Abstract: Belgium and the Netherlands developed surprisingly divergent cinema economies and movie-going cultures from the early twentieth century onwards. This article seeks explanations for this difference in the way the film exhibition industry was organized in both neighbouring countries. The Dutch exhibitors were united (together with distributors) in the business interest association Nederlandse Bioscoopbond that functioned as a powerful cartel with a tight control over the market. By keeping entry barriers to the industry high, the association restricted the number of cinema operations. In Belgium, the business associations for exhibitors never attained a similar degree of coordination nor influence; here, the market was much less restricted, arguably leading to a wider distribution of cinemas. For instance, in contrast to the Netherlands, where barely any Catholic or Socialist cinemas appeared, Belgium counted large secondary circuits of these ‘pillarized’ film theatres. Basis for this analysis are Dutch and Belgian trade press materials and yearbooks, and archival files of the Nederlandse Bioscoopbond. The article sweeps through most of the twentieth century, with a main focus on the post-war reconstruction era. ; Funded with FWO Pegasus Marie Curie grant