Hi there! Long time no write. I know, I’ve had a lot of stuff going on. Unfortunately, I will actually have quite a few things on my plate until… at least August. This is why I haven’t been on here much. I’ll try to do better, I promise. I missed writing these!
So surprisingly, winter has come and gone. I’m writing this on the day I lost an hour of sleep due to daylight savings. I hate it when that happens. It makes me really cranky. So I’m writing this post in order to cheer myself up. These are all things that have made me happy this past winter. Without any further ado, pleas find MY WINTER 2021/2022 FAVORITES.
WHAT I’M LISTENING TO
Rosalías “MOTOMAMI” came out just a few weeks ago, almost in time for spring, but I needed to include it in this list. To be completely honest, at first I wasn’t really sure about this album with the singles she released. After the beautiful conceptual album “El mal querer”, I expected something equally as deep and meaningful with her new work.
Needless to say, SAOKO and CHICKEN TERIYAKI where neither of these things. Truthfully, they seemed too silly for me. However after listening to the whole album, understanding it and getting into the MOTOMAMI mood… I really love it. It’s so playful, and at times silly, yes! But it’s also experimental, fun and so empowering! SAOKO ended up growing on me. I walk down the street while listening to it and feel like a badass. And does CHICKEN TERIYAKI sound like she’s randomly naming Japanese food? Yes. Still, I have to admit I don’t EVER skip it and I can’t help but bop to it every time it comes on. My favorite song in the album is BIZCOCHITO, though. Other top songs include LA FAMA, CANDY, BULERÍAS, SAKURA and LA COMBI VERSACE.
Florence + The Machine is also back. Goddess I missed her! It’s funny because both Florence + the Machine and Rosalía were probably my last concerts before the pandemic started. It feels great to hear these women come up with new work just as things slowly seem to be getting better and we’re going back to normal. Her two new singles King and My Love are just what I needed from her and make me excited for her new album, “Dance Fever” on May 13th. It’ll definitely be a belated birthday present for me!
WHAT I’M WATCHING
I haven’t discovered any new shows lately. I’ve been simply catching up on “Servant” (Tony Basgallop, 2019-?) and “Euphoria” (Sam Levinson, 2019-?). I also just finished watching “Friends” (David Crane & Martha Kaufman, 1994-2004) from start to finish for the 4th time. I have to admit that I tried watching “The Witcher” (2019-?) and honestly, it was not for me. I thought I would like it because I needed my fantasy fix. Turns out I didn’t. I’m now on the lookout for new fantasy shows while I wait for “Shadow and Bone” Season 2 (Eric Heisserer, 2021 -?). Any recommendations?
But you want to know what was for me? “Turning Red” (Domee Shi, 2022)! This was such a beautiful film. I loved it so much! Actually, I found it deals with many of the themes that were dealt in in “Encanto” (Jared Bush, Byron Howard & Charise Castro Smith, 2021) but I liked it much better. I find it’s better rounded up, it’s sweet, it’s feminine, it has so much love in it. And can we talk about the music? 4 Town is my kind of band and I love that Billie and Finneas created all the songs! No hate to the “Encanto” music though. I was also bopping to “We don’t talk about Bruno”. But please listen to this and tell me this doesn’t make you flashback to early 2000’s.
Last but not least: “Petite Maman” (Céline Sciamma, 2021) is such a delicate and enchanting film. It’s a film that could only be told by a female writer/director. I loved this jewel of a film so much and I want to recommend it to everybody.
Recently, I haven’t been reading much, I must admit. Well, maybe that’s not technically true. I’ve been reading for a personal project I’m working on. More on that soon. But nothing I would recommend as of now. Do the Vogue magazines I end up using for collages count?
WHAT I’M WORKING ON
There is a personal project I don’t feel comfortable sharing yet. Mostly, though, I’m currently working on moving! Haha! Yep, that’s one of the reasons I haven’t been on here much. Finding a new flat and moving is no joke! I found the flat and I’m now in the process of moving which is incredibly stressful, exciting and scary at the same time.
I’ve also been working on collages. We did a couple of collages during Creative Fuel (hosted by Anna Brones) and I had so much fun doing them, I now collect all kinds of magazines for my new projects. It’s so much fun!
I feel like watching movies or a show has recently gotten a bad rep. It’s a mindless activity you do to evade your problems or to procrastinate. It’s a shame, really, because I think watching a show or a movie can be a mindful experience for anyone. And you don’t need to be watching a Godard film for this experience to be meaningful. You can be watching the silliest reality show ever. As long as you are present and enjoying what you’re watching, I see the viewing experience as an opportunity to practice mindful media consumption. Here’s a few tips on how to watch films and TV shows mindfully.
STOP TRYING TO WATCH IT ALL
We have a large media catalogue at the tip of our fingers. Every week, there’s a new film or show out that everyone must watch. It can feel overwhelming.
I think it’s important for us to take a step back and see what shows or films are for us. For example, I didn’t think “Bridgerton” was for me. However I forced myself to watch it because everyone else wouldn’t stop talking about it. Turns out, I was right. Not for me. It’s OK. I simply stopped watching half-way through. And you should do the same. Feel free to stop watching a film or show if it’s no longer serving you. Whether you are 10 minutes or 7 seasons in, I don’t care. Your time is precious, especially your free time. Be sure that the content you’re watching is making you happy. If it’s not, then find something better to watch or do.
DON’T MULTITASK
Turn off notifications on your phone when you’re getting ready to watch a show or movie. Better yet, turn off your phone completely and keep it in another room. If you have the need to check your phone while watching a movie or a TV show, then it’s clear that this film or show isn’t interesting enough for you, so you should maybe consider changing your activity.
And please oh please especially don’t check your phone while in a theatre. I’ve seen people instant messaging while watching a film. It’s distracting and I hate it. If you’re not enjoying the movie, get out and grab a beer. It’s honestly a better use of your time. Also, you’ll avoid annoying many other spectators. Thank you for coming to my TED talk.
MAKE A RITUAL OUT OF IT
This is kind of related to my previous point but, the idea is to give your viewing experience the importance it deserves, so make a ritual out of it. For example, at my place, me and my boyfriend like to order food and watch a film on Sunday nights. We like to decide what we are watching early so we can also plan our food delivery. So, let’s say we’re rewatching “Die Hard” (John McTiernan, 1988). Pizza night it is. We order our pizzas by 7pm so they get home by 8pm at the latest. This gives us plenty of time to enjoy the movie without going to bed too late. It’s our ritual to survive the Sunday night scaries. We love it and it’s an amazing opportunity to rewatch awesome classics.
TO BINGE-WATCH OR NOT TO BINGE-WATCH? THAT IS THE QUESTION
Let me preface this by confessing that binge-watching is my guilty pleasure. Honestly it is. However, I am not proud of it, because I don’t think that binge-watching is synonymous of mindful consumption.
So here’s the thing, when watching a new show, I think we should all make an effort to not watch more than one episode a day. Some of you might think I’m crazy, I know. But seriously. Let’s remember not so far back we used to only have new episodes once a week, so suggesting to watch one episode a day is not bad. I think it’s important after watching an episode to let it settle, to think on it, analyze it. Don’t worry, I’m not asking you to write a dissertation about it! But just think about what you have watched. What did you like about it? Anything you didn’t like about it? Where do you think the writers are taking the show after today’s episode?
Another suggestion is to get some friends to have the same watching schedule as you. Make dates (they can be virtual dates) to comment each episode. I remember when “Lost” (J.J. Abrams, Jeffrey Lieber & Damon Lindelof; 2004-2010) was still running. After each episode I’d go online and chat with other people about the episode and comment on our theories. I did the same with my friends at school. I think all this is lost when you binge-watch because all you do is watch the show in one sitting and then comment with your friends… maybe once after you’re done? Where’s the magic in that?
REWATCH OR COMFORT WATCH
I’ve been rewatching many shows during this pandemic. I rewatched “The Sopranos” (David Chase, 1999-2007), “Friends” (David Crane & Marta Kauffman, 1994-2004) and I’m currently re-watching “Pacey’s Creek” (Kevin Williamson, 1998-2003). Sorry, I meant “Dawson’s Creek”. However, we all know Pacey was the star of that show, right?
Anyway, I love rewatching shows I love. It makes me feel good. They are comforting. And I love finding new details I never noticed before. Or I read certain situations in a different way. Or I connect with characters I didn’t connect with as much when I first watched it because I was too young. I make rewatching a show a mindful experience and you can too. Again, if you are present while rewatching, if you’re having fun, feeling inmersed in it… that’s mindful consumption. So don’t feel guilty about rewatching a show you love instead of catching up on a new one. Life’s too short not to re-enjoy shows you love.
I hope these tips on how to watch films and TV series mindfully are helpful to you. Watching movies and TV shows is a big part of my life and I hate that it’s currently seen as a lazy thing to do. Both films and TV shows can be educational, stimulate your creativity and they can move us in a way other forms of art can’t. If nothing more, I hope this post helps you appreciate this art form that has brought so much happiness to my life. I leave you with a clip from “Gilmore Girls” (Amy Sherman-Palladino, 2000-2007), which is one of my favorite comfort shows. In it, Rory and Lorelai Gilmore make a ritual out of watching the “The Donna Reed Show” (1958-1966). Sure, they’re not being very mindful about it, but look at this experience. Much better than glancing at your phone constantly, right?
So there I was, watching “Mare of Easttown” (Brad Ingelsby, 2021) as my boyfriend rubbed my feet, when I saw Evan Peters and blurted out: “I don’t get why he’s never been nominated for an Emmy or Golden Globe after all these years giving us amazing performances”. (This was pre-Emmy 2021 nominations by the way). My boyfriend was like: “Yeah, you’ve often said that. You actually say that about many actors/actresses.” It’s true. I do say that about many actors/actresses. So why not make a post about it? Here’s 10 performances that deserved more recognition.
So yeah, Evan Peters. He has delivered outstanding performances throughout all seasons of “American Horror Story” which is why I can’t understand why he has never been nominated for an Emmy or Golden Globe. My personal favorite performances of his are of course “Murder House” (Season 1) but also, “Hotel” (season 5), “Roanoke” (Season 6 – my favourite AHS season, btw) and “Cult” (Season 7).
Thankfully, The Emmys served some justice on July 13th 2021, when they finally nominated Evan for his supporting role in “Mare of Easttown”. Hopefully they’ll start paying more attention to his future “American Horror Story” performances from now on.
2. CYNTHIA ERIVO “Bad Times at the El Royale” (Drew Goddard, 2018)
“Bad Times at the El Royale” is a completely underrated film in my opinion. All performances are incredible but Cynthia Erivo’s acting in this movie particularly stands out. I still for the life of me can’t understand why she wasn’t nominated for a Golden Globe, Emmy or Oscar for her performance. It is freaking outstanding. Her confrontation with Billy Lee is… chef’s kiss.
3. ALEX WOLFF “Hereditary” (Ari Aster, 2018)
“Hereditary” is one of my favorite horror films ever, largely because of its amazing performances. Yes Toni Collette, also deserved more recognition than what she got. But I’m going to go with Alex Wolff’s performance for this post. It’s just heartbreaking, terrifying and completely great.
4. MICHAELA COEL “I may destroy you” (Michaela Coel, 2020)
HOW DARE YOU, GOLDEN GLOBES?! HOW DARE YOU?! “I may destroy you” was not nominated for a single thing. Everything in this show deserved recognition, from Michaela’s performance to her writing and her directing.
Thankfully, Michaela did get recognition at the BAFTA awards and this year’s EMMY awards, but what the Golden Globes did still hurts. Look at this scene. She’s not only acting in this, se wrote and directed it. She is a Goddess and deserves better.
5. ROONEY MARA ” A Ghost Story” (David Lowery, 2017)
This probably wasn’t the first or the last time Rooney Mara got snubbed, but I’m using this movie because it’s one of my favorites of all time. The pie-eating scene alone deserved an Oscar. I’ve spoken my part.
6. ANDREW GARFIELD “The Social Network” (David Fincher, 2010)
The “You better lawyer up asshole” line alone deserves an Oscar in itself, but so does the rest of his performance. His work as Eduardo Saverin is outstanding and I can’t believe he did not get nominated or won for bigger awards.
I feel like Andrew has slowly garnered more recognition in the bigger awards circuits recently but still, his lack of Oscar nomination for his work in “The Social Network” is still burned in the back of my mind.
7. THE CAST OF “THE WIRE” “The Wire” (David Simon, 2002-2008)
Despite it often being called one of the best shows on TV, “The Wire” was severely overlooked during the awards season in all aspects, least of not which, for its performances. It’s obvious this show had important actors that have come to do great things: Dominic West, Idris Elba, Michael Kenneth Williams, Aidan Gillen and Michael B. Jordan to name a few. Although some actors did receive some recognition (Dominic West and Aidan Gillen), most of the performances were completely overlooked.
8. JESSE BUCKLEY – “I’m Thinking of Ending things (Charlie Kaufman, 2020)
Although the film and performances did garner certain attention in the smaller awards circuits, I was surprised when “I’m Thinking of Ending Things” received 0 Oscar nominations, as there were quite a few rumors when this film came out that it would be an important Oscar contender.
Jesse Buckley was particularly outstanding in this film. Yes Toni Collette once again was incredible. David Thewlis and Jesse Plemons were too. Still, I feel like Jesse carried a great part of the weight in this film.
9. ADEN YOUNG “Rectify” (Ray McKinnon, 2013-2016)
For his incredible performance in “Rectify”, Aden Young was only nominated (never won) for a Critic’s Choice TV Award and a Satellite Award. That’s it. I highly recommend “Rectify” if you haven’t watched it. It’s an incredibly poignant show that never got the attention it deserved.
10. SAM ROCKWELL – “Moon” (Duncan Jones, 2009)
The first time I saw Sam Rockwell in a movie, I was 11 years old and my teacher decided to show us “The Green Mile” (Frank Darabont, 1999) at school. I remember she fast-forwarded through some parts, but there was something else she should have fast forwarded through: Sam’s character, “Wild Bill” Wharton. That man haunted my dreams for years.
Luckily, I grew older and opened up to watching films with Sam Rockwell in them. The man has been in many incredible films. One of his lesser known roles was his performance in “Moon”, a film he practically carried all by himself. He is incredible in it and he should have got all the awards. This wasn’t the first time Sam Rockwell’s performances have been overlooked. Luckily, he finally received his Oscar for his performance in “Three Billboards Outside Ebbing, Missouri” (Martin McDonagh, 2017). Not only that, he was nominated again the next year for his perfomance in Vice (Adam McKay, 2018). It’s as if the Academy Awards suddenly realized they were sleeping on this man (they were) and suddenly decided to catch up on all his career.
Do you agree with this list? Do you have any other performances you believe didn’t receive enough recognition? Feel free to share with me on social media!
I’ve been gone for a while, I know. Last few months have been hard, but I am back with “My Summer 2021 Favorites”. I’m also currently working on more content so I promise more posts will be coming soon! Meanwhile, I hope you enjoy this post!
WHAT I’M LISTENING TO
I can’t stop listening to Olivia Rodrigo’s SOUR. The whole album is perfection. From “brutal”, to “drivers license” (d’uh!), “deja vu”, “traitor”… you name any song from that album, they are all iconic. But there’s no better feeling than cranking up the volume when “good 4 u” starts playing, and really rocking out.
Queen Billie Eilish has released her new album “Happier Than Ever”. I love this album. You can appreciate Billie’s growth as a person and a song writer. Everything about it is beautiful. My top three songs are “Lost Cause”, “NDA” and “Happier Than Ever”. I’m also simply in awe of the title song’s music video.
The king of New Jersey has also finally released his new album. I am referring to Jack Antonoff, obviously. Bleacher’s new album is “Take the Sadness Out of Saturday Night”. We’ll of course be supporting him through and through.
Finally, I watched “Vivo” (Kirk DeMicco & Brandon Jeffords, 2021) and now I can’t stop listening to the soundtrack. All the songs are basically bops, but “My Own Drum” just makes me happy.
WHAT I’M WATCHING
“Antidisturbios” (A.K.A “Riot Police”, Isabel Peña & Rodrigo Sorogoyen, 2020) is a Spanish miniseries that follows 6 riot police members during a tragic incident during one of their outings and follows them as they navigate the consequences of their actions. It deals with corruption in Spanish institutions as well as the police brutality in Spain. The series is amazing and I highly recommend it.
I am currently watching the newest season of “In Treatment” (2008 – 2010; 2021) with Uzo Aduba. I really loved the first 3 seasons but still not loving this new one. I don’t know, I think most of the characters don’t feel as relatable to me as the original ones did. It feel like it’s mostly dealing with “rich people problems”. There’s still the occasional brilliant moment but, in general, not loving it as much. Anyway, still have some episodes to go so this might change.
“Anne with an E” (Moira Walley- Beckett, 2017-2019). This is me coming really late to the party, because I am aware this show has been cancelled and hasn’t had the chance to end properly. I have to say, though, I’m really loving it. It’s so lovely, sweet… it’s simply, a classic. They don’t make shows like these any more, but at least I get to rewatch as many times as possible on Netflix.
WHAT I’M READING
So I finished reading the Grishaverse books. Well that’s actually a lie. I haven’t actually read the short stories books, but you know, I read the “Shadow and Bone” trilogy, “Six of Crows” duology and “King of Scars” duology. “Which one was you favourite?” (you are probably not asking). Funny should (not) ask. Definitely “Six of Crows”. Those teenage delinquents with complicated love lives have my full heart.
I decided now to switch to something in my native language, Catalan (both Spanish and Catalan are my native languages, btw). So I’m reading Irene Solà’s “Canto jo i la muntanya balla” (which translates to “I Sing and the Mountain Dances”. Alternating this book with “Anne with an E” feels like I’m getting immersed in pure nature despite me living in the middle of a big city.
WHAT I’M WORKING ON
I’m trying to catch up on my blog posts. Also working on disconnecting and reconnecting. Disconnecting from unimportant things (such as mindlessly scrolling through social media) and reconnecting with myself. Working on meditation, journaling and exercise. I’m basically trying to relax and make the most out of my summer vacation.
Spring is almost over, so it’s time for me to share what I’ve been loving this season. Without any further ado, here are my spring 2021 favorites in no particular order.
WHAT I’M LISTENING TO
Girl in red’s “if i could make it go quiet” is giving me life. Don’t ask me why, because it’s completely different… but it kind of reminds me of CHVRCHES and Veronica Falls.
Next up, Lana del Rey announced a new album coming out on July 8th. Mind you, I’m still processing “Chemtrails Over the Country Club”, but there’s no stopping the artistic goddess that is Lana del Rey, I guess. So she already released the title song, “Blue Banisters”, which of course I had on a loop for days.
I’ve also been catching up on Bleachers in order to prepare for their new album (coming out July 30th). Their new single (“Stop Making This Hurt”) is out now. Here’s the feel good music video.
Finally, Antònia Font has just announced they’ll be getting back together for Primavera Sound 2022. This Majorcan band had disbanded a few years ago, to my dismay. So glad to hear they’re back. Highly recommend their music. My personal favorite album of theirs is “Lamparetes” (2011), but honestly, just listen to anything they do. It’s worth it.
WHAT I’M WATCHING
I discovered “Shadow and Bone” (Eric Heisserer, 2021-?) on Netflix and became completely obsessed. So obsessed, in fact, that this section slightly overlaps with the “What I’m Reading” section.
So yeah, loved the show. There’s action, there’s romance, there’s magic and there’s an incredible cast of characters. Honestly, I started more invested in the whole Darkling and Alina story, but I ended up loving The Crows more (Kaz and Inej are just perfection. And Jesper… Jesper is freaking wonderful).
After reading the books, I really appreciate how they’re adapting the show. You can really tell Leigh Bardugo, the author of the books, is also helping with the show. I honestly think it’s one of the best adaptations ever done. Netflix, you better renew this for season 2 soon.
Along with this wonderful show, I also wanted to use this chance to recommend “The Mitchells VS the Machines” (Mike Rianda & Jeff Rowe, 2021) on Netflix. It’s such a fun and sweet movie. It’s clear that the creators of the film really put their heart and soul into it. Without a doubt, it’s the best animation feature of the year.
WHAT I’M READING
So yeah here comes the overlap. It’s possible I read Leigh Bardugo’s “Shadow and Bone” trilogy in less than three weeks (only a few days after watching the show). It’s also possible I’m halfway through “Six of Crows” and that I already ordered the “King of Scars” duology. “Why am I like this?”, you may ask. I honestly don’t know. But I like it. 🙂
I’m also reading Jen Sincero’s “You are a Badass at Making Money”. Loving it so far. Same tough love energy she shared in “You are a Badass”, which is just what I was looking for.
WHAT I’M WORKING ON
I’m not working on anything new at the moment. I’m still keeping up with my journaling and meditating habit. Actually… well, I wouldn’t say it’s something I’m working on, but I am cooking more. It’s quite relaxing for me. I’ve even been baking. I’m not a person who loves sweets that much but I like to have them once in a while. I found this book with healthy recipes and I am trying them out. It’s making me happy.
Anyway, I hope you guys are doing well. Take care and don’t forget to work on yourself as well as your personal projects.
Since the pandemic started, I was very worried about how this situation might affect the film industry. Not to say I wasn’t worried about other industries and the thousands of lives that could be lost by it, of course. But the film industry is the source of my livelihood so it’s particularly important for me to keep updated on its changes. I shared my first thoughts on how the pandemic could affect the film industry as early as April 2020. We’ve gone through many changes since then. So, let’s get into it. The film industry. Where are we now?
Let’s start with movie theaters. It’s obviously not going great for them. Except for China. Did you know things are practically back to normal there? Despite the social distancing restrictions, the Chinese New Year Box office hit $1.2Billion. Quite impressive, huh?
Sadly, though, things are not the same in the USA and Europe where theaters are not faring well. Some countries, like Italy, have closed their theaters completely. Other countries have their theaters open at a limited capacity, like Spain. Those countries with open theaters are constantly frightened that new pandemic waves will shut them down completely or reduce their capacity even more.
In short, this means distributors are still looking for the most viable release options for their films during these uncertain times. What this translates into is that distributors are either saving their bigger movies for a future theatrical release, skipping the theatrical window or having a simultaneous VOD/theatrical release. The most affected party in this situation is, once again, theaters. The lack of large films, in addition to the current restrictions, are causing a dwindling attendance. Distributors might be saving their films for when the pandemic is better, but here’s the thing: many theaters might have to close if this situation continues. As a result, even if/when the pandemic is over, distributors might find themselves with the same problem. With fewer open theaters, how do you achieve that wide release?
As I predicted in my “TENET”, “MULAN” AND THE FUTURE OF THEATERS post, Disney’s decision to release “Mulan” as part of their premium VOD service was not a benchmark for how they were going to release their other big films. For example, they decided to switch it around for “Soul”, which was directly released on SVOD as part of their regular subscription catalogue. To me, alternating between direct to SVOD and Premium TVOD releases is an interesting way of pulling more subscribers to the platform, while, at the same time, gathering information regarding the interest on their titles. Disney currently has around 87 million subscribers since its launch in November 2019, which is a number Disney executives didn’t hope to reach until 2024. It took Netflix many years to reach this amount of subscribers.
In this sense, I believe the pandemic helped the exponential growth of this platform. People were stuck at home with no theaters to go to and kids to entertain. Moreover, I think the success of “The Mandalorian” (Jon Favreau, 2019-?), “Hamilton” (Thomas Kail, 2020), “Soul” (Pete Docter, Kemp Powers, 2020) and “Wandavision” (Jac Schaeffer, 2021), as well as the promise of more Marvel series to come, have been the main attractions for most subscribers.
Yet Disney is not the only one playing this game. Warner Bros is also trying out new things and gathering their own intel. After releasing “Tenet” (Christopher Nolan, 2020) exclusively in theaters, it opted for a mixed release for “Wonder Woman 1984” (Patty Jenkins, 2020). It seems like neither of these releases satisfied the distributor, which is probably why Warner Bros decided to release 17 of their films directly on HBO Max in 2021 (day and date with theaters). This decision received a lot of criticism from creatives and producers, including Christopher Nolan himself. Moreover, it seems Warner Bros took this decision without warning the producers of the films, which is a whole other problem this distributor will need to handle with the films’ creators and financiers. This is a delicate and complicated situation indeed.
Undoubtedly, the only ones benefited by this current situation are streamers. Which begs the question: will film distribution ever go back to the way it was even if/when the pandemic disappears? Well, I think it can be difficult to go back to the way it was. Bob Chapek and Jason Kilar (CEOs of Disney and Warner Bros respectively) seem to agree. I kind of think that distribution might become more flexible in its windows. What I mean is that maybe day and date VOD/theatrical releases might be here to stay. This would allow the consumer to decide how she/he prefers to watch content. I think theatrical releases might become a more exclusive experience, one where maybe consumers decide which films deserve it for them. If this happens, this might harm smaller filmmakers which will find it hard to offer a theatrical experience for their indie films.
Meanwhile the streaming wars will continue. With them, new fights seem to gain importance. Netflix has recently announced a crackdown on password sharing. At the same time, though, it’s surprising how new “old” business models seem to be appearing. For instance, it seems that Netflix has discussed selling shows to TV Networks. So in a funny way, we are returning to the old. If streamers can start selling content to TV networks, who says theaters can’t make a comeback? Time will tell, I guess.
OK, I might be a little late to the party, but I just finished watching “Little Fires Everywhere” (Liz Tigelaar, 2020). Although far from perfect, it’s a show I thoroughly enjoyed. I particularly loved how the show depicted the complicated power dynamic between women of different races and social backgrounds. I also appreciate this show because it made me think about how new and special this type of content is. I’m talking about content created by women for women. Shows and films with female protagonists where the male characters are relegated to a secondary role. This got me thinking on the female gaze and why it’s relevant.
So where do I start? Throughout the history of film, stories have been told by men for men. This means that protagonists were mostly male. Think about some of the most highly regarded films off the top of your head: “Citizen Kane” (Orson Welles, 1941), “The Godfather” (Francis Ford Coppola, 1972) or “Taxi Driver” (Martin Scorsese, 1976), for example. What’s the role of women in those films? She’s either the wife, the lover, the victim… not much else. Now bear with me, this doesn’t mean I consider these films bad for not having female protagonists. I love these films. The issue is that we women have not had female protagonists to look up to, to study or to empathize with. Here’s a question you can ask yourself: is there a female equivalent to these three films?
Laura Mulvey is an American film theorist who first introduced the concept of the male gaze. In feminist theory, the male gaze refers to the act of depicting women in art (be it film, paintings, photography or literature) from a heterosexual male perspective. This means women are represented as sexual objects for pleasure of the heterosexual male viewer. In film, the male gaze has three perspectives:
The man behind the camera.
The male characters within the film.
The spectator watching the film.
Why is the male gaze problematic? It’s a truth universally acknowledged (hi, Jane!) that the film industry is very much male led. Not only are most of the directors, writers and producers male, most of the members voting in award shows are… you guessed it, (white) men. Male gaze in film is, therefore, abundant. For years, men have decided what we’re going to watch and how we’re going to watch it. Remember the lingering shot of Megan Fox’s body in “Transformers” (Michael Bay, 2007)? How about any woman in any James Bond movie? Remember Princess Leia in her bikini? The list goes on. Here’s a great video compilation to illustrate the male gaze.
Ask yourself: How often are men depicted in the same way? Mind you, the male gaze is not only problematic because of its over-sexualization of women. Therefore, the answer to male gaze is not to create a bunch of “Magic Mike”-like films and throw them at women to shut them up. Male gaze is problematic because it also means that, more often than not, female characters are written by men purely for men’s satisfaction. This sends a message to women from a very young age: “this is your function in the world”, “look good so that men look at you this way”, “be a good wife, support your husband”, “don’t be a slut”. The list goes on.
Consequently, female characters are often less complex than their male counterparts, which means that if art is meant for us to connect to it and help us understand ourselves better, women have been lacking in this department. Have you ever heard about the Bechdel test (aka the Bechdel Wallace test)? It’s a measure of representation of women in fiction and it asks three simple questions. Does the film include at least two women in it? Do they talk to each other? About something other than a man? A lot of female oriented content doesn’t even meet this criteria. What is the premise of most romantic comedies or so called “chick-flicks”? Woman needs to fall in love with the guy. Women in these films are either the dumb pretty girl or the ugly girl who gets a makeover and gets the guy. How many critically acclaimed female-led dramas can you think about? Exactly.
This has recently changed, however. We now have more female film creators than ever. Not only do we have more female protagonists, we also have more women behind the camera. Although we are far from equal to men, this shift has of course led to the concept of the female gaze. This idea is of course quite new, but it studies art using the same parameters the male perspective did but switching it to female. The female gaze is born thanks to this new content created by women for women. Finally, we see real women with real problems, not women with the problems men think we have. To learn more about this, here’s a wonderful talk by Joey Soloway.
Where has this shift come from, you may ask? I personally believe the success of “Girls” (Lena Dunham, 2012) had tiny part to do with it. “Girls” opened the door to a lot of female created content. It got people talking. Many of us connected with many aspects of these highly imperfect sometimes annoying young women. I remember watching that awful sex scene the second episode of “Girls” opens with. Adam and Hannah are having sex and Adam is clearly doing whatever it is he’s watched in porn. Hannah just takes it and follows along not knowing what else to do. It’s awkward, humiliating, and honestly hard to watch. Many people were scandalized by that scene. So if watching this fictionalized sex scene makes us feel this way, why don’t we ask the hard questions? Like, why would Hannah feel the need to put up with this? Maybe it’s she’s “learned” this is what sex is supposed to be like. Why? Well, many teenagers seem to be learning about sex through porn. Why not do something about this for example?
Clearly, though, “Girls” isn’t the only cause for this rise in female creators. Other factors must be taken into account, all of which have conveniently coincided during my young adult years and for which I am grateful. First off, the “Me Too” movement got actresses and female filmmakers talking. Although there is still a lot of work to be done, I do believe this movement has helped create a lot of female led content and the rise of female talent. Secondly, something that is less talked about is the power of streaming. Subscription streaming services have changed the way audiences are measured. Also, having these services not be financed by advertising has led to more creative freedom. There’s recently been some really experimental storytelling with shows like “The OA” (Zal Batmanglij, Brit Marling 2016-2019) or “Tuca & Bertie” (Lisa Hanawalt, 2019) for example. HBO is not longer the only one who is not “TV”.
I’m happy to be in this… I won’t say “Golden Age” but I will say that it’s the closest we’ve ever been to a “Golden Age” in female storytelling. I was thinking back to the the shows I had growing up that were led by women. Very few. “Gilmore Girls” (Amy Sherman-Palladino, 2000-2007) and “Buffy the Vampire Slayer” (Joss Whedon, 1997-2003). That’s it. Great shows, both showing strong and complex women, sure. But those were my two “female” shows. There were more, of course: “Xena, Warrior Princess” (Sam Raimi, John Schulian and R.J. Stewart; 1995-2001) and “Charmed” (Constance M. Burge, 1998-2006), which I also occasionally watched. I’m sure that you can think of a couple more, but you get the gist. Even if you can think of 10 shows, just think that other than those ten shows, the rest of the programming was led by men. Kind of sad, isn’t it?
Flash-forward to 2019. Phoebe Waller-Bridge won multiple awards with “Fleabag” (2016-2019), the greatly imperfect yet relatable, guinea pig-themed-cafe-owner that makes us laugh out loud one minute and cry the next. Hannah Gadsby talks to us about the male gaze in art in her “Douglas” monologue. Greta Gerwig writes and directs the most beautiful mother-daughter relationship in “Lady Bird” (2017). Not only that, she adapts “Little Women” (2019) and adds an incredible little sequence where she illustrates why having men deciding what women consume is problematic. “Big Little Lies” (2017-2019) shows the power of women coming together to save themselves. “Booksmart” (Olivia Wilde, 2019) portrays the most beautiful and pure highschool female friendship ever told. Issa Rae helps me realize the awkwardness I’m feeling during these young adult years is normal with her show “Insecure” (2016-?). Finally, we come full circle with “Little Fires Everywhere” which is a complicated study of the relationships between women of different social status, but also delves into what these dynamics bring into the relationships between these women and daughters.
But wait, there’s more. Growing up, except for “Mulan” (Tony Bancroft & Barry Cook, 1998), all Disney gave me were Disney Princesses waiting for their prince to save them. Now, little girls have Moana (Ron Clements, John Musker, Don Hall, Chris Williams, 2016), Elsa and Ana from “Frozen” (Chris Buck & Jennifer Lee, 2013) and Merida from “Brave” (Mark Andrews, Brenda Chapman, 2012). This makes me so happy. I love that little girls have strong female protagonists to look up to. And it also makes me happy that little boys also enjoy these films. Exposing boys and men to real strong and complicated women will help them understand us better. I truly believe that more female created content will make the world a better place.
Reading about the female gaze and appreciating female created content has also opened my eyes to much more. As Joey Soloway talks about in the video, there’s a lot of intersection between the female gaze and representation. I mean, look. Here I am complaining about the lack of female protagonists and yet, only one of the shows I mentioned has a black protagonist. Sadly, it wasn’t until I started thinking about the the lack of female content that I started noticing how little content I was consuming with protagonists that don’t look like me or think like me. Hannah Gadsby, for example, opened my eyes to ableism through “Nanette” (2018) and “Douglas” (2020). Javier Ambrossi and Javier Calvo, on the other hand, are taking the world now with their show “Veneno” about a transgender icon in Spain which is currently number one in my “to watch list”.
All this to say, I guess, that white heterosexual men shouldn’t be the only ones telling stories. We need different voices in art. Films help us understand each other. They bring us together. We should all make an effort to watch different stories. I’m working on finding new and different content to educate myself. We should all, as spectators, do the same. We’re kind of starting to, I think. Otherwise the worldwide success of a film such as “Parasite” (Bong Joon Ho, 2019) would not have been possible. The Academy also took another step forward this year by announcing new representation and inclusion standards for Oscars eligibility. But there’s still work to do. Not only for creators, but also for us spectators.
Fall is almost over and you know what that means… time to share my fall 2020 favourites. So here’s a list of books, music and shows that I have been enjoying this past months. I also share what I’m currently working on personally in case it can help motivate you to do the same.
Anywho, grab anything pumpkin spice and join me, will you?
WHAT I’M LISTENING TO
A few years ago, Sufjan Stevens’ “Carrie and Lowell” was all I listened to while writing. I love that album. I kind of hadn’t been listening to him for a long time, so a couple of weeks ago I decided to catch up on his work. Let me just say I am on the Sufjan Stevens train again. “The Ascension” is just what I need to get my creative juices flowing. Then I jump to “The Decalogue”, his collaboration with Timo Andres. Finally, I top it off with “Aporia”, his collaboration with Lowell Brams. Chef’s kiss!
Ok, yes. I also have Taylor Swift’s fall album (aka “Red”) playing every single weekend. Ok, ok, and I also still have “folklore” on repeat every other day. Can you blame me? I’m still waiting for my cardigan and “folklore” vinyls I ordered in July to arrive. Apparently I won’t receive them until December. I have no idea why it’s taking so long, but honestly, I feel like it won’t be cardigan-weather where I live by the time I actually receive it.
WHAT I’M READING
“Atomic Habits” by James Clear
I’ve been meaning to read this book for a while and I finally did. James Clear doesn’t disappoint. The book is full of great information on how to start and maintain good habits as well as stuff you can do to stop bad ones. Definitely one of the best books I’ve read on the subject. If you’re struggling with your habits, I highly recommend it.
“Marketing to Moviegoers a Handbook of Strategies and Tactics” by Robert Marich
Ok, this one isn’t for fun as you can probably imagine. But I’ve been wanting to freshen up and expand on my knowledge on film marketing for a while, so this book has helped me to do just that. Again, this is quite a dense book, but if you’re looking to read up on the subject, it’s a great one.
WHAT I’M WATCHING
“The Haunting of Bly Manor” (Spoilers ahead of course!)
Although I didn’t find “The Haunting of Bly Manor” (Mike Flanagan, 2020) as perfectly splendid as I found “The Haunting of Hill House” (Mike Flanagan, 2018), I did quite enjoy it. Mind you, I consider “Hill House” to be a horror masterpiece, so it would be hard for “Bly” to reach that status. Nonetheless, I loved the characters, specially Owen’s “dad jokes”, Hannah’s amazing looks (give me all her earrings, please!) and all the romance.
“The Haunting of Bly Manor” is being sold as an adaptation of Henry James’ “The Turn of the screw”. I think the reason I didn’t enjoy it as much as “Hill House” is that I found the storytelling of this second series not as clean-cut as the first. Some aspects of it felt like filler at first. Specifically, I’m talking about the whole ghosts jumping through memories bit. I loved this amazing concept (that kind of reminded me of David Lowery’s “A Ghost Story” ending). However, it felt a bit repetitive after a bit. This idea is introduced to us with Hannah’s episode, then we see Peter going through his version of this in the next episode and, finally, we also see it from Flora’s point of view when she gets “tucked in”.
Anyway, when I finished the show, I had mixed feelings. Some things I really loved, and others I was a bit more “meh” about. My opinion changed, however, when I read some articles that explained that the show was not only an adaptation of Henry James’ “Turn of the Screw”, it also included homages to other Henry James’ stories which I am not familiar with. Ah! Now everything made more sense. I really think the show becomes a lot more enjoyable if you read it as an homage to Henry James’s “world”. For example, the whole Viola episode is based on Henry James’ “The Romance of Certain Old Clothes”. On the other hand, the idea of Henry’s doppelgänger could be inspired by “The Jolly Corner”; while Dani’s ending draws from “The Beast in the Jungle”. This article talks about all the references if you’re interested. Mind you, it’s in Spanish, but you know, Google Translate is your friend.
Knowing all of this makes certain aspects of the show feel less like filler. I definitely appreciate it more seeing how hard it has to be to interlace all these stories and themes. I’ll have to catch up on my reading and revisit the show at some time for sure.
Down to Earth With Zac Efron
After finishing “The Home Edit” and “rainbowfying” (is that how you spell it?) my house, I needed another feel good show to watch. Don’t ask me why I decided to go with “Down to Earth with Zac Efron”, but I’ll tell you I’m glad I did. I enjoyed this show a lot more than I expected to. It’s informative and fun but mostly, it’s important.
Zac’s a great presenter. He’s up for adventure, open to learn and most importantly, open to change. Darin offers a great counterpart with the same eagerness for adventure and his great amount of knowledge (I even bought his book!). This show has reminded me how small changes can make the world better place. Definitely, a must watch!
WHAT I’M WORKING ON
We all know that journaling is good for you. It’s a journey to self-discovery, it’s a way to put your thoughts in order… it’s a life style. The thing is, I’m not very consistent with it, which doesn’t help. For a while now, I’ve been meaning to upgrade my journaling game.
So recently I’ve been following muchelleb on YouTube. If you’re looking on tips on how to improve your life by being a better version of you, please check her out. Her idea of having “admin days” has literally changed my life.
So what does muchelleb (her real name is Michelle Barnes) have to do with journaling? Well, I was feeling pretty down and unmotivated when I found out she had her own planner called The Life Map Daily*, so I decided to buy it and get my life in order. During 13 weeks, this journal helps you focus on your goals and dream life. I’m currently loving it. It helps me keep track of my goals and what I’m doing to achieve them. It’s a planner more than a journal, but it does have gratitude prompts and asks you every day what you can do to improve. This really helps me jot down a few things that prompt me to journal on them and thus, improve my journaling habit. If you’re interested, you can find it here.
*I’m using the 13 week planner at this time but there’s a full year planner if you prefer.
You know that amazing feeling you get when there’s a film that everyone says is so complex but you start watching and you understand it? You know, when you even anticipate 20-30 minutes into the film what the plot twist is going to be and feel oh so proud of yourself? Well, that’s what I felt while watching “i’m thinking of ending things” (Charlie Kaufman, 2020). Until the last 20 minutes, that is. My pride came crumbling down during the last 20 minutes of the film when I was left asking myself “what the hell have I just watched?”. So let’s start at the beginning. This is my very wrong interpretation of “i’m thinking of ending things”.
The film starts on “Young Woman” (Jessie Buckley) and as the film progresses she feels like our our protagonist. From the first minute we see something is off. The film often cuts to an old man. There’s a point early in the film where she thinks about something and it seems like her boyfriend, Jake (Jesse Plemmons), reads her mind. For a minute there, I thought they were pulling a Fleabag / Hot Priest moment in the film, but they weren’t.
In any case, to me, the theme of the film became clear throughout the whole parents visit. “It’s a reflection on dementia”, I thought. Young Woman will be revealed to not be young, but to be old. The reason why everything is disjointed is because she has Alzheimer’s and is probably in her death bed. What we’re seeing is her life flashing before her eyes. But because of her dementia, everything is jumbled. That’s why the ages of the parents vary throughout the scene. That’s why we see Jimmy the dog (even if he seems to be glitching) but then we see the ashes. The soon to be revealed “Old Woman” is reliving her life, I thought. Additionally, she’s actually remembering the visits to Jake’s parents because they too suffered from Alzheimer’s.
“i’m thinking of ending things” is the first line in the movie spoken / thought by “Young Woman”. To me, that’s the mantra she kept repeating to herself throughout her relationship with Jake. But she never did end things. Instead, she got used to Jake. She led a monotonous life filled with visits to his parents which now in her head all blur into one another. She lost herself in this relationship. That’s why she thinks she sees herself in a picture of Jake. She feels like their identity became intertwined due to spending so many years together, which is why she can’t remember who she was. It’s also the reason why, throughout the film, she is said to be working different professions and is called by different names. All of those things that she never did because she didn’t dedicate the time to them. It’s everything she gave up to be with Jake and help him with his parents. Those names/professions are alter egos she never got to be as she lost herself in this relationship. Note that many of the names she gets called actually call her on her phone. To me it was a symbol of those possible identities calling to her. Telling to come with them, come explore. She never takes the call though.
Let me go further. The high school where we see the Janitor is a metaphor for the real institution she’s currently in that she doesn’t want to acknowledge. Why a high school? I’m not sure. Maybe high school was the last place she felt like herself. The last place where she felt comfortable. Jake maybe works there as a Janitor and he got the job to be near her. In any case, I think the fact that the Janitor was an old version of Jake was quite evident from the start.
The reason why she keeps insisting she needs to get back home to do some work is because death is calling. Note, however, that when the time actually does come to go, Jake asks her to help with the chains for the car but she insists in washing his mother’s nightgown. She’s scared about what is coming.
Although Young Woman feels this way about her relationship, Jake loves her. He always has. That’s why he looks after her as the Janitor. When he brings her to the high school, he’s trying to bring her to reality. Why are there so many ice-cream cups in the trash? Well, because Jake has had to do this so many times before. That’s why when she walks into the “high school” she finally sees what he looks like for real. But she doesn’t recognise him. He gives her the slippers. The same slippers she had used at his place. He’s trying to give her a clue. She knows they are his, but doesn’t think of him as Jake… yet. I was thinking: at some point the music is going to well up. She’s going to turn around and finally realise who he is… what he’s done for her. I was honestly bawling my eyes out waiting for that moment. But then… it didn’t happen. Instead, these doppelgängers show up and start dancing. Jake sings a song from “Oklahoma” wearing weird aging makeup to an audience wearing the same make-up. The Janitor takes his clothes off and follows a dead cartoon pig somewhere. Insert me going “Huh?!” here.
In summary, you guys, the film ended and I was left feeling very confused. So I opened my mind again and started looking for other interpretations of the film. I found this Indiewire article that really helped. Let me tell you, I was way off. I’m not going to summarise the actual article here, because what’s the point? But just so you get an idea, “i’m thinking of ending things” is based on the 2016 novel by author Iain Reid, which is something I didn’t know getting into it. In the book, Young Woman is actually all in Jake’s mind. They’re actually the same person. The reasons she has different names/professions is because she has been constructed by Jake as a result of all the books and films he has consumed. The poem she recites in the car is actually a real poem by Eva H.D included in “Rotten Perfect Mouth”. We actually see a copy of this book in Jake’s childhood room. I ignored this clue. As well as many others that add up to this interpretation.
After finishing the article, I remembered a line in the film where they quote Guy Debord: “Watch this world through this glass pre-interpreted for us and it infects our brains. We become it.” I guess my interpretation has been marked by the media I have consumed. As I was watching this film I was interpreting it as a mixture between “Eternal Sunshine of a Spotless Mind” (Michel Gondry, 2004), “A Beautiful Mind” (Ron Howard, 2001) maybe with a touch of “Mr Nobody” (Jaco Van Dormael, 2009) and “The 12 Days of Christine” episode in “Inside No. 9” (Steve Pemberton & Reece Shearsmith, 2014-?). I was looking for the clues that fit into my interpretation while remembering those titles. But of course there were many other moments I maybe didn’t give enough importance to in order to understand it. In other words, my brain is infected, I’ve been watching this film through a pre-interpreted glass.
Hey, does this mean I was wrong? Well yes… and no. The thing about any work of art is that once you put it out into the world, people make it their own with their own interpretations that are marked by their life experiences and what they have consumed before. That’s why it’s art, not science. My interpretation of the film is not what Kaufman intended. Does this make it less valid? Kaufman actually states at the beginning of the Indiewire breakdown of the film “I’m not really big on explaining what things are, […] I let people have their experiences, so I don’t really have expectations about what people are going to think. I really do support anybody’s interpretation.”
So that’s why I wanted to share the meaning I gave the film. I think it actually adds a different layer to it. The fact that a work of art can have different meanings depending on the eyes of the beholder is meaningful and thought-provoking. Funnily enough, this is a discussion Young Woman and Jake’s father have. She mentions her paintings of sad landscapes but he doesn’t believe landscapes can feel sad unless there’s someone looking sad in it. Different experiences on the same work of art.
My experience watching “i’m thinking of ending things” has made me remember why we consume art. Films, music paintings, photography, sculpture… you name it. Why do we need art? In short… art enriches us. It stimulates us. It makes us feel, think and it makes us work to process it. We’re better people because of it. It also brings us together. We share our thoughts and feelings about art with family and friends. In my case, my love for a particular type of art, film and television, is the main reason why I started my blog.
It’s been a while since I wrote my article on how the coronavirus could affect the film industry. At the time I wrote that article, the pandemic was just about starting around the world. The film industry, like many others, had basically stopped in the hopes of gaining more visibility. Now, as things are slowly going back to this new normal, two films are surely going to become game-changers. Let’s talk about about “Tenet”, “Mulan” and the future of theaters.
A little over five months have passed after the pandemic first hit. The film industry is slowly starting to “turn back on”. Actors are on sets again and movie theaters have also opened up around the world. Everyone is, taking safety measures. For actors, it means regular testing and confinement. As for movie theaters, as we touched upon my previous article, they are leaving free seats to allow for social distancing, regular disinfecting and, of course, the required use of masks. It’s great that theaters are doing their best to bring people in. There’s just one issue, though: except for “Tenet” (Christopher Nolan, 2020), no big blockbusters are being released at the moment. Which leaves theaters with smaller titles that don’t bring the amount of revenue they need right now. Usually, summer is a time for big blockbuster releases and crowded theaters. Not this summer, though.
It’s great that cinemas are doing their best to bring people in. There’s just one issue, though: except for “Tenet” (Christopher Nolan, 2020), no big blockbusters are being released at the moment. Which leaves theaters with smaller titles that don’t bring the amount of revenue they need right now. Usually, summer is a time for big blockbuster releases and crowded theaters. Not this summer, though.
It’s sad because there should be solidarity between theaters and distributors. Theaters need films to survive. After having been closed down for such a long time, they especially need those big films that bring people to the building. But distributors don’t want to risk it. In a way, this has allowed for smaller films to get better box office results than they would have had they been released some other time. The lack of big blockbuster competition has allowed them to shine. Hey, I’m all for that. I’m not sure cinemas are, though.
I’m torn in this situation. I sympathise with theaters that are mad that some big films are being released straight to VOD. At the same time, I can understand why big distributors don’t want to release their big films right now. There is no visibility with this pandemic. Theaters started opening in Spain and a few weeks later were closed in Barcelona for a couple of weeks due to a resurgence of the virus. Theaters have since reopened in Barcelona but still we don’t know if they will have to close again if there is a strong resurgence of the virus in the winter, as many scientists are predicting there will be. What then? What if you plan and invest in a big theatrical campaign only to have theaters close again?
That’s why I greatly admire those distributors who decide to distribute their bigger films in theaters. This has happened in Spain with the release of “Padre no hay más que uno 2” (Santiago Segura, 2020), the sequel to a big comedy in Spain. I find this release doubly important as it not only helps Spanish theaters, it also sets a precedent for Spanish film releases. It’s like the film is jumping into the water and telling others “Hey, the water is not as cold as you thought. Come join me. There’s room here for all of us!”.
Without a doubt, one of the most important and bravest theatrical releases right now is Warner Bros. and Christopher Nolan’s release of “Tenet”. The reason why it’s important is that, again, “Tenet” might be a precedent for future blockbuster releases. It’s brave because however well this works, the film will not be doing as well as it would under normal circumstances. In that sense, I think there is a great solidarity on behalf of Warner Bros. and Christopher Nolan, a gesture that I’m sure theaters will not forget any time soon. “Tenet” is definitely the kind of film theaters need. The kind of film that you need to watch in theaters because essentially its whole premise requires you to. I mean, no Nolan film is meant to be watched in the small screen PERIOD. It’s the kind of film you need to watch as soon as it’s released in order not to be spoiled, in order to be able to talk about it over coffee with your work colleagues (ZOOM coffee, that is).
What is also unprecedented in this “Tenet” release is that it’s being released internationally before being released in the USA and other countries. You can read more about the release it will have in this article. I’m sure this release will be a breath of fresh air for theaters, but I’m not certain it will be enough. Theatres will need other big releases if they want to keep going and it doesn’t look like we’re getting many any time soon. Especially after Disney’s decision to release “Mulan” (Niki Caro, 2020) directly on their streaming service.
Unlike Warner Bros., Disney seems to have opted for what seems to me like a safer option. After postponing the “Mulan” theatrical release from March to July and from July to the end of August, Disney has finally decided to skip theaters altogether and release it directly in their streaming platform for an additional 29,99$ (on top of your Disney+ subscription). This only applies to those markets where Disney + is available. And the price for the film also varies in the different territories. I’m not sure I should describe this release as safer though. My thinking is that by putting the film in their platform Disney receives 100% of the profits (ergo, safer). However, as this Variety article mentions, this also limits the market to those people who subscribe to the platform plus maybe a few others who will subscribe just to watch the film. That being said, to make a profit, Disney would not only have to make up for $200 million production budget, it will also need to make up for that marketing campaign for that theatrical release that never happened in the most important markets.
Some questions do pop up for me. For example, how long will this exclusive Premium VOD window be open? Will this window be as long as a Theatrical window would have been? Or will it be as long as a Premium VOD? Maybe they will simply adjust this window accordingly depending on how well the film does? Because I think the length of this window might influence someone’s choice to pay almost 30$ to view this film at home. For that price, if the window is not as long, maybe someone prefers to wait for the Blu-Ray, or wait for it to hit the regular subscription service.
Many have considered the price for “Mulan” excessive. Personally, I understand that those used to going to a theater as a couple or individually might find this price expensive. However, the people at Disney are anything but stupid. Who is the target of this film? Children. And who brings children to theaters? Their parents, of course. So, if you think about it, it’s quite affordable for families who are probably used to paying over 50$ during a movie night. Also, I’m sure Disney is probably taking into account that more than one person will be watching the film per subscription, so if you think about it, it’s not as expensive as it initially sounds.
Just as the decision to release “Trolls World Tour” (Walt Dohrn, David P. Smith, 2020) directly in VOD upset theater owners, Disney’s decision to release this movie directly on their platform has been a hard blow to theaters globally. This decision strengthens PVOD (Pay Video on Demand) window, which is of course gaining a momentum due to the pandemic. Disney could have opted for a mixed release: have a limited theatrical release as well as offer the film in Premium VOD. This way, those who don’t feel safe enough to go to theaters could view the films from the comfort of their homes, while those who want to support theaters, will also be able to. I’m sure Disney has their reasons to have opted for this business model. Disney’s CEO has already stated that this release is just a “one-off” and it’s not setting a precedent for the rest of Disney Releases. It seems to me like Disney, like others, are currently studying their options. They are trying out different kinds of baits and seeing which one works best for audiences… and for them.
With this in mind, these two releases are probably being studied in detail for future releases of other big films. Many say whatever model works best will mark a precedent for the future. However, I don’t think it’s an A or B scenario at this point. We’re at such an early stage right now, I really think hybrid releases are possible, especially for these types of films. What I am more worried about is smaller films. Sadly, we have no idea how long this pandemic will last or when we will get a vaccine. I do however believe that it will have long lasting effects in all aspects of the film industry. Not only on how films are produced but also how they will distributed. I personally believe theatrical experience will become rare after the pandemic.
I really hope I’m wrong, but I think theaters that do survive this pandemic will be mostly releasing big films. Smaller films will be reserved for a straight to Home Video (if physical distribution continues to work. I’m thinking it might make a comeback thanks to this pandemic) or straight to streaming release. It is possible there is a bottleneck of releases at first. Or maybe not. Maybe studios don’t want to sit on big films for two years and opt for the “Mulan” release model, the “Tenet” release model or something in between.
Whatever it is, I think theaters will be reserved for three types of films: Big Budget Action Films (James Bond, Mission Impossible), Super Hero Movies (Marvel / DC) or movies by A-List directors. Smaller releases won’t be viable. Does this distribution model sound familiar? There is someone who is working like this. I’m talking about Netflix. Most of the Netflix produced films go directly on their platform. However, films with big names attached which can win awards and therefore increase their brand value, get special treatment.
Of course, it is quite soon to be making predictions and, as I mentioned, I really hope I am wrong about this one. However, if things continue to go as they are, I believe this is a very plausible scenario. Time will tell, I guess. Meanwhile, it’s important for us to help in any way we can. Go to theaters if you feel safe. Buy movies (whether it’s digital or physical format). Subscribe to On-Demand platforms. Most importantly, don’t forget to share what you love with others. You never know when your favourite movie can make someone else smile too.