{"id":1532,"date":"2026-09-21T14:47:38","date_gmt":"2026-09-21T14:47:38","guid":{"rendered":"https:\/\/tbpanews.com\/canadian-film-booking-practices\/"},"modified":"2026-09-21T14:47:38","modified_gmt":"2026-09-21T14:47:38","slug":"canadian-film-booking-practices","status":"publish","type":"post","link":"https:\/\/tbpanews.com\/fr\/canadian-film-booking-practices\/","title":{"rendered":"Independent Cinemas Call on Major Studios to Loosen Booking Grip So Canadian Films Can Reach Wider Audiences"},"content":{"rendered":"

A Structural Squeeze on Canadian Stories<\/h2>\n<\/p>\n

Independent cinemas account for just 16 per cent of Canada’s total box office \u2014 yet they deliver 60 per cent of box office revenue for Canadian films. That striking imbalance sits at the heart of a new push by an industry group to reform the booking practices that its members say are crowding domestic movies off the schedule.<\/p>\n<\/p>\n

The Network of Independent Canadian Exhibitors (NICE)<\/strong>, which represents 140 independent film exhibitors across the country, is calling on major international studios to abandon a contracting practice it argues systematically disadvantages small theatres trying to program Canadian content alongside mainstream blockbusters.<\/p>\n<\/p>\n

How Full-Show Commitments Work<\/h2>\n<\/p>\n

The practice at issue is known in the industry as a “full-show commitment”<\/strong> or “clean run.”<\/strong> Under this arrangement, a studio agrees to license its film to a cinema only on the condition that every available time slot on a given screen is dedicated exclusively to that one title \u2014 for a set period that can stretch as long as four weeks.<\/p>\n<\/p>\n

For a multiplex with a dozen screens, this is manageable. For a small-town independent cinema with one or two screens, the math is punishing. Every week locked into a studio blockbuster is a week in which a Canadian film, a regional documentary, or a local arts-community screening simply cannot happen.<\/p>\n<\/p>\n

Sonya Yokota William, who founded NICE and serves as its director, is direct about the consequence: “Canadian films are routinely the films that miss out.”<\/strong><\/p>\n<\/p>\n

What the Data Shows<\/h2>\n<\/p>\n

NICE’s findings emerged from a survey of 16 member theatres over a seven-week period. Researchers cross-referenced which Canadian films were released during that window against which titles those theatres actually screened, producing a concrete picture of where domestic cinema disappears from the schedule and why.<\/p>\n<\/p>\n

Yokota William describes full-show commitments as the “starkest structural problem”<\/strong> the survey uncovered. But she and her colleagues were careful to note that it was not the most commonly cited reason independent cinemas gave for not programming Canadian films. The top two reasons exhibitors reported were:<\/p>\n<\/p>\n

<\/p>\n<\/p>\n

Full-show commitments compound both of those problems. When a studio’s tentpole title locks down a screen for weeks at a stretch, it leaves no opening for a Canadian film to build word-of-mouth, even if a programmer is willing and the audience curious.<\/p>\n<\/p>\n

The Zone System: A Second Layer of Exclusion<\/h2>\n<\/p>\n

Full-show commitments are not the only structural barrier NICE identifies. The group also targets what is known in the Canadian exhibition industry as the “zone system”<\/strong> \u2014 an informal but widely observed business practice under which a larger cinema located near an independent theatre can effectively block that indie from booking certain films.<\/p>\n<\/p>\n

The zone system is unwritten and largely invisible to audiences, but its effects are real: independent theatres in communities served by a nearby multiplex may find themselves unable to program the very Canadian films their audiences want to see, not because of any formal rule, but because of an industry norm that has calcified over decades.<\/p>\n<\/p>\n

NICE argues that neither full-show commitments nor zone-system exclusions should ever be permitted to prevent a Canadian film from reaching a screen. The group points to international film markets where regulators have intervened more forcefully to level the playing field for independent exhibitors, and suggests Canada examine those models closely.<\/p>\n<\/p>\n

Small-Town Cinemas Caught in the Middle<\/h2>\n<\/p>\n

Yokota William is careful not to frame the issue as a simple choice between booking blockbusters and booking Canadian films. The independent cinemas NICE represents are not art-house venues in major urban centres that can afford to ignore studio tentpoles. Many are single-screen or twin-screen operations in smaller communities, and they serve a genuine social function: connecting their neighbourhoods to the broader cultural conversation.<\/p>\n<\/p>\n

“You might think to yourself, oh well, these cinemas can just decide not to book these big films with full-show commitments,” Yokota William said. “But the cinemas that we’re talking about are really the small-town cinemas \u2014 connecting their neighbourhood to the greater zeitgeist, to the big film that’s coming out. And so it is very important for them also to be bringing in these films \u2014 but we also really think we need to create more room for Canadian films.”<\/p>\n<\/p>\n

That tension \u2014 between commercial survival and cultural mandate \u2014 is precisely what makes the full-show commitment so difficult to simply opt out of. A small cinema that refuses a studio’s terms risks losing the revenue that keeps its lights on. A small cinema that accepts those terms risks becoming, in effect, a satellite outlet for Hollywood rather than a window onto Canadian storytelling.<\/p>\n<\/p>\n

The Distribution Side of the Problem<\/h2>\n<\/p>\n

The challenges NICE describes do not begin at the theatre door. Canadian distributors face their own uphill climb getting domestic films noticed by exhibitors in the first place, which is why the visibility gap \u2014 programmers not having heard of a Canadian film \u2014 ranks among the top barriers in NICE’s survey.<\/p>\n<\/p>\n

Hilary Hart, co-president of Canadian distributor Game Theory Films<\/strong>, told CBC News that her company uses the Canadian Movie Marketplace<\/strong> \u2014 a platform designed to connect distributors with independent exhibitors \u2014 to get the word out about new titles. Hart said she is grateful for NICE’s work developing the system and hopes it will evolve into a “centralized hub for exhibitors over time.”<\/strong><\/p>\n<\/p>\n

The Marketplace represents one practical, industry-driven response to the visibility problem. Whether it can scale fast enough to meaningfully shift how Canadian films move through the exhibition ecosystem remains an open question.<\/p>\n<\/p>\n

Studios and Government Remain Silent<\/h2>\n<\/p>\n

The Motion Picture Association \u2013 Canada<\/strong>, which represents the major studios whose booking practices NICE is challenging \u2014 among them Disney, Netflix, Paramount, Prime Video and Amazon MGM Studios, Sony, Universal, and Warner Bros. Discovery \u2014 did not respond to a request for comment from CBC News.<\/p>\n<\/p>\n

CBC News also contacted the Department of Canadian Heritage<\/strong>, the federal body responsible for the Canadian Feature Film Policy, to ask whether any regulatory updates were planned. The department did not respond.<\/p>\n<\/p>\n

The silence from both sides of the institutional ledger leaves NICE in the position of pushing for voluntary reform from studios that have little obvious incentive to offer it, while waiting to see whether the federal government treats exhibition policy as a priority worth acting on. For the independent cinemas caught between those two forces, the scheduling pressures \u2014 and the Canadian films that disappear because of them \u2014 are not abstract. They are this week’s programme.<\/p>","protected":false},"excerpt":{"rendered":"

A Structural Squeeze on Canadian Stories Independent cinemas account for just 16 per cent of Canada’s total box office \u2014 yet they deliver 60 per cent of box office revenue for Canadian films. That striking imbalance sits at the heart of a new push by an industry group to reform the booking practices that its […]<\/p>\n","protected":false},"author":3,"featured_media":1531,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[51,37],"tags":[],"class_list":["post-1532","post","type-post","status-publish","format-standard","has-post-thumbnail","category-entertainment","category-news"],"yoast_head":"\nIndependent Cinemas Fight Studios Over Canadian Film Bookings<\/title>\n<meta name=\"description\" content=\"Independent cinemas demand studios loosen booking practices that squeeze Canadian films off schedules. 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