At the European Film Market (EFM), a panel focused on new promotional strategies examined how distributors, marketers and filmmakers are rethinking their methods to attract younger audiences shaped by multiplatform habits, shrinking attention spans and higher expectations for interaction. Titled “Marketing That Works: Turning Change Into a New Advantage,” the discussion revolved around the growing role of data, but also the continued relevance of human curation and strategies that prioritize theatrical releases, particularly in European independent cinema.

The session was moderated by AC Coppens, founder of The Catalysts, and featured Marina Kosten, senior researcher at the USC Annenberg Center for the Digital Future; Adriana Trautman, a strategist with experience at Paramount and Prime Video; and Oliver Fegan, co-founder and CEO of tech company usheru. From the outset, the focus was on balancing emerging tools like artificial intelligence with more traditional promotional formats.

Kosten opened by highlighting a core challenge: the scarcity of attention. “Content is everywhere and attention is increasingly a zero-sum game,” she said, noting that click-through rates hover around just 3%, leaving marketers with a very small window to capture interest. Second-screen viewing and multitasking, she argued, demand campaigns that quickly communicate what a film is and, crucially, where and when it can be seen. “If people remember the where and the when, conversion becomes far more likely,” she added, stressing that clarity around basics is often underestimated.

Trautman cautioned against overestimating the impact of tech trends or influencer campaigns. “Choosing an influencer doesn’t mean their audience will convert,” she said. In her view, traditional media such as radio, television and outdoor advertising remain effective for large audience segments, even in a digital-first landscape. Both she and Kosten agreed that experimentation is key, provided it is grounded in a deep understanding of the audience.

From a tech perspective, Fegan shared data illustrating how difficult it is to turn visibility into sales, especially among younger viewers. Traffic driven by TikTok, for instance, showed conversion rates as low as 0.1% when attempting to move users toward ticket purchases. For him, this underscores that exposure alone is not enough. The key lies in creating original content that captures attention from the first touchpoint and reinforcing retargeting strategies. “Those who showed interest but didn’t buy need to be reached multiple times, with automated but personalized messaging,” he said.

The contrast between European and U.S. markets also surfaced. While American campaigns often rely on large budgets and mass reach, European distributors operate with far more limited resources. Fegan noted that in some cases a distributor might spend as little as €3,000 to promote a film in France, forcing a focus on niche audiences and direct engagement. In that context, Kosten emphasized the value of first-party data gathered through platforms or cinema websites to better understand viewers.

Artificial intelligence emerged as a double-edged tool. Panelists agreed it can optimize segmentation, automate asset creation and analyze behavior, but stressed that the creative dimension must remain human. “AI can detect trends, but it can’t replace the judgment of people who understand why a film matters,” Kosten said. Fegan suggested designing content that remains algorithm-friendly without losing narrative impact, allowing search engines and platforms to amplify reach.

Another key topic was the theatrical experience. Trautman and Kosten argued that younger audiences are still willing to go to cinemas, but under different conditions. Fegan cited participatory phenomena such as K-Pop Demon Hunters, where screenings become event-like experiences closer to concerts. “They’re not going for the cinema itself — they’re going for connection with peers and shared fandoms,” Trautman said, underscoring the importance of building long-term habits beyond opening weekend.

Audience-driven promotion also emerged as a major theme. Ticket buyers can become organic ambassadors, Trautman noted, pointing to campaigns that encouraged sharing via WhatsApp or social media and achieved strong conversion rates. Fegan added that Europe benefits from smaller but tightly knit digital communities — including Discord groups and newsletters — that help sustain engagement between releases.

The panel closed with practical recommendations: use data to test and validate strategies, combine retargeting and micro-content with traditional media, and coordinate efforts across platforms. In the long term, the speakers agreed, Europe’s key challenge is rebuilding the cinema-going habit among younger generations while defending theatrical windows. “The economics still favor strategies that start in theaters for independent films,” Kosten concluded, “but only if audiences understand why — and where and when — to engage.”