Screen International reports that Tim Richards, CEO of Vue International has written to BAFTA threatening to withdraw support for the industry body if it doesn’t change its eligibility rules re films ‘made for television’. With the prospect of more possible awards for Roma at the Oscars, Vue could be just the first of the major exhibitors to make this kind of threat.
In the UK, Netflix signed an exclusive deal with Curzon to show Roma only in Curzon cinemas in a controlled manner aligned with the film’s launch on Netflix. In the event, Curzon did later allow a handful of independent cinemas a limited number of showings in the UK and Ireland. Even so, as Screen International expressed it, this ‘Curzon ecology’ represents only 0.9% of the UK and Ireland market. The major cinema chains might expect to see a reasonable amount of extra box office from a film that wins a BAFTA. Roma won four BAFTAs including Best Picture.
Vue International operates 215 cinema sites across Europe (with 1 in Taiwan). These are nearly all multiplexes and Vue offers over 1,900 screens in total. Its main business is in the UK and Ireland with 864 screens on 90 sites. As an operation, its cinema business is similar to its two larger UK rivals, Odeon (AMC) and Cineworld.
Odeon operates 360 sites in Europe with over 2,900 screens. Its parent company AMC is the world’s largest cinema exhibitor with nearly 1,000 sites worldwide and nearly 11,000 screens on offer (the majority in North America).
Cineworld currently operates 9,548 screens across 793 sites in the US, UK, Ireland, Poland, the Czech Republic, Slovakia, Hungary, Bulgaria, Romania and Israel.
It’s worth reflecting on a number of other similar issues arising from film exhibition/distribution disputes in the last few years. In October 2018 Vue in the UK also had a dispute with Warner Brothers, distributors of A Star is Born. This was said to be about ‘booking conditions’ and was relatively quickly resolved but even so, Vue would have lost the business of the first couple of weeks of a major release. We’ve also seen similar disputes between Disney and Odeon. In 2016 a different dispute saw Tarantino’s film The Hateful 8 get some exclusive screenings in 70mm as stipulated by the director. As a result Cineworld boycotted the film. (See Keith’s review of the film at an independent in Barnsley.)
The issue that underpins all of these disputes has two separate parts. First, modern film exhibition assumes that any film can be shown in any cinema on its first release (what was once called ‘first run’). This is assumed as part of the concept of the multiplex. This wasn’t always the case. In the UK the ‘duopoly’ of Odeon and ABC assumed up until the 1980s that Hollywood films appeared on one circuit or the other except in places where there wasn’t a local competition. Second, the exhibition sector works on the basis of a set ‘window’ during which a film on a cinema release cannot be shown on any other ‘platform’. This window is being gradually closed. It was once two or three years, now it is commonly 14 weeks or less. Netflix wishes to abolish the window completely and this caused the latest problem with Vue. On BBC Radio 4 last night, Tim Richards implied that they could have screened Roma but to do so would have undermined the concept of the window and he wasn’t prepared to do that.
There is a third issue that relates to the above and we saw this a few years ago, again with Curzon at the centre of the dispute. This is the issue of ‘barring’ which was banned in the UK by the regulatory authorities in the pre-multiplex era but occasionally threatens to re-emerge in the specialised cinema sector. When Curzon opened a cinema in Sheffield, it refused to release a film which it was distributing under its own distribution arm to the long-standing specialised cinema in the city, The Showroom. Curzon is now in a powerful ‘gate-keeping’ position as the major distributor of arthouse films in the UK with the a significant number of West End screens. It also has its own streaming service, allowing it to release both in cinemas and online on the same day – making it a good match for Netflix. Curzon’s actions must have an impact of some kind on both Picturehouses (now part of Cineworld) and Everyman. The latter is the fastest growing of the smaller chains at the moment and seems to have focused mainly on comfort and good rather than programming to drive its commercial offer to middle-class audiences. Picturehouses has its own distribution business but doesn’t seem to have responded to Curzon with a joint theatre-online exhibition offer.
On this blog, Nick has emerged as a Netflix fan, or at least a prolific viewer. I think Rona and Des both use Netflix but I suspect Keith is not interested. I’m trying to resist Netflix as well. Having subscribed to MUBI I now have more films to watch than I can handle. I’m trying to judge whether subscribing online is making me less likely to go to the cinema – or whether the poor local offer of foreign language titles and other specialised films is pushing me towards that Apple TV box winking at me from below the TV.