Cinemas under Spotlight as Cineworld Stares at Possible Bankruptcy

A Cineworld cinema near Manchester, Britain, October 4, 2020. REUTERS/Phil Noble
A Cineworld cinema near Manchester, Britain, October 4, 2020. REUTERS/Phil Noble
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Cinemas under Spotlight as Cineworld Stares at Possible Bankruptcy

A Cineworld cinema near Manchester, Britain, October 4, 2020. REUTERS/Phil Noble
A Cineworld cinema near Manchester, Britain, October 4, 2020. REUTERS/Phil Noble

The potential bankruptcy of world No.2 cinema operator Cineworld is shining a spotlight on the wider industry as it struggles to recover from the pandemic and compete with the growing popularity of streaming, Reuters reported.

Debt-laden Cineworld, which owns the Regal chain in the United States and runs theatres in nine other countries, said last week a lack of blockbusters was keeping movie-goers away and impacting its cash flows.

Last week, AMC Entertainment Holding Inc also flagged a tough third quarter due to a slim film slate. Its shares plunged 38% in early US trading on Monday.

Cineworld shares, which hit a record low on Friday after the Wall Street Journal first reported its potential bankruptcy, were down 26% to 3 pence at 1340 GMT. That compares with a peak of more than 310 pence in 2017.

Cineworld, which had $8.9 billion of net debt at the end of 2021 and had already said it was looking at ways to restructure its balance sheet, confirmed on Monday one option was a voluntary Chapter 11 bankruptcy filing in the United States.

"Cineworld would expect to maintain its operations in the ordinary course until and following any filing," said the London-listed company, which operates more than 9,000 screens and employs around 28,000 people.

While Cineworld's specific issue is its debt pile, the broader change in how audiences want to watch movies is a trend unlikely to reverse or get any easier for cinema chains, Hargreaves Lansdown analyst Sophie Lund-Yates said.

"Cineworld's challenges are a warning for the entire sector," she said.

A Chapter 11 filing can allow a company to stay in business and restructure its debt.

"But since the company owns so little in the way of tangible assets, much of its debt will be unrecoverable and its equity holders will be wiped out," said Barry Norris, fund manager at Argonaut Capital.

Cineworld, which declined to comment on the hedge fund's remarks, said it was in talks with many of its major stakeholders, including lenders and legal and financial advisers, and reiterated any deleveraging transaction would lead to very significant dilution of existing equity interests.



China’s Jia Brings Film Spanning Love, Change over Decades to Busan

This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
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China’s Jia Brings Film Spanning Love, Change over Decades to Busan

This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)

Chinese director Jia Zhangke's ambitious latest, which utilizes footage shot across two decades, offered a peek into the evolving nature of cinema as it unspooled at this year's Busan International Film Festival.

"Caught by the Tides" combines a story of elusive love with a panoramic portrayal of recent Chinese history using everything from low-resolution digital camera footage to a scene enhanced with cutting-edge AI technology.

And while it explores the meaning of the past, the film's creation emphasized innovation.

Jia assembled and recontextualized footage shot over more than 20 years, including unused scenes from previous films, newly filmed sequences, and random images he captured during his travels -- blending documentary and fiction.

The result, with a format reminiscent of Richard Linklater's 2014 film "Boyhood", creates a vivid record of time passing, particularly through lead actress Zhao Tao, Jia's long-time collaborator and wife in real life.

As she goes on a fruitless search for a lost love, audiences witness her age before their eyes.

The film also uses images related to key events that have shaped contemporary China, such as the successful bid for the 2008 Olympics and the construction of the Three Gorges Dam, which resulted in often overlooked suffering for those displaced by the project.

"After Covid, I felt that one era had ended and a new one was emerging," Jia told reporters in Busan when asked what motivated him to create "Caught by the Tides".

"With the rapid advancements in technology, including science, the Internet, and AI, people's lifestyles have also shifted. I realized that during this period of change, it was important to process the (accumulated) footage I had previously filmed."

Actress Zhao described the film as a "truly precious gift."

"It has allowed me to document my 20s, 30s, and 40s through the medium of film, while also expressing the lives and struggles of many women through the character," she told reporters.

The film played over the weekend as part of BIFF's gala presentation section.

- Covid, cinema and AI -

Jia's feature debut, "Xiao Wu", earned the director BIFF's New Current Award for emerging filmmakers in 1998, when he was just 28.

"It's not an exaggeration to say that my life as a filmmaker started in Busan," Jia said, adding he had missed the South Korean port city since his last visit.

He has since won the top prize at the Venice Film Festival for "Still Life" (2006), among other prestigious awards, establishing himself as one of the most important Chinese filmmakers of his generation.

"Jia stood out as someone who is obviously talented. He was, above all else, original," Kim Dong-ho, the 87-year-old BIFF founder, told AFP of the Chinese filmmaker's younger years.

Now 54, Jia has brought his latest film to Busan at a pivotal moment of change for the festival.

BIFF's opening night featured a streaming title for the first time in its history, and it hosted a day-long conference just on the theme of AI in content production.

At the festival's main venue, giant posters of Netflix's latest streaming projects underlined the shift -- including its opening film "Uprising," positioned next to a festival gift store that ironically proclaimed: "Theater is Not Dead."

Jia's film, by its end, reflects and evokes these changes and what may lie ahead, showing its characters queuing for PCR tests and wearing masks during the Covid pandemic, an era that contributed to the rise of streaming platforms worldwide.

One scene was modified using AI technology, changing the film that the protagonist watches to create a stronger link to an element introduced later in the story -- robots.

When reflecting on his some 26 years in film, Jia said: "It feels like I've been drifting in an endless ocean."

But "completing each film made me feel like I stood tall, having overcome the waves."