This article examines the reforms of the film exhibition initiated in the Soviet Union during the Khrushchev period. It uncovers foreign data and innovations as a source of inspiration for the State film administration, but also for scientific and film actors involved. Positioning the models (financial and architectural) borrowed by the USSR thanks to an international circulation, the article insists on the processes of their adaptation to the Soviet context, of their reinvention. These discrepancies are at the core of a new sense of the traditional Soviet term ‘cine-service’, which experienced constraints during its introduction in the Soviet territories.