Netflix, to be fair, has the fall festival season. Noah Baumbach’s streamer production white noise turned on Venice Film Festival Wednesday August 24, and Sally El Hosaini’s True-Life Refugee Story The Swimmers , another Netflix movie that will kick off Toronto
International The Prologue Film Festival (TIFF) was held on September 8th.
Venice has four films in competition – tied with White Noise , the company has Andrew Dominic’s hit Marilyn Monroe movie Blonde with Ana de Armas, French play by Romain Gavras Athena and the Mexican epic of Alejandro Gonzalez Inarritu Bardo running — Netflix atRoma at
and then won the second Golden Lion Award . All four films, as well as TIFF titles The Swimmers , All Quiet on the Western Front , King’s Knights and Tyler Perry’s Jazz Blues , also looking like solid awards season competition By.
Germany has selected Edward Berger All Quiet on the Western Front , based on the iconic anti-war novel, will be an Oscar entry in the Best International Feature Film category.
Just don’t expect any of these movies to hit theaters near you anytime soon . Netflix will have small platform releases for some of its holiday darlings — similar to the two-week exclusive theatrical screenings it offered last year’s Venice movie Dog Power , The Lost Daughter and The Hand of God – and some international titles will be smaller Publish locally. Netflix and German distributor Bilder will collaborate as For example, No war on the Western Front . But the streaming giant has no plans to expand its theatrical experiment.
“No. Nothing has changed. Streaming will always be a priority,” a Netflix insider said.
Many have criticized this online-centric strategy, claiming that Netflix is leaving money on the table. By estimates, Roma , after winning in Venice, swept awards season, winning BAFTAs, Golden Globes, DGAs and Independent Spirit Awards, and on the way to Three Oscars on the way, including a Best Director nomination for Alfonso Cuarón, could have earned 24 million-dollar-plus at the box office, Netflix gave the film a proper theatrical release.
“Roma is the French general manager of box office analysis firm Comscore,” said Eric Marti.
After two consecutive quarters of disappointing churn results, Netflix appears to be more focused on profits. The company plans to add a cheaper, ad-supported service to its SVOD service tiers of support to generate revenue and stop churn, and have cut hundreds of jobs in cost-cutting measures .
But, at least so far, Netflix’s business strategy does not appear to include greater box office revenue. Theatrical distribution of Netflix movies remains primarily It’s the marketing and promotion of the film’s online bow.
It’s clear that die-hard filmmakers, as well as independent theater owners around the world who cater to them, want to see Netflix The fall film festival gets proceeds for a long theatrical run before heading to the small screen.
Since this is unlikely to happen, the company may see something like Backlash Hand of God when Paolo Sorrentino’s Venice Festival hit was released in Italy last year. Shang protests local drama bows – Hand of God
Staged in the first Screened in Italy through distributor Lucky Red three weeks before release – too small and too short for cinemas to benefit from. Although the release is the longest ever release of an Italian Netflix film and a broad bow to streaming standards – Roma truncated Italian release just for 24 copy — critics pointed to Sorrentino’s last film Loro , as two back-to-back features by Universal in some 300 released on screen in Italy.
Is the cinema owner correct about how much money How much money can Hand of God make, having it be allowed to stay in theaters longer – Lucky Red didn’t disclose box office figures, but said he was “satisfied with the film’s performance” ” – The “Netflix is killing movies” argument has gained support in Italy, in part due to the actual decline at the Italian box office Not back to pre-COVID levels. The Italian Ministry of Culture has called 2023 mandatory 90 – Japanese cinema window for all film releases, the new regulations are modeled after similar rules in France. French regulations, which include a four-month exclusive theatrical window and complex pay-TV, streaming and free-to-air TV exclusive release schedules, were the main reason Netflix boycotted Cannes. (Andrew Dominik originally wanted to premiere on CroisetteBlonde). In the latest battle between theatrical and streaming, Disney said in June that it would skip the theatrical release of its animated feature Strange World in France, choosing Launching the holiday release exclusively on Disney+ in the region.
But while theater owners love the exclusivity of the long window, there’s little evidence that it’ll get more bums in the seats. European markets, including the U.K. and Spain, have had the most flexible window periods since theaters reopened.
Box office isn’t just about whether it’s in service,” said Gabriel D’Andrea, Lucky Red’s head of theatrical distribution. “We released Roma , The Hand of God and The Power of the Dog in theaters [in Italy], so all of these films have the opportunity to connect with audiences in theaters. This summer, because there were no new films, the Hayao Miyazaki Film Festival was held. Four films, all available on Netflix, each grossed over [$1 million] in total. “
Instead of blaming Netflix, D’Andrea says art theaters and distributors need to take a page from their promotional playbook and learn to turn professional publishing into Event. Before the Italian bow in David Cronenberg’s new film Sins of the Future Screening Screening nationwide, Lucky Red hosts multiple teaser events, including a week-long show at three iconic cinemas in Rome, Milan and Turin The Canadian Director’s Retrospective.
“This is part of our strategy to make [new] films a premium event for a specific audience, seeing Cronenberg as a real The [art house] brand,” said D’Andrea.
“You have to make movies that draw people back to [the cinema],” said Focus Features’ head of production and acquisitions People Kiska Higgs says the company hopes to bring Venice and the film industry to life with Todfield’s classical musical TÁR starring Cate Blanchett and Mark Strong The audience was amazed. “Safety is the death zone. They either come back or they don’t, but if you don’t give them the movie, they won’t come back. ”
Alex Rietman contributed to this report.
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