In recent years, the success of video-on-demand platforms such as Netflix, OCS, Prime Video, and Disney+ has been growing — the number of Netflix subscribers worldwide doubled between 2018 and 2020, surpassing 220 million subscribers. In light of this phenomenon, a question arises in the minds of all cinephiles: are these VOD platforms a threat to cinemas, particularly art house cinemas?
We met with Maryam Rousta Giroud, director of cinema and studios at La Victorine, to get her take on the situation.
Nice Premium: Do you fear a real decline in cinema attendance in the coming years due to the growing success of platforms like Netflix or OCS?
Maryam Rousta Giroud: Recently, there has been a real decline in attendance at all cultural establishments in France, mainly due to the health situation. Of course, platforms can have an impact on cinema attendance, but nothing can replace the feeling of immersion you experience when you’re in a movie theater. In fact, at the film library in Nice, we’ve noticed an increase in attendance. This rise can be explained by two factors: obviously, by the programming and by the particularly attractive prices we offer.
Honestly, I am not at all pessimistic about the future of cinema and movie theaters. Throughout the history of cinema, every time a new form of cinematic broadcast emerged — for instance, when television came along — there were adjustment periods, but we realize that theater attendance continues. In fact, before the health crisis and despite the presence of platforms, cinema attendance in France had never been higher.
“It’s all about adaptation, adjustment, and offering programs that allow you to endure over time and coexist with new forms of cinematic broadcast.”
NP: Do you think that art house cinema is immune to the threat of VOD platforms (which tend to offer more blockbuster productions), or conversely, do you think they will become more interested in this type of cinema?
Maryam Rousta Giroud: During the health crisis, Netflix offered quite a few films of French auteur cinema and French heritage cinema. What’s certain is that when you have a heritage offering, you stand out from the general offering. Regarding the Nice film library, we see an increase in attendance due to this heritage offering. I find that Netflix’s offering has greatly diversified, including auteur cinema, and despite this, we are still doing quite well. Moreover, it was very moving during the César Awards when some speakers emphasized that the sensation you get in a movie theater, you will never find it on your small screen or at home.
It’s also true that film libraries have a very important role to play today and in the future because they are institutions that encourage rediscovering the history of cinema, and that remains a very important offering.
NP: Film libraries aren’t necessarily places frequented by a younger audience, who are quite accustomed to these VOD platforms. How do you try to attract this young audience?
Maryam Rousta Giroud: It’s an important action that we initiated at the Nice film library and which is also led by the CNC (Centre National du Cinéma et de l’Image Animée, editor’s note) at the national level. The CNC has engaged in many actions to attract a young audience to cinema.
At the Nice film library, we launched several initiatives in this direction. We developed the “young cinephile ambassador” program: we initiated a call for applications, and today, about fifteen high school students participate with us in programming, and we organize private screenings for them.
Similarly, we’ve initiated a project with students from the art and culture management master’s program. They organized an exhibition entitled “L’échappée” and wanted a partnership with the Nice film library for this exhibit. Together, we chose an appropriate program. For each film they selected, we offered them a heritage film to guide them towards this type of cinema.
I am keen to involve a younger audience in programming so they feel completely engaged with our offerings, that they can participate in the programming, and attend screenings. What we hope is that this offer meets the needs of the majority of our audience.
NP: Today we see that great directors are making films for VOD platforms, which will therefore never be released in theaters. (For example, in 2019, to see the latest Scorsese film, you needed to go to Netflix, not the cinema). Do you think this phenomenon will become more prevalent, further favoring VOD platforms over movie theaters?
Maryam Rousta Giroud: Of course, major names in cinema will make films for VOD platforms, but I think that will never stop them from also making films intended for theater release. Scorsese has still made the greatest films shown in theaters. His cinema is meant to be seen on the big screen, and The Irishman (M. Scorsese, 2019) would have been a hit had it been released in theaters. I believe that just because these big names in cinema create for platforms, it doesn’t mean they will give up making films that hit theaters.
NP: Overall, are you optimistic about the future of movie theaters?
Maryam Rousta Giroud: You know, we don’t really have a choice but to be optimistic, in reality. Everything is a battle. What we need to do is rally our forces to make original proposals, adapt to new situations, and persist in our offerings at the Nice film library.
