To analyse. The rules which fixed for three years the order in which a film can be exploited after its theatrical release in the various media (video, encrypted television, in clear, platform) came to an end at the beginning of February. Concentrated with antagonistic interests, this famous media chronology was the subject of an agreement signed on January 24, just before the gong, under the aegis of the Ministry of Culture.
Concretely, Netflix will be able to broadcast films fifteen months after their theatrical release against thirty-six months until then. Another major change, Canal + subscribers will only wait six months instead of eight to watch a feature film on the encrypted channel, which prides itself on being the first cinema banker. Roselyne Bachelot, the Minister of Culture, was pleased to have accomplished the ” impossible mission “ to get everyone to agree. On February 9, this three-year agreement was extended to the entire industry – it will even apply to non-signatories, such as Disney or Amazon platforms, which will be able to broadcast the ten films. seven months after their release. An appointment for an annual evaluation by the public authorities has been set.
This agreement is “a real losing machine”, according to Pascal Rogard, director general of the SACD, who did not sign it
This compromise remains imperfect to say the least. The very objective of the media chronology set up in 1982 by Jack Lang when video cassettes arrived, which was to sanctuary the first exclusive exploitation of films in theaters, no longer seems certain. Even if Roselyne Bachelot promises that “the unique role of rooms” is comforted, as ” the diversity “ movies or “the financing of production by all those involved in broadcasting”, including platforms. Admittedly, Netflix, Disney +, Amazon Prime Video or even Apple TV will have to, from this year – and this is a real victory for French cinema – finance the production of films, series and fiction to the tune of 20% to 25%. of their turnover achieved in France. In return, the platforms hoped to broadcast the films twelve months and not fifteen or seventeen months after their release. In vain.
A blind spot remains: will Disney still have an interest in showing its films in French theaters or offering them directly on its platform? The room risks losing its appeal for the Hollywood majors. This question applies, with less urgency, to Warner, which is due to launch its own platform in France in January 2023, and to Paramount, which will launch its own later.
You have 56.56% of this article left to read. The following is for subscribers only.