Is it overreacting to say we’ve reached Doomsday? Are we premature to posit the arrival of the apocalypse? There aren’t any telltale signs of earthquakes, volcanoes, and tidal waves, but the spokespeople of the cinema landscape are calling out the end of the world – or at least the end of an era. As every professional pundit has outcried over the last ten or so years, the entertainment industry is changing… and fast. Everything from music and live events to cinema and television is being upended by the unpredictability of this little-known thing we call streaming. The direct-to-customer platform has redefined the way society consumes media and is rapidly altering the industrial structures it relied on for decades. To deny these changes exist would be ignorant at best, but to say arthouse cinema is dead would be equally as polarizing.
In a world still grappling with the COVID pandemic, where the work-from-home mindset has supplanted traditional office culture, the outburst of streaming services at the turn of the decade initiated another immobilizing shift. Audiences have grown to wait for their favorite movies to hit streamers instead of going out to theaters. This has ultimately led to a decrease in box office numbers, asmost auteur-driven filmsare now barely breaking even.
This raises a series of questions: Do lower box office numbers always equate to poor quality? Where does arthouse fit in within the world of streaming? How much control do talking heads have when determining dominant narratives in the media? And why are auteur-driven films missing the mark lately?
Arthouse Is Not Dead
No matter how many times industry leaders exclaim from the top of their soap boxes, arthouse cinema seems all but dead. They can attempt to brainwash us into believing cinema shouldn’t exist as an art form, but the industry at large has been operating as regularly scheduled.Industry disruptors like A24, Apple, Netflix, and Amazon have sustained and supported a flurry of established and emerging filmmakers across a variety of arthouse aesthetics. A24’s loyal fanbase, coupled with the prowess of the Academy Award-winning Big 3 tech companies, proves that arthouse filmmaking is still relevant to society.
A24 has made a habit of enlisting powerhouse directors who push the envelope through unique stories and distinct visual styles. They have launched directing careers for Ari Aster, Barry Jenkins, Robert Eggers, and Greta Gerwig while supporting indie legends like Yorgos Lanthimos, Claire Denis, Sofia Coppola, and Kelly Reichardt. Recently, they ran away with all major awards at the Academy’s 95th ceremony, withEverything Everywhere All At Once(2022) taking home seven awards and Brendan Fraser winning Best Actor for his performance inThe Whale(2022). As a studio and distributor, A24 has been at the center of the arthouse discussion.
The Big 3 tech companies (Netflix, Apple, Amazon) have carved out a comfortable niche in the industry by supporting arthouse filmmakers who fail to find a home in Hollywood’s studios. Although the algorithm is never perfect,Netflix has found successwithRoma(2018),Power of the Dog(2021), andAll Quiet On The Western Front(2022). Prime Video, which was the first streaming service to be nominated for Best Picture forManchester by the Sea(2016), has been an Oscar regular with films likeSound of Metal(2019),One Night in Miami…(2020), andBeing the Ricardos(2021).
This year, Apple looks to build off its Best Picture win forCODA(2021) with two anticipated theatrical releases from Martin Scorsese (Killers of the Flower Moon) and Ridley Scott (Napoleon). The hefty production budgets on each of these films emphasize Apple’s commitment to arthouse cinema and as a direct competitor to the studios of Tinseltown. Likewise, A24 has recently expressed interest in producing action films and existing properties, another way for the Hollywood newcomer to encroach on the studio’s territory.
Related:Will A24’s Mainstream Success See the Studio Change Course?
Since new industry leaders remain committed to arthouse filmmaking, it should be noted that auteur-driven films are still a formidable force in Hollywood. As most of these arthouse titles end up residing on streaming services, maybe it’s time to rethink the way Hollywood utilizes metrics at the box office.
Art, Profit, Oil, Water
Art and money mix as well together as oil and water do, so using box office numbers to determine artistic success will always be counterintuitive. There have been countless box office flops that go on to garner cult followings. And you’ll rarely find a Best Picture winner amongst the highest-selling box office titles.
Though it would come to critical success,The Assassination of Jesse James by the Coward Robert Ford(2007) brought in around $15 million worldwide against a $30 million budget and was lambasted as a financial failure. With twonominations at the Oscarsanchored by the brilliance of Roger Deakins’ cinematography,The Assassination of Jesse James…has recouped its reputation as a substantial piece of art.
Another box office flop that went on to receive cult classic status was Edgar Wright’s 2010 filmScott Pilgrim vs the World. Though the Michael Cera-led film earned $47 million worldwide against a $60 million budget, it is now being revived as an anime series voiced by the original cast members.
Related:25 Box Office Flops We’ve Grown to Love
As recently as 2022, Robert Eggers’The Northmanearned around $69 million against a roughly $70-$90 million budget. Despite receiving critical praise, it was shelved as another arthouse feature failing at the mid-budget level. However,according to Adam Bentz from Screen Rant, “The Northmanwent on to become a financial success through its home video release.” This also proves that ancillary markets are still profitable avenues for studios and calls into question whether streaming needs to be decentralized and de-monopolized.
If Hollywood wants to continue to profit off of arthouse cinema, then it must challenge the structures of streaming with renewed antitrust laws or find creative ways to make money on the new distribution channel. Proclaiming that arthouse is dead will not solve the problem.
