CinemaCon August 2026 Vendor Spotlight: American International Concession Products, Corp.

Interview with American International Concession Products, Corp. (AICP)

Headquarters: Charlotte, NC

Interviewee: Stephen Sciortino, VP of Sales & Owner

How would you describe AICP and its role in theatrical exhibition?

American International Concession Products, Corp. (AICP) provides strategic sales solutions tailored to the movie theatre and alternative entertainment channels. We partner with leading CPG brands to drive distribution, optimize product assortments, and deliver data-driven analysis backed by tremendous industry knowledge and category expertise. We design and build customized single-line queue solutions that help our customers improve flow, enhance the guest experience, and drive revenue and profit. Additionally, we offer premium blankets to create incremental revenue opportunities for our operator partners 

What’s new at your company this year?

One of the biggest highlights for AICP this year has been the continued expansion of our single-line queue solutions, where we not only design but also build customized systems that help operators improve guest flow while driving measurable revenue and profit growth. 

Did you launch or showcase anything new at CinemaCon 2026?

Yes, at CinemaCon 2026 debuted new CPG brands from one of our industry-leading partners, expanding the portfolio of proven products available to theatre operators. We’re also continuing to evolve our single-line queue solutions, showcasing new ways our customized designs help operators enhance the guest experience while driving incremental revenue and profit. We’re excited to connect with partners and demonstrate how these innovations create measurable impact at the theatre level.  

What recent innovations or projects are you most excited for?

Yes, we’re actively engaged in multiple initiatives with Cinema United members, including our ongoing partnerships with NCG Cinemas and Santikos Entertainment. Our customized single-line queue solutions have been implemented across numerous locations within both circuits, with continued expansion in progress. These installations are designed to optimize concession flow, elevate the guest experience, and generate measurable revenue and profit growth for our theatre partners. 

How does your company engage with local communities – either where you’re headquartered or in partnership with cinema exhibitors across the country?

We support and engage local communities and exhibitors by partnering closely with theatre operators to implement solutions that enhance both operational performance and the overall guest experience. Through customized single-line queue installations, curated CPG assortments, and incremental revenue programs like premium blankets, we help exhibitors strengthen their financial performance while better serving their local audiences. 

What industry trends are shaping your work right now?

Right now, our work is being shaped by evolving consumer preferences and the need for theatres to maximize every guest interaction. Trending CPG products — especially recognizable, high-velocity brands — continue to drive excitement and incremental spend at concession. At the same time, operators are increasingly open to new revenue streams, such as premium blankets, that enhance comfort while generating incremental profit. Equally important is helping our theatre partners understand the power of impulse purchasing. By implementing customized single-line queue systems, we create controlled, high-visibility merchandising environments that naturally encourage add-on purchases, increasing per-cap revenue while improving traffic flow and the overall guest experience.

How is your company helping cinema operators evolve?

AICP helps cinema operators evolve by combining strategic product partnerships with operational innovation. We introduce high-performing, recognizable CPG brands that drive incremental concession revenue while using data-driven analysis and deep industry knowledge to optimize assortments and performance. At the same time, we design and build customized single-line queue systems that improve traffic flow, create structured impulse-buying opportunities, and increase per-cap spend. By also developing new revenue streams — such as premium blankets, we help operators enhance the guest experience while strengthening overall profitability in an increasingly competitive entertainment landscape.

What makes your company or team unique?

What truly sets our team apart is our genuine, hands-on commitment to our customers. We prioritize exceptional service and focus on delivering solutions that create real, measurable value for each operator we partner with. Our approach is built on trust, responsiveness, and long-term relationship building, ensuring that our customers view us not just as a vendor, but as a strategic partner invested in their success. 

How long have you participated in CinemaCon, and what keeps you coming back?

AICP has proudly participated in CinemaCon since the very beginning, dating back to the Showest days at Bally’s. Our longstanding involvement reflects our deep commitment to the exhibition industry and the relationships that drive it. We continue to come back each year because we strongly believe in the importance of this conference, what it represents for our industry, the collaboration it fosters, and the meaningful connections it creates with our partners. CinemaCon remains an essential platform for innovation, alignment, and strengthening the future of theatrical exhibition.

Where can members connect with AICP online?

Cinema United Leadership Issues Joint Letter to State AGs and Paramount

Dear Attorney General Bonta and Mr. Ellison,

We are writing to you in our capacity as the leadership of Cinema United, the world’s largest trade organization representing the global theatrical exhibition business. We write to encourage you both to meet in the immediate future and discuss all possible avenues for resolving the state of California’s pending challenge to Paramount’s proposed acquisition of Warner Bros. Discovery.

Theatrical exhibition is a Main Street industry. A night at the cinema not only benefits the movie studios and theatre owners, but it also benefits nearby restaurants, coffee shops, bars and shopping frequented by moviegoers. From family-owned independent theatres to vibrant mid-size circuits to the world’s largest theatre chains, Cinema United members are cultural and economic drivers in communities across this great nation. Our members have been partnering with Paramount and Warner Bros. for over a century to provide movie fans of all ages with the unparalleled experience of a movie on the big screen. We look forward to strengthening and growing that proud tradition for generations to come. Movie theatres are also undeniably a part of the fabric of this nation. In just the twelve states represented in the litigation we have 196 members doing business. The majority of those are independent or family-owned theatres: 130 operate fewer than ten screens; 90, with less than five screens; and 30 of those members operate single-screen theatres.

Our industry is familiar with the impact of legacy studio consolidation on moviegoers and exhibition, and those facts are well documented. As a result, all relevant parties understand the enduring value of the theatrical experience not only to our culture, but to the overall economy and the financial success of films themselves. At the same time, we have remained open to tangible and enforceable guardrails that can offer our industry some measure of certainty in the face of an evolving and otherwise challenging future. That is why we have engaged, in good faith, with both the coalition of State Attorneys General and Paramount.

As you both know, we believe any resolution of the current situation must ensure four core elements, which are essential to the long-term strength of the entertainment industry:

  • A long-term commitment to maintain or expand wide-release theatrical movie production that is supported by a meaningful period of theatrical exclusivity, fully marketed, and promoted in theatres of all sizes.
  • Provisions ensuring that the merger will not cause an increase in rental terms, so that theatre owners, and in turn, moviegoers, do not bear the brunt of the cost of this transaction, particularly independent theatres across the United States.
  • Enforceable safeguards to ensure broad access to films for moviegoers and theatres of all sizes that is not conditioned on requirements that impede theatre owners from making business decisions that are responsive to their communities’ preferences and the broader marketplace realities that many theatre owners face today.
  • And finally, continued access, under reasonable conditions and precedents, to the valuable and vast film catalogues of both Paramount and Warner Bros.

Today, our industry has the wind at its back. Studio partners are creating and distributing extraordinary films. Audiences across generations are responding with enthusiasm. Theatre owners are continuing to reinvest in their cinemas and build remarkable experiences for moviegoers. Movies are once again at the center of our shared culture. But none of that can be taken for granted. Global exhibition believes in a bold future for this industry, but reaching our full potential requires working together.

For many in our industry, the current environment is marked by disruption and uncertainty. That is why we believe that it is incumbent upon both of you to meet in good faith to discuss a resolution that would provide robust protections and serve the entire industry. In fact, it is the next logical step. Our goal remains a resolution that puts this industry on a positive path to continued success, not just in the near-term, but for generations to come. As has been the case since the outset, we stand ready to assist in any way we can. However, we urge you both to take the steps necessary to explore a meaningful resolution of the current situation as soon as possible.

Sincerely,

Michael O’Leary
President & CEO, Cinema United
Washington, DC

Mike Bowers (Chair of the Board)
President & CEO, Harkins Theatres
Scottsdale, AZ

Wanda Gierhart (Vice Chair)
EVP & Chief Marketing and Content Officer, Cinemark USA, Inc.
Plano, TX

Rob Lehman (Treasurer)
President & COO, Santikos Entertainment
San Antonio, TX

Bo Chambliss (Secretary)
President, Georgia Theatre Company
Saint Simons Island, GA

Eduardo Acuna
CEO, Regal Entertainment Group
Knoxville, TN

Robert Bagby
President & CEO, B&B Theatres
Liberty, MO

Becky Dupuis
CEO/Owner, Polson Theatres, Inc.
Polson, MT

Eddy Duquenne
CEO, Kinepolis Group
Ghent, Belgium

Sean Gamble
President & CEO, Cinemark USA, Inc.
Plano, TX

Paul Gunsky
President & CEO, CineLux Theatres
San Jose, CA

John Henrich
General Counsel, Regal Entertainment Group
Knoxville, TN

Ellis Jacob
President & CEO, Cineplex Entertainment LP
Toronto, ON, Canada

Greg Marcus
Chairman, President & CEO, Marcus Theatres
Milwaukee, WI

Lauren McChesney
Co-Owner, Shankweiler’s Drive-In
Orefield, PA

Todd Vradenburg
President & CEO, Cinema Association of CA/NV
Los Angeles, CA

Phil Zacheretti
Founder, President & CEO, Phoenix Theatres Entertainment
Knoxville, TN

Cinema United Celebrates Record-Breaking Domestic Box Office Weekend

Official statement from Michael O’Leary, President and CEO of Cinema United:

“Moviegoers across generations made this weekend one for the record books. Our industry is at its best when there is something for everyone to see on the big screen, and this year we are seeing what happens when the innovation and creativity on display in amazing movie theatres across the country and around the world is combined with a great slate of films.”

From Variety: A powerful one-two punch from “Spider-Man: Brand New Day” and “The Odyssey” has fueled the biggest collective weekend in box office history, with roughly $430 million across all movies in the marketplace.

Prior to this, the top three weekends were led by “Avengers: Endgame” ($402 million collectively), 2018’s “Avengers: Infinity War” ($314 million collectively) and 2015’s “Star Wars: The Force Awakens” ($313 million collectively). It’s a particularly exciting benchmark for the recently married Tom Holland and Zendaya, who star in “Spider-Man: Brand New Day” and “The Odyssey.”

CinemaCon July 2026 Vendor Spotlight: GDC Technology

Interview with GDC Technology America, LLC 

Headquarters: Los Angeles, CA

Interviewee: Tony Adamson, Senior Vice President 

How would you describe GDC Technology and its role in theatrical exhibition?

GDC Technology is a total digital cinema solutions provider and system integrator. GDC proudly develops, manufactures, and sells a range of cinema media servers suitable for both projectors and LED cinema displays. Our offerings also include reliable content storage systems, high-quality cinema audio processors, and comprehensive cinema enterprise software, such as theatre management and advanced automation systems, all designed to serve the global cinema industry. GDC is a licensee of the DTS Surround and DTS:X with IAB, the object-based immersive sound technology from DTS, Inc., for the development of its media servers and cinema audio processors. 

What’s new at your company this year?

We had two major highlights at CinemaCon 2026. First, the world’s first All-in-One Media Server for seamless 2D/3D HDR and HFR playback; used in 70% of LED cinemas worldwide (as of Jan 2026). Second GDC launched its new 64-channel DTS:X for IAB Cinema Processors. It’s pioneering technology for PLF auditoriums, offering moviegoers an immersive, emotionally rich listening experience. 

What industry trends are shaping your work right now?

At GDC, our work is shaped by several major industry trends that are transforming the cinema experience. The most exciting trend we’re seeing is the shift towards HDR LED screens. It’s an inspiring development that’s captivating everyone’s attention. Using our media server technology and LED cinema solutions, we are directly addressing the industry’s need for improved image quality, higher-quality audio, greater efficiency, greater flexibility, and consumer-focused experiences. 

How is your company helping cinema operators evolve?

At GDC, we assist cinema operators in evolving by providing advanced LED cinema solutions and DCI-certified media servers that deliver premium visual experiences audiences can’t get at home. Our intelligent automation suite allows remote circuit management, lowering costs and reducing downtime. We transform auditoriums into flexible entertainment centers for concerts, esports, and events, boosting revenue throughout the year. With real-time monitoring and energy-efficient LED technology, we enable operators to deliver flawless performances, minimize their carbon footprint, and foster sustainable growth in a rapidly changing industry. 

What makes your company or team unique?

At GDC, we’re truly proud of what makes us special: our strong dedication to dependability and nurturing long-lasting relationships. With over 25 years of experience in the industry, we go beyond simply selling technology—we invest in building meaningful connections with exhibitors all around the world. Our focus on customer needs drives innovative solutions that address real operational challenges, and our global presence means you always have local support. Above all, we are passionate movie-lovers ourselves, inspired by a genuine love for cinema. This blend of enterprise-strength reliability, personalized care, and shared enthusiasm for the big screen makes us more than just a vendor—we’re your trusted partner. 

How long have you participated in CinemaCon, and what keeps you coming back?

At GDC, we’ve been proudly participating in CinemaCon for over ten years as key sponsors. What makes us feel so excited to return each year is the wonderful chance to connect face-to-face with our global cinema family. It’s a special place where we listen to exhibitors, learn about their changing needs, and reveal innovative solutions that help shape the future of movie exhibitions. Most importantly, CinemaCon is a joyful celebration of our shared love for the moviegoing experience. It’s a cherished tradition that reaffirms our dedication to supporting a lively and thriving cinema industry every year. 

Where can members connect with GDC online?

  • LinkedIn: @GDCTechnologyLimited @TricornePremiumLED
  • Instagram @gdctechnology
  • Other linkedin: http://linkedin.com/company/gdc-technology @gdc-technology

CinemaCon June 2026 Vendor Spotlight: C. Cretors and Company

Interview with C. Cretors and Company

Headquarters: Wood Dale, IL

Interviewee: Shelly Olesen, Vice President Sales and Marketing 

How would you describe C. Cretors and Company and its role in theatrical exhibition?

In 1893 Charles Cretors’ imagination led to an invention, the first commercial popcorn machine. That invention brought innovations that led to an industry. As a fifth-generation family-owned USA manufacturer, we’re proud we revolutionized the concessions industry and continue to lead in that space today Whether we’re inventing the popcorn machine or perfecting the hot dog grill, you can find our technical innovation in everything from food service equipment to food processing systems. 

What’s new at your company this year?

C. Cretors and Company is celebrating its 140th year of innovation in popcorn and concession equipment throughout 2026. The company is commemorating the milestone with special events and initiatives, including an anniversary celebration held at its Wood Dale, Illinois headquarters in May 2026.

Did you launch or showcase anything new at CinemaCon 2026?

At CinemaCon 2026, we showcased several new innovations, including energy-saving induction-heated popcorn machines, self-serve dispensing technology, and a hot dog roller grill featuring patent-pending removable rollers designed for easier and more efficient cleaning.

How does your company engage with local communities – either near your headquarters or in partnership with cinema exhibitors across the country?

Cretors equipment can be found in more than 150 countries, reflecting the company’s reputation for reliable engineering and serviceability. To ensure customers get the most from their machines, Cretors offers hands-on factory technical training, onsite training, and even a Snack Foods Processing short course at Texas A&M. At its Wood Dale, Illinois headquarters, Cretors hosts factory tours and educational visits, providing local students and community groups with insight into food production, manufacturing, and entrepreneurship. These initiatives demonstrate Cretors’ commitment to both global partnerships and local community engagement. 

How is your company helping cinema operators evolve?

We listen to their needs and help find solutions. Our success has always come from blending tradition with forward-thinking design. Honoring the past and engineering the future! 

How long have you participated in CinemaCon, and what keeps you coming back?

Cretors has been exhibiting at CinemaCon since the first show in 2011. Prior to CinemaCon we exhibited at ShoWest starting in 1976, at Showrama in the late 1960’s and early 1970’s and the Theatre Owners of America convention starting in 1948. There is no better way to keep your thumb on the pulse of the industry. 

Where can members connect with Cretors online?

CinemaCon May 2026 Vendor Spotlight: Moving iMage Technologies

Interview with Moving iMage Technologies

Headquarters:  Fountain Valley, CA

Interviewee: Francois Godfrey, President, Chief Operational Officer 

How would you describe Moving iMage Technologies (MiT) and its role in theatrical exhibition?

Moving iMage Technologies manufactures, designs, and installs complete cinema presentation systems. We manufacture automation systems, dimmers, LED lighting, and projector pedestals, and as the owner of the DCS Digital Cinema Speaker line, we design scalable audio solutions built for Premium Large Format and immersive environments. Working alongside leading projection and technology partners, MiT delivers fully integrated systems engineered to perform. 

What’s new at your company this year?

The defining milestone for MiT this year was the full asset acquisition of the DCS/Digital Cinema Speaker line from QSC. The transaction included inventory, manufacturing relationships, tooling, and global supply chain infrastructure. We have onboarded warehouses in California, the Netherlands, and China and are actively replenishing inventory to support the thousands of DCS installations worldwide. Our focus is to protect the installed base while positioning the brand for long-term growth in premium and immersive cinema environments. 

Did you launch or showcase anything new at CinemaCon 2026?

CinemaCon 2026 marked the first official presentation of the DCS portfolio under MiT stewardship. We showcased the complete product family, including SC screen channels, SR surrounds, SB subwoofers, and RMS reference monitors, engineered to support everything from high-output Premium Large Format auditoriums to precision-driven 5.1 and 7.1 environments. These are the products you know, the performance you’ve heard, trusted worldwide, now backed by MiT’s focused commitment to cinema. 

Is there a notable project, partnership, or installation involving a Cinema United member? 

MiT recently upgraded four Alamo Drafthouse Cinema locations in Texas with Barco SP4K laser projectors, HDR by Barco, and Dolby Atmos immersive audio systems, along with integrated MiT solutions including projector pedestals, automation, and power conditioning.  

How does your company engage with local communities – either where you’re headquartered or in partnership with cinema exhibitors across the country?

We support exhibitors by building long-term partnerships. Every circuit has its own goals and market pressures, so we work collaboratively to align technology decisions with their brand and business strategy. By working across leading projection, audio, and infrastructure partners, we give exhibitors flexibility while delivering systems they can rely on. 

What industry trends are shaping your work right now?

Premium Large Format and immersive audio continue to drive investment across the industry. At the same time, many exhibitors are transitioning from xenon to laser projection and using remodel cycles, such as adding recliners or replacing seating, as an opportunity to upgrade audio systems as well. When an auditorium is already down for renovation, it often makes sense to elevate both picture and sound performance together. These modernization efforts reflect rising audience expectations for clarity, impact, and overall presentation quality.  

What makes your company or team unique?

Cinema is a specialized business that requires specialized focus. We are large enough to meet the demands of modern exhibition, yet focused enough to remain anchored in cinema. Because our business is built around theatrical presentation, we stay aligned with the long-term needs of exhibitors rather than chasing adjacent markets. That focus allows us to support circuits with solutions designed specifically for cinema performance today and for the future. 

How long have you participated in CinemaCon, and what keeps you coming back?

Moving iMage Technologies has participated in CinemaCon since our inception in 2003. CinemaCon remains the central gathering point for exhibition leadership, innovation, and partnership. It is where the industry aligns around its future, and it continues to be an essential platform for meaningful dialogue with exhibitors around the world. 

Where can members connect with MiT online?

TikTok and Cinema United Release New Report Focused On Platform’s Positive Impact on Moviegoing

Built By Fandom Report Finds that Sustained TikTok Engagement Consistently Predicts Stronger Box Office Holds Across Genres, Release Sizes, and Audience Types

LAS VEGAS (April 14, 2026) – TikTok and Cinema United today released Built By Fandom: How TikTok Audiences Are Powering Modern Theatrical Success, a new report examining how engagement on TikTok correlates with theatrical performance. Developed with box office data from Comscore, the report finds that TikTok activity is not just a measure of cultural buzz; it is a leading indicator of box office staying power.

“This report reinforces what we know to be true: that moviegoing is a cultural experience that resonates deeply with audiences,” says Michael O’Leary, President and CEO of Cinema United. “The data shows that when films connect with communities on TikTok, people come to theatres. That is good for our members, good for Main Streets around the world, and good for the movie industry.”

Across four films representing a deliberate cross-section of the modern theatrical landscape—The Housemaid, Sinners, Wicked: For Good, and Zootopia 2—the report identifies a consistent pattern: as TikTok engagement grew week-over-week, so did box office receipts. The findings hold across a thriller based on a best-selling book; a singular genre-bending film that weaves together culture, music, family, and the supernatural; the epic conclusion of a global cinematic cultural sensation; and a record-breaking animated feature sequel, strengthening the case that the dynamic is not genre-specific and the marketplace succeeds when there is something for everyone.

“This report underscores that fandom on TikTok isn’t just a cultural force; it’s a business driver. When audiences discover a film on the platform, they don’t just watch it—they participate, create, share, and show up in person,” says Dennis Papirowski, Global Head of Entertainment and News at TikTok. “Our global FilmTok community has a unique ability to mobilize that passion into real, measurable momentum, and we’re proud to partner with exhibitors and studios to keep translating that energy into audiences in seats.”

The results are striking. Sinners posted the best second-weekend hold of any wide release in 2025, dropping just 5%, following a 459% surge in TikTok posts during its first week and an additional  7% increase the next week. The Housemaid earned more in its second week than its first—a rare outcome—as TikTok activity rose 13%. Wicked: For Good peaked at nearly 60,000 TikTok posts per day, more than any other 2025 film measured. Zootopia 2 saw TikTok posts surge 163% in its second week, adding $58 million domestically as fan conversation continued to build long after opening weekend.

For exhibitors, the report offers something beyond marketing insight with actionable intelligence for programming decisions. By using TikTok momentum as an indicator, theatre operators gain an additional data point for hold decisions, identifying which films are building audiences beyond opening weekend.

The report also highlights TikTok’s role earlier in the funnel. According to surveys conducted by TikTok, nearly 50% of users say they have discovered a new movie on the platform. Of those, 42% looked up showtimes and 36% purchased a ticket, demonstrating TikTok’s ability to convert online engagement into real-world moviegoing.

Download the full report here.

About TikTok

TikTok is the leading destination for short-form mobile video. Our mission is to inspire creativity and bring joy. TikTok’s global headquarters are in Los Angeles and Singapore, and its offices include New York, London, Dublin, Paris, Berlin, Dubai, Jakarta, Seoul, and Tokyo.

About Cinema United

Founded in 1948, Cinema United is the largest exhibition trade organization in the world, representing more than 31,000 movie screens in all 50 states, and more than 30,000 screens in 80 countries worldwide. Its membership includes theatres of all sizes, from the largest cinema chains to one-screen theatres in cities and towns around the world. For additional information, please visit cinemaunited.org. Follow us on Instagram, LinkedIn and X/Twitter.

About CinemaCon

CinemaCon® attracts upwards of six thousand motion picture professionals from all facets of the industry – from exhibition and distribution to the equipment and concession areas – all on hand to celebrate the moviegoing experience and the cinema industry. The Coca-Cola Company and Barco are the official co-presenting sponsors of CinemaCon® 2026. For more information, visit cinemacon.com. Follow CinemaCon on Facebook, Instagram, X and TikTok.

Cinema United President and CEO Michael O’Leary Delivers State of the Industry At CinemaCon 2026

Address Focused on Key Themes of Unity, Industry Highlights, Innovation and Investment in Exhibition, Consolidation, and Theatrical Exclusivity

LAS VEGAS (APRIL 14, 2026) Today, Cinema United President and CEO Michael O’Leary took to the Dolby Colosseum stage to deliver his annual State of the Industry address at CinemaCon 2026. O’Leary touted the current strength of the exhibition industry, including themes of unity and growing audience trends, while not shying away from issues concerning consolidation and theatrical exclusivity.

“Theatre owners work every day to make their cinemas special, from reinvesting in technology and infrastructure to special events,” said O’Leary, citing several examples of Cinema United members connecting with their communities. “And not surprisingly, audiences are responding.”

Highlighting theatrical exhibition as a Main Street industry, O’Leary emphasized the importance of moviegoing and its cultural and economic impact on communities throughout history. He reinforced the need for unity by spotlighting the newly announced Cinema United Filmmaker Leadership Council, saying that “this collaboration could not have come at a more crucial time, and I want to thank these world-class filmmakers and artists for their leadership and commitment to exhibition.”

Addressing consolidation, O’Leary reiterated Cinema United’s strong stance, stating: “Further concentrating marketplace power in the hands of a smaller group of distributors that dictate the terms, windows, scheduling, screen-placement of movies, and access to historic film catalogs will have a real and lasting impact on Main Street and millions of movie fans around the world.”

On theatrical exclusivity, O’Leary touted a change in attitude among distributors: “After six-plus years of theories and experiments devoted to proving that theatrical’s days have passed, there is a growing recognition of something we have always known—theatrical exhibition is the foundation upon which the entire entertainment industry rests, and that will never change.”

O’Leary pointed out that in 2025, the average theatrical window for the top 100 films was 37 days, representing a three-day increase over the previous year. He added that if those releases last year benefited from a minimum 45-day window, the overall average would have been a full two weeks longer at 49 days, emphasizing the critical nature of exclusive windows for theaters.

O’Leary concluded his speech by looking to the future: “If we work together, if we stay disciplined and focused on the future, I know that someone, fifty years from now, will stand on a stage like this, in an auditorium full of theatre operators to celebrate the wonder of our industry and chart a path for yet another century of movies on the big screen.”

About Cinema United

Founded in 1948, Cinema United is the largest exhibition trade organization in the world, representing more than 31,000 movie screens in all 50 states, and more than 30,000 screens in 80 countries worldwide. Its membership includes theatres of all sizes, from the largest cinema chains to one-screen theatres in cities and towns around the world. For additional information, please visit cinemaunited.org. Follow us on Instagram, LinkedIn and X/Twitter.

About CinemaCon

CinemaCon® attracts upwards of six thousand motion picture professionals from all facets of the industry – from exhibition and distribution to the equipment and concession areas – all on hand to celebrate the moviegoing experience and the cinema industry. The Coca-Cola Company and Barco are the official co-presenting sponsors of CinemaCon® 2026. For more information, visit cinemacon.com. Follow CinemaCon on Facebook, Instagram, X and TikTok.

CinemaCon 2026 Daily Recap – Day One

The first day of CinemaCon kicked off with three Educational Programming Tracks for attendees.

The Audiences and Innovation track featured three panel discussions:

Boxoffice’s Daniel Loria moderated “Reclaiming Cultural Moments, Locally and Globally: Winning in an Era of Attention Warfare” with Fathom Entertainment’s Shannah Miller, Cinemark’s Laura Najlis, Cineplexx’s Christof Papousek, and Disney’s David Sieden. The panel stressed that exhibition holds advantages that no digital platform can touch: the collective electricity of shared in-person reactions, the sense of community that forms when strangers experience a story together, and the ritual of going to the movies that still carries cultural weight.

Paul Dergarabedian and Mike Polydoros moderated “Understanding 2026 Audiences: Gen Z and Emerging Trends” with GKIDS’ Chance Huskey and YouTube Content Creator Jeremy Jahns. The session provided exhibitors with actionable insights into 2026 moviegoing trends and what Gen Z audiences seek in entertainment.

“Optimizing the Cinema Experience: A Showcase of World Class Cinema Designs” was moderated by Cinema Association Australasia’s Cameron Mitchell, who was joined by Omniplex’s Paul John Anderson, Galaxy Cinemas’ Ms. Mai Hoa, and HOYTS’ Damian Keogh. The panel allowed exhibitors to showcase examples of best practice from their foyers, auditoriums, F&B outlets and cinema concepts.

The Food & Beverage track kicked off with “Building the Next Generation of Food & Beverage Leaders” with EF&B Association’s Dan Herrle, which explored new and effective ways to develop management teams and strengthen frontline performance. Next was “Now Showing: The Latest in Food & Beverage Innovation” with Cinemark’s David Haywood, Santikos’ Rob Lehman, and Marcus’ Rob Novak. The F&B track concluded with “Reimagining the Lobby & Concession Experience” featuring J& Snack Foods’ Dan Fachner, Mars Snacking’s Michael Kelly, and The Coca-Cola Company’s Josh Nations.

The Technology track boasted an impressive slate of panels. “Beyond the Screen: Immersive Tech Transforming Theaters” kicked things off with ICTA’s Jan Runge moderating and Dolby’s Michael Archer, Regal’s Matt Basford, Barco’s Carlo Rijsbrack, and GDC’s Annie Wang guiding a discussion about how advancements in imaging and sound technologies are redefining presentation quality and helping theaters stand out in a competitive market. “Practical AI for Streamlined Theater Operations” was led by UNIC’s Laura Houlgatte Abott and featured LOOK Cinemas’ Brian Schultz, The Boxoffice Company’s Marine Suttle, and Vue’s Otto Turton. The technology track ended with “Leveraging Technology to Engage with Audiences” moderated by The Boxoffice Company’s Stan Ruszkowski, Rokt’s Callum Donnelly, B&B’s Paul Farnsworth, Letterboxd’s Matt Kolowski, Google’s Eric Moro, and TikTok’s Dawn Yang.

The CinemaCon Film Showcase brought Angel, Sony Pictures Classics and STUDIOCANAL to the Dolby Colosseum stage. Angel touted a wide range of releases, but spent the most time on Young Washington, their historical epic opening on July 3. Sony Pictures Classics touted new films from Pedro Almodovar and David Wain, among others. STUDIOCANAL brought in Oscar-winning director Danny Boyle to talk about Ink, his new film about Rupert Murdoch.

To kick off the evening, Cineplex CEO Ellis Jacob received the Legend of Cinema award following heartfelt introductions from Michael O’Leary and Tom Rothman. O’Leary spoke about how supportive Ellis has been, and how he often to calls to check in without any requests or motives.

Finally, Sony closed out the evening with an excellent presentation that touted such promising upcoming blockbusters as Spider-Man: Brand New Day, Resident Evil, and Jumanji: Open World.

Cinema United
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