Commercial screening rights are legal authorizations that allow an individual or entity to show a film to a public audience for profit or business purposes. Unlike a private home viewing, a commercial screening involves “Public Performance,” which is a distinct right under international copyright law. This is particularly complex with foreign films, where rights are often carved out by territory and medium.

When you seek to buy a foreign film for screening, you aren’t purchasing a physical file or disc; you are licensing the right to exhibit the content. This license specifies the number of screenings, the venue, the duration of the “window,” and whether you can charge admission. Failing to secure the correct tier of rights can lead to “cease and desist” orders or heavy fines from international rights protection bodies.

The biggest hurdle in buying foreign films for commercial screening is the “information gap”—knowing exactly who owns the rights for your region. The rights landscape is highly fragmented. A French film might be owned by a studio in Paris, but the North American theatrical rights could be sold to a boutique distributor in New York.

To navigate this, acquisition leads should follow this 3-step protocol:

• Consult Global Databases: Use platforms that track unreleased and released projects globally. Vitrina’s database, for instance, maps 30 million industry relationships, helping you trace a project from its production company to its current sales agent.
• Verify “Available Rights”: Many films are already under exclusive contracts. You must confirm that “Theatrical” or “Non-Theatrical Commercial” rights are available for your specific country.
• Perform Due Diligence: Verify the distributor’s track record. Dealing with unverified entities can lead to “double-licensing” scams where multiple people claim to own the same rights.

A common pitfall for smaller exhibitors is confusing “Educational PPR” with “Commercial Theatrical” rights. Educational licenses are typically restricted to “face-to-face” teaching in non-profit institutions. If you charge a ticket fee or even offer a “suggested donation” at a public venue, the educational license is void.

To legally buy a foreign film for a standard commercial screening, you need a Theatrical License. This agreement usually involves a “Minimum Guarantee” (MG)—an upfront payment to the distributor—plus a percentage of the box office receipts (the “overages”). For smaller, non-theatrical commercial venues (like a rooftop cinema), you can often negotiate a “flat fee” license, but this must be explicitly stated in the contract to avoid backend royalty disputes.