Netflix’s strategic thinking DAVID FRIEND
Why most Canadians won’t see this Oscar-contender at the local cinema
With director Alfonso Cuaron’s sweeping epic Roma floating on a cloud of positive buzz, the Netflix film seems destined to be a major awards contender.
But unlike other best picture Oscar bets A Star Is Born, Black Panther and Widows, it’s angling to get there without playing theatres across Canada.
Despite a critically acclaimed première at September’s Toronto International Film Festival, Netflix is screening the Spanish-language film by the Oscar-winning director of Gravity at only a small number of theatres in Canada.
Only one theatre is screening it before the streaming service does — Toronto’s downtown art house TIFF Bell Lightbox premières Roma on Thursday. Montreal and Vancouver theatres don’t get it until Dec. 14, the same day Roma makes its global debut on Netflix. It’s also slated to open in Ottawa on Dec. 26.
The strategy reflects big screen Oscar ambitions that don’t actually include a strong commitment to movie theatres.
“For Netflix, it all comes back to the monthly subscription,” says Katie Bailey, content director at film industry trade publication Playback.
“They build their revenue $9.99 at a time.”
Netflix acquired the rights for Cuaron’s semi-autobiographical tribute to his native Mexico with the purpose of putting it on the small screen.
Reed Hastings, the company’s chief executive, has long accused movie exhibitors of being unable to think outside the multiplex boxes. He’s called for Hollywood to release more films for home viewing the same day they open in theatres.
That position has put Netflix in a tough spot as exhibitors distance themselves and some within the film industry see the company as a competitive threat.
Netflix has managed to pick up Oscars for both documentary feature and short in recent years, but has failed to score gold in the major awards categories.
It’s hard not to view the company’s Oscar campaigns as halfhearted at best.
Theatrical runs for Mudbound and Beasts of No Nation — which are required to qualify for the Oscars — were booked at the smallest theatres in Los Angeles and New York, making it tough for even the local audience to find.
Neither film turned Oscar nominations into wins.