– BERLINALE 2026: Industry experts discussed how attention shifts, social media and AI are transforming film marketing, with lessons to be learnt for both European and US distributors
l-r: Oliver Fegan, Marina Kosten, Adriana Trautman and AC Coppens during the panel
At the European Film Market (EFM), the panel “Marketing That Works: Turning Change Into a New Advantage” explored how global distributors, marketers and filmmakers are adapting to younger audiences with fragmented attention spans, multi-platform habits and new expectations for interactive experiences. While data-driven approaches are increasingly central, speakers emphasised the continued importance of human curation, long-term audience habit-building and thoughtful theatrical-first strategies, particularly for European independent content.
Moderated by AC Coppens, founder of The Catalysts, the panel featured Marina Kosten, senior fellow at USC Annenberg Center for the Digital Future; Adriana Trautman, marketing strategist with experience at Paramount and Prime Video; and Oliver Fegan, co-founder and CEO of usheru, a marketing technology company supporting distributors across 30 countries. Coppens framed the discussion around evolving attention levels, AI tools, and the balance between traditional and digital marketing channels.
Kosten opened by highlighting attention scarcity among younger viewers. “Content is everywhere, and attention is increasingly a zero-sum game,” she said, noting that click-through rates hover around 3%, leaving marketers very little time to capture engagement. Second-screen usage and multi-tasking mean that campaigns must immediately communicate not just what a film is, but where and when it is available. “If people remember the where and the when, they are much more likely to convert,” she added, emphasising that clarity in basic messaging is often overlooked.
Trautman cautioned against overestimating the impact of new technologies or influencer campaigns. “Just because you cast an influencer, it does not mean their audience will convert,” she said. She stressed the value of traditional media, including radio, TV and outdoor advertising, which remain effective for the majority of audiences, even as digital-first strategies dominate the conversation. Both Kosten and Trautman agreed that experimentation is crucial, but always when paired with robust audience understanding.
Fegan presented data from usheru, illustrating a stark challenge when it comes to younger audiences. TikTok-driven traffic converted at just 0.1% when moving from platform to ticket purchase, indicating that exposure alone rarely generates attendance. He added that it is necessary to have original, engaging content that hooks the audience immediately, and emphasised retargeting as essential: those who showed interest but didn’t purchase tickets must be approached multiple times, often via automated but personalised messaging.
The panel highlighted behavioural differences between European and US markets. In the USA, mass marketing remains dominant, with budgets far exceeding European averages. “In Europe, distributors might spend €3,000 to market a film in France,” Fegan noted. “You have to be smart, targeting niche audiences and building direct relationships.” Kosten added that first-party data, collected through platforms like usheru or direct cinema websites, are critical to owning and understanding audiences.
AI emerged as both an opportunity and something to be wary of. Panellists agreed that AI can optimise targeting, automate asset generation and parse audience behaviour – but creative storytelling must remain human-led. “AI can identify trends, but it cannot replace the judgement of curators who understand why a film matters,” Kosten said. Fegan recommended structuring content so it is AI-readable but visually compelling, allowing search engines and tools to surface films to potential audiences while preserving narrative voice.
Discussion then turned to theatrical engagement. Trautman and Kosten both stressed that younger audiences will attend cinemas – but only for content tailored to them. Fegan shared examples like K-Pop Demon Hunters, where communal viewing became a live, interactive experience akin to a concert. Trautman noted, “They aren’t going for cinema itself; they’re going for connection with peers and shared fandoms.” Such experiences underline the panel’s argument for habit-building and repeated engagement, rather than relying solely on opening-weekend impact.
Audience advocacy was another key topic. Panellists agreed that ticket buyers are often the best promoters. Trautman described campaigns where viewers who purchased tickets were encouraged to share content on WhatsApp or social media, generating high conversion rates. Fegan added that European campaigns benefit from smaller, tight-knit communities on platforms like Discord or email lists, enabling sustainable engagement over multiple releases.
The panel concluded with practical recommendations. Data should be leveraged for exploratory, comparative and confirmatory research in order to refine campaigns. Retargeting, micro-content and cross-platform synchronisation must complement traditional marketing channels. In the long term, Europe must teach new generations the habit of cinema-going, emphasising theatrical-first windows to sustain the industry. “The economics still favour theatrical-first strategies for independent content,” Kosten said, “but only if the audience knows why, where and when to engage.”
