Convention - CinemaCon 2026 : Angel Studios, Sony Classics and Studiocanal Turn a New Industry Slot into a Surprise Power Play

By Mulder, Las Vegas, Caesars Palace, Dolby Colosseum, 13 april 2026

In a convention traditionally dominated by the giant studio presentations, the first-ever CinemaCon Film Showcase carved out a different kind of headline at the Dolby Colosseum inside Caesars Palace: a curated block for specialty labels, independents and international players determined to remind exhibitors that theatrical variety still matters. Held during CinemaCon 2026, which officially ran April 13–16 in Las Vegas, the new showcase format underscored how the event continues expanding beyond the tentpole arms race into a broader marketplace conversation about programming depth, audience segmentation and year-round screen utilization.

The tone was set early by Tori Baker, identified onstage as CEO and President of the Salt Lake Film Society, who opened the proceedings with the kind of brisk showmanship exhibitors appreciate: less ceremony, more momentum. The room quickly felt different from a conventional studio splash reel. Instead of one company selling a slate, the showcase became a rapid-fire argument for the ecosystem itself. That nuance matters. Multiplex owners have spent years balancing mega-franchises with the harder business of filling screens in quieter corridors of the calendar. This presentation was effectively a pitch that mid-budget dramas, prestige reissues, faith-driven releases, animation, genre fare and imported titles can all be part of the same solution.

Angel Studios leaned hardest into the pro-theatrical message. Brandon Purdie, EVP and Head of Theatrical Distribution, delivered the line that likely resonated most with theater owners: “We believe there is no better place to launch a film than in theatres.” It was both slogan and strategic declaration. Since its breakout success with faith-oriented and audience-mobilized campaigns, the company has tried to position itself as proof that underserved audiences will still turn out when they feel directly spoken to. Shelley Schulz, VP of Domestic Theatrical Sales and Exhibitor Strategy, followed with a slate built around clear release dating and genre spread—exactly the sort of information exhibitors want when planning calendars. The company unveiled three headline announcements: a remake of Angel and the Badman for October starring Zachary Levi, Neal McDonough and Tommy Lee Jones; the action title Runner dated for September 11, 2026 with Alan Ritchson; and The Brink of War, set for August 14, starring Jeff Daniels, Jared Harris and J.K. Simmons. The messaging was deliberate: recognizable names, accessible concepts, firm dates. Angel also previewed Drummer Boy, described as an action musical, for November 6 starring Alexandra Daddario and Finn Wittrock, while Zero A.D. was positioned as a Christmas release. One of the livelier anecdotes of the segment came when young star William Franklyn-Miller introduced footage from Young Washington, opening July 3, and teased that audiences would be surprised “by how intense it is.” That phrasing suggested the film may be less textbook biopic than historical action-drama—a smart angle for younger moviegoers.

If Angel Studios sold conviction, Sony Pictures Classics sold curation. John Shahinian, Vice President of Sales, guided a slate that mixed new titles with repertory value, an increasingly important theatrical lane as exhibitors seek dependable eventized alternatives to first-run congestion. The company highlighted I Swear, opening April 24 and starring Robert Aramayo, then moved into summer with Unidentified. It also previewed Gail Daughtry & The Celebrity Sex Pass, starring Zoey Deutch, set for July 10. But the most commercially savvy applause may have gone to the reissues: a 30th anniversary 4K restoration of Danny Boyle’s Trainspotting on June 5, followed by a theatrical return of Jane Campion’s The Piano on July 24. These are not nostalgia plays alone; repertory titles have become meaningful incremental revenue when marketed correctly, especially in premium formats. The label also teased The Only Living Pickpocket in New York, directed by Noah Segan, plus footage from Ha-Chan, Shake Your Booty, before closing with a future project from Tom McCarthy. The broader takeaway was unmistakable: specialty distribution now depends on balancing awards-season aspirations with audience-legible events that can sell on title recognition, filmmaker prestige or restoration exclusivity.

The final segment belonged to Studiocanal, and CEO Anna Marsh arguably delivered the showcase’s biggest pure business headline. After a reel celebrating Paddington, she confirmed that Paddington 4 is in development alongside a new animated feature tied to the property. In an era where family brands are among the safest theatrical bets, that announcement landed like a miniature franchise bombshell. Studiocanal further revealed modern reboots of Pippi Longstocking and Mr. Men, signaling aggressive exploitation of intergenerational IP libraries. Hugh Spearing, EVP of Global Marketing and Distribution, then steered the slate toward a blend of nostalgia and provocation: Shaun the Sheep: The Beast of Mossy Bottom opens September 18; Terminator 2: Judgment Day receives a 35th anniversary release this year; new takes on Escape from New York and The Howling are in development; Eli Roth’s The Ice Cream Man arrives August 7; and Sean Byrne is shooting The Mannequin this summer. There was also footage from Everybody Wants to F** Me*, starring Taron Egerton, indicating Studiocanal’s willingness to play in edgy adult-skewing lanes often neglected by major studios. French-language titles Violette and Les Misérables were dated for later this year, while The Custom of the Country, starring Sydney Sweeney, and Fonda, described as the follow-up to Anatomy of a Fall, remain in production. Another title, Elsinore, is in post-production.

Then came the prestige closer. Academy Award winner Danny Boyle appeared in person to discuss his new film Ink and personally introduce its opening scene. It was a classic CinemaCon move: end not with spreadsheets, but with an auteur and exclusive footage. Yet it also symbolized the day’s larger theme. The Film Showcase was less about one blockbuster moment than about density—many films, many niches, many paths to getting people into theaters. For exhibitors, that may be the most valuable promise of all. Tentpoles still dominate headlines, but cinemas survive on breadth. If CinemaCon makes this showcase an annual fixture, 2026 may be remembered as the year the convention formally acknowledged that the future of theatrical exhibition will not be built by superheroes alone.