The foundations of the 'free circuit', the rich network of cinemas, are under pressure. It is an illusion that everything can be left to the market, says arthouse director Géke Roelink. When the 'free circuit' emerged in the Netherlands in the 1970s, the division of tasks between cinema and film theater was crystal clear: the film theaters showed films that could not be seen in the cinema for financial or content reasons. In 2019, this division apparently still applies, in an infrastructure that is the envy of other countries: a beautiful network of art cinemas that, together with commercial exhibitors, provides a richly varied range of films.

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