[Edaily Reporter YUN GI BACK ] Audience demand is even changing the way movies are screened. An unusual case has emerged in the U.S. where a 4DX screening—which is typically organized based on the plans of production and distribution companies—was arranged in response to audience requests. A special theater version was produced at the fans’ request, and when the one-day screening sold out, the run was extended by a week. Audiences are now influencing not only their consumption of movies but also the planning of screenings.

According to U.S. entertainment media outlets such as The Wrap on the 30th, CJ 4DX has decided to extend the U.S. 4DX run of the fantasy romance film “Wicker” through November 4. Although it was originally planned to be shown for just one day on the 28th, the decision to add additional screenings was made after tickets sold out.
“Wicker” tells the story of a woman (played by Olivia Colman) who is ostracized by her village and asks a basket weaver (played by Peter Dinklage) to make her a husband out of willow. Alexander Skarsgård plays the husband made of willow.
The impetus for this special screening was the explosive reaction from movie fans. Since its premiere at this year’s Sundance Film Festival, the film has garnered attention for the passionate romance between the two leads and a scene where a bed breaks. Some viewers expressed a desire to experience that scene from moving seats and began requesting a 4DX screening.
A social media manager at CJ Podiplex responded to these requests, which led to actual discussions about screening the film. Subsequently, CJ Podiplex and the U.S. distributor Blackbear moved forward with plans for a 4DX special screening. The screenings, originally scheduled as one-day-only events in 21 U.S. states and Washington, D.C., sold out, leading to the decision to add additional showings.
It is worth noting that the starting point for the 4DX production was different from the norm. Typically, special-format versions are planned in advance by production and distribution companies, taking into account the film’s genre and box office potential. In contrast, with “Wicker,” audiences first expressed a desire to experience specific scenes in 4DX, and the production and distribution companies then turned this into an actual screening offering.
CJ 4DX collaborated with co-directors Alex Houston Fisher and Eleanor Wilson to design seat movements and sensory effects tailored to the film. Rather than simply scheduling an existing movie in a special theater, they transformed audience interest into a new viewing experience.
This also aligns with 4DX’s potential for genre expansion. Until now, 4DX has primarily been used for action and disaster films featuring car chases, explosions, and combat scenes. In contrast, “Wicker” is a film that focuses on character relationships and a unique romance rather than large-scale action. It demonstrated that demand for special screenings can be generated solely by fans’ interest in specific scenes.
This shift is significant for the theater industry as well. For theaters competing with Over-the-Top (OTT) services, providing a differentiated viewing experience has become crucial. However, simply increasing the number of screening rooms is not enough to sustain audience attendance. New content and screening programs that attract audiences even during periods without major blockbusters are necessary.
CJ 4DX is also moving to expand its special-format theater business. It has signed a contract with AMC, a major U.S. theater chain, and plans to add 40 4DX theaters by next year. Along with this expansion, the ability to discover films across various genres for special-format screenings is expected to determine the company’s future competitiveness.
However, it remains to be seen whether the success of *Wicker* will translate directly to other romantic films. There is a possibility that it will amount to nothing more than a one-time buzz. Nevertheless, it is significant that audience banter led to actual special-format screenings and even prompted additional showings. This case demonstrates that the focus of competition in the special-format theater market is shifting beyond the scale of facilities toward identifying the experiences that audiences truly desire.