The International Cinema Technology Association has announced the 2022 winners of the ICTA EMEA Awards, celebrating technological leadership, design and innovation in the cinema exhibition sector. The award winners are Le Grand Rex, Paris, Classic Cinema of the Year; UGC Ciné Cité Part-Dieu, Lyon, New Build Cinema of the Year; and Cineworld, Belfast, Best Cinema Refurbishment of the Year. Rolv Gjestland of Film & Kino Norway will be presented with a special recognition award to celebrate his contributions to cinema design, presentation excellence and international collaboration in cinema.
CJ CGV, South Korea's largest multiplex cinema chain, has announced that it will expand investment in high-technology, multi-projection screens and premium large format theatres to meet changing customer demand in the post-pandemic era.
Universal Pictures and Amblin Entertainment have announced that, for the first time, U.S. audiences will be able to experience two classic, culture-defining Steven Spielberg films— E.T. The Extra-Terrestrial and Jaws —on Imax screens nationwide. E.T. The Extra-Terrestrial will be released exclusively on Imax screens beginning August 12, to celebrate the film’s 40th Anniversary. Jaws will be released on Imax screens and also in RealD 3D beginning September 2.
In an effort to differentiate its members from the many so-called pop-up drive-ins that have been a big part of the pandemic movie scene, the United Drive-In Theatre Association has launched a website to define what theatres it says qualify as authentic drive-ins. On the website the association has posted a list of the qualifications and standards that have been created by the UDITOA to ensure that their guests will receive a genuine and authentic drive-in experience.
The Digital Cinema Distribution Coalition has announced that its network’s live theatrical event footprint has now surpassed 800 sites, expanding the opportunity to bring more consumers together for exclusive live cinematic experiences. The 800-plus sites in DCDC’s growing network represent more than 3,100 theatres and more than 33,000 screens across the U.S.
An incredible set of holds for Top Gun: Maverick kept it flying high at the global box office in its second weekend, according to the London-based analytics firm Gower Street. The film added an estimated $176.3 million bringing the global total after 12 days to $557.2 million. After setting an opening record for Tom Cruise over the Memorial Day weekend in the Domestic market, this past weekend Top Gun: Maverick added a phenomenal $90 million in North America which would still have scored Cruise his biggest opening if this had been week one. The film dropped just 29 percent, the best week-two hold for a $100 million-plus opener.
This summer, hundreds of professional filmmakers in New York City will join forces to create six short films as part of the Women’s Weekend Film Challenge. A grassroots initiative founded in 2017 by filmmakers Katrina Medoff and Tracy Sayre, WWFC aims to address the lack of women and nonbinary people behind the camera and on screen through a variety of programs, including its signature film challenge.
In Doctor Strange in the Multiverse of Madness, Marvel Studios pushes the boundaries of reality – and then keeps going. With broken universes, environments wrapped in illusion and magical traps that shatter the world, the film introduces visual elements unlike anything ever seen before. To help show audiences a new look at reality, Marvel Studios turned to long-time visual effects partner and Oscar-winning studio, Digital Domain.
Since the dawn of color cinema, there has always been a demand for a skilled and sympathetic person to guide color throughout a production. Back then, the color timer worked to the instructions of the cinematographer, looking essentially to achieve consistency: dramatic color shifts using irreversible wet chemistry were rarely undertaken. But while the director and cinematographer may be household names, the colorist may still go unheralded outside a small community. To correct this neglect of a vital talent in the overall creative team, last year we created the FilmLight Color Awards.
Today’s movie theatre operators are facing a dilemma: While they’ve made investments and improvements that were supposed to keep their theatres full, too many seats remain empty, and they don’t have endless resources to keep throwing at improving their experience. What’s the solution? In my opinion, operators don’t need to do things better. They need to do things differently. I firmly believe the movie theatre of the future will offer hyper-focused content and be experiential.