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.



South Korean Cult-Horror Series ‘Hellbound’ Returns at BIFF

In this picture taken on October 2, 2024, (L-R) South Korean actors Im Seong-Jae, Kim Hyun-joo and Kim Sung-cheol arrive on the red carpet during the opening ceremony of the 29th Busan International Film Festival in Busan. (AFP)
In this picture taken on October 2, 2024, (L-R) South Korean actors Im Seong-Jae, Kim Hyun-joo and Kim Sung-cheol arrive on the red carpet during the opening ceremony of the 29th Busan International Film Festival in Busan. (AFP)
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South Korean Cult-Horror Series ‘Hellbound’ Returns at BIFF

In this picture taken on October 2, 2024, (L-R) South Korean actors Im Seong-Jae, Kim Hyun-joo and Kim Sung-cheol arrive on the red carpet during the opening ceremony of the 29th Busan International Film Festival in Busan. (AFP)
In this picture taken on October 2, 2024, (L-R) South Korean actors Im Seong-Jae, Kim Hyun-joo and Kim Sung-cheol arrive on the red carpet during the opening ceremony of the 29th Busan International Film Festival in Busan. (AFP)

Netflix's Korean cult-horror thriller "Hellbound" returned for its much anticipated second season with a world premiere at Busan International Film Festival, showcasing intense performances from the new cast members, particularly Moon Geun-young.

Created by Yeon Sang-ho, known for zombie flick "Train to Busan", the first season of "Hellbound" achieved critical and commercial success with its portrayal of a world where supernatural beings suddenly appear to tell people of their impending death, followed by monstrous entities that drag the condemned to hell.

Yeon, whose early works included a dark animated film about a Korean cult organization, elevates the dystopian thriller into a more philosophical realm in its second season, while still delivering the spectacle of creatures, violence, and collective religious hysteria.

"I believe that the concept of disaster in the work 'Hellbound' refers more to a mental or ideological catastrophe than to a physical disaster," director Yeon said at a BIFF event late Friday.

The show had to let go of actor Yoo Ah-in, who played a key character in season one, after he was charged with illegal drug use. Yoo was subsequently found guilty.

Kim Sung-cheol takes on the role of the charismatic leader of a cult that arose amid the horrific supernatural deaths that triggered a wave of social media frenzy, delivering a convincing portrayal of this intricate character.

But the most captivating -- and gut-wrenching -- performance of the second season arguably belongs to Moon Geun-young, a much beloved former teen actress in South Korea, who portrays a young wife gradually transforming into a deranged cult fanatic.

Yeon said he decided to cast Moon after seeing her in a 2021 TV drama where she portrayed a tormented wife who succumbs to alcoholism while caring for her alcoholic husband.

Moon did not attend this year's BIFF, but fellow cast member Kim Hyun-joo said: "Moon Geun-young made a tremendous contribution. I already knew (she was immensely talented), but I was pleasantly surprised and delighted by her performance."

The series was featured at BIFF in its big-screen theaters, even as the festival faces criticism from cinephiles for selecting a streaming title, "Uprising", also from Netflix, as its opening film this year.

Cineastes blame OTT streaming platforms for some of the challenges encountered by the traditional theater market and independent filmmakers.

"BIFF has been a key player in showcasing fresh Asian films by young, emerging talents in the region, and this has been their priority," Kay Heeyoung Kim, owner of the film studio K-Dragon, told AFP.

"But the lines between traditional independent cinema and big-budget streaming titles have blurred at this year's festival, which is unfortunate to see."

Yeon, who began his career as an independent animated filmmaker, along with his work "Hellbound," is credited with increasing the global visibility of South Korean content in recent years, alongside works like "Squid Game" and "Pachinko."