At the time of writing, Christmas is just over three weeks away. The streets are strewn with lights, classic Christmas songs are on the radio and everyone is struggling to find a gift for their loved ones. But fear not. If you are buying for a film lover, Big Picture Film Club has your back.
Today we are going to give five categorical recommendations of gifts that will please any film fan. Hopefully, this will give some of you an idea about what to get. So, let’s begin.
Collector’s edition DVD’S/Blu-rays
Nothing makes a film fan happier than owning the best editions of their favourite films. Regular DVD’s/Blu-rays are nice but there is a certain pleasure in unwrapping a collector’s edition with filmmaker commentary, documentaries, interviews, analyses, and a gorgeous transfer. Although collector editions are available from various sources, in the UK if you want the best, you can go to one of five companies:
Arrow Video – Specialises in cult releases (see also, Arrow Academy which specializes in critically acclaimed work and Arrow Films, which focuses on new releases)
The Criterion Collection – Specialises in releasing important films from world history
Eureka’s Masters of Cinema and Eureka Classics label – a UK counterpart to Criterion which puts out works of cultural importance and well-regarded niche films. If criterion doesn’t have your film, Eureka probably will.
BFI – They provide gorgeous transfers of historically significant work from Britain and around the world
Curzon Artificial Eye – Provides extra ladened releases of world cinema titles, new and old.
If your friend loves a film released by one of these companies, you owe it to them to get it. They are a little more expensive than other DVD/Blu-ray releases but for the quality of the content, it’s worth it.
(Also recommended 88 films, 101 films, Powerhouse Films, and Second Sight Entertainment)
This category really has the power to surprise and delight. Film fans adore minutia to brighten up their homes and there are so many options for what to buy.
You could get them a classic poster of their favourite film to give them something gorgeous to hang on their wall. You could buy them a Funko Pop of their favourite film characters to liven up their work desk. Or, why not buy them replicas of famous movie props. To allow the recipient to live out the fantasy of being a part of their favourite films.
These items vary drastically in price but no matter what you pick, your film loving friend will have a big grin on their face.
There really is nothing better to get your friend to ensure that their movie viewing needs are cared for all year. But, what service should you get them? Well, what do they like?
Netflix – For a range of well-known classics, critically acclaimed modern and original films (£5.99-£9.99 monthly)
Amazon Prime – Provides modern favourites and many obscure older titles. Also includes prime next day delivery for those who frequently use Amazon (£79 a year or £7.99 monthly)
Shudder – A streaming service for horror fans. Stocked with well-known and obscure horror titles from around the world (£47.98 a year or £4.99 monthly).
Now TV with Sky Cinema subscription – Provides a range of classic and little-known Hollywood favourites (£55 a year)
Mubi and Mubi Go – For those with a taste for auteurs, independent and foreign language films. And Mubi Go allows the owner to attend one specially selected film screening a week at selected cinemas (£59.88 a year)
Or perhaps if your friend likes visiting the cinema, you could get them a subscription card for their favourite cinema chain. Cineworld has unlimited, Odeon has limitless and many cinemas have their own loyalty program. So, if your loved one likes visiting the cinema, this could help them keep up to date with new releases.
You won’t see your friend for a few weeks after they get their gift, but be assured, they are appreciative.
Home Cinema Equipment
What’s better than getting a good quality Blu-ray or DVD of your favourite film? Watching it on good home media equipment. Whether it be the latest 4K television that allows you to see a higher quality image or a home surround sound system to provide a more immersive sonic experience, it makes a nice little addition to any film watchers home.
Finally, every film fan likes watching films, but do they also want to make their own films? Well, this year why not give them a helping hand.
Firstly, find out what the person you are buying for is interested in. Do they make films solo or are they interested in one particular area of filmmaking? Once that question’s been answered, we can proceed.
If they want to make films themselves and you have a bit of extra cash, then you could buy them a nice DSLR camera. Which allows them to shoot their own stuff on the go and have a great input into how the image will look. If you don’t have enough cash for that, why not try a nice phone gimbal? To allow them to use their phones in a more cinematic way.
Do they want to be an editor? Why not buy them some editing software like Final Cut X or Premiere Pro? Hopeful directors can always use a viewfinder. For those interested in sound maybe a new microphone may be in order. And there is a myriad of other equipment available online to help start your friends on their journey towards becoming the next Spielberg. So, I encourage you to look around.
So, there are just a few suggestions of what to get your cinephile for Christmas. I hope this has at least given you some idea about what is available out there and wish you all the best of luck with your Christmas shopping. If you have any further ideas of what to buy, then please let us know in the comments and stay tuned for more festive articles coming soon.
Last week news broke that the Andy Serkis directed Mowgli was acquired by Netflix and won’t see a large scale theatrical release and will be on the streaming platform in 2019 (not later this year as originally intended). This decision marks two important changes in the film industry: major film companies becoming more risk-averse with theatrical releases, and the ability for streaming services to now take on would-be “blockbuster” film releases.
Earlier this year Sci-Fi horror Annihilation suffered a similar fate, going directly to Netflix for its international release. And with 11 million viewers in its opening 3 days the Netflix original Bright, starring Will Smith, was a glimpse into what a big budget feature film can do while still being premiered on a streaming service. So, how does the rise in straight to Video-On-Demand platforms change how we should view the film charts? When can a VOD movie be considered a commercial success? And what does this mean for the film industry?
Where do they stand?
The basic cinema experience hasn’t changed in the last 100 years. Major film companies like Warner Bros & Paramount Pictures have primarily worked on the basis of a theatrical release of a film. This has meant we’ve had a fairly consistent measure of what the current popular films are as a measure of revenue generated at a cinema’s Box Office on any given week. For the UK cinema Box Office, this information has been collated by analytics company ComScore since 1991. Cinema admissions in the UK have remained fairly stagnant over the last 10 years, with most annual admissions in this timeframe being between 165 million – 170 million. Therefore the growth in domestic ticket revenue has been driven by higher ticket prices and premium cinematic formats such as IMAX & 3D cinema.
Although both industries have their differences, comparisons can be drawn from the music industry. A key watershed moment in the U.K music industry landscape was in 2004 when digital downloads were included in the charts, which saw Gnarls Barkley’s “Crazy” land the number 1 spot from digital downloads alone in 2006. 10 years after the introduction of digital downloads, the UK’s Official Charts Company incorporated streaming data into the charts for the first time in 2014. While the music industry has arguably had a tougher time monetizing its music and avoiding piracy, it has in recent years been more receptive in changing its measures of success to better reflect how people are consuming music. Although the Box Office remains the gold standard for measuring commercial success of a film, the growth of Netflix, Amazon Prime and others will surely begin to question how we measure success within the film industry.
A measure of success
As part of the eligibility criteria for feature-length films, both BAFTA (British Academy of Film & Television Awards) & Oscars require films to have a commercial theatrical release, with films that have had their first exhibition on streaming platforms ineligible for consideration. Smaller, more niche film awards like the Streamys & The Webbys have emerged in an attempt to fill this void. This resistance of the ‘old guard’ to acknowledge new media is nothing new in arts and entertainment. The recent banning of Netflix at the Cannes Film Festival is further proof of this. Despite opposition, The Venice Film Festival is bucking the trend and will screen 6 Netflix films this year. Whilst it’s a risky move for the festival, ultimately it is one that would see it on the right side of history in years to come.
In a world shifting towards Netflix & Amazon, great talents within the filmmaking industry are still not properly being acknowledged for their work on those platforms. A large part of this issue is what our measure of a successful film is in this day and age, an intermediate solution might a secondary industry-recognised film chart based on streaming. Or maybe we should look into adopting a version of the music industry model?
In the immediate future expect the Box Office chart based on cinematic ticket sales to remain. However, in an industry where money talks this discussion will continue, particularly as the revenue and influence of subscription streaming platforms continue to grow. If the music industry has successfully amalgamated digital, streaming and physical retail sales into a chart to accurately reflect the most commercially successful films of the moment, surely the movie industry can too?
Much has been said about how Video-On-Demand services like Netflix have changed the movie industry over the last years, with Netflix and Amazon Prime being key plays leading the charge. Cheaper technology has also allowed for a lower barrier entry for filmmakers – even Steven Soderbergh’s new film, Unsane, was shot on an iPhone! Although the technology is still maturing, tech companies are investing heavily in Virtual Reality (VR), will this be the next area the film industry can capitalise on?
VR in Games
VR currently has a 90% public awareness, according to YouGov. Further indicators of early mass adoption of VR can be seen in the gaming industry. VR Systems saw a 23.5% year-on-year rise in 2017, cracking the £100m barrier for the first time. Currently, 6% of the British population own virtual reality headwear; At the equivalent time after widespread release, wearables had 4% penetration and tablets had 3%. The gaming industry has led the charge in this area with PlayStation VR, Oculus Rift & HTC Vive making up the vast majority of sales and with more game developers working on games specifically for VR growth in VR games looks to be strong moving forward.
The major film studios have been a lot slower to adopt VR as a way to exhibit films. However, VR is used as a medium to create immersive experiences based on a film title, rather than actually making a movie to be watched via VR. In this instance, particularly with horror films like The Conjuring 2, a VR based experience acts as a great promotional tool to complement a wider marketing roll-out.
Should We Expect a Breakout of VR Films?
A current problem is that currently there simply aren’t that many platforms designed for VR films – particularly feature-length ones. Currently Video-on-Demand powerhouses Netflix & Amazon Prime do not support VR, however tech giants Facebook & YouTube have enabled 360 VR videos to be uploaded onto their platforms. This makes the two social media platforms a key testing ground for wider adoption of films in VR.
Many more experimental independent filmmakers have begun to explore VR as a method of producing short films. The Invisible Man (shown below) is an example of how the medium can be utilised to produce a compelling film.
Since its inception over 100 years ago how we experience film has remained largely unchanged, however, what we have seen through television/VoD services, as well as 3D cinema is complementary user experiences running parallel to traditional cinema. At least in the immediate future what seems most probably is that VR will simply add another dimension to the ways we can experience the “moving picture”. With new technology, new ways to creatively exhibit films will surely soon follow.