CINEMA AND THE CORONAVIRUS
How the film world is navigating an unprecedented crisis…
In the last issue, we looked at the initial responses of cinemas, distributors and film festivals to the coronavirus pandemic. Barely a month later, it’s clear that these responses were only the beginning. With no corner of the industry untouched, the nature and future of cinemagoing has become subject to intense, multi-level scrutiny.
Some companies have responded to the pandemic by exploring digital options. Independent, arthouse and foreign-language distributors have been quick to offer streaming homes for movies. Curzon brought forward the release of Juliette Binoche online dating thriller Who You Think I Am to its Home Cinema platform, where it joined early
VOD releases for films including Dogs Don’t Wear Pants. #MeToo-themed The Assistant also received a digital release.
Closer to the mainstream, Pathé’s Keira Knightley-starrer Misbehaviour arrived early on digital platforms, after just four days of theatrical release before cinemas closed. Major distributors have preferred to delay theatrical releases, some by a year; recent moves have included Jungle Cruise, Top Gun: Maverick and most of the MCU slate. Birds Of Prey, Frozen 2, Onward and others were made available as ‘premium’ home rentals earlier than planned in some territories. Meanwhile, it remains to be seen whether Disney’s decision to launch Kenneth Branagh’s Artemis Fowl on Disney+ will set precedents.
Some festivals have also explored digital options. Austin’s South By Southwest partnered with Prime Video to showcase some films due to premiere at the cancelled festival; BFI Player
hosted some of the films due to screen at London’s cancelled LGBTIQ+ film festival Flare. For September’s Toronto International Film Festival, organisers are reported to be considering “on-site and digital innovations”. Cannes Film Festival director Thierry Frémaux has declared a resistance to digital options, though the status of 2020’s postponed event (as with September’s Venice Film Festival) remains unknown at present.
Meanwhile, digital and online initiatives have attempted to address the social nature of cinemagoing. Curzon has hosted live Q&As for some of its films, including director Céline Sciamma discussing Portrait Of A Lady On Fire. On Twitter, Leigh Whannell joined a “watch party” for The Invisible Man, which was made available for digital rental early.
Some commentators have estimated losses expected to be sustained by the industry at $10bn, though another challenge relates to how cinema will emerge from the lockdown. According to a report in The Guardian, China swiftly reversed tentative plans to reopen cinemas, perhaps fearing a second wave of infections. On top of questions about losses of income and the impacts on smaller theatres or arts centres, cinemas will surely enter a period of transition as distributors align global release dates. Will we see an inordinate number of films jostling for exhibition slots? Perhaps smaller distributors
will reconsider the relationships between theatrical and home viewing, leading to the kind of “paradigm shift” we mentioned last issue.
Meanwhile, a renewed appreciation of the cinematic experience has been advocated for. Frémaux suggested as much in his arguments against a ‘digital’ Cannes. And, in a moving Washington Post op ed, Christopher Nolan – whose Tenet is still scheduled for 17 July as we write – celebrated local cinema employees and wrote eloquently of our “desire to be together”. We’re missing that right now, deeply. But until social restrictions can be safely lifted, those uncharted waters remain open to negotiation. KH
‘SOME COMMENTATORS HAVE ESTIMATED LOSSES AT $10BN’