I wrote why physical media has an advantage over digital when it comes to ensuring that you have access to your films for years to come. But streaming and digital certainly have a place in the watching and filming ecosystem: there is no better way to explore cinematic curiosities than through streaming and on-demand services.
Put Netflix aside for a moment with the model of the week of the film and the reliance on ‘Friends’ from the 90s on viewers. Instead, consider the next channel of criteria, which will launch on April 8. The Criterion Collection has long been the label of choice for moviegoers, and its curation serves as a kind of canonization of old and new films. In addition to more than 1,000 titles in the Criterion library, they are introducing special programs like Columbia Noir, which will mark films noir by authors like Don Siegel (“The Lineup”) and Fritz Lang (“The Big Heat”). It is a perfect starting point for people who want to learn more about an important movement in the history of cinema.
Those concerned with cost may want to check their local libraries. Many offer free access to a service called Kanopy, which also offers titles from the Criterion library.
“Kanopy is basically Netflix for public libraries,” said Cara Cook Sonnier, digital services librarian at Alexandria, Virginia Library. However, much of Kanopy’s content is not what you would find on Netflix. So, we wouldn’t have the latest Avenger movie or Oscar. However, they have the Criteria Collection and the Great Courses, many independent and foreign films. ”
One option for the curious is “Los Angeles reproduces”, Thom Anderson’s character study of the home of the American entertainment industrial complex and the way the City of Angels has been portrayed over the years. It’s not the kind of thing that could play in theaters for a long time. But it is a fantastic film for anyone interested, for example, in the way the Bradbury Building in Los Angeles has been used – and used and used – in films over the years.
Kanopy is not much like Netflix, it wants its customers to do endless things, because customers receive four credits a month and do not pass. However, Sonnier had a recommendation for anyone looking to earn some extra credits.
“If you have library cards with multiple libraries, you can combine your credits,” she said. “If you are a resident of Alexandria, you can also get a card from the D.C. library, you can get a card from the Fairfax County library; so if you have one and want to combine them, you can do both.”
The streaming and video-on-demand revolution has also expanded the range of first shots for the public. Consider the case of ‘Plastered on concrete’. Despite the talent of the A-List, including Mel Gibson and Vince Vaughn, good reviews and prestigious festival appearances, “Dragged Across Concrete” only plays in a few cinemas. And not without reason: it would have been difficult to sell to the general public.
The atmosphere is best described as Grindhouse Antonioni; Director S. Craig Zahler’s film is apathetic, opulent in the life and environment of the characters, accentuating this sensitivity experienced in moments of extreme violence. It’s great, but it’s not for everyone, so it’s great for viewers who don’t have access to the movie at the cinema to be able to record it on video on demand.
Although most people watch the film at home, the limited theatrical display is an important signal for viewers, said producer Dallas Sonnier (with no relationship with librarian Cara).
“It is a signal to the audience at home that this is a film that someone believed enough to put in some cinemas, take a chance and make it available online or at home,” said Sonnier, the director of the production company. Cinestate. “Can we charge premium VOD prices and be in the” Now at the movies? “, If we are in about 15 to 25 cinemas across the country.” In total, this prize is worth hundreds of thousands of dollars.
Cinestate – the company behind cult hits like the western horror “Bone Tomahawk” and the tireless prison thriller “Brawl in Cell Block 99” – has become a fascinating independent studio in recent years. Sonnier said the business model is similar to past direct video efforts.
‘You keep budgets super low. You go to a filming location to get tax breaks. … You sell domestic distribution rights in advance and sell so many distribution rights abroad before you start shooting, “he said. A big difference in Cinestate’s offer compared to d