best in the city, together with other cinemas in the city centre such as the Družba, Praha, Jalta, and Úderka cinemas. At the same time, it boasted the best equipment in Brno after the above-mentioned reconstruction. Kino Scala (1991–2011) In 1991 – after the Velvet Revolution – the cinema returned to its original name Scala. "Kulturní a informační centrum města Brna" (Brno Cultural and Information Centre) was established the same year and merged with the "Správa městských kin" organisation in November 1994; since 1 January 1995, Scala was officially managed by this new centre. In October 1999, the first multiplex opened in the Olympia shopping mall in Brno: the second in the Czech Republic (Galaxie in Prague was the first) and the first one that met European standards. That year, Scala was the 7th most visited cinema in the Czech Republic with 99,000 visitors, but Olympia already ranked higher and took the 6th place with 120,000 visitors. The second multiplex in Brno, Velký Špalíček, opened in 2001 and single-screen cinemas started closing one by one during the next five years. Scala thus remained one of the last single-screen cinemas in Brno, together with Art and Lucerna. The operator of the city cinemas filed a complaint to the Office for the Protection of Competition against the preferential treatment that multiplexes received from distributors, but was not successful. At the time, the cinemas were already operated by "Brněnské kulturní centrum" (Brno Cultural Centre), a new organisation established as of 1 January 2005, when the Brno Cultural and Information Centre was split into two independent centres (the other one was "Turistické informační centrum" – Tourist Information Office). However, both centres were reunited in 2008 as Brno Cultural Centre and further organisational changes followed even after that. The number of visitors to the large-scale auditorium in Scala dropped below 16,000 for the first 10 months of 2009; this was 24 times and 30 times less than the rate for the two Brno multiplexes, respectively, and even less than the rate for the smaller Art cinema. Besides a less attractive dramaturgy and the policies of film distributors, the head manager of the city cinemas Daniel Zásměta claimed the cinema needed a large-scale reconstruction, which was made impossible by an action to ascertain the ownership of the building that had been filed by the city of Brno and was of many years' standing. Moreover, Moravské náměstí