In recent years, young people have completely revolutionized the way they watch movies, series, and videos. Old movie-going habits are giving way to new, more flexible, personal, and digital models.
From big screen to small screen
Statistics now speak clearly: young people's relationship with cinema is influenced by the following factors:
- They prefer streamingPlatforms like Netflix, Amazon Prime Video, Disney+, and other services offer hundreds of titles that are always available, often accessible at low cost or with shared subscriptions.
- They consume videos on social media and appsTikTok, Instagram Reels, YouTube Shorts — short video formats capture attention, even during downtime.
- They enhance comfort: see where and when you want, without having to book or leave home, is a crucial advantage.
A new relationship with content
Young people choose content with:
- Swift : they want immediate emotions, without slowness.
- Lean and engaging content, perhaps with interactions, likes, comments.
- Accessibility: Mobile streaming is essential, even on the go or at university.
The experience becomes social , on-demand and personal.
The decline of movie theaters in Italy
The movie theater crisis isn't just a result of the pandemic: it has deep roots and multiple causes.
A multifaceted crisis
- From 2019 to 2024, the Italian cinemas have lost around 30 million admissions, a sign of persistent difficulty.
- - receipts fell by ~29%, going from over 635 million euros to approximately 493 million.
- Where the pandemic has hit hard, the The flight of spectators continued even after, a sign that the trend was already underway.
Salt in difficulty, concentrated distribution
- Over the last twenty years, more than 2 cinemas, many of which are small or single-room, unable to sustain the costs.
- Many spaces have been reconverted in shopping centers, supermarkets or other businesses with higher income.
A cultural crisis
- La streaming competition It has made the ritual of going out in the evening obsolete:
- No extra cost, the viewing is programmable and interrupted at will.
- No reservation or ticket cost is required.
- The lifestyle has changed: less socialization, more laziness, fewer reasons to go out.
Streaming and social media: increasingly important players
In recent years, the time between a film's theatrical release and its availability for streaming has dramatically reduced:
- In 2000, it took over six months to watch a movie at home.
- In 2024, it is enough less than two months.
This shortening of the pace fuels the habit of streaming and further weakens the appeal of cinema.
Social Media and Short Videos: A New Frontier
The kids today:
- They prefer short videos (TikTok, Reels…) because they are stimulating and don’t require prolonged commitment.
- They share content and opinions, making the experience social and interactive.
- Includono videos on YouTube, Instagram and other platformers in their spare time, even while waiting or in short free moments.
How content and the audiovisual industry are changing
Production and distribution in tune with young people
Platforms are investing in tailor-made series and films, with fast-paced programming and immediate language, while binge-watching and suggested homepage customization are changing the rules of the game.
New release routes for films
Some cultural projects are looking for alternative ways: summer arenas and small, localized initiatives can attract audiences in more dynamic ways, as can innovative theaters, with multifunctional cinemas , which offer events, training, and exhibition space in addition to films.
An evolving hybrid world
Young people today experience video and cinema digitally , quickly, flexibly, and socially . Streaming and short-form content dominate, offering conveniences that the theater alone can no longer provide.
The movie theater crisis is serious: rooted in structural difficulties, exacerbated by the pandemic, and fueled by changing consumer habits. But it's not a definitive doom: experimental theaters, creative collaborations, and new models of cultural consumption indicate that cinema can still find a place, albeit a different one, in the imaginations of young people.
This is an opportunity to reinvent the concept of "going to the movies" and adapt it to the needs of an audience that is now connected—but eager for emotion and sharing.
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The article says that young people prefer streaming and short videos, but I wonder if this shift is really positive for culture. Movie theaters are closing, and there are fewer opportunities for socializing. While convenient, these new models can't replace the experience of going to the movies with friends.