Cinema Closures Spark Debate on Future of Film in Singapore

The recent closures of two prominent cinema operators in Singapore, The Projector and Cathay Cineplexes, have ignited a conversation about the future of movie theatres in the country. The Projector, an independent cinema known for showcasing arthouse films, shut its doors in August 2023 due to mounting debts, prompting a wave of nostalgia among local film enthusiasts. Shortly after, on September 1, Cathay Cineplexes’ parent company, mm2 Asia, announced that it would enter voluntary liquidation, marking the end of one of Singapore’s oldest cinema chains, which has roots dating back to before World War II.

These closures reflect a broader trend in cinema attendance that has seen a significant decline globally. According to the European Audiovisual Observatory, global cinema attendance fell by 8.8 percent in 2024, totaling 4.8 billion admissions—the first annual decline since the COVID-19 pandemic. In Singapore, the situation is even more dire, with cinema attendance dropping by 16 percent from 10 million in 2023 to 8.4 million last year, down from a peak of 22.13 million in 2011.

Despite these challenges, industry professionals remain hopeful about the future of cinemas in Singapore. Filmmaker M Raihan Halim pointed out that the cinema industry has historically faced struggles, such as the rise of VHS tapes in the 1980s, yet audiences eventually returned to the theatres. The Infocomm Media Development Authority (IMDA) touts Singapore as having “one of the highest per capita cinema attendances in the world,” with 2024 figures showing approximately 1.39 tickets sold per person annually.

Comparative Success in Global Markets

While Singapore grapples with declining cinema attendance, some countries are witnessing a resurgence in their film industries. In Europe, cinema attendance saw only a 1.7 percent decline from 2023 to 2024, with France standing out. The French National Centre of Cinema reported that admissions increased by nearly one million, reaching 181.3 million—a 0.5 percent rise. This growth is largely attributed to local films, which captured a remarkable 44.4 percent of the market.

France’s commitment to film appreciation begins early in its education system, where students are exposed to a curated list of films. Supportive government policies, including substantial public funding for local cinema productions, have bolstered the industry. For example, the award-winning film *Anatomy of a Fall* received significant public financing, demonstrating how cultural support can enhance cinema’s sustainability.

In contrast, Singapore does not currently benefit from similar extensive government backing for its local film industry. Experts suggest that adopting certain aspects of the French model, such as longer release windows for films before they are available on streaming platforms, could help local cinemas thrive.

Regional Comparisons and Unique Challenges

Cinemas in nearby countries like Vietnam and Indonesia are also performing relatively well. Indonesia’s cinema attendance surged by 10 percent, reaching 126.22 million in 2024, while Vietnam recorded a box office collection of **$184 million** in 2023—a significant increase from **$150 million** the previous year. Factors contributing to this success include affordable ticket prices and a strong preference for local films, which dominate the box office.

However, Singapore’s higher operational costs and the diverse linguistic landscape create challenges for local filmmakers. The cost of producing a film in Singapore is significantly higher than in these neighboring countries. For instance, a local production may involve up to 20 crew members, while similar projects in Indonesia could accommodate 40 to 60 people for the same budget.

Despite the difficulties, industry players believe that cinemas in Singapore can adapt and survive. Kenneth Tan, chairman of the Singapore Film Society, remains optimistic, stating, “Shakeouts will happen, but cinema will prevail.” This sentiment reflects a historical resilience in the film industry, which has weathered various crises over the decades.

Looking ahead, experts suggest that enhancing the local film industry could drive audiences back to theatres. This could involve implementing policies to ensure local films receive adequate airtime at cinema chains and exploring government subsidies to support local productions. As Vincent Quek noted, “Filmmakers can then feel the demand from the consumers, what works and what doesn’t.”

Ultimately, while the current landscape poses significant challenges for cinemas in Singapore, there is a belief that with strategic adaptations and support, the industry can continue to flourish. As history has shown, cinema has an inherent ability to bounce back and evolve in response to changing consumer behaviors and market dynamics.