Inaugural ‘Programmers’ Jam’ Unites Repertory Cinemas at Vidiots

A New Alliance for Classic Film

Nearly 100 professionals from the specialized world of repertory cinema convened in Los Angeles for the inaugural Programmers’ Jam, a first-of-its-kind summit for those dedicated to exhibiting classic, cult, and revival films. The event brought together programmers, distributors, and theater operators from across the country, creating a forum for a segment of the exhibition industry that has long operated in a fragmented, independent fashion. Held at the recently resurrected Vidiots Foundation in the Eagle Rock neighborhood, the gathering aimed to foster collaboration and address the unique challenges facing revival houses in the streaming era.

Unlike traditional industry conventions focused on upcoming studio slates, the Programmers’ Jam centered on the art and business of curation. Attendees represented a diverse array of venues, from non-profit arts centers to single-screen commercial theaters, all united by a mission to present cinema’s past as a vital part of its present. The decision to formalize this community with a dedicated conference underscores a growing recognition that their collective health depends on shared knowledge and strategy, particularly when navigating complicated relationships with studios and rights holders for archival prints and digital restorations.

This meeting marks a significant step towards professionalizing a passionate but often siloed corner of the movie business. For years, the work of a repertory programmer involved independent research, informal networking, and bespoke negotiations to secure films. By creating a dedicated space for these individuals to meet, the Jam provides a platform to systematize best practices, share resources, and potentially build a more unified front when dealing with the logistical and financial hurdles of theatrical revival.

The Resurgence of Theatrical Repertory

The Programmers’ Jam arrives at a moment of paradoxical strength for repertory cinema. While the broader exhibition industry grapples with shifting audience habits and the dominance of franchise filmmaking, independent theaters specializing in older films have cultivated loyal, local followings. These venues offer a curated alternative to both the blockbuster-driven multiplex and the algorithm-driven menus of streaming services. They sell not just a movie, but an experience: the chance to see a rare 35mm print, discover an overlooked foreign classic, or participate in a communal celebration of a beloved film.

This model has proven surprisingly resilient. Theaters like the New Beverly Cinema in Los Angeles, Film Forum in New York, and the Brattle Theatre in Cambridge have become cultural hubs in their respective cities. They succeed by transforming moviegoing from a passive act of consumption into an active event. Their programming is a form of criticism and scholarship, drawing lines between genres, directors, and cinematic movements that streaming platforms, with their focus on new and trending content, often obscure. The success of these institutions suggests a public appetite for expert curation and a tangible connection to film history.

However, this success is not without its operational headwinds. Programmers must contend with the scarcity of usable film prints, the high cost of creating or renting Digital Cinema Packages (DCPs) for restored titles, and the constant challenge of marketing decades-old films to new generations. The Jam was born from a need to address these very issues, providing a space to discuss everything from print trafficking logistics to social media outreach strategies for a 1950s noir series.

Vidiots as a Symbolic Host

The choice of the Vidiots Foundation as the venue for the inaugural Jam was deeply symbolic. Founded in 1985 as a Santa Monica video rental store, Vidiots became a beloved institution known for its encyclopedic collection of over 50,000 titles. After closing its doors in 2017, it was resurrected through a massive community-driven fundraising effort, reopening in 2023 as a non-profit cinema and video archive in a new, larger location. The facility now includes a 271-seat theater, a smaller micro-cinema, and its entire physical media library, which remains open for rentals.

Its story is a microcosm of the very movement the Programmers’ Jam champions: the preservation of communal film culture and physical media in the face of digital ubiquity. Vidiots’ survival and triumphant return demonstrated a powerful public demand for a physical space dedicated to film discovery. By hosting the summit, the foundation positioned itself not just as an exhibitor but as a leader and facilitator for the national repertory community, providing a living example of how passion and organization can sustain the theatrical experience.

More than just a theater, Vidiots represents an argument for the tangible. In an age where films can disappear from streaming libraries overnight due to licensing deals, its vast archive of DVDs and Blu-rays is a permanent cultural resource. This philosophy aligns perfectly with the mission of repertory programmers, who act as librarians and historians for the moving image, ensuring that access to cinema’s full history is not solely dictated by the commercial interests of a handful of tech companies.

Charting a Collaborative Future

The primary outcome of the Programmers’ Jam is the formation of a durable professional network. By connecting programmers who might have previously only known each other through email, the event lays the groundwork for future collaboration. This could take many forms, from coordinated national tours of new 4K restorations to resource sharing for marketing materials and guest speakers. A programmer in Chicago could learn from the success of a series in Austin, or a small town cinema could gain access to a film print secured by a larger urban institution.

Further down the line, a more organized repertory cinema consortium could wield greater collective influence. When negotiating with major studios for access to their archives, a unified group of theaters representing dozens of screens nationwide has more leverage than a single independent programmer. Such a group could advocate for more favorable terms, encourage the restoration of specific neglected films, and ensure that classic cinema remains accessible for theatrical presentation.

While the first Programmers’ Jam did not produce a formal manifesto or trade association, its significance lies in its initiation. It serves as proof of concept that collaboration is not only possible but essential. The conversations started at Vidiots will likely continue online and at future gatherings, building a stronger, more interconnected, and more resilient ecosystem for revival film exhibition in the United States.