Two telling things came to pass at the end of the filmåret 2018. One was that the "Bird Box", a stoner fremtidsthriller with Sandra Bullock, was flocked by something close to 45 million viewers in the week after it was launched on the net. The other was that "Rome", a dramafilm signed Alfonso Cuarón, who won the Oscar best director for "Gravity", went again on almost all rankings of the year's best movies. It was loved by critics as well as by Barack Obama.
sophisticated and partly autobiographical drama is shot in lyrical black and white and is considered the Oscar favorite. Both films are sent out into the world of Netflix. Strømmetjenestenen shows so that it has the intention to go the traditional filmstudioene in the industry in all fields. The success of the "Bird Box" has turned the company's previously seerrekorder.
It is a sjangerøvelse in horror: Along with the two small children stavrer Bullock around in a collapsed world with a blindfold, to avoid the invisible monsters that get all who see them, to commit suicide. Criticisms have been lukewarm, but a memebasert life on the net, that have inspired viewers to stumble around with his eyes covered while they are documenting it all, give the film buoyancy.
"Rome" is anything completely different, an artistically ambitious film that touches and impresses. But both the emergency room and prestisjedramaet are genres that are primarily associated with Hollywood studios and their production systems.
had Previously Netflix as the principle that everything they were behind, should be available for streaming at the same time as they arrived at the cinema. They have passed away from it last year. "Bird Box" and "Rome", and the Coen-the brothers ' last westernfantasi, "The Ballad of Buster Scruggs", got a theatrical release before strømmepremieren. This is done in part to accommodate the heavy filmmakers that Netflix is increasingly looking to attract.
Where the old filmstudioene have been anxious for their money and are reluctant to give them to the ambitious and distinctive directors, can Netflix, which is not dependent on the åpningshelger at the cinema, offer generous budgets and great artistic freedom. But people like Cuaron, the Coen brothers and Martin Scorsese, who works with Netflix about his next film, "The Irishman", is not willing to let go of the attention and opportunities that come with a classic theatrical release.
will cinemas, that embraces its own character in a time when competition for the public's tittetid is jernhard, rarely put up movies which will also be streamed. That Netflix has given up on this, saying something about how strong the desire and how large they believe that it is beneficial to offer of adult, advanced art film, and position itself as a possible Oscar-wholesaler.
It is not so completely endefremt. Many worry that strømmetjenestene can threaten kinofilmens existence. Netflix has for several years been in conflict with the Cannes film festival, which considers itself as the patron of art film on the big screen, what are the criteria for participation in the festival. But a consequence of the ambitions their is also that it created fascinating movie that otherwise hardly would have seen the light of day. There is a reason to joy, before they may, at last, devouring everything.