2. Cinéart BENELUX independent distributor Member of the D-Platform 8 digital releases

3. Digital Releases Merry Christmas (2005) Congo River (2006) Azur & Asmar (2006) Max & Co (2008) Female Agents (2008) Funny Games U.S. (2008) Le Silence de Lorna (2008) The Class (2008)

4. Release ENTRE LES MURS Luxemburg: September 26th, 1 digital print Belgium: October 1st, 6 digital and 21 35mm prints Netherlands: November 27th, 19 35mm prints Same release plan as if it was only in 35mm Today: 23 prints still running in Belgium and Luxemburg (digital and 35mm)

5. Digital release Authorization from the director Other distributors interested Enough screens to do it

6. Screens Belgium: 94 digital screens (+- 20% of the total) Luxemburg: 14 digital screens (+- 50% of the total) Belgium: release in multiplexes Luxembourg: release in a cross-over theater In both countries, digital release in theaters with enough digital screens to change capacity No second run in digital, except for the equiped multiplexes

7. Prints & Keys Only DCP’s, no 35mm in backup, no digital sent by cable DCP’s for 3 months, 1 will stay longer for special screenings: french week in flemish theaters, schools, special screenings… all in multiplexes VPF: only access fees to pay to the theaters, no free access, no VPF for third parts KDM’s for the national release, and for special screenings to come or in multiplexes other than the ones of the national release

8. Pros & Cons In this case a real economy: third of a 35m Print’s mobility and flexibility Useful for special screenings, even if only in multiplexes Quality of the digital prints >< 35 mm after numerous screenings (image, sound, subtitles) Pros

9. Pros & Cons Managing digital & 35mm together not simple We don’t own the prints After a while DCP (hard disk) won’t work Keys management Gentleman’s agreement Cons

10. Conclusion Digital prints useful Lowers the costs Some complications, due essentially to the youth of the support and the inexperience of all Titles in digital for arthouse cinemas