The fate of small-town cinemas across Canada is a tale of resilience and adaptation in the face of economic and cultural shifts. While some screens have gone dark, others have found innovative ways to thrive, proving that movie-going experiences can be more than just a blockbuster release. The story of Hinton Movies, a non-profit cinema in Alberta, exemplifies this. Established in 2017 by the Rotary Club, Hinton Movies has carved out a unique niche by offering a diverse range of films, from Bollywood comedies to Canadian indie films and old cult classics. This flexibility sets it apart from larger chains tied to major studio releases, allowing it to cater to a variety of audiences, including the local Indian community. Sonya Yokota William, founder and director of the Network of Independent Canadian Exhibitors (NICE), highlights the importance of this adaptability. She notes that small-town cinemas can survive by moving away from the traditional blockbuster model, which often requires screens to be dedicated to one new release for extended runs, a practice known as 'clean screen.' This approach, she argues, is not sustainable in rural areas where demand is finite and ticket sales can drop as new films wait for screen time.
The challenges faced by small-town cinemas are multifaceted. Rising costs, the popularity of streaming services, restrictive Hollywood rules, and the aftermath of the COVID-19 pandemic have all contributed to the struggle. The closure of the Chaba Theatre in Jasper, which operated for nearly a century, is a stark reminder of these challenges. Dwain Wacko, who took over the Chaba from his father in 1972, witnessed the theatre's decline due to economic pressures and the shift to digital projection. The decision to close the theatre after 97 years was a difficult one, and Wacko's experience underscores the emotional and social impact of these closures.
The economic reality is grim. NICE reported that 34% of independent cinemas in Canada were the only cultural or entertainment option in their community, and over half were operating at a deficit. This highlights the crucial role that cinemas play in providing cultural and social value, especially in small towns. Noel May, co-owner of May Theatres, a family-run business with a 75-year history, shares a similar sentiment. He emphasizes the emotional tie his family feels to the community and the importance of keeping the lights on in their buildings. However, the pandemic's impact has been a significant challenge, with locations in Cold Lake, Lloydminster, and Castlegar performing stronger, while the Alma, in Wainwright, is bearing the brunt of household budget cuts.
The 'clean screen' phenomenon, where major studios require theatres to dedicate screens exclusively to one new release, is a significant issue. This practice can lead to a decline in ticket sales as new films wait for screen time. May Theatres, with its three screens, is better positioned to overcome this challenge. However, Hinton Movies, with its single screen, faces a different set of constraints. Langford, the operator of Hinton Movies, believes that the multiplex cinema experience is not as viable as it once was, especially in smaller markets. This shift towards non-profit models and independent small places is becoming the last line of defence for movie-going experiences.
Despite the challenges, there is a sense of resilience and necessity in the industry. May Theatres, for instance, is not considering a non-profit model, but it sees its business as a cultural touchstone and a community hub. The shared experience of going to the movies is a powerful draw, and as May says, the industry's obituary has been written many times, but it keeps going because people crave that connection. The survival of small-town cinemas is a testament to the adaptability and importance of these cultural spaces in our communities.
