Focusing on the interplay between cinema and spatiality, this study concentrates on the most economically, culturally, and socially significant and highly debated spatial distinction, precisely, the loggia box and its historical transformations. This research employed autobiographies, memoirs, literary works, comics, newspaper archives, films, and music records. This comprehensive study spans a broad timeframe, ranging from the early days of our national cinema history to the late 1980s when the loggia boxes continued to be utilised in open-air cinema venues in Anatolia. Additionally, oral history studies conducted in Adana and research from other Anatolian cities have been incorporated to provide perspectives on loggia utilisation in cities outside İstanbul. The study observed that loggia boxes, as spaces inherited from the theatre tradition, were primarily preferred for class reasons. However, their demand is not solely driven by the desire to be included in the upper class and adhere to protocol. Cinema venues, especially loggias, as a space, promise escapist pleasures to anyone who enters them. Sometimes, the architecture of the halls, their proximity, and the dynamics of film screening practices enable certain pleasures that cannot be experienced elsewhere to be enjoyed in these spaces. This situation is not unique to Istanbul venues; it is also observed in Anatolian cinemas. With the transformation of cinema venues, originally consisting of a single-screened large hall, into complexes by dividing them into several smaller halls, loggia boxes such as paradises, parterres, or balconies have vanished into history. But today, double seats and sofas continue to create a distinction in theatres.