This week has seen the demise of two important names in film sales and distribution. The UK company Metrodome has been placed in administration and the international sales agent Fortissimo Films, based in the Netherlands and Hong Kong, has applied for voluntary bankruptcy. Many commentators have linked the two news announcements as indicators of an accelerating crisis in the distribution and exhibition of specialised, and in particular foreign language, film in the UK.
The Metrodome announcement has come at a time when the company has several films on release and more forthcoming – The Childhood of a Leader opens today and is receiving very strong reviews. Fortissimo Films is less well-known in the UK, but many films from East Asia and South East Asia have made it to the UK via Fortissimo’s local acquisitions and sales to UK distributors.
In a useful posting by The Skinny, Glasgow Film Theatre’s Allison Gardner and Jason Wood, director of film at HOME in Manchester, discuss the contribution of Metrodome to UK film culture over the last twenty years, suggesting some possible reasons why distributors are struggling and what this means for cinemas like GFT and HOME. The major factor is the expansion of the three chains, Picturehouses, Curzon and Everyman. These companies are building new cinemas but also taking over existing screens and controlling the programming in others. Picturehouses and Curzon are also distributors able to support their own films but increasingly likely to use their other screens for more profitable mainstream blockbusters and ‘live events’ at the expense of films from small independents. Everyman doesn’t seem to show specialised films at all in many of its cinemas.
Wood sees at least one glimmer of hope in these dark times:
“You can see it in the rise of smartly programmed film organisations such as Club des Femmes, The Black Atlantic Cinema Club and Come the Revolution. These organisations are reaching diverse audiences in quite strong numbers, and also challenging traditional male, white patriarchy. It’s quite bracing.”
These groups are to some extent dependent on the kinds of outlets that HOME, Watershed, GFT etc can provide. Keeping specialised cinema alive on screens is an issue of distributors and exhibitors and informed programming – whether it is in-house or provided by groups like these. It is also something being taken up in areas without formal cinemas by the Community Cinema movement led by Cinema For All, the former Film Society body celebrating its 70th birthday this year.
Metrodome is a loss, certainly, but as Wood says, alongside the minor hits that small distributors achieve they are also prone to pay too much for films which never take off in cinemas. Small distributors come and go, often selling out to larger companies. But apart from the difficulties of getting their films into cinemas they now face a second threat from online rental/purchase since this is likely to eat into their profits on DVD sales – which in many cases will have been the mainstay of the business. When we see some official statements from Metrodome’s administrators the possible impact of online competition may be evident.
The loss of Fortissimo is slightly different. Fortissimo’s role was to acquire rights in East Asia and then to sell them on in territories in the West.
“In recent years, it has also become much more difficult to source independent films in Asia, where most local studios have in-house sales teams.” (Screendaily)
As a consequence of Fortissimo’s departure after 25 years, there may be even fewer Asian titles in UK distribution and less chance of exposure for new directors. We will be increasingly reliant on festivals like HOME’s recent CRIME: Hong Kong Style.