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4 luni 3 saptamini si 2 zile4 Months 3 Weeks & 2 Days

BELGIUM RELEASE

19 SEPT. 2007

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Which market for a Palme d’Or?TITLE BRUSSELS BELGIUM   FRANCE  

Ratio BEL/FR

Farenheit 9/11 (Michael Moore - 2004) 97.783 337.917   2.369.621   14%

The Pianist (Roman Polanski 2002) 39.885 178.248   1.775.310   10%

Secrets and Lies (Mike Leigh - 1996) 64.750 163.837   1.471.933   11%

Dancer in the Dark (Lars von Trier - 1996) 40.074 138.484   1.166.150   12%

The Wind the Shakes the Barley (Ken Loach - 2006) 20.658 79.505   907.836   9%

Elephant (Gus Vans Sant - 2003) 21.506 71.169   711.099   10%

Stanza del figlio (Nanni Moretti - 2001) 25.155 64.179   791.637   8%

The Taste of Cherry (Abbas Kiarostami - 1997) 7.408 14.000   161.507   9%

Eternity and a day (Theo Angelopoulos - 1998) 6.113 12.647   168.323   8%

The Eel (Shohei Immamura - 1997) 4.375 11.115   236.750   5%

Rosetta (L & JP Dardenne - 1999) 47.191 184.157   708.171   26%

L'Enfant (L & JP Dardenne - 2005) 29.553 163.249   376.933   43%

AVERAGE :   11%

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Assessing the potential audienceCONS

• Film for very « arthouse », sophisticated audiences;

• Radical directing, no music, sequence-length shots;

• Hard to sell subject matter: « The story of an abortion in communist Romania »

• Not a comedy

CONSERVATIVE GOAL: 15.000 admissions, release in art houses theaters only – 7 prints maximum

PROS

• The strong support from the press could enable a deeper exhibition

• The new wave of Romanian cinema has been acknowedged thanks to previous releases

• A storyline that anyone can relate to: « How far would you go for your friend ?»

• THRILLER

OPTIMISTIC GOAL: 30.000 admissions, release in arthouse and selected multiplexes – 15 prints minimum.

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Theater combinationArthouse vs. Multiplexes: 2 objectives, 19 prints

1. Being present in the arthouse circuit

2. Offering the film to a wider audience

Flanders Brussels WalloniaUGC-Antwerpen

Cartoon’s

UGC-Toison d’Or

Vendôme

UGC-De Brouckère

Arenberg

Liège: Parc/Churchill

Louvain-la-Neuve: UGC

Gent:Studio Skoop Mons : Plaza Art

Leuven : Studio Tournai: Imagix

Kortrijk: Buda Namur: Cameo

Brugge : Lumière LUXEMBURG

Utopia

Charleroi: Le Parc

Mechelen: Utopolis Rixensart: Ciné-Centre

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Abortion vs. Friendship

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France

The Netherlands

Italy, Romania

Belgium, Luxemburg

Which poster?

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Press, advertising & promotion

• Press campaign:– Targeting cultural, women and medical press– Interviews with director Cristian Mungiu

• Previews– Brussels BOZAR: 1700 spectators, 900 paying

• Advertising:– Printed press, radio and TV– Postering in Brussels and Antwerpen– Internet mini website + teasing + newsletter

TOTAL P&A BUDGET: 79.268 € (4.172 €/print)

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Working with theaters

BEFORE THE RELEASE (4 weeks or more)• Displays and posters

– Light Boxes (only in multiplexes)– Banners (approx. 2,5 x 3 to 4m)– Quick banners (200 x 80cm)

• Trailers (80 in total)

ON RELEASE DATE AND AFTER• Stills• Press clips

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0

500

1000

1500

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2500

3000

3500

4000

4500

5000

TOTAL ADMISSIONS FIRST 6 WEEKS:

31.686 ARTHOUSES14 prints (66%)

MULTIPLEXES5 prints (34%)

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Forecast results at end of career

TITLE BELGIUM   FRANCE  Ratio

BEL/FR

Farenheit 9/11 (Michael Moore - 2004) 337.917   2.369.621   14%

The Pianist (Roman Polanski 2002) 178.248   1.775.310   10%

Secrets and Lies (Mike Leigh - 1996) 163.837   1.471.933   11%

Dancer in the Dark (Lars von Trier - 1996) 138.484   1.166.150   12%

The Wind the Shakes the Barley (Ken Loach - 2006) 79.505   907.836   9%

Elephant (Gus Vans Sant - 2003) 71.169   711.099   10%

Stanza del figlio (Nanni Moretti - 2001) 64.179   791.637   8%

4 MONTHS 3 WEEKS & 2 DAYS 45.000 350.000 13%

The Taste of Cherry (Abbas Kiarostami - 1997) 14.000   161.507   9%

Eternity and a day (Theo Angelopoulos - 1998) 12.647   168.323   8%

The Eel (Shohei Immamura - 1997) 11.115   236.750   5%

AVERAGE :   11%

Rosetta (L & JP Dardenne - 1999) 184.157   708.171   26%

L'Enfant (L & JP Dardenne - 2005) 163.249   376.933   43%

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What could be improved…• The importance of equipement

– Technology shouldn’t belong only to multiplexes– Digital cinema must come to arthouses

• Working on a longer term– Trailers should run for more than 4 weeks before the release– Commitment to program a film for a longer period (in exchange for less

daily shows?)• The importance of branding

– Theaters’ programming choices should be reflected at all levels• The use of internet

– Developing a relationship with customers through subscription policy– Hyperlinks between distributor’s website and exhibitors website– Teasing campaigns to arouse interest before release– Test screenings for targeted subscribers …in cooperation with distributors !

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4 luni 3 saptamini si 2 zile4 Months 3 Weeks & 2 Days

TO BE CONTINUED…