In the grand pantheon of the film industry, marketing firms often find themselves in the limelight, acting as critical conduits between filmmakers and their audiences. The companies at the helm of this intersection, hence, find themselves tasked with the responsibility of evolving with the fast-paced, ever-changing dynamics of this industry. As the sands of time flow unabated, one cannot help but ponder upon the trajectory of these film marketing companies and the emerging trends that are poised to shape their future.

It is essential to begin with the leviathan that recently breached the traditional boundaries of film distribution and marketing - digital transformation. Film marketing companies are increasingly leveraging the ubiquity of digital media and the vast datasets it brings along. Data-driven marketing is no longer confined to other industries; film marketing is now steeped in analytics and algorithm-based predictions. Companies are using data analytics not just for targeted advertising, but also for understanding audience preferences and predicting box-office performances. It is a little like in quantum mechanics, every observable piece of data collapses the wave function, refining the prediction.

With such precise targeting enabled by data analysis, the promotional strategies can be individualized to an unprecedented degree. In essence, it's akin to the theoretical concept of "perfect discrimination" from Economics, where every individual consumer can be targeted separately, creating what is essentially a "market of one."

However, these technologies do not come without their tradeoffs. Unlike traditional marketing methods where privacy issues are relatively straightforward, the extensive use of personal data in digital marketing brings along a host of privacy concerns. The ethical and legal ramifications of such data use are reminiscent of the tumultuous debates in social contract theory, and it remains to be seen how society will renegotiate these boundaries.

Another significant development is the rise of transmedia storytelling - where a unified, consistent narrative is woven across multiple delivery channels, each making a unique contribution to the whole. It might be likened to a symphony orchestra where every instrument (or media platform) plays its part in harmony to create a comprehensive and immersive experience.

However, this approach requires a delicate balance. It is a complex network problem, where adding or removing a node (or story-platform) can significantly alter the overall structure and performance. This is analogous to the intricate problems in graph theory, where the challenge lies in optimizing the network for maximum effectiveness.

Furthermore, film marketing companies are also flirting with the idea of extended reality (XR) - a blanket term encompassing augmented reality (AR), virtual reality (VR), and mixed reality (MR). Each has its potential use-cases and challenges. VR, for instance, offers an immersive, engaging experience that's perfect for marketing blockbuster films but remains limited by high costs and low accessibility. AR, being more accessible, offers a broader reach, but the immersive experience may not be as intense.

The future of film marketing companies, thus, seems to be one that is highly connected, immersive, personalized, and data-driven. Yet, it is a future rife with complexities and challenges - from the ethical issues surrounding data use to the complexities of transmedia storytelling and the practical limitations of XR technologies.

In conclusion, the road ahead for film marketing companies is teeming with opportunities and challenges in equal measure. It is a riveting narrative that unfolds within the grander epic of the film industry. As in chaos theory, even the smallest of changes can lead to significantly different outcomes - and it is this inherent unpredictability that makes the journey truly exhilarating.