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BERLIN – Industry experts meeting at the European Film Market (EFM) in Berlin this week discussed the evolving challenges of film marketing in an era defined by fragmented attention spans, the dominance of social media, and the increasing influence of artificial intelligence. The discussion, held during a panel titled “Marketing That Works: Turning Change Into a New Advantage,” focused on adapting strategies to reach younger audiences and maintain the viability of European independent cinema.
Moderated by AC Coppens, founder of The Catalysts, the panel featured Marina Kosten, a senior fellow at USC Annenberg Center for the Digital Future. Adriana Trautman, a marketing strategist with experience at Paramount and Prime Video; and Oliver Fegan, co-founder and CEO of usheru, a marketing technology company operating in 30 countries. The conversation centered on shifting attention levels, the potential of AI tools, and the optimal balance between traditional and digital marketing approaches.
Kosten highlighted the growing scarcity of attention among younger viewers, stating, “Content is everywhere, and attention is increasingly a zero-sum game.” She noted that click-through rates averaging around 3% provide marketers with limited opportunities to engage potential audiences. The prevalence of second-screen usage and multitasking necessitates that campaigns quickly communicate not only the film’s content but also its availability – “where and when” it can be accessed, as clarity on these basic details significantly increases conversion rates.
Trautman cautioned against overreliance on emerging technologies and influencer marketing, asserting, “Just since you cast an influencer, it does not mean their audience will convert.” She underscored the continued effectiveness of traditional media – radio, television, and outdoor advertising – even as digital strategies take precedence. Both Kosten and Trautman emphasized the importance of experimentation, but only when grounded in a thorough understanding of the target audience.
Data presented by Fegan from usheru revealed a significant challenge in converting TikTok traffic into ticket purchases, with a conversion rate of just 0.1%. This suggests that mere exposure on the platform rarely translates into attendance. He stressed the need for original, immediately engaging content and the importance of retargeting – repeatedly approaching those who have shown interest but haven’t completed a purchase, often through automated, personalized messaging.
The panel also addressed the differences between European and US marketing landscapes. In the United States, mass marketing remains the dominant strategy, supported by significantly larger budgets. Fegan noted that a distributor might spend only €3,000 to market a film in France, necessitating a more targeted and relationship-focused approach. Kosten added that first-party data, collected through platforms like usheru or direct cinema websites, is crucial for understanding and owning audience relationships.
Artificial intelligence was discussed as a tool with both promise and potential pitfalls. Panellists agreed that AI can optimize targeting, automate content creation, and analyze audience behavior. Yet, they emphasized that creative storytelling should remain human-driven. “AI can identify trends, but it cannot replace the judgement of curators who understand why a film matters,” Kosten said. Fegan suggested structuring content to be both AI-readable and visually compelling, enabling search engines to surface films to potential audiences while preserving the narrative’s artistic integrity.
The discussion also turned to strategies for driving theatrical engagement. Trautman and Kosten both agreed that younger audiences will attend cinemas, but only for content specifically tailored to their interests. Fegan cited the example of K-Pop Demon Hunters, where communal viewing transformed into a live, interactive experience similar to a concert. Trautman observed, “They aren’t going for cinema itself; they’re going for connection with peers and shared fandoms.” This highlights the need for habit-building and sustained engagement, rather than relying solely on opening-weekend performance.
The importance of audience advocacy was also highlighted, with panellists agreeing that ticket buyers are often the most effective promoters. Trautman described campaigns where viewers who purchased tickets were encouraged to share content on WhatsApp or social media, resulting in high conversion rates. Fegan added that European campaigns benefit from smaller, tightly-knit communities on platforms like Discord or email lists, fostering sustainable engagement across multiple releases.
The panel concluded with a series of practical recommendations, including leveraging data for exploratory, comparative, and confirmatory research to refine campaigns. Retargeting, micro-content, and cross-platform synchronization should complement traditional marketing channels. The long-term sustainability of the industry, they argued, depends on cultivating new generations of cinema-goers and prioritizing theatrical-first windows. “The economics still favour theatrical-first strategies for independent content,” Kosten stated, “but only if the audience knows why, where and when to engage.”
