Priscila went missing in January 2004, and the four-episode Disney+ docuseries not only presents to the viewer what transpired in those days at the dawn of the 21st century but also what has unfolded since then, considering the relatives and friends, the authorities, Brazilian society and its aftermath.

According to the 2024 Public Security Annual Report, in 2023, 80,317 missing people were registered in Brazilian territory. A rise of 3.2% from 2022, numbers that expose how deep this issue bleeds in Brazilian society. Through the picture ‘I’m Still Here,’ Brazil is getting a glimpse of what it is to have a missing one, and ‘Finding Priscila’ can be seen as a companion piece to Walter Salles’ masterwork ‘I’m Still Here’ (2024).

‘Finding Priscila’ tells the ordeal of Priscila Belfort, a young architect who was diagnosed with depression but with a happy social life and a talent for the arts. Priscila is also the sister of MMA champion Vitor Belfort, married to Joana Prado, a former TV personality. The couple are very popular in Brazilian society and were at the height of their fame in the 2000s, which ended up making the disappearance of Priscila reported by many media outlets, thus affecting Brazilian society and creating a curious feeling of false omnipresence as Priscila’s face could be seen in many places, her name was always heard, but she wasn’t at home.

Priscila’s face became a fixture in the news and TV shows, and the docuseries acts as a document on how the media could affect stories and people’s perceptions, and ‘Finding Priscila’ doesn’t forget the media dark side composed of exploitation. Outlets and media channels would reproduce many of the “hearsay” stories about the youngster, thus tarnishing her image and bringing more pain to the family, but all “in the name of journalism,” as such “professionals” usually utter.

The Disney+ production respects Priscila, the Belfort family, its viewers, and itself by avoiding such tropes and keeping seriousness and intelligence as the criteria. The soundtrack follows the narrowing and troublesome situations without having that cheesy appeal from lower productions, and in the end, it acts as a trump to ‘Finding Priscila’ as it doesn’t steal the focus from where it should be.

As a writer, I’ve covered the issue of missing Brazilian people by interviewing relatives who keep looking out for their loved ones. ‘Finding Priscila’ is very capable in representing the void that can be felt in those who are waiting for their loved ones or to at least bury their bodies. Their households also express such sensations; it is as if the air is heavier, the colors show a darker tone, and the rooms seem more spacious than they actually are.

Priscila was struggling with depression, and although it is a documentary and not a drama, ‘Finding Priscila’ is still able to capture this disease and reproduce its symptoms within the narrative as one can feel not only the sadness but the lethargy and despair that it brings not only to the person in question but also how it affects those around them.

The capacity to reproduce the sensations of absence and depression is due to the skill and craftsmanship of Finding Priscila’s team. The direction is precise, and the editing and photography complement each other, showing the beauty of Rio de Janeiro but also its shadowy corners while valuing the storytelling process and not resorting to being another “talking heads” festival.
Props also to the art department for the creative way it retells some parts of Priscila’s story, in particular her journals and artistic work, and to the writing team that sews the storytelling in a way that different threads connect and for finding light and endearing moments in a tragic story that makes the road for the viewer easier.

On the specialists’ side, the interview with journalist and researcher Bruna Rodrigues is among the best. The times that the mother, Jovita Belfort, appears are those that show how deep it cuts because, as in many stories of missing people, the one that does most of the search and takes the brunt of the suffering many times is the mother.

‘Finding Priscila’ shows a vulnerable and not much-seen side of Vitor Belfort, a cage legend, and the docuseries help humanize someone who is already so mediatized, hailing from a popular combat sport by showing a more intimate side. ‘Finding Priscila’ is haunting, urges Brazilian authorities to do more, and Priscila’s story would make a compelling live-action drama.

Rating: (4 / 5)

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Original Offerings

In the past year, the UK’s streaming landscape has seen several changes. TUBI, Fox Corporation’s ad-based streaming service, which doesn’t offer an ad-free experience, was released in the UK. Meanwhile, Lionsgate+ shut down, With its library rolling over to MGM+ (an Amazon subsidiary).

Additionally, big players like Amazon Prime and Disney+ have followed Netflix and offered cheaper access plans, including adverts, While increasing the price of what was originally the default package.

Then there is Apple TV+ whose services senior vice president is pushing to be more careful with original content budgets. So the service can be more sustainable.

All of this indicates that streaming is starting to feel the impact of the market’s current state. As studios all try to set up their own streaming giant by gating off their own content behind paywalls, for many viewers it is starting to become confusing and unaffordable as costs rack up to access everything they want. This has resulted in smaller services closing, cuts being considered and needing to ape television’s model of advert support.

Streaming Packages

One way companies are potentially trying to continue to build their app’s customer base is by partnering with other streaming sites to offer bundles at discounted prices. Recently in the US Disney+, Hulu and Max announced they would join forces on a bundle. This will offer all three services at a cheaper rate than if customers were to pay for them individually.

This will undoubtedly be viewed as a good thing for both Warner Bros and Disney (the owners of these sites) as it will allow both services access to each other’s audiences and will subsidise the cost of things like promotion. As the bundles will advertise both companies, which is a similar model to how cable TV bundles operate. 

It does offer audiences access to a wider range of projects for a cheaper price, however, both companies have increased prices on subscribers before so how long it would remain affordable is uncertain. It must also be noted that access to a wider range of titles is artificial. Both companies gated off their content rather than allowing it to be available on more affordable third-party platforms.

TV & Streaming Become One

However, despite all this talk of streaming becoming more like traditional TV, television is now moving to become more like streaming. Recently Freely was launched by Everyone TV – who are behind Freeview and Freesat. Which essentially aims to move TV channels online, allowing you to watch live and on-demand TV from several of the main UK channels in one place for free.

That said, with only a limited number of channels signed up currently, high-speed internet still not available for some homes, and the cost of running the internet and TV at home for these services all being factored in there are still significant barriers to accessing Freely.

What This Means?

What this showcases is that the industry is slowly starting to feel the grip of economic pressures. Especially in the wake of the historic Hollywood strikes which saw industry workers win big gains in worker protections. This could indicate that the studios have started looking for ways to make back money. This would mean cutting production budgets, partnering with other services to spread costs, seeking funding from advertisers and increasing consumer costs. All this has amounted to streaming becoming very similar to the television models it was meant to be replacing. But with television broadcasting beginning to move to an online model it seems streaming is genuinely just becoming the new television rather than an alternative. Whether it will be a positive or not, only time will tell.

That said, with so much of streaming now replicating problems of TV and presenting its own problems the vision of a more affordable, accessible way to watch whatever you want seems to be a world away.

Also Read: The Paradox of Plenty: How Streaming’s Abundance May Curtail Your Viewing Choices

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But with so many platforms available, which one truly offers the best cinematic experiences? This article will do an in-depth look at the streaming apps that have the best movies. Without any further ado, let’s get into it.

Top 3 Best Streaming Apps for Movie Buffs

#1 Disney+

Disney+, the brainchild of the Walt Disney Company, is not just another streaming service in the crowded digital space. It’s an experience that taps into nostalgia while simultaneously catering to the new-age audience. With an expansive library that encompasses everything from the heartwarming classics of the Disney Renaissance era to the thrilling escapades of Marvel superheroes, Disney+ ensures that the magic of storytelling is alive and well. Furthermore, the platform’s dedication to bringing cinematic experiences to the small screen is evident. Fresh releases, behind-the-scenes exclusives, and unique reimaginings like “The Mandalorian” are a testament to Disney’s commitment to quality and innovation.

In a world of fleeting digital content, Disney+ offers permanence. Families can introduce new generations to the joys of “The Little Mermaid” or “Beauty and the Beast,” while also exploring new tales from the Star Wars universe or diving into the complexities of the Marvel multiverse. Beyond these, the platform’s acquisition of Pixar, National Geographic, and 20th Century Studios has further expanded its horizons. From soul-stirring documentaries to spine-tingling adventures, Disney+ is where dreams come alive.

#2 Hulu

Hulu is the embodiment of modern-day entertainment diversity. Initially launched as a hub for catching up on recent TV episodes, it has since transformed into a formidable content powerhouse. It stands out with its blend of current season episodes, complete past seasons of hit shows and a prolific library of movies spanning multiple genres. The platform’s partnership with various major networks ensures that there’s always something fresh to watch. This agility and currency of content make Hulu a go-to choice for those looking to stay updated with the entertainment world. We should also mention that the Hulu free trial offers a great way to watch the latest movies without spending a dime.

However, it’s not just about quantity with Hulu; it’s about groundbreaking quality. Their foray into original content with shows like “The Handmaid’s Tale” and films like “Palm Springs” has garnered critical acclaim. Furthermore, the platform’s willingness to experiment, as evident from its diverse slate of originals and acquired content, is commendable. Whether you’re in the mood for a timeless classic, a gripping documentary, or a fresh-off-the-cinema movie, Hulu promises and delivers variety in spades.

#3 HBO Max

HBO has always been synonymous with top-tier entertainment. Their reputation for delivering hard-hitting series like “Game of Thrones” and “The Sopranos” set the stage for what premium television content should look like. HBO Max takes this legacy and elevates it to new heights. While it boasts the complete HBO library, it doesn’t stop there. The platform introduces Max Originals, a range of content curated for diverse audiences, from riveting dramas to light-hearted comedies. This, coupled with their timeless classics, makes HBO Max a haven for cinephiles.

It’s not just about the past and the present with HBO Max; it’s a bridge to the future of entertainment. Their recent strategy of releasing major cinematic releases on the platform concurrently with theater releases signals a shift in how we perceive movie-watching. Films like “Dune” and “Wonder Woman 1984” are testimonies to their commitment to bringing grand cinematic experiences to the comfort of our homes. Whether you’re a fan of the golden age of cinema or looking forward to the latest blockbuster, HBO Max seamlessly blends the old with the new, ensuring a comprehensive entertainment experience.

Streaming is Taking Over Cable TV

In the last decade, the entertainment landscape has witnessed a tectonic shift. Traditional cable TV, which once dominated our living rooms, is gradually ceding ground to the more flexible and user-centric world of streaming services. The allure of cable TV was undeniably strong, with its curated programming and scheduled slots for favourite shows. However, the digital age brought with it a desire for on-demand content, where viewers wanted to dictate their viewing schedules rather than adhering to the timelines set by broadcasters. Streaming platforms catered to this very demand, providing a buffet of content that users could dive into anytime, anywhere, and on a device of their choice.

The rise of streaming can also be attributed to its adaptive nature. These platforms not only offered the latest movies and TV series but also invested heavily in original content, creating a unique selling proposition. Shows like “Stranger Things” on Netflix or “The Handmaid’s Tale” on Hulu became cultural phenomena, sparking discussions and generating fan theories worldwide. Additionally, the ability to binge-watch, absence of commercial interruptions, and the option to explore a diverse range of international content made streaming platforms an irresistible proposition. As a result, more households are cutting the cable cord, opting for the tailored, rich, and varied experiences that streaming platforms promise.

Final Thoughts

The world of movie streaming is vast and varied. Each platform brings its unique flavour, ensuring that movie enthusiasts have a diverse palette to choose from. While Disney+ is a treasure trove for family-oriented content, Hulu provides a mix of everything, and HBO Max offers cinematic depth. In the end, the best platform largely depends on individual preferences. However, with all these platforms at our disposal, one thing’s for sure – movie nights have never been better!

Also Read: How the Streaming Revolution Has Fuelled Movie Piracy

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In this article, we will look at the current state of streaming and try to determine if it has resulted in viewers having more or less choice when it comes to accessing their favourite films and TV programmes.

Swimming Through Streaming

The biggest streaming services are currently Netflix (around 232 million subscribers), Amazon Prime Video (over 200 million) and Disney+ (around 146 million).

Other popular services like Max, Paramount+, Hulu, Apple TV+, Starz, Peacock, ITVX and more also have sizable subscriber bases of their own. And more streaming services may be coming further down the line.

Positives

With so many streaming services, each offering original productions and access to a library of classic and modern projects it seems like there is a huge amount of choice available to customers. And there are definitely benefits to the current state of streaming. For example, it ensures many projects are available to wide audiences in accessible ways. And it has encouraged viewers to watch more international media. However, the industry has been accused of using many tactics that have negative consequences for customers.

The Illusion of Choice

The WGA West recently released a report into the anti-competitive practices of the biggest three streaming services. Although some of their critiques also apply to smaller streamers. The document lays out how Disney uses its industry position to constantly acquire new companies (it currently owns the ABC network, Pixar, Marvel, Lucasfilm, 20th Century Fox, and a majority stake in Hulu) increasing its market control. Resulting in an overall decrease in media output. It has also withdrawn content it owns from other streaming sites (something other studio-owned streaming sites are now doing). It limited the content shown on its platforms to mostly Disney-owned work. Also as a result of its market dominance, Disney has been able to pressure viewers to accept price hikes to retain access to their platform. 

The document also says Amazon has been able to disadvantage competitors by demanding fees to allow viewers access to their services through their Fire TV platform (one of the leading ways people access streaming). Thus depriving viewers of any choice that would not result in them collecting extra fees.

Netflix through increasingly making self-produced content rather than collaborating with third-party production companies, its acquisition of other production studios (increasing its market share), and its use of power to increase subscription prices while reducing investment in content is increasingly depriving customers of choices regarding projects and access plans.

There are also egregious examples of streaming services cutting content from their libraries. Leaving viewers no way to access them physically or digitally. As well as some companies restricting access to their site by cracking down on password sharing, not exactly providing a great amount of options for viewers.

What This Means?

If all practices outlined in the WGA report are accurate it’s clear that despite the number of streaming services increasing it has done little to give viewers more choice. In fact, it has taken away a lot of choice by restricting access to media, pushing up prices customers pay for access and increasing the subscriptions needed to access the same content.

What was once considered a disruptive distribution model that would give customers convenient access to a diverse array of media is fast becoming a gatekeeping exercise for big companies to retain control of their films at the expense of customers.

Also Read: How the Streaming Revolution Has Fuelled Movie Piracy

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

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10. Chinese Doctors ($197,143,218/£142,009,160)

Despite only seeing a major release in China, Australia, and New Zealand this tale of a group of doctors working together in Wuhan to combat Covid-19 has become an unlikely hit at the box office.

9. The Conjuring: The Devil Made Me Do It ($201,965,074/£145,472,413)

The latest instalment in the popular Conjuring franchise, based on the real-life trial of Arne Cheyenne Johnson, was the first main series entry not directed by James Wan. Instead, it was directed by The Curse of La Llorona’s Michael Chaves. And although not as highly regarded as the other main Conjuring movies it definitely encouraged horror fans to return to the cinema.

8. Cruella ($222,184,131/£160,035,897)

Released simultaneously on Disney+ and in theatres this origin story for everyone’s favourite dog skinning maniac managed to outperform Disney’s previous live-action reinterpretation of an animated classic, Mulan (2020). But it remains one of Disney’s lowest-performing live-action adaptations of an animated movie.

7. Free Guy ($242,943,984/£175,030,208)

Free Guy follows a videogame NPC (Non-Playable Character) called Guy as he slowly becomes self-aware and breaks out of his predetermined path. Currently, Free Guy is one of the highest-grossing original IPs of the year.

6. A Quiet Place Part II ($297,372,261/£214,243,332)

While not quite as successful as the original, A Quiet Place 2, which takes the Abbot’s into the wider world outside their home, still performed admirably after a long release delay. And is currently the year’s highest-grossing horror film.

5. Black Widow ($372,376,568/£268,328,969)

Marvel’s highest-grossing film this year follows Black Widow as she goes off-grid and confronts her dark past. But its release has been mired in controversy. The film’s star Scarlett Johansson announced she would be suing Disney (Marvel’s owners) over Black Widow’s simultaneous streaming release. This is because it allegedly breached Johansson’s contract, which said the film would be released theatrically with her salary being tied to its box office earnings.

4. Godzilla vs. Kong ($467,863,133/£337,135,156)

The fourth entry in Legendary Pictures’ MonsterVerse managed a higher income than its prior entry, Godzilla: King of the Monsters. And it also marked the second time the classic movie monsters have fought. The first being in 1963’s King Kong Vs Godzilla.

3. Detective Chinatown 3 ($686,257,563/£494,506,906)

Chinese cinema continues its presence in the top 10 with the Detective Chinatown series’ highest-grossing entry so far. This time detectives Tang and Qin are involved in a battle with the strongest detectives across all of Asia to solve a case in Tokyo.

2. F9: The Fast Saga ($710,873,160/£512,244,536)

F9 follows Dom and his crew as they battle against a new threat. Dom’s estranged brother. F9 is the highest-grossing Hollywood movie so far this year and the highest-grossing Hollywood film since the Pandemic started.

1. Hi, Mom ($822,009,764/£592,327,906)

So far the highest-grossing movie of 2021 is not a huge blockbuster, instead, it’s a small movie about a young woman travelling through time, who befriends her own mother and tries to give her a better life. It’s exceptional taking also makes Hi, Mom the highest-grossing film ever made by a solo female director.

This concludes our look at the highest-grossing films at the 2021 box office so far. And while the receipts for the high scorers are not as high as those of 2019 they are still higher than those of 2020 and the films are an interesting mix. With 3 foreign language films (all produced in China), 3 films not based on pre-existing material, 2 horror films and only 3 Disney/Disney affiliated movies being included. It shows that cinemagoers are looking for different film experiences to sit alongside big blockbuster releases. Let’s hope for even more diversity when the year-end list comes.

Also Read: Did High-End TV Replace The Mid-Bidget Indie Film?

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Let’s take a trip through history and the current media landscape and see if we can begin to understand what led to the decline of the old studios and the rise of the streaming giants.

Where They Are Now?

In Hollywood’s Golden Age (between the 1920s and 1960s) there were eight studios that made up the biggest movie production houses: MGM, Paramount Pictures, Warner Bros, 20^th Century Fox, RKO Pictures, United Artists, Columbia Pictures, and Universal Pictures. These companies were responsible for producing some of the greatest films, both of the golden age and of all time. However, after the golden age, these studios had many varying fates.

RKO Pictures was largely folded by the late 1950s. The company was later revived, but it had little success. Its most recent film was 2015’s Barely Lethal. Along with this the other iconic studios are now all owned by other companies. Sony bought Columbia Pictures in 1989; ViacomCBS has owned Paramount since 1994; Comcast owns Universal; Disney purchased 20^th Century Fox in 2019 and rebranded it as 20^th Century Studios; AT&T controls Warner Bros; MGM acquired United Artists in 1981. And despite facing bankruptcy in 2010 MGM survived and is currently being purchased by Amazon.

Several things have contributed to the current Hollywood landscape. For example, the loss of studio control over cinemas and the prevalence of television were major factors in ending the golden age. This left many studios floundering financially and needing to be saved through buyouts. Many of these production houses have managed to recover thanks to buyouts, cinema box office, and distribution deals. But a new market is providing huge competition for them.

The Streaming Wars

Movie streaming platforms have emerged as a huge market force in the past decade. This is because streaming and VoD services offer more flexibility for viewers, allowing them to view a wide range of movies from home for reasonable prices. Which has led to a huge audience frequenting these services.

And with the Covid-19 pandemic forcing cinemas to close, over the last year streaming sites were able to rob big Hollywood studios of their control of the market. Allowing these platforms to effectively become the new Hollywood studios, bringing out big new movies weekly (both original and distributed on behalf of other companies) that captured attention.

The most prominent players in the western world of streaming are Netflix, which has 208 million subscribers worldwide and earned around $25 billion in 2020, Amazon Prime, which has 200 million worldwide subscribers, and Disney+ with over 100 million subscribers. All these companies provide wide catalogues of films and TV shows, new and old, while also having their own brands of original content. However, the way these companies acquire said content is very different.

Netflix and Amazon Prime get their originals through producing and acquiring the distribution rights to various projects. Disney+ similarly produces and has distribution rights for many IP’s. But they also have their own film production studios. Meaning Disney is fully capable of making their own original content to put on their streaming sites. Thus ensuring they keep 100% of the revenue, which makes Disney+ much more like a traditional film studio. This makes it a huge threat to other film companies because of its ability to pivot effortlessly between streaming and cinematic distribution for its movies.

Those that Survived

Streaming has transformed Hollywood and movie production/distribution over the last few years. And even with cinemas reopening big studios will need to take steps to mitigate the financial damage done by the pandemic. This means that studios are now, more than ever, having to consider pivoting to streaming to recoup their losses.

Comcast entered the streaming wars last year with Peacock, made to showcase films from Universal. ViacomCBS also replaced their streaming network, CBS All Access, with Paramount+. But other studios are going to larger lengths to win over audiences.

Through its $8.45 billion purchase of MGM, Amazon hopes to boost the content it can offer. In addition, some also speculate that Amazon will use MGM to produce content for Prime, rather than letting it remain a standalone entity. Similar to what Disney is doing with its studios. And recently AT&T announced that it will merge Warner Media and Discovery into its own streaming platform. This will put the back catalogue of Warner Bros, CNN, Turner, and Discovery (as well as the streaming services HBO Max and Discovery+) into one place. These moves have the potential to really shake up the market.

But while this influx of new streaming platforms from movie studios and the move towards studios making content for streaming may be financially beneficial and offer consumers more content, it also shows that streaming services are slowly moving towards offering content produced exclusively by them and their affiliates. Thus customers may soon have to subscribe to various sites to get everything they want. Rather than having a diverse range of material on various sites.

What do you guys think of the effect the streaming wars is having on the American film industry?

Also Read: The History of Paramount Pictures

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I fell in love with Hahn as an actor through her role as Rabbi Raquel Fein in Amazon Prime’s queer family comedy Transparent. The level of complexity she brought to the show as its moral centre was fascinating and, as Emily Brennan wrote in the New York Times, was as wonderful as “Mallomars and beech trees and Jesmyn Ward books.” Now, with the end of lockdown in sight, I’m entering a Hahn-induced halcyon to see me through, and I’m not the only one. 

Two days ago, Marvel’s WandaVison came to an end. The show, which was supposed to be the studio’s grand experiment, became more generic and risk-averse with each passing episode. But its opening three – which featured near-perfect recreations of The Dick Van Dyke Show, Bewitched, and The Brady Bunch – was something that excited even me, a Marvel-sceptic. As the “nosy neighbour” Agnes, Hahn’s role in these episodes only extended the range of her talents. Alongside Elizabeth Olsen and Paul Bettany, Hahn fit perfectly into each recreation. Her mannerisms and tone of voice, right down to the style of her delivery, were eerily accurate. Even as the show broadened its scope and moved into typical superhero fare, Hahn still managed to bewitch and captivate – even up until the non-reveal of her character’s actual identity. 

After the show’s first three episodes premiered on Disney+ in mid-January, Hahn began trending on Twitter. One user noted that people seemed to be “rediscovering” Hahn, whilst another described Hahn as the only actor working today who “tonally gets the frequency and the vibe of every movie/show she’s in.” It seemed that, like those other actresses of her ilk (Laura Dern, Nicole Kidman, Marisa Tomei etc.), Hahn was due a twitter-induced “renaissance”. 

These Twitter comebacks usually are that in name only; the actor in question has typically been doing good work for years, but the mainstream is finally catching up. In Hahn’s case, her work on shows such as Transparent and I Love Dick was exceptional. Her performance in 2019’s Mrs Fletcher was similarly transcendent. As a middle-aged woman exploring her sexual desire through pornography, Hahn created pathos and urgency for an idea that is too often ignored. Now, poised to retain her role in the MCU, Hahn appears to be unstoppable.

As someone who loves Hahn, this is good to see. Yet it also seems to point to the cultural perception of middle-aged women and how we assess their value. In a recent Tinder conversation, a man told me that he was “here for every second” of Laura Dern’s “renaissance”. How can you have a renaissance – defined as “cultural revival” and “renewed interest” in something – if you’ve always been doing avant-garde and risky work? To whom does it appear as though interest as waned? In Hahn’s case, it seems to have only been building. 

I can’t help but feel that this idea of a career renaissance is a gendered one that ultimately puts a particular person’s attention at its centre. I can only think of a single male actor who has been talked about in this way: Matthew McConaughey. In the eyes of the mainstream, he went from doing romantic comedies – a genre typically maligned for its connection to female-centred storytelling – and into serious, often masculine, projects like True Detective and Interstellar. That his career is back on track now because he is appealing to a certain kind of viewer speaks to where our assessment of value comes from. 

The fact that Hahn, who has spent the past few years telling stories that centre around female desire, lust, and complexity, is only now considered “revived” because the Marvel Fan Boys have given her a seal of approval feels reductive. Of course, this has always been the case for those that choose to tell stories outside of the hegemony. For example, an adaption of Chris Kraus’ complicated feminist novel (even if it was, bizarrely, for Amazon) was never going to bring in Spider-Man level numbers. Still, it rubs me the wrong way when people now say that because Hahn has worked within the superhero machine she’s made it. 

It’s hard to make this sound like it isn’t just some variation of the “I liked them before they were cool” argument. Maybe now I understand those coked-up indie boys at house parties who told me the Arctic Monkeys have sold out or that the Kings of Leon were so much better before ‘Use Somebody’ came out. So maybe, when this pandemic is over, you’ll find me in the corner of a bar or a club, explaining to an unwilling audience that Hahn was always a star and that Marvel didn’t make her one. 

Also Read: How Film Changed Me: On Rewatching

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Disney’s Restructuring

Last week Disney announced a huge restructure with its Content creation and distribution being separated. Content creation will now focus on creating big franchise content for theatrical and streaming distribution, as well as general entertainment and sports content for Disney’s streaming platforms and TV networks. Meanwhile the “Media and Entertainment Distribution group” will handle monetisation and distribution of all the company’s projects. And with Disney reporting over 60 million Disney+ subscribers worldwide their efforts have shifted towards creating content for and distributing content on their streaming platforms.

How Will This Affect Cinemas?

Disney movies attract incredibly large cinema audiences. And with Cineworld’s recent closure due to the lack of big releases needed to sustain themselves during the pandemic, this move could be rather damaging. Especially since studios like WarnerMedia and Comcast are seemingly following Disney’s lead. Recently they reorganised to focus on streaming service’s HBO Max and Peacock.

However, despite Disney shifting focus to streaming, analyst Rich Greenfield said, “nothing can achieve the per picture economics that Disney…generate through a global theatrical release”. Showing that Disney still needs cinema distribution to ensure their projects make their money back. This move may be meant to recoup losses further down the line. With projects aimed at attracting new customers to Disney’s subscription services and keeping people subscribed; paying for content, as they proved they could do with Mulan (2020). And as Disney has access to a huge amount of resources, and bankable studios, it’s hard to see this becoming an industry trend. Not every studio has the resources needed to shift towards streaming over cinema. Cinemas still matter but can they remain open without the support of many big tentpole releases?

How Can Cinemas Survive?

There are no concrete answers, but cinemas currently have a lot of avenues available. For example, the largest audience for UK cinema releases is consistently 15-24-year-olds. Other statistics show that BAME and LGBTQ filmgoers, as well as adults with children under 18, make up a high percentage of cinema audiences. Cinemas could target these audiences by providing discounts or exclusive screenings to encourage certain demographics to keep returning (similar to how The Light and Odeon cinemas currently offer discounts for former Cineworld customers). Rewards can also be offered to make customers feel valued. And classic and recent content could be offered to draw in BAME and LGBTQ audiences.

Also, recently smaller movies like After we collided and Unhinged have done relatively well at the UK box office. Showing that smaller films can do well with a bigger platform. And with many smaller releases still on the horizon, cinemas have an opportunity to encourage audiences to try something new. They can do this by increasing social media awareness. Offering discounts/rewards. Or perhaps even organising local cinema clubs, as many of the previously mentioned groups are more likely to respond to the idea of a film club. Plus the localised nature of film clubs could be a great comfort to regions in higher lockdown tiers.

Of course, if cases spike cinemas will have to close. But other options are available. For example, during the lockdown, Sheffield’s Showroom Cinema partnered with various streaming and VoD sites. Offering free trials for their members, and virtual screenings that split the money evenly with the Showroom if you used their site. These options allowed people to watch films safely from home. And helped keep the Showroom on its feet.

Conclusion

Despite Disney’s shift to focus more on streaming, many studios don’t have Disney’s money and resources. So it’s hard to see this becoming an industry trend. Cinema distribution will still be needed to cover big-budget production costs.

But cinemas must adapt to survive without huge tentpole releases. There are many independent productions out there to entice audiences. And offers and rewards, targeted marketing, film clubs, virtual screenings; profit-sharing with VoD, and streaming services are certainly options that can help cinemas to make money. But will they succeed? Only time will tell.

Also Read: What’s Next For Disney?

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