cleaning workflows can have a meaningful impact over time.

Light Tape

Location: Julius Ballroom — Booth 432J

Climax Duo Profile with Light Tape

What’s New:
Light Tape is highlighting its Climax Duo stair-nosing profile at CinemaCon, combining its electroluminescent lighting technology with an updated dual-illumination design for step-edge visibility.

What It Is:
The Climax Duo integrates two lighting elements within a single aluminum profile: a top-edge light that clearly defines the step boundary, and an angled downlight that illuminates the tread surface. The system uses Light Tape’s electroluminescent technology to produce a uniform, low-glare line of light designed for direct viewing in dark environments .

Unlike traditional point-source lighting, the system delivers continuous illumination along the step edge, helping guide foot placement without casting light toward the screen or into the audience’s line of sight.

Why It Matters:
Step-edge visibility is a critical safety consideration in auditoriums, particularly in low-light conditions where slips and missteps are more likely. Lighting that clearly defines edges without introducing glare can help improve navigation while maintaining presentation quality.

Solutions that integrate both safety and low-light performance are especially relevant as cinemas continue to upgrade auditoriums without overhauling their entire lighting infrastructure. By combining edge delineation and tread illumination into a single system, products like the Climax Duo aim to simplify installation while addressing both safety and viewing environment concerns.

Lumma 4D E-Motion

Location: Augustus Ballroom — Booth 2204A

4D E-Motion Interconnectable Modules

What’s New:
Lumma is introducing a new modular version of its 4D E-Motion system at CinemaCon, designed to simplify installation and reduce the cost of converting auditoriums to 4D.

What It Is:
The updated system is built around interconnectable, self-contained modules that house all motion and environmental effects within each unit. These modules can be linked via daisy-chain connectivity, allowing for faster deployment and more flexible auditorium configurations .

The design reduces the need for complex pre-installation work and enables integration with both new and existing seating layouts, including recliner configurations without structural modifications. Lumma is marking the 10th anniversary of its 4D E-Motion platform, which is currently deployed in approximately 100 auditoriums across 18 countries.

Why It Matters:
While 4D formats have been available for years, installation complexity and cost have limited broader adoption. Systems that reduce infrastructure requirements and simplify deployment can make these formats more accessible to a wider range of exhibitors.

By shifting toward a modular architecture, Lumma’s latest update reflects a broader trend in cinema technology: lowering the barrier to entry for premium experiences while improving operational efficiency and long-term maintenance.

Mobiliario Seating

Location: Julius Ballroom — Booth 303J

Cloud Riser & Hypnos Riser

What’s New:
Mobiliario Seating is showcasing its Cloud Riser and Hypnos Riser models at CinemaCon, designed to allow exhibitors to upgrade to premium recliner seating without requiring major structural changes to existing auditoriums.

What It Is:
The seating systems are engineered to fit within current auditorium layouts, enabling cinemas to retrofit existing spaces with recliner-style seating rather than undertaking full-scale renovations. Both models focus on ergonomic comfort and integrated tray-table functionality, aligning with premium and dine-in formats.

Why It Matters:
Upgrading to premium seating has become a key revenue driver for many exhibitors, but traditional retrofits can involve significant downtime, construction costs, and layout changes. Solutions like the Cloud and Hypnos Riser are aimed at reducing those barriers by allowing operators to modernize auditoriums more quickly, with minimal disruption to ongoing operations.

By lowering the complexity of installation while still delivering a higher-end seating experience, these systems offer a potential pathway for cinemas looking to introduce premium pricing tiers without committing to a full rebuild.

Promenaid Handrails

Location: Julius Ballroom — Booth 833J

Sprocketlock Pro Handrail System

What’s New:
Promenaid is introducing Sprocketlock Pro at CinemaCon, an enhanced version of its modular handrail system designed for higher load-bearing applications.

What It Is:
Sprocketlock Pro builds on Promenaid’s prefabricated handrail platform, using reinforced components to support use in high-demand areas such as auditorium aisles, guardrails in front of tiered seating, and elevated spaces within entertainment venues.

The system is designed to assemble from modular parts without the need for on-site welding or finishing, allowing it to adapt to existing structures and installation conditions.

Why It Matters:
As cinemas renovate auditoriums or introduce new seating and layout configurations, structural elements such as handrails must meet both safety requirements and installation constraints. Systems that can be installed quickly and adjusted on-site can help reduce project complexity, particularly in retrofit scenarios.

By combining modular construction with higher load capacity, solutions like Sprocketlock Pro are positioned to support safety and compliance while simplifying the installation process for contractors and operators.

Telescopic Seating Systems

Location: Julius Ballroom — Booth 1015J

ROAR – Recliner-On-A-Riser & Knee Wall System

What’s New:
Telescopic Seating Systems (TSS) is showcasing its ROAR (Recliner-On-A-Riser) system, an integrated approach to auditorium retrofits designed to simplify installation and reduce renovation timelines.

What It Is:
ROAR combines recliner seating, riser structures, and knee wall systems into a single, factory-built solution for stadium-seating auditoriums. By consolidating multiple construction elements into one system, it reduces the number of trades required on-site and streamlines the retrofit process.

The platform is designed to accommodate a range of riser heights and can be deployed with pre-engineered components to support faster installation. Operational features include open-under-seat construction for easier access and cleaning, along with integrated lighting and system tracking designed to support maintenance workflows.

Why It Matters:
Auditorium renovations can be complex, time-consuming, and costly, particularly when multiple contractors and construction phases are involved. Integrated systems that reduce installation complexity and downtime can help exhibitors complete upgrades more quickly while minimizing disruption to operations.

With countless cinema operators continuing to transition to recliner seating, solutions that simplify retrofits — while maintaining flexibility across different auditorium configurations — are becoming increasingly relevant.

Explore more in the 2026 CinemaCon Product Preview series on Celluloid Junkie.

The post CinemaCon 2026 Product Preview: Seating & Auditorium Design appeared first on Celluloid Junkie.

CinemaCon 2026 Product Preview: Projection, Sound & Presentation Technology

J. Sperling Reich — Wed, 08 Apr 2026 14:25:00 +0000

While much of the focus at CinemaCon is on the business of cinema, the core theatrical experience still depends on how a film looks and sounds on screen.

At CinemaCon 2026, cinema equipment manufacturers and providers are highlighting advances across projection, LED cinema displays, immersive audio, and presentation monitoring — technologies designed to improve image quality, enhance sound performance, and ensure consistent playback across auditoriums. Alongside premium large format systems, there is also a growing emphasis on tools that help operators maintain presentation standards through automation, diagnostics, and remote monitoring.

Together, these solutions reflect an ongoing shift toward more precise, data-informed control of the theatrical experience, where consistency and quality are as important as innovation.

Sponsored by Vista Group
This post is part of Celluloid Junkie’s 2026 CinemaCon Product Preview series, sponsored by Vista Group.

Adaptive Technologies Group

Location: Julius Ballroom — Booth 138J

Pro-Lift Scissor Lifts & Digital Controllers

What’s New:
Adaptive Technologies Group has expanded its Pro-Lift scissor lift range to support larger format projection setups, introducing additional lifting heights and controller options to accommodate evolving cinema and immersive auditorium designs.

What It Is:
The Pro-Lift system is a ceiling-mounted projector lift designed to safely position and service digital cinema projectors. Now available in field-adjustable lifting heights of 8, 16, and 24 feet, the system supports payloads up to 600 pounds and can be paired with Adaptive’s P-Box 15 hush box for enclosed installations.

Why It Matters:
As cinemas move toward larger screens, booth-less designs, and premium formats such as 4DX, projector installation and maintenance are becoming more complex. Lift systems like Pro-Lift are designed to simplify access while maintaining safety and minimizing disruption during servicing.

With options for multiple preset positions — including show, maintenance, and stow — as well as network-compatible controllers, the system allows operators and technicians to manage projection equipment more efficiently in increasingly technical environments.

CES+

Location: Meetings by appointment

Audio IQ

What’s New:
CES+ Cinema is introducing Audio IQ at CinemaCon, an automated audio monitoring system designed to detect and diagnose sound issues in real time.

What It Is:
Audio IQ is an AI-enabled system that continuously monitors in-auditorium audio performance, analyzing sound output across the full surround configuration without requiring manual checks. The platform identifies issues such as failing speakers, dead channels, or level inconsistencies and delivers alerts through a cloud-based dashboard.

Designed to integrate with existing cinema sound systems, Audio IQ provides remote diagnostics and ongoing performance monitoring, allowing technical teams to identify and address issues before they impact the audience experience.

Why It Matters:
Audio issues are often difficult to detect in real time and may only surface after impacting multiple screenings. Systems that provide continuous monitoring and early fault detection can help operators maintain consistent presentation quality while reducing reliance on manual testing and reactive troubleshooting.

As cinemas continue to invest in premium sound formats, maintaining audio performance across all auditoriums — not just flagship screens — is becoming an increasingly important part of the overall guest experience.

Christie

Location: Milano 1 & Milano 5 (Offsite demonstrations available)

CP4410m-RGBH (CineLife+ Phazer Series)

What’s New:
Christie is introducing the CP4410m-RGBH at CinemaCon, expanding its CineLife+ Phazer lineup with a lower-lumen projector that incorporates RGB laser-phosphor hybrid illumination.

What It Is:
The CP4410m-RGBH is a 10,000-lumen projector designed for smaller screens, boutique cinemas, and boothless environments. It uses a hybrid RGB laser-phosphor light source intended to reduce speckle and color variation on high-gain screens while maintaining image clarity and color performance.

Why It Matters:
Exhibitors are transitioning from Xenon to laser projection, however cost and screen size have remained barriers for smaller auditoriums. Lower-lumen solutions can help make that transition more accessible without requiring the scale of premium large-format installations.

By introducing a hybrid illumination approach and positioning the unit for compact and boothless setups, Christie is targeting a segment of the market where flexibility, footprint, and upgrade pathways are increasingly important.

VDR (Variable Dynamic Range)

What’s New:
Christie is officially launching VDR (Variable Dynamic Range) at CinemaCon, a software-based upgrade designed to improve contrast and energy efficiency in existing RealLaser projection systems.

What It Is:
VDR uses interframe analysis to dynamically adjust laser output based on the requirements of each scene, enhancing contrast while optimizing power usage. The feature is delivered as a software license and can be enabled on compatible CineLife+ RealLaser projectors without requiring new hardware.

Why It Matters:
For exhibitors, improving image quality has traditionally required significant capital investment in new projection systems. Software-based upgrades offer an alternative path, allowing operators to enhance performance while extending the life of existing equipment.

In addition to increasing perceived contrast, tools like VDR also aim to reduce energy consumption and operational costs — two factors that are becoming increasingly important as cinemas manage long-term infrastructure investments.

CinemaNext

Location: Julius Ballroom — 311J

PAA40+ Automation Adapter

What’s New:
CinemaNext is highlighting its PAA40+ Automation Adapter at CinemaCon, designed to expand automation and energy management capabilities within cinema projection booths.

What It Is:
The PAA40+ acts as a control layer that translates commands from cinema servers or TMS systems into automated actions for booth equipment, including projection, HVAC, and audio systems. It enables operators to schedule and manage when systems are powered on or off, while also monitoring energy usage across multiple circuits (including support for multiple relay outputs, programmable macros, and real-time reporting).

The system can also be deployed as a retrofit for existing installations, allowing cinemas to upgrade booth automation without replacing core infrastructure.

Why It Matters:
As energy costs rise and operational efficiency becomes more critical, managing when and how equipment is used inside the projection booth is gaining importance. Automation tools can help reduce unnecessary power consumption by aligning system usage more closely with actual show schedules.

Solutions like the PAA40+ are positioned to deliver a relatively short return on investment by reducing energy waste and minimizing manual intervention, while also giving operators greater visibility into booth performance — an area where small inefficiencies can add up over time.

Digital Light Sources (DLS)

Location: Julius Ballroom — Booth 433J

Cine LEDMAX Acoustically Transparent Cinema LED Screens

What’s New:
Digital Light Sources is continuing to demonstrate its Cine LEDMAX acoustically transparent LED screens at CinemaCon, with a focus on sound transmission technology designed to address one of the key challenges of LED cinema installations.

What It Is:
The Cine LEDMAX lineup consists of DCI-compliant direct-view LED screens available in a range of sizes, designed for both retrofit and new-build auditoriums. Developed in partnership with LED manufacturer LOPU Tech, the system incorporates a patented approach to sound transparency, allowing audio to pass through the screen without the need for traditional speaker placement compromises.

Why It Matters:
While LED cinema screens have gained attention for their brightness, contrast, and long service life, audio integration has remained a limiting factor in wider adoption. Solutions that address sound transmission more effectively can help make LED a more viable option across a broader range of auditoriums.

By combining high dynamic range visuals with an acoustically transparent design, systems like Cine LEDMAX are aimed at reducing the trade-offs traditionally associated with LED installations, giving exhibitors another pathway to evaluate as the market continues to evolve beyond projection.

Dolby Laboratories

Location: Meetings by appointment

Dolby Vision + Dolby Atmos (Combined Premium Offering)

What’s New:
Dolby is expanding access to its combined Dolby Vision + Dolby Atmos offering at CinemaCon, positioning the technologies as a more broadly available premium solution beyond traditional Dolby Cinema installations.

What It Is:
Dolby Vision is a high dynamic range projection system designed to deliver enhanced contrast, brightness, and color performance, while Dolby Atmos is an object-based audio format that places sound throughout the auditorium, including from the ceiling. Together, they form a premium presentation package that integrates image and sound technologies developed and refined through Dolby Cinema deployments.

Why It Matters:
Premium large-format experiences have become a key differentiator for exhibitors, but not all cinemas can accommodate fully branded, turnkey concepts. Offering Dolby Vision and Atmos as a more flexible combination gives operators another way to deliver a high-end presentation without adopting the full Dolby Cinema model.

By making this pairing more accessible, Dolby is effectively extending its premium ecosystem to a wider range of auditoriums, allowing exhibitors to align with filmmaker-preferred formats while tailoring implementation to their own spaces and business models.

GDC Technology

Location: Milano 2

Tricorne LED Screen & HDR LED Media Server

What’s New:
GDC Technology is showcasing its Tricorne LED cinema screen alongside its HDR LED Media Server at CinemaCon, highlighting a fully acoustically transparent LED solution designed to improve both image and sound integration.

What It Is:
The Tricorne LED is a direct-view cinema screen featuring a perforated design that allows speakers to be positioned behind the display, addressing one of the key challenges associated with LED installations. It is paired with GDC’s HDR LED Media Server, a DCI-compliant system designed to support HDR and high frame rate playback for LED cinema environments.

Why It Matters:
As LED cinema screens continue to develop as an alternative to projection, integrating audio without compromising sound placement has remained a core limitation. Acoustically transparent designs aim to resolve this by restoring traditional speaker positioning while maintaining the visual benefits of LED.

By combining display technology with a dedicated media server, GDC is positioning its solution as a more complete LED ecosystem, giving exhibitors a way to evaluate both image and playback infrastructure as part of a single deployment strategy.

AIB-4000 DTS:X for IAB Cinema Processor

What’s New:
GDC is introducing the AIB-4000, a new immersive audio processor designed to support the SMPTE IAB standard at CinemaCon.

What It Is:
The AIB-4000 is a 64-channel audio processor that supports DTS:X for IAB and integrates with DCI media servers. It is compatible with networked audio protocols such as Dante and AES67, enabling flexible audio system configurations within modern cinema environments.

Why It Matters:
With immersive audio formats continuing to evolve, standardization around IAB is becoming increasingly important for interoperability across cinema playback systems. Processors that support these standards can help simplify installation and integration while maintaining flexibility for future upgrades.

For exhibitors investing in next-generation audio, solutions like the AIB-4000 reflect a shift toward more scalable, network-based architectures that align with broader industry direction.

Harkness Screens

Location: Salerno Room

HSG Labs QA Monitoring System

What’s New:
Harkness Screens is introducing its HSG Labs quality assurance monitoring devices at CinemaCon, designed to provide continuous remote oversight of image and audio performance across auditoriums.

What It Is:
The HSG Labs range includes monitoring tools that track presentation parameters such as brightness, focus, image alignment, and sound. The system can deliver alerts via email, text, or integration with theatre management systems, allowing operators to identify and address issues without requiring manual inspection.

Why It Matters:
Maintaining consistent presentation quality across multiple screens can be challenging, particularly for circuits operating at scale. Issues such as brightness drift or sound imbalance can go unnoticed until they impact the audience experience.

Monitoring systems that provide real-time feedback and alerts offer a more proactive approach, helping operators identify problems earlier and reduce the need for reactive maintenance. As expectations around presentation quality remain high, tools like these reflect a broader shift toward continuous performance monitoring rather than periodic checks.

MAG Cinema

Location: Augustus Ballroom — Booth 2304A

ERA SUB 321 Cardioid Subwoofer

What’s New:
MAG Cinema is introducing the ERA SUB 321, a cardioid subwoofer designed to improve low-frequency control within cinema auditoriums.

What It Is:
The ERA SUB 321 features a three-driver (21-inch) configuration built around passive cardioid technology, allowing the system to direct bass energy toward the audience while reducing rearward output. The design is intended as a drop-in replacement for conventional subwoofers, requiring no additional processing or amplifier channels to achieve directional performance .

Why It Matters:
Low-frequency sound bleed between adjacent auditoriums has long been a challenge in cinema design, particularly in multiplex environments. Controlling bass energy, rather than simply increasing output, is becoming an increasingly important consideration as sound systems evolve.

Solutions that improve directionality and reduce unwanted spill can help maintain audio clarity within each auditorium while minimizing interference between screens. For exhibitors and integrators, this shifts the focus from raw power to precision, supporting more consistent sound experiences across the circuit.

Meyer Sound

Location: Augustus Ballroom — Booth 2104A

USW-121P Self-Powered Cinema Subwoofer

What’s New:
Meyer Sound is introducing the USW-121P, a self-powered subwoofer that brings networked audio and onboard processing into a single cinema sound component.

What It Is:
The USW-121P is a compact, high-power subwoofer built around a 21-inch driver, designed to deliver extended low-frequency performance while minimizing system complexity. It integrates amplification, digital signal processor (DSP), and networked audio (including AES67 connectivity) directly within the enclosure, reducing the need for external processors and additional hardware.

Its cabinet design supports flexible installation in space-constrained environments — including behind screens and along walls — while maintaining airflow and acoustic performance.

Why It Matters:
With cinema sound systems now more advanced than ever, system design and integration are becoming increasingly complex. Solutions that consolidate amplification, processing, and networking into fewer components can simplify installation, reduce rack space, and streamline ongoing maintenance.

For exhibitors and integrators, this reflects a broader shift toward fully networked, self-powered audio systems, where more of the signal chain is handled within the speaker itself — potentially improving efficiency while maintaining consistent performance across auditoriums.

Moving iMage Technologies

Location: Augustus Ballroom — Booth 427J

DCS Digital Cinema Series Loudspeakers

What’s New:
Moving iMage Technologies (MiT) is showcasing the DCS (Digital Cinema Series) loudspeaker platform at CinemaCon following its recent acquisition of the long-established cinema audio brand from QSC.

What It Is:
The DCS platform is a full-range cinema audio solution, including screen channels, surrounds, subwoofers, and monitoring systems, designed to support configurations from traditional 5.1 and 7.1 setups through to immersive audio environments. Originally developed over more than two decades and deployed in thousands of auditoriums worldwide, the system is positioned as a scalable, cinema-focused solution.

With the acquisition, MiT has taken over manufacturing relationships, inventory, and global distribution, while positioning DCS as an open platform available through integrators and partners across multiple markets.

Why It Matters:
As exhibitors continue to invest in premium presentation formats, control over key technology components — such as the DCS loudspeaker platform — is becoming increasingly strategic. For integrators, expanding into owned or managed product lines can help ensure supply continuity and provide greater flexibility in system design.

MiT’s move into cinema audio reflects a broader trend toward vertical integration within the exhibition technology ecosystem, where companies are looking to offer more complete solutions across projection, sound, and installation.

Samsung Electronics

Location: Roman Ballrooms 1–2

Spatial Signage (Glasses-Free 3D Display)

What’s New:
Beyond the latest generation of Onyx Cinema LED screens, Samsung is introducing its Spatial Signage at CinemaCon, a glasses-free 3D display designed for use in cinema lobbies and other high-traffic areas.

What It Is:
Spatial Signage uses a patented optical layer to create the perception of depth directly within the display, allowing content to appear three-dimensional without requiring special glasses. The system is designed for commercial environments and can be used to present film marketing, showtimes, and promotional content in a more visually dynamic format.

The 85-inch display features 4K resolution in a portrait configuration, making it suited for poster-style content and digital signage applications within cinema spaces.

Why It Matters:
As exhibitors and studios look to extend engagement beyond the auditorium, attention-grabbing displays in lobbies and concession areas are becoming increasingly important. Technologies that add depth and motion to traditional signage can help differentiate promotional content in busy environments.

Glasses-free 3D displays like Spatial Signage represent one approach to enhancing pre-show engagement, offering a way to bring elements of cinematic storytelling into the broader venue without requiring changes to projection systems.

Severtson Screens

Location: Augustus Ballroom — Booth 2310A

SēVision 3D GX Giant Electric Motorized Screen

What’s New:
Severtson is introducing its SēVision 3D GX Giant Electric motorized projection screen at CinemaCon, designed for large-format venues that require retractable screen solutions.

What It Is:
The system is a large-scale motorized cinema screen that can be raised and lowered, making it suitable for multi-purpose auditoriums where the screen cannot remain permanently deployed. It is available in a range of materials, including acoustically perforated options that allow for speaker placement behind the screen.

Severtson’s folded screen technology and coating system are designed to withstand repeated rolling without damaging the projection surface, enabling use in applications where large-format screens need to be deployed frequently .

Why It Matters:
While most cinema screens are fixed installations, some venues — including multi-use auditoriums, event spaces, and certain premium formats — require greater flexibility. Motorized large-format screens address this need by allowing spaces to transition between different uses without permanent structural changes.

As cinemas and adjacent venues explore more flexible programming and shared-use environments, solutions that support adaptable screen configurations may become more relevant, particularly outside traditional multiplex settings.

Sharp

Location: Neapolitan 1

Projector Lineup Refresh

What’s New:
Sharp is marking the final phase of its transition from the NEC brand during this year’s CinemaCon, with plans to begin selling its first Sharp-branded digital cinema projectors later this year.

What It Is:
At CinemaCon, the company is previewing updates to its cinema projection lineup, including a refreshed 4K range and a new 2K projector featuring enhanced dynamic range (EDR) and a 12,000-lumen brightness option. Sharp also indicated that a smaller, low-noise projector is in development, aimed at environments where footprint and acoustics are key considerations.

Alongside its cinema projection roadmap, Sharp will showcase a broader portfolio of display technologies, including large-format displays, ePaper solutions, and dvLED screens, reflecting its wider positioning across commercial display applications.

Why It Matters:
The transition from NEC to Sharp represents a notable shift in one of the industry’s long-standing projection technology providers. For cinema operators, continuity in product development and support is critical, particularly as the market continues to evolve toward laser projection and alternative display technologies.

The introduction of Sharp-branded projectors signals an effort to maintain that continuity while positioning the company for the next phase of cinema technology development.

Timewaying (HeyLED)

Location: Augustus Ballroom — Booth 2226A

Front-Access DCI HDR LED Cinema Screen

What’s New:
Timewaying (HeyLED) is introducing a front-access LED cinema screen at CinemaCon, designed for wall-mounted installation in space-constrained environments.

What It Is:
The screen features a structural design that enables both installation and maintenance from the front, eliminating the need for rear access. Available in sizes ranging from 4 to 10 meters, it is positioned for smaller auditoriums, private cinemas, and specialty installations. The system supports DCI-compliant HDR presentation and uses advanced panel packaging to improve surface uniformity and durability .

Why It Matters:
One of the practical challenges with LED cinema installations is the space required for access and servicing. Designs that allow front-only installation can make LED a more viable option in locations where depth is limited or retrofitting is required.

By focusing on compact formats and simplified installation, solutions like this open up LED deployment to a broader range of venues, including premium small-screen environments where space efficiency is critical.

Explore more in the 2026 CinemaCon Product Preview series on Celluloid Junkie.

The post CinemaCon 2026 Product Preview: Projection, Sound & Presentation Technology appeared first on Celluloid Junkie.

CinemaCon 2026 Product Preview: Business, Marketing & Operational Platforms

J. Sperling Reich — Tue, 07 Apr 2026 07:25:00 +0000

Beyond ticketing and concessions, a growing layer of systems is shaping how cinemas operate, connect with audiences, and make decisions.

At CinemaCon 2026, numerous companies are showcasing platforms that sit behind the scenes of the moviegoing experience; spanning theatre management, content delivery, marketing, data analytics, and customer engagement. While these systems are less visible to audiences, they play a critical role in how cinemas run day to day, from managing content and workflows to driving attendance and optimizing performance.

Increasingly, these functions are no longer handled by separate tools. Instead, exhibitors are moving toward a more connected approach, where operational systems, marketing platforms, and data layers work together to provide a more complete view of the business. This shift reflects the growing complexity of cinema workflows as operators look to improve efficiency, respond more quickly to changing demand, and better understand their audiences.

The companies in this section highlight how cinemas are building that connected infrastructure — bringing together content, operations, and customer data into systems designed to support a more flexible and data-driven approach to exhibition.

Sponsored by Vista Group
This post is part of Celluloid Junkie’s 2026 CinemaCon Product Preview series, sponsored by Vista Group.

Arts Alliance Media — A Qube Cinema Company

Location: Meetings by appointment

Screenwriter TMS & Trailer Exchange 1.5 Upgrades

What’s New:
Arts Alliance Media is introducing updates to its Screenwriter TMS and Trailer Exchange 1.5 platform, with enhancements focused on compatibility, scheduling precision, and pre-show optimization.

What It Is:
Screenwriter is a theatre management system (TMS) designed to manage scheduling, content synchronization, and playback across cinema circuits. Recent updates expand support for newer operating systems and a wider range of projection hardware, while improving scheduling workflows and synchronization performance.

Trailer Exchange 1.5 extends this capability into pre-show management, enabling more advanced scheduling of trailers and advertising, with new tools for content targeting and reporting.

Why It Matters:
TMS platforms are deployed in ever more complex cinema environments today, requiring support for a broader range of cinema hardware while maintaining reliability and control. Improvements in scheduling visibility and synchronization can help reduce operational delays and ensure consistent playback across sites.

At the same time, greater control over pre-show programming reflects the growing importance of advertising and commercial optimization within the cinema business.

CinemaNext

Location: Julius Ballroom — Booth 311J

CinemaNext TMS Upgrades

What’s New:
CinemaNext will be featuring updates to its TMS with enhancements focused on energy management, expanded device integration (including with IMAX), and improved scheduling precision.

What It Is:
CinemaNext TMS is a web-based platform designed to centralize content management, scheduling, and booth control across cinema operations. Installed on a dedicated server such as the CinemaNext BOX, the system enables operators to ingest and manage DCPs, manage KDMs, automate playlist creation, and synchronize everything across multiple auditoriums.

Recent updates include deeper integration with the CinemaNext EcoBooth system, allowing power usage in the booth to be aligned with show schedules. The platform also expands support for a wider range of projection and audio systems, alongside features such as start markers for more precise show timing, improved handling of live events, and enhanced integration with premium formats.

Why It Matters:
With technology environments inside cinemas becoming far more complex, TMS platforms are evolving beyond scheduling tools into broader operational control systems. The ability to coordinate playback, monitor equipment, and manage energy usage from a single interface can help reduce manual intervention while improving consistency across sites.

For operators balancing rising energy costs and increasingly diverse programming, tighter integration between scheduling, equipment, and power management is becoming an important part of day-to-day operations.

Gofilex

Location: Meetings by appointment

E-delivery & Live Events – Portal 2.0 Update

What’s New:
Gofilex is preparing to roll out updates to its E-delivery and live events platform at CinemaCon, including a redesigned web-based portal and companion app aimed at improving visibility and control over delivered content.

What It Is:
Gofilex operates a global network for electronic film delivery and live event distribution, supporting approximately 12,000 cinemas worldwide. The upcoming Portal 2.0 and updated mobile app are designed to provide exhibitors with a centralized interface to track incoming content, manage orders, and access live event workflows.

Why It Matters:
Cinemas are handling an increasing mix of feature films, alternative content, and live events, making managing delivery and scheduling across multiple sources more complex. Tools that provide clearer oversight of what content has been delivered, and what is scheduled to arrive, can help reduce operational friction and improve coordination between distributors and exhibitors.

By focusing on workflow visibility and centralized access, updates like Gofilex’s Portal 2.0 reflect a broader shift toward more transparent and trackable content delivery systems within the exhibition ecosystem.

CINEsync

Location: Augustus Ballroom — Booth 2516A

AI-Driven Cinema Operations Upgrades

What’s New:
CINEsync is emphasizing its AI-driven capabilities at CinemaCon, alongside an expanded restaurant module designed to better support dine-in cinema operations.

What It Is:
A cloud-based platform that integrates ticketing, concessions, marketing, loyalty, and analytics into a single system for cinema operators.

Why It Matters:
Many exhibitors still operate across multiple disconnected systems, particularly when managing both ticketing and food and beverage. By consolidating these functions — and layering in AI tools for scheduling, pricing, and recommendations — platforms like CINEsync aim to improve operational efficiency while helping cinemas better respond to audience demand and maximize revenue.

The platform also integrates with third-party providers including comScore, Numero, and MACCSBOX, as well as payment and ticketing partners, positioning it as a central operating layer for cinemas looking to streamline workflows and expand food and beverage offerings.

Mobile Moviegoing

Location: Julius Ballroom — Booth 726J

Website Platform 3.0 & TeleTimes

What’s New:
Mobile Moviegoing is introducing Version 3.0 of its website platform at CinemaCon, alongside new tools including TeleTimes, a phone-based showtime service, and a network monitoring system for cinema operations.

What It Is:
The updated platform focuses on improving the path from movie discovery to ticket purchase, with a redesigned interface built around user behavior and performance optimization. TeleTimes extends access to showtime information through a voice-based system, allowing moviegoers to retrieve listings without using an app or website.

On the operational side, Mobile Moviegoing is also rolling out a monitoring system designed to track on-site equipment, connectivity, and POS performance in real time, helping operators identify and address issues proactively.

Why It Matters:
As cinema operations become increasingly dependent on digital infrastructure, both the customer-facing experience and back-end reliability play a critical role in overall performance. Improvements to website usability can directly impact conversion, while monitoring tools help ensure that systems supporting ticketing and concessions remain operational.

By expanding beyond traditional web services into a broader platform that includes access, engagement, and system oversight, providers like Mobile Moviegoing are positioning themselves as more integrated partners in day-to-day cinema operations.

OneCinema

Location: Augustus Ballroom — Booth 2109A

OneCinema Enterprise Signage Platform

What’s New:
OneCinema is introducing Enterprise Signage at CinemaCon, a cloud-managed digital signage platform designed to extend its existing cinema operations ecosystem.

What It Is:
Enterprise Signage is a cloud-managed platform that allows cinema operators to centrally control digital displays across their circuit, from lobby screens to concessions and wayfinding.

Built into the OneCinema Enterprise Cloud interface, it operates alongside TMS and automation tools within a single environment, sharing film, content, and trailer workflows. This enables signage content to be dynamically generated from live programming data, automatically aligning messaging with the films and genres playing at each location.

Content can be scheduled and deployed across one site or an entire circuit within minutes, while still allowing local flexibility for events and promotions.

Why It Matters:
Most exhibitors operate across multiple locations, which makes maintaining consistent and accurate messaging across digital displays a real challenge. Systems that connect operational data with customer-facing displays help reduce manual processes while ensuring that information remains up to date.

By linking signage directly to cinema systems, platforms like OneCinema’s Enterprise Signage reflect a broader move toward more connected environments, where operational data can be surfaced across the guest journey in real time.

Qube Cinema

Location: Meetings by appointment

Slate & iCount

What’s New:
Qube Cinema is highlighting recent enhancements to its Slate campaign management platform and iCount audience measurement system, with updates focused on greater control over pre-show programming and improved real-time attendance visibility.

What It Is:
Slate is a centralized platform for managing advertising and pre-show content across cinema circuits. Recent updates introduce greater control over playlist boundaries at the theatre level, allowing operators to define maximum durations for pre-show and intermission segments while maintaining consistency across sites.

iCount is Qube’s real-time audience measurement system, designed to track attendance at the screen level with automated reporting. The platform enables operators to compare ticket sales with actual headcount, identify discrepancies, and monitor performance across locations through a unified dashboard, while incorporating privacy features such as real-time anonymization.

Why It Matters:
Pre-show advertising and alternative content have long been important revenue streams for exhibitors who are now looking for better control over scheduling and more transparency in campaign delivery. At the same time, reliable audience measurement remains a longstanding challenge in cinema, particularly for validating advertising performance.

Tools that combine scheduling control with verified attendance data can help operators manage inventory more effectively, improve reporting to partners, and strengthen the commercial case for cinema as an advertising medium.

Qube Wire

Location: Meetings by appointment

Qube Wire Platform & WireTAP Upgrades

What’s New:
Qube Cinema is highlighting enhancements to its Qube Wire platform, including expanded deployment, automated Key Delivery Messages (KDMs) workflows, and new browser-based delivery capabilities, as well as upgrades to its WireTAP hardware.

What It Is:
Qube Wire is a scalable electronic content delivery platform that manages content distribution and KDM workflows across cinema networks. Recent updates introduce features such as direct holdover KDM requests and the Qube Wire network of connected theatres has grown to nearly 1,300 sites in North America alone.

WireTAP, Qube’s on-premise delivery device, has also been updated with deeper integration into TMS and playback systems, enabling more automated ingest workflows and improved real-time visibility into content status.

Why It Matters:
Content delivery remains a critical operational layer, particularly as cinemas manage higher volumes of digital distribution across multiple locations. Improvements in automation and visibility can reduce reliance on manual processes while ensuring content is delivered, verified, and ready for playback.

As distribution continues to shift toward fully networked workflows, platforms that support both centralized and flexible delivery options are becoming increasingly important.

Showtime Analytics

Location: Meetings by appointment

AI-Enabled Data Platform for Cinema Operations

What’s New:
Showtime Analytics is introducing an expanded AI-enabled data platform at CinemaCon, focused on unifying cinema data and making it accessible for real-time analysis and decision-making.

What It Is:
The platform connects data from across cinema operations — including ticketing, concessions, loyalty programs, and online transactions — into a single, structured system. This unified data layer is designed to support analytics, forecasting, marketing, and operational insights without requiring manual data aggregation.

Building on its existing product suite — including tools such as Insights, Engage, Forecasting, and SurvAi — Showtime is adding AI-driven capabilities that allow operators to query performance, generate reports, and identify trends more dynamically. This includes tools for campaign creation, scheduling optimization, and customer analysis, all operating on live, connected datasets rather than static exports.

Why It Matters:
Many cinema operators continue to work with fragmented data across multiple systems, limiting their ability to generate timely insights. Platforms that consolidate and structure this data can improve visibility into performance and support faster, more informed decision-making.

As AI tools become more widely adopted, the ability to access clean, connected data is becoming a prerequisite. Solutions that focus on data organization as much as AI functionality may play a key role in how exhibitors translate data into practical business outcomes.

Theater Toolkit

Location: Julius Ballroom — Booth 1011J

Integrated Ordering, Web, and Affiliate Marketing Platform

What’s New:
Theater Toolkit is introducing expanded capabilities across its digital platform at CinemaCon, including a new affiliate marketing feature alongside enhancements to its food and beverage ordering and mobile commerce tools.

What It Is:
The upgraded platform combines in-seat ordering, ticketing, and digital engagement into a unified system designed to streamline both operations and the customer journey. Its F&B module enables guests to order directly from their seats via QR code, with integrated payment and real-time POS connectivity. This reduces manual order-taking and allows staff to manage larger seating areas more efficiently while maintaining service quality.

Theater Toolkit also offers a mobile-first website and app platform focused on improving ticket conversion. Features such as simplified checkout, integrated loyalty, and built-in upsell opportunities for concessions.

A new addition is affiliate program support, which enables cinemas to partner with influencers and third-party promoters through trackable links, incentives, and rewards. The feature allows operators to experiment with referral-driven marketing strategies while maintaining visibility into performance and customer acquisition.

Why It Matters:
Cinema operators are always looking to increase per-cap spending and improve conversion across digital channels, thus platforms that connect ordering, ticketing, and marketing into a single ecosystem are gaining traction in the market.

The addition of affiliate and influencer-driven marketing introduces a newer approach to audience acquisition, reflecting broader trends in how consumers discover and engage with entertainment. For exhibitors, this opens up additional channels to drive attendance beyond traditional email and loyalty programs.

Unique X

Location: Meetings by appointment

RosettaBridge TMS Upgrades

What’s New:
Unique X is highlighting ongoing enhancements to its RosettaBridge Theatre Management System (TMS), with recent updates focused on automation, energy management, and expanded integration with advertising and device control systems.

What It Is:
RosettaBridge TMS is a theatre management platform designed to centralize cinema operations, including scheduling, playlist creation, and device monitoring. Integrated with RosettaNet CMS, it enables automated show and playlist workflows that reduce reliance on manual intervention.

Recent updates include support for programmatic advertising through real-time bidding (RTB) integrations, alongside expanded operational tools such as Eco power control, live energy monitoring, remote firmware updates, and automated issue detection during playback. Additional features provide improved visibility across sites, including device-level reporting, maintenance tracking, and enhanced integration with premium formats such as IMAX.

Why It Matters:
For exhibitors operating at scale in multiple sites and formats, reducing manual workflows and improving system visibility have become key priorities. Platforms that automate scheduling, monitor equipment performance, and centralize control can help operators maintain consistency while reducing the risk of errors that impact presentation or uptime.

The addition of programmatic advertising integration also reflects a broader shift toward connecting cinema inventory with digital advertising channels, offering exhibitors new ways to manage and potentially monetize on-screen advertising within existing workflows.

Usheru

Location: Meetings by appointment

MovieSite Campaign Platform

What’s New:
Usheru is highlighting MovieSite at CinemaCon, a campaign platform designed to improve conversion from marketing engagement to ticket purchase.

What It Is:
MovieSite functions as a dedicated campaign destination that evolves alongside a film’s release cycle. In the lead-up to opening, it supports awareness and audience capture through trailers, content, and sign-ups. Once tickets are available, the experience shifts to prioritize showtimes and direct users to exhibitor ticketing sites, aligning with increased purchase intent.

The platform is supported by integrated analytics that track engagement and conversion in real time, providing studios and distributors with visibility into campaign performance. MovieSite can operate as a standalone destination or as part of Usheru’s broader Connect platform.

Why It Matters:
As theatrical marketing spans more channels and touchpoints, converting audience interest into ticket sales remains a persistent challenge. Tools that focus on the final step of the journey — connecting intent with purchase — can help improve the efficiency of marketing spend.

By adapting to audience behavior across the campaign lifecycle, platforms like MovieSite reflect a shift toward more performance-driven theatrical marketing, where success is measured not just by reach, but by conversion.

Venue Valet

Location: Meetings by appointment

CallConnect Operations Management Platform with New Guest Experience Tools

What’s New:
Venue Valet is introducing several new features within its CallConnect platform, including Seat Inventory tracking, Real-Time Survey Processing and VIP Budget Manager, all designed to enhance the guest experience by improving service responsiveness and operational visibility.

What It Is:
CallConnect is an operations management platform that combines in-seat call buttons, mobile F&B ordering and service requests, and real-time reporting into a single system for managing guest service. It aggregates data from ticketing POS, food and beverage POS, employee time management systems and staff activity to provide live visibility into service performance and areas of operational efficiency and focus.

New features extend this capability. Seat Inventory tracking allows staff to log and prioritize maintenance issues at the individual seat level to ensure the ideal guest experience at the seat, while real-time survey processing surfaces guest feedback as it is submitted as they exit the venue. A new VIP budgeting and guest reward tool enables operators to manage service-based compensation, such as concessions or return visits, within defined parameters, helping standardize how guests are rewarded for being loyal customers to ensure more repeat and satisfied guests.

Why It Matters:
As cinemas continue to invest in dine-in and premium formats, maintaining service quality at scale has become increasingly complex. Platforms that combine service requests, operational data, and guest feedback into a single system can help operators respond more quickly and consistently.The ability to identify issues at the seat level, act on guest feedback in real time, and standardize real-time VIP guest rewards reflects a broader shift toward more data-driven guest experience management — particularly in environments where service is a key part of the overall value proposition.

Explore more in the 2026 CinemaCon Product Preview series on Celluloid Junkie.

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