Digital distribution, as attractive as it seems, even at the most advanced projection venues is not all there yet. I've seen examples of DCP projection which involves the distributor sending the film to the theater on hard drive (way cheaper than shipping 35mm reels), and it comes with a code arranged between the distributor and venue that controls the location where the film may be screened and the dates. As easy as it seems this should be, there is often confusion around setting the codes, and there are new kinds of technical problems that are not repairable on the spot, like missing sound tracks or subtitle tracks, where the theater has to refund tickets to angry patrons. I'm hearing about more cases like this than problems with film, like reels being spooled upside down or backward or film breaking, but at least the projectionist can fix those kinds of problems. If you have a data error at one of the highly prestigious venues that can afford a DCP system, you're stuck.