The traditional theatrical experience has long been a domain dominated by Hollywood’s major studios. For decades, independent filmmakers faced a near-insurmountable climb to get their work onto multiplex screens, navigating a system that heavily favored blockbuster franchises. Yet, the landscape is now undergoing a significant transformation, driven by shifts within Hollywood and a burgeoning demand from audiences and theaters alike.
The reality for exhibition has become increasingly challenging. As Shelby Schultz, head of programming at LOOK Dine-In Cinemas, notes, theaters often have “very little control over the product made available to them or the quality of that product.” This dynamic has left screens hungry for content, particularly as studios have altered their release strategies.
It’s a curious paradox, as many major players seem to be doubling down on old strategies rather than embracing new possibilities for the theatrical experience. Recent moves, like Oaktree Capital’s acquisition of FilmRise and its merger with Shout! Studios illustrate a continued emphasis on consolidating VOD platforms and capturing market share through streaming libraries. This approach seems rooted in a hope that sheer volume will eventually yield profitability, rather than investing in innovative new ways to draw audiences to shared, immersive experiences. A recent Variety report, in which over half of U.S. exhibition executives believed “traditional moviegoing” had less than 20 years remaining, further highlights this. This sentiment suggests a Hollywood so wrapped up in its own historical model that it struggles to envision a cinematic future that doesn’t revolve solely around its output. The idea of a decentralized movie industry, where theaters thrive without Hollywood’s constant direct supply, appears alien to them, showing a startling lack of imagination from an industry whose very stock and trade should be imagination itself.
“‘ONLY IN THEATERS. No VOD. No DVDs’ for The Occult… has yielded over-capacity houses and dual-theater runs across multiple states.”
Yet, this void in imaginative leadership from the top has created a crucial opening. As Peter Hyoguchi, director of the chilling supernatural thriller The Occult, experienced firsthand, the industry rapidly shifted towards video-on-demand just as he began developing his film. Despite that trend, a theatrical release was always his vision. “Even while writing the script, I’m imagining the audience in a dark theater,” Hyoguchi explains. He soon realized that “almost no indie films would end up getting a theatrical release” through traditional channels.
The tide, however, is turning. “Since Covid, Hollywood has only been delivering one or two movies per week,” Hyoguchi observes, detailing how “the windows are shrinking for theatrical and the urgency to stream becomes higher.” This means “fewer films spending less time in cinemas because studios want their films on their web platform as soon as possible.” This diminished content flow has opened a crucial door for independent cinema.
This is precisely where forward-thinking chains like LOOK Dine-In Cinemas are stepping in, spearheading a quiet revolution in exhibition. They recognized the opportunity to distinguish themselves and “curate unique experiences for our guests.” Their commitment is unprecedented for a conventional chain: they’ve dedicated a one-hundred-seat theater in each of their locations specifically for independent films on Fridays and Saturdays. These are protected slots; they won’t be bumped for studio releases. Previously, for that to happen, a filmmaker would have to “four wall” their spot, the practice of renting out a theater and hoping that they could sell enough tickets to cover their costs. Outside of that, mainstream, first-run multiplexes were out of the question without big studio backing.
