FAQ

While it is true that cinema attendance worldwide was hurt tremendously by the dual plagues of the pandemic and the rise of streaming services, ticket sales have mostly rebounded. And this rebound has been even more pronounced at independent, mission-driven, art house theaters, which have a wider variety of films available and appeal to more diverse audiences. While the big chain theaters are dependent on expensive Hollywood spectacles that audiences are rejecting, the art houses are showing a broad cross section of international films, documentaries and American independent fare that cater to many intersecting communities.

The nonprofit art film business model allows for more flexibility in the use of the auditoriums and thus more robust attendance on an average basis. It allows for additional income streams—from grants as well as membership contributions. Plus, specialized programming and outreach instill a feeling of loyalty and community that does not exist in commercial multiplexes.

The best news, however, is that recent results are showing that Gen Zer’s and Millennials are discovering the art house experience. They are drawn to restored classic films and, in particular, anything that can be advertised as being shown in 35mm. Also, years of exposure to subtitled versions of international TV series on streaming platforms has removed any previous aversion that existed to foreign language fare. All these trends are indicative of a generation that craves “authentic experiences,” as seen in their interest in vinyl records and independent bookstores.

Finally, moviegoing is still among the least expensive out-of-the-home activities. And in the post-pandemic world, there is a craving for collective experiences. All these factors are pointing toward a future where moviegoing becomes, once again, at the center of our culture.

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More than 15 years of research, as captured in the annual survey by the Art House Convergence, shows that the success of nonprofit cinemas is tied to the number of screens rather than total capacity. More screens allow the cinema to move films around to match demand with capacity, and to have the flexibility to extend the runs of films that are performing well. More screens also allow for a mix of eclectic programming that appeals to different audience segments, ensuring that at least one well-performing film will be enough to carry the complex, while allowing for mission-driven fare that may draw fewer ticket buyers. When we canvassed successful cinemas across the country, they were unanimous in advising that five screens is the “sweet spot” for success.

For those worried about the smaller auditoriums, our architects and consultants are experienced at making sure that every one of our theaters will offer an ultimate cinema experience, from the sight lines to the state-of-the-art projection and sound equipment.

See the architectural renderings:  The Vision – Upper West Side Cinema Center

Our model is based on independent art houses that are currently successful in many parts of the country. Examples are:

• Examples are:
  • Jacob Burns Film Center, Pleasantville NY
  • Coolidge Corner, Brookline MA
  • Michigan Theater, Ann Arbor MI
  • Rafael Film Center, San Rafael CA
  • Belcourt Theater, Nashville TN
  • Bryn Mawr Film Institute, Bryn Mawr PA
  • Gene Siskel Center, Chicago IL

There are many other success stories. As members of the Art House Convergence—an industry group of more than 800 people who work in these types of institutions across the country—we have been afforded the expertise of the best in the field. These professionals have generously shared valuable information with us, including staffing plans, budgets, programming ideas and best practices. We have also been inspired by business models that exist in other parts of the world. Art house theaters are thriving in Europe, most notably in France, with innovations in programming and marketing that we plan to emulate.

The lobby lounge is being designed to be a welcoming place for the community, open to the street and serving all day. The pairing of food and cocktails with the film programming will also make it a portal for people to be exposed to what is going on in the theaters as well as a place for filmgoers to hang out and chat about what they have just seen. The lounge will also be available for private event rentals in conjunction with screenings. And Theater 5, the education center, is designed for flexible seating and will be available to community groups. The hope is to make the Upper West Side Cinema Center an anchor destination for the neighborhood as well as a magnet to bring more film lovers further uptown.

The best way to characterize the programming is to think about a very diverse film festival that runs 365 days a year. We anticipate our mix will include the types of films that used to play at the Lincoln Plaza, as well as the films that currently play at the IFC Center, Film Forum, Angelika Film Center, and others. We will show newly restored classic films, thematic festivals and first-run independent, international, documentary and art films. We intend to partner with existing film festivals so they can expand to uptown audiences and give them access to more seating capacity. We are already in discussions with the New York Film Festival, the Latin American Film Institute, Tribeca Film Festival, Reel Abilities Film Festival, New Directors New Films, the Woodstock Film Festival and others who are eager to partner with us.  We will also develop international partnerships to bring the best concepts and programs that festivals have to offer from around the world to the local audience.

Yes! One advantage of having multiple screens is the ability to mix and match programming to a variety of niche audiences. We hope to create a series of family-friendly films that might take place on weekend mornings or on specific holidays. We’re also planning a special program in a relaxed setting for parents and families with specific needs: weekday screenings with dimmed sound for parents on parental leave where they can bring their sleeping babies; screenings for toddlers with soft sound and lighting, allowing young viewers to move freely; and family-friendly screenings with lowered sound levels for children and teens with sensory sensitivities to loud noise.

Yes, though not at every screening. But when filmmakers are in NYC, we can be another stop for them to engage with their audiences. And at times when filmmakers are not available, we will engage experts on a particular subject to lead a discussion after some screenings. We are particularly plugged into Columbia University as a source for speakers and moderators from various departments. We also are planning to engage college students and senior citizens as volunteer docents who will introduce various screenings to be informative and create context.

New York City’s established cinemas currently offer very little, if any, educational programming that focuses on film as an artform or as a resource for intellectual and cultural enrichment. Based on model programs that exist in other cities, we plan on emphasizing this part of our mission and to play a leading role in this area. You can read more about this plan at the link: Education and Community