Should Italy rethink its film distribution?

The ways in which art films are distributed in Italy are a recurring topic of discussion. Films belonging to this genre typically have very limited distribution due to the kind of economy they operate in. This is regardless of whether the film is successful or not. Contrary to conventional wisdom, the more sophisticated and uniquely styled a film is, the more challenging it is to find in theaters. These films inherently have low commercial potential, directly impacting their distribution and duration in cinemas. In Europe, most art cinema is produced at a loss, relying on public funds and grants. This approach works because the film's potential audience does not directly affect its individual economic standing. In Italy, funds are sometimes allocated based on critical success or international relevance. This allows significant budgets for talented filmmakers with a niche audience, theoretically ensuring financial support.

How the distribution of art films works

Cinema schedules are typically planned well in advance, making it challenging to add unexpected films or extend the screening of films with poor audience response, despite their quality. Art films, even those acclaimed internationally, have limited distribution because they naturally appeal to a smaller audience, albeit a more "sophisticated" one. The decision to release these films in a limited number of theaters is influenced by several factors. Distributors evaluate the film's potential and refer to the director's previous box office history. However, distributing in a limited number of theaters inevitably leads to low box office returns, creating a small vicious circle from which it is not guaranteed to escape once labeled as art film directors. In general, the distribution logic aims to find the right number of theaters to potentially fill them all and for the right duration. However, this is not an exact science. Regarding art films, they tend to be distributed – by their nature – in fewer theaters than the film's potential, aiming to fill cinemas as much as possible, hoping that word of mouth will increase the number of copies distributed the following weekend.

When art films manage to emerge

For most films, the highest box office revenue is generated during the first weekend of release. Commercial films typically perform better during the weekend, while niche films gain traction throughout the week. It is rare for a film's revenue to increase or remain stable between the first and second weekends, usually attributed to successful word of mouth. In contrast, revenue usually decreases progressively, leading to a reduction in available theaters. This was the case at the beginning of the journey for La chimera, a film by Alice Rohrwacher that exemplifies the gap between art films and the limited distribution they undergo. The film had initially premiered in over 100 theaters across Italy, but by the second weekend, the number had halved due to poor box office results, despite the recognized quality of the production and the director's international importance, comparable to Sorrentino abroad. Through a series of strategies, the theaters showing La chimera increased to 76, and the film reached the fifth position in the Italian Box Office rankings. Part of the credit goes to the fact that Alice Rohrwacher and the film's lead, Josh O’Connor, known for The Crown, were hosted in some cinemas, especially in major cities, introducing the screening. This formula works well for art films in general, benefiting from a loyal fan base capable of influencing distribution dynamics and promoting word of mouth.