Even films that land a major festival premiere or a streaming deal may not find their audiences. However, facing this reality is the first step toward reinvention.įirst off, “Being distributed doesn’t mean being seen,” Brian Newman, former CEO of Tribeca Film Institute, wrote in the Sub-Genre newsletter. “After the top five streamers, the other 130 are just fighting for scraps,” academic Patricia Aufderheide wrote in Documentary about the Amazon-MGM merger. Yet, they also fund much of the system, with bigger distributors largely depending on output deals with said streamers.Īs much as we’d like to tell an inspiring David-versus-Goliath story about new ventures that resist and win against massive corporations, the reality is much bleaker. The streaming giants are calling the shots, one true-crime show after another, having become de facto studios, distributors and exhibitors all at once-monopolies who decide what everyone watches. The system is broken and opaque, and the consolidation of the market is at an all-time high. Gutiérrez shares out loud what everyone knows about distribution and exhibition. “Right now the system-that's the sad part of this collapsing system-is basically taking advantage that there are so many filmmakers that are clueless,” Cinema Tropical Co-Founder Carlos A.
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