Indonesian Film Industry amidst the Covid-19 Pandemic:

An Observation on Sustainability Efforts

Anton Sutandio

English Department, Maranatha Christian University, Surya Sumantri 65, Bandung, Indonesia

Keywords: Indonesian Film Industry, Sustainability, Pandemic.

Abstract: This research presents an observation of the Indonesian film industry amidst the COVID-19 pandemic. The

pandemic has impacted the film industry such that film workers, from directors to theater ticket booth

attendants, have lost their jobs or suffered drastically reduced incomes. This research examines how the

Indonesian film industry has attempted to sustain production throughout the pandemic by any available

means. This research focuses on the various efforts and platforms of production that film workers and

communities have engaged in to keep the industry afloat. These efforts are categorized and interpreted to

show that although the pandemic has hit the industry hard, workers have found creative ways to survive and

sustain the industry, albeit barely in some cases. In the future, these various means of survival may ensure the

sustainability of the Indonesian film industry.

1 INTRODUCTION

This research investigates the challenges the

Indonesian film industry has faced during the

COVID-19 pandemic and the efforts to resolve these

challenges. Very few scholarly articles have explored

the Indonesian film industry during the pandemic,

and so most of the references used here are online

media reports. Mainstream Indonesian online media

platforms, such as Tribunnews, Kompas.com,

Detik.com, Kumparan, Liputan6.com, Katadata,

Republika, and MediaIndonesia, have reported on the

Indonesian film industry at least once during the

pandemic from various perspectives: that of directors,

actors, producers, movie theater owners, and general

film workers. The discussions presented in media

reports are generally short and simple, with a lack of

depth and analysis. Thus, this research attempts to fill

the academic gap regarding the discussion of this

issue in the Indonesian film industry.

The novelty of this research lies in the fact that it

is one of the first academic articles to address the

Indonesian film industry during the pandemic. As

such, the present research is vital to providing the

local and international public with credible

information about how the Indonesian film industry

https://orcid.org/0000-0001-9125-5938

is faring during the pandemic. As the pandemic is

ongoing, further research is required to present a

complete picture of the issue. This research will lay

the foundation for other scholars who wish to study

this situation.

The COVID-19 pandemic has severely impacted

many industries, including the film industry.

Globally, film productions, distributions, exhibitions,

and consumptions have been postponed or canceled.

Consequently, millions of film workers have lost their

jobs. Interestingly, the disaster genre (into which the

pandemic itself fits) has always been one of the best-

selling genres. According to Davis (2017),

“Pandemics are also a perennial subject of film,

television, literature and online games and pandemic

narratives travel across and blend the genres of

science fiction, alien invasion, and zombie horror.”

For instance, Soderbergh’s 2011 film Contagion

resembles today’s situation. The plot revolves around

a pandemic caused by a virus transmitted by

respiratory droplets, providing an eerie prediction that

came true in the form of COVID-19.

There is no instance of film production in which

workers can be guaranteed that they are 100% safe

from contracting the coronavirus on set. One can take

the case of Tom Hanks and his wife, Rita Wilson, who

contracted the coronavirus in early 2020 in Australia

504

Sutandio, A.

Indonesian Film Industry amidst the Covid-19 Pandemic: An Observation on Sustainability Efforts.

DOI: 10.5220/0010754900003112

In Proceedings of the 1st International Conference on Emerging Issues in Humanity Studies and Social Sciences (ICE-HUMS 2021), pages 504-511

ISBN: 978-989-758-604-0

when filming Luhrmann’s biopic on Elvis Presley.

Hanks was surprised when he and Rita were

diagnosed with the virus—as he stated in an

interview, “It was relatively early in Australia’s

response to the coronavirus, and they wanted us not

to give it to anyone else… [T]hat’s why we were in

lockdown” (Moreau, 2020).

When the Hollywood production line reopened, a

very strict (sometimes frustratingly so) health

protocol was implemented. For example, during the

production of the latest installment in the Mission

Impossible series, Tom Cruise lashed out at two

crewmembers who ignored the safety measures. He

does not regret it. “No apologies,” he said in an

interview. “You can tell it to the people that are losing

their homes because our industry is shut down. It’s

not going to put food on their table or pay for their

college education. That’s what I sleep with every

night. I’m beyond your apologies” (Saeed, 2020).

In Indonesia, Joko Anwar stated that about 30 film

productions were canceled by May 2020 (10

productions per month on average) (Al Farisi, 2020).

That trend translated to 100 canceled films by the end

of 2020 and a total loss of as much as 2 billion

rupiahs. The Indonesian Ministry of Tourism and

Creative Industry (Kemenparekraf) confirmed that

80% of the film industry stopped operating during the

pandemic (CNBC, 2020). Even worse, according to

Shanty Harmain, producer at Base Entertainment, the

Indonesian film industry had been experiencing

growth at a rate of about 20% per year (Azizah, 2020),

which was halted when the pandemic limited film

production.

Also, Lala Timothy, producer of Lifelike Picture,

explained that 90% of Indonesia’s film industry

workers are freelance workers (Firmansyah &

Pandamsari, 2020). If a job gets canceled, they

receive no income, as they do not enjoy the same

benefits as full-time workers.

Canceled productions also affect the distribution

line, exhibition, and consumption. The number of

films produced decreases, meaning that those

working along the distribution line will have no jobs

and movie theaters will have nothing to exhibit.

According to Filmindonesia.or.id. (n.d.), there are

343 movie theaters in Indonesia, most of which are

owned by Cinema XXI and CGV, followed by

Cinemaxx and other small companies.

In an interview, Dewinta Hutagaol, Cinema

XXI’s head of corporate communications and brand

management, stated that the pandemic is the worst

situation they have ever faced, as they had to close all

1182 of their movie screens (Tionardus, 2020).

Similarly, CGV closed all 397 of its movie screens,

and their 669 employees had to accept a 50% pay cut

(Aldin, 2020). Moreover, CGV has planned to

permanently close 30% of its movie screens to cover

losses incurred due to the pandemic (Kartikasari,

2020).

Consequently, the audience’s consumption

experiences have also changed. Movie theater

closures have driven the audience back to TV and, to

an even greater extent, to online and streaming

consumption—in the latter case, numbers are

growing exponentially all around the world. One

study shows that, in Germany, the “young audience

has returned to Public Service Television, mainly

because they find reliable news there. Nevertheless,

streaming services are increasing their subscription

numbers” (Mikos, 2020). Similar perceptions are

present elsewhere. For example, Alexia Quadrani,

head of the U.S. media equity research for J.P.

Morgan (2020), believes that “a permanent shift has

taken place across the industry from a linear platform

to a digital platform.”

Furthermore, a study by Nielsen focused on North

Asian countries (Japan, South Korea, Hong Kong,

Mainland China, and Taiwan) shows similar trends

(i.e., increased TV viewing, extensive use of social

media for conversing with others, the growth of new

apps that support an indoor lifestyle, and overly

cautious advertising) (J.P Morgan, 2020). Nielsen’s

study on the Indonesian audience’s consumption

across 11 major cities also presents growing numbers

of TV viewers during the pandemic (Lubis, 2020).

Such findings align with the results of a study

showing increases in the public’s use of mass media,

social media, and messenger services during the

pandemic. The researchers claim that “the motivation

to seek entertainment and comparison had a bigger

influence on the increase in media use during the

crisis. We argue that this might relate to the high level

of fear and stress related to the impact of the

pandemic” (Rochyadi-Reetz et al., 2020).

Moreover, Budi Irawanto, chairperson of the

Jogja-NETPAC Asian Film Festival (JAFF)—as well

as a lecturer in the Faculty of Communication Science

and the Faculty of Social and Political Sciences at

Universitas Gadjah Mada—states that companies like

Netflix and GoPlay have experienced an increase in

their numbers of subscribers. Specifically, Netflix

experienced an increase of 15.8 million paid

subscribers from around January to March 2020,

while GoPlay reported that the time spent on the

platform increased tenfold during the pandemic

compared to before the pandemic (Fisipol, 2020).

The issues mentioned above related to the line of

film production, distribution, exhibition, and

Indonesian Film Industry amidst the Covid-19 Pandemic: An Observation on Sustainability Efforts

505

consumption are the background on which this

research discussion is based. Through observation

and research, the present work will explore how the

Indonesian film industry is struggling to overcome

and survive the current unprecedented situation.

2 RESEARCH METHODS

This research follows a qualitative. As very few

academic works have discussed the status of the

Indonesian film industry during the pandemic, most

references used in this research are taken from local

and international online media reports published

between March 2020 and April 2021. In total, this

study uses 12 local online media sources as

references: Tribunnews, Kompas.com,

Katadata.com, Lifestyle.com, Republika,

CNBCIndonesia, Lokadata, Kumparan, Detik.com,

MediaIndonesia, AntaraNews, and Liputan6.com. As

these mainstream online media sources have large

readerships, they are assumed to represent the

Indonesian media in general regarding the Indonesian

film industry’s situation during the pandemic.

In addition to these online media sources, this

research also refers to some academic articles and a

local website specializing in Indonesian film

(filmindonesia.or.id). This research also uses some

international online entertainment-based media

sources, such as Rolling Stone and Variety, to

compare how the film industry has fared globally

during the pandemic. Additionally, the current study

references international online survey media sources

such as J.P. Morgan, Marketwatch, and Nielsen to

support the research.

All collected data are categorized, observed, and

analyzed to understand the condition of the

Indonesian film industry from various points of view,

including the viewpoints of producers, film workers,

actors, and directors. The international references are

used to compare the Indonesian film industry to the

film industries of other countries—especially the

U.S., which is considered the mecca of the global film

industry. This comparison shows how the Indonesian

and global film industries have faced similar

problems despite their unique characteristics. If

people learn from each other’s efforts to sustain the

industry, everyone in the industry will benefit from

these efforts.

The Indonesian film ecosystem has seven aspects:

creation, production, distribution, exhibition,

audience literacy and appreciation, music and film

education, and film archiving. However, due to the

limitations and scope of the present research, this

research will focus on three aspects—namely,

production, distribution, and exhibition—as well as

one additional aspect (i.e., consumption).

The local online media references are broken

down as follows: six sources related to production,

four sources related to distribution, six sources related

to exhibition, and three sources related to

consumption. By observing and interpreting the

situation before and during the pandemic for each

aspect, this article attempts to show what the

Indonesian film industry will be like after the

pandemic. Hopefully, the observations and analysis

of the data will provide readers with adequate

information on the Indonesian film industry’s status

during the pandemic.

3 RESULTS AND DISCUSSION

If the film industry is to survive, film production, as

the business core of the industry, needs to develop a

production strategy that is suitable for the current

pandemic situation. In Indonesia, film production has

slowly resumed with great caution, as most film

production processes involve keeping many people

confined in a small space for a long time. Producers’

creativity is challenged as they think of ways to create

safe working environments.

To support the sustainability effort in the film

industry, Kemenparekraf issued a document policy in

July 2020 entitled “An Implementation Guide on

Hygiene, Health, Safety, and Environmental

Sustainability for the Creative Economy Sector.” The

report provides detailed technical tips for film

production. For example, the only time an actor

cannot wear a mask is when he/she is in a shot. Also,

touch-up makeup should be done applied by the actor

him/herself rather than having a makeup crew;

similarly, actors are encouraged to bring and use

his/her own makeup. Distancing, regular disinfecting,

creating partitions, and other innovations are also

practiced to maximize the protection of all

crewmembers.

Health protocols are also essential to film

production during the pandemic. However, the cost of

adapting to the new health protocol in film production

is high, according to Angga Dwimas Sasongko, CEO

and founder of Visinema Pictures. He urges film

companies to allocate health budgets to ensure the

safety of workers (Putrialvita, 2020). The safety of all

crewmembers must always be the first priority in any

film production process.

In an interview, Hikmat Darmawan, a member of

the Jakarta Arts Council Film Committee, states that

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production houses should not depend solely on ticket

sales for income and that they should re-write their

business model to cope with the new condition. He

proposes four survival strategies for production

houses. The first is to produce low-budget drama

films that can be streamed on the over-the-top (OTT)

service. The second is to produce animation films, as

their production does not require large groups of

people to gather in small spaces. The third is to not

depend on big-budget box office movies. The fourth

strategy is to restore old films. These strategies may

not generate massive amounts of income, but

Darmawan believes that these options are much better

than traditional strategies (Rachman, 2021).

Another interesting occurrence observed during

the pandemic is that the lack of new local and

international films has benefitted the production of

old and independent films, which are currently in

demand as the best way to fulfill the audience’s thirst

for new films. Short films such as Lemantun (2014),

Natalan (2015), KTP (2016), Singsot (2016), Balik ke

Jakarta (2017), Tilik (2018), and Unbaedah (2019)

suddenly went viral on social media during the

pandemic (Ramdhani, 2020). This phenomenon, if

maintained, can be turned into a positive long-term

trend. The pandemic has made the general audience

aware that there are many high-quality films that are

not produced by big movie companies with big

budgets.

Technology transformation can also be used to

produce films during the pandemic. Lukman Sardi, a

senior Indonesian actor, states that technology such

as cellphones can open up new spaces for young

filmmakers to work with tools that are common in

everyday life and that the limitations imposed by the

pandemic can boost filmmakers’ creativity

(Dwinanda, 2020).

Similarly, Garin Nugroho mentions a ‘vertical

cinema,’ by which smartphones frame daily routines

from a vertical orientation. He says that it is fun to

make short films using a smartphone in a vertical

framing, as it brings a sense of adventure to the

composition, blocking, and angles taken from a

different perspective (Nugroho, 2021). Indeed,

vertical cinema has risen along with the development

of the cellphone culture in the second decade of the

21st century (Pratiwi, 2021). X&Y, a virtual cinema

film produced by Studio Antelope, went viral,

generating 120.000 within the first ten days of its

release. This phenomenon offers a promising avenue

for filmmakers to explore the extent of vertical

cinema in the future, especially considering that

almost everyone owns a cellphone.

Hanung Bramantyo, an Indonesian director, made

a short video on a cellphone with his children during

the Indonesian large-scale social restriction and

shared it on a video-sharing site. The film

unexpectedly went viral, gaining more than 700

thousand viewers and eventually even drawing

sponsors (Laraspati, 2020). Bramantyo says that

sometimes creativity arises during crises.

Apart from cellphone use, the growing use of

conference applications such as Zoom has also

enabled filmmakers to produce films without

breaking the health protocol. For example, Rob

Savage’s Host was remotely produced in England

during the lockdown, as the entire movie was filmed

using the Zoom conference call application. In an

interview, Savage states that “it was not a pandemic

movie. It was a lockdown movie. It was more about

isolation” (Ehrlich, 2020). Some YouTubers applied

the same strategy in their viral video Unsubscribe.

Some Indonesian independent filmmakers

produced similar films that do not go as viral as the

two titles above. For example, the 2020 short film

Sepuluh Meter was a collaboration between Cerita

Films and OCBC NISP dealing with the

psychological challenges people face during the

pandemic. The entire production was carried out over

three weeks at home utilizing various social media

applications such as conference applications,

Instagram, and internet browsers (Kumparan, 2020).

This shows that limitations imposed on film

production do not mean that film production

completely stops. The examples above show that

technology transformation is one way to overcome

production limitations. By using non-traditional

gadgets, filmmakers can produce films, although

there is no guarantee that their films will be

commercially successful. The underlying point is that

the goal of filmmaking during the pandemic is not to

instantly make a profit but to explore new ways to

safely produce films that encourage and entertain the

audience.

The second and third stages of film production are

distribution and exhibition. Film distribution,

especially for independent filmmakers, has always

been—and remains to be—a struggle. It is expensive

to distribute films in Indonesia, and distributors do

not support independent films from unknown

producers or film houses (Arifianto & Junaedi, 2014).

Also, small film companies cannot meet all of the

requirements that distributors have in place. Thus,

independent filmmakers distribute their films through

non-mainstream channels such as local (usually city-

based) film festivals, film communities, and colleges

or universities.

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The film industry at large could consider

following this distribution strategy to sustain itself,

though they cannot expect huge profits if they do.

Platform transformation is central to this strategy.

Due to the restrictions placed on social gatherings,

such as going to cinemas or film festivals, the only

truly safe way to distribute and exhibit films is

through online digital platforms. All around the

world, selling the films to the OTT service is one

option for the producers to maintain a money flow

even though the revenue is lower than that achieved

through movie theater ticket sales. This is especially

the case for films with high budgets.

Some producers chose to delay the release of new

films instead of selling the films through the OTT

platform, especially when the films have excellent

box-office potential. These producers believe that

movie theaters are irreplaceable, a sentiment that is

shared by well-known director Joko Anwar. For

instance, MD Pictures has delayed the release of

KKN di Desa Penari, which they believe will be a

great box-office success. Similarly, Paragon Pictures

has delayed the releases of Backstage and Losmen Bu

Broto, while Dee Company has delayed the release of

its high-budget film Makmun 2 (Andriani, 2021).

About six months after closing their doors in

March 2020, movie theaters around the world tried to

welcome back moviegoers by following a strict health

protocol. The limited audience intake did not generate

sufficient income for the theater owners and workers,

but it is at least a start for them and the beginning of

a new moviegoing experience.

For instance, on August 21, 2020, the U.S.

National Association of Theater Owners, in

collaboration with the CDC, released CinemaSafe, a

set of voluntary health and safety guidelines for

theater owners. Similar guidance was provided in

Indonesia as an e-leaflet on August 28, 2020 (see

Image 1), released by KPC PEN (Komite

Penanganan COVID-19 dan Pemulihan Ekonomi

Nasional (“Committee for Handling COVID-19 and

the National Economic Recovery”)).

Although movie theaters were gradually allowed

to reopen in November 2020, some movie theater

chains decided to boost their income by giving their

theaters new uses other than only watching films.

According to Djonny Sjafruddin, the chairperson of

the Association of Indonesian Cinema Companies, it

will take six to 12 months for movie theater chains to

recover after reopening (kompas.com, 2020). In

December 2020, Cinema XXI chains announced that

the public can rent spaces to hold seminars. Dewinta

Hutagaol, Head of corporate communication and

brand management at Cinema XXI, stated that the

innovation was implemented before the pandemic to

cover their losses due to the ongoing closures of

movie theaters (Kusuma, 2020).

On a similar note, CGV chains now rent their

movie theaters for various purposes—such as private

screenings, seminars, performances, sporting events,

and even gaming—with rates ranging from Rp.

750.000 (around USD 50) to Rp. 1.750.000 (around

USD 120) per room (Lova, 2021). Moreover,

Cinépolis rents its movie theaters for

family/individual film screenings and birthday parties

(Yuniar, 2020).

Some people question of whether movie theaters

will survive, even after the pandemic is over. Most of

the people in the film industry believe that movie

theaters will withstand the current struggle (and any

future struggles that may arise). An article in Market

Watch states that “in the end, our emotional

attachment to moviegoing will fuel a recovery from

2020’s coronavirus-driven slump” (Linnane, 2020).

After movie theaters were reopened, the Indonesian

government, through the Ministry of Tourism and

Creative Economy, was active in promoting the

return-to-the-cinema movement by emphasizing the

safety and convenience of watching films during the

pandemic on account of the strict health protocols that

were put in place (Andaresta, 2021).

The audience’s consumption and watching

behavior have clearly changed. However, movie

theater closures do not mean that the audience has

stopped watching films altogether—the emergence of

streaming platforms and OTT services as convenient

alternatives to the moviegoing experience are

primarily responsible. The number of platform

streaming services has risen in recent years, with

Netflix, Disney+ Hotstar, HBO, Go, and Prime Video

leading the way among many other options.

This change in consumer behavior did not happen

instantly during the pandemic but over the past two

decades, according to the World Economic Forum.

During this time, the economic performance of

conventional film businesses has declined, while

video on demand (VOD) services have increased their

revenue (Krisdamarjati, n.d.). These trends indicate

that digital platforms are slowly but surely taking

over the conventional market. Nevertheless, as noted

earlier, those in the film industry maintain their belief

that movie theaters will never be replaced.

Adrian Jonathan Pasaribu, a film critic from

Cinema Poetica, has explained that the migration of

the audience to digital platforms has both positive and

negative impacts. One positive impact is that the

Indonesian audience is now exposed to a greater

diversity of Indonesian films than ever before, as

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streaming platforms have opened the audience’s eyes

to many local films that they might have otherwise

missed. Moreover, film festivals, which used to be

attended by small groups of avid moviegoers, are now

flooded with audiences who watch the films online.

Negative impacts include the loss of the communal

nature of moviegoing and the threat to the livelihood

of movie theater employees and film exhibitors

(Winata, 2021).

During this difficult situation for the Indonesian

film industry, the Indonesian government, through

the Film, Music and New Media Directory of the

Cultural General Directorate, led some activities to

sustain the life of the film industry. These include (1)

drafting and issuing health protocols; (2)

implementing the School from Home Program in

TVRI (Indonesian National Television); (3)

presenting an online masterclass/workshop on

filmmaking; (4) introducing the Pandemic Recording

Program, (5) Film Service Program, (6) Government

Assistance Program: Appreciation for the Cultural

Workers Affected by COVID-19, and (7) Indonesian

Films Program; (8) engaging in collaborative film

screening with the Indonesian Embassy in Morocco

and Vietnam in the context of celebrating diplomatic

relations; (9) organizing and supporting film festivals,

(10) encouraging documentary film production, and

(11) facilitating film review competitions.

4 CONCLUSIONS

The COVID-19 pandemic that spread globally in

early 2020 has hit the film industry hard everywhere,

including in Indonesia, as film industry chains—from

production to consumption—were abruptly halted.

Many film workers lost their jobs, especially in

countries like Indonesia, where the film industry is

not as well-established as in other areas such as

Hollywood.

The pandemic has brought about unprecedented

challenges to the film industry. For instance, film

companies cannot produce films due to social

distancing regulations—even when production is

allowed, strict health proposals bring about other

problems such as additional budgets and limits on the

number of people involved.

Decreased film production, in turn, affects the

distribution link in the chain. With a small number of

films produced and the widespread closing of movie

theaters, distribution has almost completely stopped.

Furthermore, big film companies do not want to sell

their big-budgeted films to the OTT platform, as they

expect to profit much more from screening their films

in movie theaters. However, some films eventually

were streamed on the OTT platform to ensure

companies’ sustainability while they wait for the

situation to return to normal.

Regarding the exhibition part of the chain, movie

theater closures throughout the world pose another

problem to movie theater owners. Their income has

completely stopped while they continue to maintain

empty movie theaters and pay their employees.

Moreover, when movie theaters have been allowed to

reopen, the capacity has been cut to half (or less),

making it very difficult for movie theaters to bounce

back from the pandemic.

Casual and avid moviegoers alike are also

affected by this situation. They no longer feel a

communal atmosphere when they go to the movie

theaters with their friends or family, in which they

used to laugh or cry together in the darkness of the

theater. The pandemic situation has changed the

audience’s behavior, especially with the rapid growth

of Netflix, Disney+, HBO Go, and many other digital

platforms. These new platforms have become both an

opportunity and a threat for movie theater owners.

The observations presented here show that the

global film industry, particularly the Indonesian film

industry, has come up with creative survival

strategies. The government plays a crucial role in

deciding the fate of the industry. The Indonesian

government, led by the minister of tourism and

creative economy, has organized several activities to

keep the industry going. These include distributing

social grants among affected film workers and

hosting film festivals that can encourage filmmakers

to keep producing films despite the challenging

conditions.

The pandemic has brought the creativity out of

many filmmakers. Filmmakers have improvised by

making films using inexpensive instruments such as

mobile phones and online meeting applications like

Zoom. Scriptwriters must also push the limits of their

creativity to write stories that can be filmed without

the need to gather large numbers of people. Animated

films represent another option, as they do not require

large film crews.

In the context of distribution, platform

transformation has become the most common

strategy followed by film producers. By shifting the

distribution to the online or OTT platform, film

companies have managed to stay alive despite losses

in revenue. The rise of online services has given film

producers a choice regarding where they wish to

show their films. The situation also minimizes the

chance that one or two online platforms will dominate

the industry. Film companies can also re-sell their old

Indonesian Film Industry amidst the Covid-19 Pandemic: An Observation on Sustainability Efforts

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films to online services, which is difficult to do via

traditional film distribution methods.

A common strategy to sustain movie theaters is to

re-purpose them. For example, some Indonesian

movie theater chains rent spaces for birthday parties,

seminars, meetings, or conventional film screenings.

The reopening of some movie theaters in Indonesia

has relieved cinema owners even though they are not

yet allowed to operate at full capacity. Other

strategies to help movie theaters include strict health

protocols and encouragement from the government

for people to return to movie theaters.

The pandemic has also affected consumers’ film-

watching behaviors. With the movie theaters closing

and films halting production, the audience has been

forced to look for other options, from conventional

TV programs to digital movie platforms. Research

shows that digital platforms have become the most

preferred option for viewing movies throughout the

world, as the consumers can choose what, when, and

where they watch films without the hassle of leaving

their homes and buying tickets. While this

phenomenon reflects a bleak future for the film

industry, many film workers believe that movie

theaters are irreplaceable because they offer things

that the digital platform cannot offer (e.g., a

communal feeling, collective responses to what

happens on screen, the giant screens and state-of-the-

art audio systems, and, of course, the smell of

popcorn.

The present research shows that the

unprecedented challenges faced by the film industry

have resulted in unprecedented efforts and strategies

to ensure its sustainability. Difficulties have fostered

extraordinary creativity and previously unheard-of

filmmaking techniques. I believe that the film

industry will always find a way to survive, no matter

what is thrown at it. I encourage everyone to go to

movie theaters and contribute to the sustainability of

the industry.

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