Movie audience behaviour has descended into anarchy, but there is Barbenheimer-fuelled hope

If you can walk out of a theatre this summer without harbouring a case of simmering rage, then you’re a stronger moviegoer than I am.

Perhaps it is because at-home viewing – and the substandard, half-attention-worthy entertainment that many of the streaming giants have been pushing – has fostered a new relationship between audiences and art. Every film is now expected to be a second-screen experience for audiences, with one eye trained on our social-media feeds and group chats, the other on whatever happens to be playing in front of us.

In case this lands like a holier-than-thou film-critic rant – which, yes, partly – there is just as much bad behaviour from so-called cinephiles as general audiences. If there is any doubt, just sneak into a press and industry screening at the Toronto International Film Festival this September to witness the thousand-points-of-light that illuminate auditoriums full of critics and sales agents and producers.

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