The article’s subject is the transformation of film distribution models due to post-pandemic changes and the development of streaming platforms. The text identifies four currently coexisting models of film distribution, in which the novelty is the shortening of the exclusivity windows for screenings of premiere film titles only in cinemas. An analysis of the traditional model, based on the priority of the cinema window, is presented, followed by new models: the corporate production model, the executive production model, the mixed model, and the traditional 2.0 model. The methodological assumptions of the article were based on the use of not only printed sources but also in-depth interviews with market participants (producers, distributors, and cinema managers). In the article, we use BMC (Business Model Canvas) to precisely determine the logic of operation of currently coexisting competing models and the principal value offered to consumers in them. [ABSTRACT FROM AUTHOR]

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