An Italian proverb is: The wolf loses its fur, but not its mate. “ Translation: முதுமை, “The wolf loses hair, but not mate”. The Netflix operating system, which was considered a predator ready to fall on cinema when it was launched in France in September 2014, no longer evokes the same fear.
A conversation opened today that led to discussions about the investment obligations of sites in hexagonal production and the timeline of the media.
There are Netflix opponents, but many of them now deserve their fears and criticism. The truth is that the platform has shown good will and has set a policy that is compatible with the French context. On Tuesday, March 30, Netflix announced twenty new products “made in France” for 2021, according to its officials, “Creative and Cultural Anchor in France” On stage.
The company, formed by Reed Hastings in 1997, caused a public outcry in January by announcing that it would become a partner in the restructuring. Napoleon (1927), written by Abel Keynes for more than seven hours, was updated to celebrate the twentieth anniversary of the death of the French emperor.
Frederick Bonnat, owner of Cinematech Franாயois, is full of compliments. “This is a very smart and very effective move on their part. Many companies are not interested in preserving the heritage. The world of cinema now understands that Netflix is participating in its ecosystem; for its part, Netflix understands that it is better to be a partner than to be a raptor. “
Another example of this editorial relocation: the contract signed in April 2020 with producer, broadcaster and theater operator MK2 to distribute part of its list – that is, fifty films in 800. It worked when Franசois Truffaut’s twelve films hit the American stage. This includes, in several months, films and works by Jean-Luc Goddard, Claude Chaprol, David Lynch, Alain Resnois, Emir Kasturka, Michael Enoch or Xavier Dolan In modern times (1936), Chaplin, and The Young Ladies of Roseford (1967), by Jack Demi.
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