Thursday, March 21 2024

The Innovation Lab’s second day is dedicated to the exploration of marketing and communication. Session one on Marketing Strategies and how to stay ahead in a fast-changing environment starts with Marvin Wiechert from Yorck Kinogruppe, who gave a presentation on the fundamentals of digital marketing. He emphasizes the swift pace at which the digital marketing landscape is evolving. For exhibitors, it’s crucial to acknowledge the influence of social and digital media. Visitors are increasingly relying on digital media for a range of activities, from browsing screening times and purchasing tickets to seeking additional information about the films. Amidst these changes, one aspect remains unchanged – the film-watching experience offered by the cinema. He concludes by adding that cinemas should focus on becoming a brand.

Adrianna Skornicka (Kino Pałacowe) gives us insights and tips on how they succeeded to differentiate themselves as a cinema, who’re part of an institution with different departments. They a different name and opted for separate social media profiles. They do collaborate with the other departments, like screening films that match an exhibition at play in the institute. The result is that they are the most known cinema in Poznan and also the most profitable of all the departments that are housed in the building.

Oana Furdea (Union) revitalized her cinema’s brand through the power of social media within 6 months. Prior to her joining the team, the cinema lacked a visual identity, original content, and most of all, a distinctive personality. The only existing output was a daily schedule post. The primary objective was to attract a younger audience, and with limited financial means, the best option was to get an online presence. Fast forward to six months later, the transformation is noticeable. The cinema now has a unique logo, a presence across various social media platforms, and a well-structured weekly editorial plan. And a dedicated coordinator in charge.

Back in 2018, Claudia Placuzzi (Cinema Eliseo) tells us, their digital presence was primarily focused on their adult audience, utilizing platforms like Facebook, newsletters, and a website. With the introduction of Instagram, they began to focus on a younger demographic. They implemented specific strategies such as posting about promotional events, sharing film reviews, and updating on film club activities. One of the significant advantages of Instagram is the ability to monitor the performance of your content, be it reels or photos, through its built-in statistics. This feature has been instrumental in their growth, with their account consistently growing every week.

How does one become their own best ‘embajador’? Raul Forcada Delicado (Cines Embajadores) had an interesting presentation on how they use targeted digital marketing to reach a new audience through their social networks, such as X, Instagram and Mailchimp. Most importantly they create their own content for social media and he’s even the face for “3 reasons with Raoul”. What’s important is to post regularly; 6 stories a day and 3-4 reels a week. He mentions that every platform has a different audience, so the tone of voice should be different for all these separate platforms.

After the presentations and inspiration from the first session, it was time to put the participants to work with a group task on digital marketing. Every group was asked to come up with tools for different types of cinema events.

Tom de Bont (Heerenstraat theater) kicks off session two on Alternative Programming: Curation and new offers. He presents the Cineville scheme in The Netherlands; an all you can see pass specifically for arthouse cinemas that has proven to be a great success for over 15 years now. Inspiring to hear how cinemas and distributors are all on board. In 2024 there were 2 million Cineville visitors in total. They’re a cooperative, so their aim is to raise awareness for arthouse cinema.

Sara Horžen (Kinodvor) demonstrated to the attendees how they innovatively adapted during the pandemic. They introduced a new concept that allowed their visitors to maintain their cinema-going routines by offering them the opportunity to arrange private screenings within a secure environment, all at a reasonable cost. The initiative required minimal effort and was an instant hit right from its inception.

The importance of data popped up once again. Dan Kratky (Cinema Svět) had an inspiring story on how their cinema transformed their rigid, monthly programming approach changed by using data. The journey began with the simple act of data collection in Excel. The outcome was a shift to a more adaptable programming schedule, transitioning from a monthly to a weekly format.

Marvin Wiechert (Yorck) enlightened the participants about the growth of AI-generated images and videos and the possible impact on cinemas. When asked if this technological advancement poses a threat to our jobs, he suggested that it’s more likely to impact data and administrative roles – tasks that are necessary but often less enjoyable. Let’s hope that this shift frees up more time for us to focus on creative concepts for our cinemas.

Session 3 was all about optimizing the cinema’s communication means and tools. Amelie Jennequin (Quai10) presented their innovative concept aiming to re-engage the youth aged 12-25 who have been gradually drifting away from traditional cinema, by the means of gaming in the cinema. The games featured in this initiative are exclusively independent titles, providing a unique and educational gaming experience. A dedicated team works four days a week to curate this program and provide assistance to the audience.

Hester Noordhuis (Filmhuis Slieker) introduced us to the creative tools developed by their volunteers, designed to an audience predominantly composed of older generations. These videos not only enhance brand visibility and stimulate engagement on their social media platforms, but also do wonders for team spirit for the volunteers themselves.

Züleyha Azman (KINO Rotterdam) emphasized the importance of differentiating themselves and establishing a unique brand identity for their cinema. They accomplish this by developing their own marketing materials for their curated classic programming and events, including trailers, posters, videos, and photographs. She believes in the significance of showcasing the venue and the co-workers who work at the cinema with these tools. This approach forms a large part of their marketing strategy.