The public’s willingness to develop a stronger connection to cinemas is significantly higher than current usage of such services would suggest. This is shown by the latest SL Research’s Cinema Barometer 06/2026, which examined German cinema-goers’ attitudes towards subscription models, premium formats, programming trends and consumption behaviour. The survey is based on a poll of 868 cinema-goers aged 16 and over, the composition of which was adjusted to reflect the German cinema-going public.
Cinema subscriptions with significant growth potential
Although cinema season tickets have been available in Germany for years, they have so far been used by only a relatively small proportion of the audience. According to the Kinobarometer, only nine per cent of those surveyed currently make use of such a scheme.
However, interest in such models is considerably higher: around 60 per cent of those surveyed can, in principle, envisage using a cinema subscription. Younger target groups under the age of 30 are particularly open to the idea – an important insight for cinemas seeking to foster long-term customer loyalty and regular visits.
The industry’s willingness to pay also presents an interesting picture: a large proportion of the audience considers monthly fees of between 20 and 25 euros to be acceptable. This means that many potential customers are already within a range comparable to existing flat-rate offers.
For cinema operators, subscription models could therefore become an important tool for increasing the frequency of visits, customer loyalty and the predictability of revenue.
Premium cinema is gaining in importance
Alongside the debate on new business models, the importance of high-quality cinema experiences is growing. Premium Large Format (PLF) is increasingly becoming a key differentiating factor compared with the home streaming experience.
IMAX remains the best-known premium cinema brand: 79 per cent of those surveyed are familiar with the format. Dolby Cinema also enjoys a high level of awareness, at 69 per cent. Other premium formats such as UCI iSense, 4DX and ScreenX are significantly less well known.
There is a gender-specific difference here: men are more likely to be familiar with premium formats and are also more likely to search specifically for such offerings. For cinemas, this means that communicating the added value of premium screens remains a key marketing task.
Classics as a new programme segment
As well as technical innovations, the survey also reveals a strong demand for cinema experiences of the past. Almost two-thirds of those surveyed are interested in watching classic films on the big screen.
What is particularly surprising is that this interest is not limited to older audiences. Younger cinema-goers, in particular, are very open to older films. Films from the 1980s, 1990s and 2000s are particularly in demand.
For cinemas and distributors, this opens up additional programming opportunities – for example, through special series, anniversary screenings or curated classic film events.
3D continues to lose its appeal
Whilst premium formats are gaining in importance overall, 3D remains a challenging market. Although many viewers generally see added value in the three-dimensional experience, the majority still prefer traditional 2D screenings.
Only a proportion of the audience is willing to pay extra for 3D. At the same time, many respondents said they had already decided not to go to the cinema when a film they wanted to see was only available in 3D.
The results show that technical innovation alone is not enough. The key factor remains whether the public recognises clear added value.
Generating additional revenue remains a challenge
The concessions sector also remains a key factor in the profitability of cinemas. At the same time, the Cinema Barometer reveals growing price sensitivity: many respondents feel that snacks and drinks at the cinema are too expensive and have cut back on their purchases.
Whilst cinema ticket prices are relatively rarely seen as a problem, it is additional purchases in particular that are coming under greater pressure. Loyalty schemes could play an important role here: many users particularly value free tickets, discounts and special offers.
Conclusion: Cinemas need to focus more on selling the experience and building customer loyalty
The results of the Kinobarometer survey show that audiences remain generally open to cinema – but have new expectations of the experience.
Accordingly, the greatest opportunities lie in a combination of:
- flexible subscription models to build customer loyalty,
- high-quality premium formats to set them apart from streaming,
- attractive classic programmes,
- and smart bonus and pricing models.
For the cinema industry, this means that it is not just the film itself that determines its success, but increasingly the whole experience surrounding a visit to the cinema.