The conflict could bring a proven System to falter. The trigger for the Plan of Netflix to show the Film “Roma” at the same time in the cinema and on the screen. Many of the cinema operators do not want to simply accept.
Mexico, the land of film, the hour seems to be. Oscars, lion in Venice, and palms in Cannes, Directors, inspire the international cinema, Hollywood and the uses of the many talents from the neighboring country – is that Mexican cinema is currently one of the most exciting in the world. In addition, Streaming providers such as Netflix to the Mexican audience and the culture of the country. This Friday (28.9.) starts the first Mexican Netflix-Reality series “Made in Mexico”. In the fall of one of the biggest successes of the party, the series “Narcos,” continued – the scene is Mexico.
The current dispute about the Netflix production “Roma”
A Mexican, a Film of a debate that could have far-reaching consequences for the global cinema market becomes inflamed. Recently, the Mexican Film “Roma” from Alfonso Cuarón won the Golden lion in Venice. On the Lido on the big screen, shown winning film is a Netflix production.
In contrast to Cannes and Venice had decided to productions of Streaming platforms for the competition. Now Netflix wants to “Roma” according to some Festival-inserts soon to be broadcast on the own platform. Not more than a short cinema use in the run-up of Netflix-Streaming services in selected movie theatres in the conversation. The angered Germany’s cinema operators. Christian Bräuer, Chairman of the management Board of the AG Kino, in the interview-to the backgrounds of the dispute.
Alfonso Cuarón on the set of “Roma”
Deutsche Welle: Boycott in the near future Netflix productions, if they come to the cinema?
Christian Bräuer: The word Boycott, I wouldn’t use, but the fact is that Netflix presents so far, no cinema evaluation model. So the question is not whether we will boycott the. Netflix has tried to the Venice winner “Roma” cinemas, but only individual houses. And it’s also not like it happens regularly: with an exclusive initial evaluation. Netflix has a maximum of only a week. Usual four months. The cinemas would have allowed not to Pay to publish, what is usual with us, as a sign of transparency. The are no conditions under which cinemas economically. And that is why you will not use the films.
See you threatened with a proven System? So movies first in the cinema to evaluate, then to DVD and Stream to offer, then the TV-broadcasting – each with a specific time interval?
Exactly. Netflix enters the “window”, the window of the cinema. Why buy Netflix films exclusive? In order to have an advantage. Cinemas need this exclusivity also. Cinemas are expensive places, in the maintenance of the building, the design of the programme. I expect the major US Studios and German producers that you have to wait four months. In order for Netflix to attack the business model. This is then sold under the guise of Disruption: Everything is changing… but the fact is, it is about tough enforcement of our own business model to the detriment and destruction of others.
Dr. Christian Bräuer, member of the Board vorsitzener of the AG Kino
…Netflix could benefit also.
If we are committing ourselves to it, it would roll in the cinema the model of Platt, but also all the others. Also, film distributors are worried, worried must also be producers. Who is not able to be at the big platforms, which no longer would exist. If Netflix has movies that are suitable for the cinema, we would be happy but even if there is a real theatrical release. This would be a win-win-situations. Netflix would have, like other cinema producers, shares in the hire, you would earn.
Successive lawn just because two trains? You can imagine that Netflix is now saying, we sit down to a table. Netflix interested in all of European art-house cinema operator?
At the end of the “film art fair in Leipzig” (a platform for cinema operators from all over the country to come together, to note. d. Red.) the statement: The “Goliath” Netflix is too large to ignore him, but “David” art house is not going to stop. We have a lot of other movies. It is not that there are only movies on the market, the Netflix produced. We had in Europe over 2000 movies in the last year. Our task is to find as “truffle pigs” are the best movies to bring to the cinema. There’s quite a self-confident attitude. Now we need to talk not too much about Netflix. Let’s talk about the movies we bring to the cinema, and let’s make this the public advertise.
Is it not also so that all of the spellbound look on Netflix and not at all look more carefully, what-so-ever?
If Netflix, with “Roma” wins in Venice and many of the Newspapers then did not write how the movie is, but only in the style of “Netflix” wins, then of course that is a challenge. If the Filmfest Hamburg (27.9.-6.10.) writes: Great, we have three Netflix productions, and even not saying which movies are the, then the independent film industry in Europe, producers, distributors, cinema owners need to say something.
Movies and TV shows for home use on a small screen
It is in the case of “Roma” that triggers the dispute to a movie in the best sense…
The question is always: What is cinema? Of course, Roma is a Film that belongs on the big screen. But I dare say that the movie disappointed on the small screen. I would venture to say that no one will subscribe to it in Germany because of “Roma” Netflix. But For Netflix, the Golden lion is a gigantic Marketing success has paid off.
Netflix is welcome as a real market participants, because it has to withstand, but also to the rules of the game. Or Netflix is not just on the big screen. Then a Netflix movie is not a movie. In the Moment, where he is in Venice gone, it’s a TV movie, because he is only seen on the small screen.
At its core, it also has to do with the festival, the presence of Netflix. Cannes shows, no Netflix, movies, Venice. How to position the Berlinale? You want to appeal to Dieter Kosslick and successor, and Monika Grütters, not the way of Venice.
Exactly, this is a very strong appeal. The Berlinale is a tax-funded film festival and not a private! We produce in Germany and Europe and in the world, so many cinema films. Such a Festival, at least the competition is a competition for the best films, which should be freely accessible. It is not a Problem, if Netflix movies are running in a series or on the movie market.
A place of adventure-cinema by providers such as Netflix threaten?
It is also about the freedom of distribution channels. You can watch the movie in the cinema or later, a Blu-ray purchase, or on a Streaming platform or on television – all of this is denied. Therefore, it is necessary to defend the. If the Netflixe of this world want more, then they should create their own Festivals.
Are Festivals or the place of the “cinema threatened”?
The concern is, of course, if in the future, Berlinale competition, with five films to the departure of Netflix, which are to be seen after that, only on the small screen, it would dilute the “brand Berlinale” and the “brand Festival” at all.
In the short term, that sounds like: “We dare something New”. The question is: do I See myself as a part of a Film-culture, the want to make movies for wide audiences, where the cinema is a place of shared stories-looking? We all love stories, whether we see or hear, whether it’s streamed or on TV – but the common stories, for the experience of the movie theater, with friends, with Strangers – this is cinema!
Dr. Christian Bräuer is Chairman of the management Board of the AG Kino, a member of the Bureau of film promotion, Vice-President of the European Arthouse cinema Association and operates cinemas in Berlin and Dresden. In the AG Kino over 300 the art of film and cinemas in the whole of Germany. It represents the interests of film art and theatre to External groups, agencies, associations and at the political level.