Europa Cinemas Gets Animated

For the first time, Europa Cinemas had invited 24 cinema exhibitors from 14 countries (see list below) to discover the Annecy festival and market in order to gain a better understanding of the animation film industry. A full day, entitled the Europa Cinemas Annecy Interactive Workshop, was devoted to participants’ experiences with animated films, their target audiences, and initiatives already in place or yet to be devised. Here is a look back at a day rich in discussion.

Véronique Encrenaz, director of the Annecy market (MIFA), welcomed the day’s participants with the following words: ‘It was our wish here in Annecy to welcome European cinema exhibitors. We started a few years ago with the AFCAE, initially for French exhibitors only. We need you. It’s not always easy when you’re not very familiar with the world of animation. At MIFA, we organise events to support films right from the start, even before they go into production, when they’re still just an idea. We wanted to show you all the stages involved in producing an animated film, starting with pitch sessions, work-in-progress sessions and funding sessions.’ For her part, Fatima Djoumer, CEO of Europa Cinemas, added: ‘We’ve noticed that across Europe, there are disparities in the way these animated films reach cinemas. Not all films have the same potential. There are 24 of you taking part in this workshop. We therefore wish to explore ways of working more effectively with animated films, what practices to adopt, and what initiatives to launch.’

Before getting to the heart of the matter, Catherine Lemaire of Kinograph/Cineflagey in Brussels, Belgium – who also acted as master of ceremonies throughout the day – took the opportunity to provide an overview of the state of animated cinema worldwide, and in Europe in particular. Citing a study by the European Audiovisual Observatory, she said: ‘Worldwide, around 190 animated films are released in cinemas. Of course, this is an average. What is interesting is that this figure shows a clear recovery since the end of the pandemic. More animated films are being released, and consequently there are more cinema admissions. There were 775 million admissions in 2019, compared with 885 million in 2024. Animated films account for around 8% of releases, with a minimum of 1,000 admissions. US films account for only 8% of the total, but they generate 64 per cent of the overall box office in this sector, which comes as no surprise. Europe accounts for 5 per cent of this box office. Last year, the only European film to feature in the Top 20 animated films was ‘Flow’, with 7 million admissions. By comparison, ‘Ne Zha 2’ (328 million) and the roughly 200 million for ‘Zootopia 2’. Within the European market, the five strongest markets (55%) are France, Germany, Spain, Turkey and the United Kingdom. 42% of European animated films are major co-productions (compared with 27% for live-action films), representing an average of 61 films. Europe accounts for 22% of global admissions for animated films. In France, for example, according to figures from the CNC, animation accounted for 19.4% of admissions in 2025.’ As for the figures from the Europa Cinemas network for the 2024–2025 period, ‘30% of films are animated, accounting for 12% of total admissions and 10% of box-office takings – which is not much when you consider that there are many children’s ticket prices. To take the example of ‘Flow’, it ranked second within the Europa Cinemas network and tenth in Europe as a whole.’

Workshops comprising several randomly formed groups provided an initial opportunity to reflect on the challenges posed by animated film. A group comprising exhibitors from Denmark, Finland, Belgium and the Netherlands raised the following points: ‘It is difficult to captivate adult audiences with animation. We believe we should focus our efforts on teenagers. For example, in Caen, France, there’s a ‘happy hour’ for teenagers.’ And: ’Access to films is complicated in Finland and Denmark. And we’re struggling to attract children and teenagers, as well as their parents. There may also be a stereotype surrounding animation, suggesting it only has films like ‘The Little Mermaid’ to offer.’ Another group comprising exhibitors from the Czech Republic, Spain and Germany, said : ‘Gen Z is the hardest demographic to attract. They have grown up with VOD and Netflix; they are active on Letterboxd, which is a vibrant film community. They often go to the cinema. They enjoy various genres, including animation. However, we have a problem with distribution. If we can get hold of films with subtitles, then we will be able to work in this niche.’ A third group (France, Ireland, Spain), added: ‘Attracting adult audiences to animated films is a major challenge. Subtitling and dubbing also present challenges. For example, it is difficult to attract children to a rather adult animated film that is subtitled. Some films do not work in certain territories for cultural reasons. For example, ‘Little Amélie or the Character of Rain’ was a hit in France, but not in Spain. For French cinema operators, the AFCAE’s surprise preview screening is a real opportunity. I don’t know of a single cinema where it hasn’t worked. Once a month, the cinema chooses a film and screens it. Whenever we can, we opt for animated films because they work well. We organise events around these screenings.’ Catherine Lemaire concluded this presentation by highlighting the benefits of the Cineville unlimited pass, which is available in a number of European countries, as well as the ‘Collaborate to Innovate’ programme developed by Europa Cinemas.

A session devoted to programming explored a number of points. The independent film ‘Arco’ served as a starting point for discussing feedback from cinema operators. ‘We work very little with distributors such as Warner, Disney and Universal’, said Simon Blondeau from the cinema L’Atalante in Bayonne, France. ‘We have chosen to focus on arthouse films. For us, Arco is one of the films of the year. The distributor, Diaphana, does not specialise in animation. The film was released during the holidays at the end of October 2025. The distributor announced very early on that it would be a mixed release (aimed at families and young audiences). It was labelled as an arthouse film. We published a printed programme which also featured the Palme d’Or. We included a description of the film suitable for all audiences. It ran for around ten weeks, with 42 screenings and six screenings for school groups. We used Facebook and promotional materials provided by the distributor; we also have a film club that got involved with the film. ‘Arco’ was our ninth film of 2025, with 2,500 admissions, approximately €13,000 in takings, and an average ticket price of €5.17.’ Chloé Prud’homme from the Cinéma LUX in Caen, France, added: ‘To mark the film’s release, we scheduled a morning screening, which usually attracts a variety of audiences. We organised a workshop for younger children on optical illusions to coincide with the release. We also organised a screening at the University of Caen to reach a student audience. The screening was accompanied by a blind test in partnership with a local student radio station. We kept the film on the programme for several weeks, showing it at various times throughout the day to reach the widest possible audience. We also included it in our ‘Enfants des cinés’ festival in December.’

Programming strategies were then discussed. Lada Zabenska (Kino Aero, Prague, Czech Republic), in charge of the children’s screenings across all five cinemas of the cinema chain, started this session. She said: ‘For children, we select films with educational value. We encourage distributors to provide us with material specifically aimed at this audience, and we do the same ourselves. We also promote films in schools through Q&As and workshops on animation in classrooms. For families, we run a film series called Little Eyes every weekend, in the mornings and afternoons. We also organise an annual festival, also called Little Eyes. For expats, there are screenings in English. We hold the Ghibli licence for the Czech Republic. Animated films appeal to all generations. Even for older people during the holidays. Grandparents come with their grandchildren. And we don’t forget screenings for neurodivergent people. Adults love animated films too: we run evening film series. We screen classic films as well as recent ones, such as ‘Arco’. We offer both subtitled and dubbed versions. As a distributor, we need specific films for specific audiences. When we like a film, we go for it. We secure exclusive licences for our cinemas only. We can do this because we have several cinemas. This was the case with Dean Fleischer Camp’s’Marcel the Shell with the Shoes On’, for example. The key point to remember is that all this is possible thanks to our Head of Programming, Jiří Flígl, who previously worked for public television. He specialises in animated content for both children and adults. There is a great deal of trust between the audience and us.’ David Kelly (Lighthouse Cinema, Dublin, Ireland) followed: ‘We are located in the north of Dublin, home to film enthusiasts, students and the LGBTQ+ community. Our programme is varied, featuring numerous preview screenings and festivals of all kinds, including the Dublin International Film Festival. We have developed a dedicated programme for family films. We make sure our staff watch the films in advance so they can better engage with young audiences. Of course, we organise workshops for children. ‘Flow’ was a huge hit with us.’ As for Anne-Laure Louvet (Galeries Cinema, Brussels, Belgium), she gave a detailed account of the Ghibli retrospective, which was a resounding success. 

After the lunch break, a new session was dedicated to marketing and communication strategies: how to find and engage the audience with animation? Hanneke Van den Hoogen (Forum Groningen, Groningen, the Netherlands) explained: I’m a programmer for young audiences. Forum Groningen is also a library and a museum. Animation isn’t a niche for us. The important thing is to know your audience. 20 % of the population in Groningen are students. The average age in the city is 36, the lowest in the Netherlands. There is a large international community. This audience is interested in storytelling and cross-media, which suits animation perfectly. We create ecosystems around animation all year round. At the museum, of course, and every week we screen new animated films as well as programmes in partnership with the Kaboom Animation Festival in Amsterdam. Every month, there are Q&A sessions, and once a year we hold our Framed festival, which is entirely dedicated to animation over four days. This festival kicks off with a day devoted to the industry, featuring masterclasses that connect industry professionals with local students. […] Our communications aren’t aimed solely at animation fans. We always try to reach out to other audiences. We have a strong visual identity that is evident in our newsletters, social media and website. Our 10-storey building, complete with a rooftop, is very popular, attracting three million visitors a year. We created these ecosystems five years ago, and they’re working very well.’

Then, Pia Bechtle, Senior Education Officer, Eye Film Institute, Amsterdam, The Netherlands, introduced the Cinemini Europe network. ‘Cinemini Europe is a European network with partners such as the Eye Filmmuseum. It attracts 10,000 participants a year. There are many adults involved with children. We’re talking about teachers, educators, grandparents, parents, and so on. To reach the children, you first need to reach the adults. Teachers need resources that parents may not necessarily require. Cinemini can be children’s first cinema experience, presented in a fun and very accessible way. As every country in Europe is different, culturally speaking, we cannot have a one-size-fits-all approach. It must be adapted to each country. Cinemini is free. The films come from all over the world. We provide cinemas and teachers with user guides to make the experience as straightforward as possible. We run online training sessions for this purpose. At Cinemini, we’re not interested in quantity, just quality. We have around thirty carefully selected short films. We know they go down well with audiences.’

Reaching new audiences and attracting new ones is the mission of Ciarda Torbin of the Irish Film Institute in Dublin, Ireland. She outlined an ongoing programme designed to achieve this. ‘The programme was launched a year and a half ago. It aims to enrich the Irish film scene. It is a programme aimed at 15–19-year-olds to help them broaden their horizons. This age group corresponds to a period when teenagers have more time to go to the cinema with their school, welcome filmmakers into the classroom, and start thinking about a future career. It is not just about going to the cinema, but about nurturing the talent of tomorrow. Recent initiatives have included an animation festival in Cork, which brought together directors, animators and a panel of students, as well as a screening and discussion of the film ‘Sauvages’ during a French film festival. It is essential that students are exposed to all aspects of the film industry. We carry out surveys among them to understand their expectations as closely as possible and to create opportunities. There is also a cinema loyalty card for under-25s, launched last year, of which 7,500 have been sold.’

One of the most eagerly awaited talks of the day was that given by Pierre Mazars, one of the co-founders of the French international sales company Charades, whose catalogue sometimes includes animated films. He said: ‘Animation is not a genre. Labelling these films as such keeps them trapped in a straitjacket. A film like ‘I Lost My Body’ is a thousand times more intelligent than a live-action film, yet we tend to confine it to the category of ‘cartoon’. It infuriates me that in 2026 this compartmentalisation still exists. At Charades, we refuse to label films as ‘animation’. We have dramas, family films – but no ‘animation’. I think we need to continue along this path. The evolution of cinema in this competition with streaming platforms involves a battle for talent. We need to put directors back at the heart of the creative process. Those who make animated films have just as much to say as anyone else. At Charades, we see ourselves as a team serving talent. As for exports, we find ourselves faced with tense geopolitical situations or cultural environments that prevent films from circulating. For example, ‘Arco’ cannot be sold in Russia because it features a rainbow flag, a symbol of the LGBTQ+ community. Markets such as China, South-East Asia and the Middle East are also difficult to reach. I believe the solution lies in producing more cost-effectively and using artificial intelligence to speed up the process. Animation takes a long time to produce’. When asked by a participant who regretted having difficulty accessing animated films for adults, Mazars cited a recent example: ‘For example, for ‘In Waves’, which was at the Cannes Film Festival, we received just one offer: from Netflix. No other traditional distributor wanted it. Netflix doesn’t have the impression of destroying this market. There are plenty of other animated films for adults available. I know it’s a complicated market, and I support cinema operators in their struggle.’

The day concluded with a talk by Clémentine Robach from Studio 43 in Dunkirk, France. This cinema specialises in tailoring its programme – and its auditoriums – to young audiences. She detailed: ‘I coordinate the workshops at this three-screen cinema, which was refurbished in 2023. We took this opportunity to redesign our cinema to accommodate workshops and live performances. The ‘Plateau’ auditorium is a hybrid space that can be adapted to suit our needs. It is a screening room that can be transformed into a film set. There is also an area with tiered seating facing each other. We run dubbing and sound effects workshops to help the public understand the different stages of film production. We run language and cinema workshops for primary and nursery school children to create an audiobook and record themselves. Other workshops include dubbing and improvisation, and podcasts. For young audiences, we have the ‘Toiles Filantes’ scheme: together with cinemas across the Dunkirk conurbation, we agree on four high-quality films for young audiences and commit to screening them alongside a fun workshop. We run Family Nights featuring an animated film for 8–12-year-olds, Pyjama Nights for 3–6-year-olds, ‘43 Tours’ Nights for 3–6-year-olds with a film and an introductory music session, Halloween Nights, ‘Cinéversaire’ events, and the ‘Table Mashup’, which allows children to edit footage live. As for the ‘Anouk Présente…’ programme, developed with the charity ‘De la suite dans les images’, it provides children with background information before the films are screened. The ‘Tadam’ programme works with partner secondary schools on specific issues: they choose between two films, which the pupils watch at Studio 43 and then discuss. Their reactions are filmed.’

Fatima Djoumer had the final word: ‘A great deal was discussed during this successful day. If the partnership is renewed, we need to start thinking now about how it will be organised next year.’ A participant suggested the following: ‘It might be a good idea to share this event next time with colleagues from the Europa Cinemas network who were unable to attend, particularly via video conference.’

Participants:

Workshop leader: Catherine Lemaire (Kinograph/Cineflagey, Brussels, Belgium)

Speaker: Pierre Mazars (Charades, Paris, France)

Workshop Participants: Pia Bechtle (Eye Filmmuseum, Amsterdam, Netherlands), Frédérique Blanchin (Eidos La Muse, Bressols, France), Katarzyna Błażewicz (Kino Pionier 1907, Szczecin, Poland), Simon Blondeau (L’Atalante, Bayonne, France), Eva Buchmann (Wolf Kino, Berlin, Germany), Raluca Bugnar (Cinema Victoria Cluj, Cluj-Napoca, Romania), Matthias Damm (Casablanca Filmkunsttheater Nürnberg, Nürnberg, Germany), Luz Delgado (Cine Van Dyck, Salamanca, Spain), Angela Heras Garceau (Cines Broadway & Cines Manhattan, Valladolid, Spain), David Kelly (Light House Cinema, Dublin, Ireland), Tamás Liszka (Budapest Film, Budapest, Hungary), Anne-Laure Louvet (Cinema Galeries, Brussels, Belgium), Lucie Philippe (Plaza Arthouse Cinema, Mons, Belgium), Chloé Prud’homme (Cinéma LUX, Caen, France), Emma Rautala (Kino Kilta, Turku, Finland), Christos Ringas (Athinea, Athens, Greece), Clémentine Robach (Studio 43, Dunkirk, France), Stella Skiba (New Horizons Cinema, Wrocław, Poland), Wilhelm Theil (FILMCLUB, Bolzano, Italy), Ciarda Tobin (Irish Film Institute, Dublin, Ireland), Hanneke Van den Hoogen (Forum Groningen, Groningen, Netherlands), Sophie Louise Worning (Grand Teatret & Gloria Biograf, Copenhagen Denmark), Lada Zabenská (Kino Aero, Prague, Czech Republic)

Europa Cinemas Team: Fatima Djoumer (CEO, Paris, France), Jean-Baptiste Selliez (Coordinator France, Deputy Coordinator MEDIA, Paris, France), Lisa Püscher (International Event Coordinator, Paris, France)

Writing: Vincent Leleurch