Definitely the movie thunders against Netflix. If the giant of the streaming can be proud of the victory of Alfonso Cuaron for Roma, this is not the case of the operators, who accuses Netflix have bought the wins and the Oscars will be devalued. Netflix In the 80’s, Jean-Luc Godard announced tragically, ” the cinema is dead “. In 2007, Peter Greenaway at the festival of Pusan, wore a similar finding : “The date of the death of cinema is on the 31st September 1983, when the remote control is prevalent in the salons “. 2019, Detlef Rossmann, president of the international Confederation of art house cinemas and testing (CICAE), accusing the Oscars of being devalued by offering many rewards to Roma by Alfonso Cuaron. It is not the death of cinema but the death of cinemas.
After Cannes, it is the turn of the Oscars to raise the controversy with Netflix. Film or not film ? The question already sounds like a corny old tune, and no shortage of inspiring different actors, the CICAE at the AFCAE (association française des cinémas art et essai), which is expressed, through its president François Aymé, in the editorial of the Mail Art & Essay of January. It accuses the giant of the streaming of limiting the exploitation of its productions to a single online channel to the detriment of the cinema, and have led a massive campaign for this year and 2019, where the celebration around the Roma .
For Tim Richards, CEO of the cinema chain English View International : “Netflix should not under-estimate the value and the impact of an output in the room for his own productions, and we hope that it remains open to discussion on how to reach a wider audience in the future with the operators “. An attempt of conciliation that does not seem ready to adopt all the world. Christian Brauer, of the association of operators of German, AG Kino is more vindictive : “of Course, Netflix didn’t care about Roma , he just wanted to use the Oscars as a way to promote their brand. And try to force through their policy, which makes the gap in the circuit of rooms “.
In spite of everything, the voice of the operators is not uniform and some, like Jason Chae, CEO of independent distributor Korean Mirovision did not see the giant of the streaming of an evil eye : “Netflix has allowed the film most small and experimental to reach a large audience and on other territories. I personally was glad to be able to find a film that I missed at Sundance and was available on Netflix. Consumption patterns are evolving and perhaps it is time that the industry is also changing “.
The exponential growth of Netflix’s scary. Its presence in the world emerges as a key player in the distribution of films as a series. We can actually congratulate Netflix to have helped Roma to exist, to provide visibility to the works, which would have missed, to allow the dissemination on a large scale, at a lower cost. Netflix is entered in the current language. You said “what is there on tv ?” but ” what is on Netflix ? “. For the moment, we always say that we are going to the cinema. The exhibitors of art and tries, who do not have the kidneys as strong as the multiplex fear a change of paradigm. You can hear this fear. Listen to the podcast of the debriefing of the Oscars and Caesar of Allociné :