Euro Cinema Group Criticizes Venice’s “Momentous Mistake” In Showcasing Netflix Movies

The streamer's logo has elicited boos at major festivals in the past. At this morning's press screening for The King there was a smattering of boos but also applause.” /> Negative noise towards Netflix has been quieter this year during the festival, perhaps a sign that attitudes are shifting or that a new reality is setting in.
Arthouse cinema group CICAE, whose members represent 4,000 screens in Europe, has criticized what it calls the Venice Film Festival's "momentous mistake" in showcasing Netflix films in its lineup.
Supporting and communication this ambition without negotiation is to betray the initial mission of a major festival, which must defend the works first and foremost." "It does have the ambition and the financial means, but it does not have the essence, let alone the vocation. "Netflix is just like a large restaurant chain which would like to get three Michelin stars," Aymé added.
François Aymé, President of CICAE's French chapter, said the industry was reaching a "turning point": "The co-operation between the main events (Cannes, Venice, Berlin), all facing Netflix with a united front, could once again compel the platform to reconsider its position. Nothing is irreversible and the conundrum over the release of Martin Scorsese’s new movie clearly shows that nothing is settled."
While disquiet has been less apparent than last year, today CICAE (the International Confederation of Art Cinemas) sent out a long missive criticizing Venice, other festivals and the streamer, whose model either collapses or does away with the theatrical window. Netflix has had a healthy presence on the Lido this year with lauded drama Marriage Story and Steven Soderbergh's The Laundromat playing in Competition and Timothée Chalamet-starrer The King playing Out Of Competition.
CICAE, which today commended Cannes for not taking Netflix movies in Competition, has 2000 members in 44 countries, accounting for more than 4,000 screens. More than half of the members are in France.
Small companies are obliged to pay their taxes while multinational carry out tax optimisation." General interest in films only comes after the special interest of a powerful company and the short-term vision of a festival largely funded by public money. He continued, "For the last sixty years, if national television channels wanted to have their place in the sun on the Lido, they had to respect some rules; co-produce films and diffuse them after their releases in cinemas. Should the global online platforms be exempted de facto from these obligations?
Heading into Venice, UNIC, the International Union Of Cinemas, also called for all films screening at festivals to have a full theatrical release.

EU Preps Law For Local Content SVOD Quota, CICAE Calls For Netflix Fest Ban, Directors Sign Petition — Venice Briefs

Alfonso Cuaron's Roma, the Coen brothers' The Ballad Of Buster Scruggs and Paul Greengrass' terror drama 22 July are among Netflix's movies in Competition. In a statement, CICAE called on Venice Film Festival director Alberto Barbera to keep competition slots for “works of art that will be seen in cinemas internationally.” Here in Venice, CICAE, the International Confederation of Art Cinemas, has criticized the festival's decision to screen films backed by Netflix in its Competition.
“Earlier this year, Thierry Fremaux, director of the Cannes Film Festival, set an example and took the side of art cinemas and decided to exclude films without a theatrical release in France from competition,” the film body said in the statement. “A prestigious film festival allowing in its official selection lineup titles that will not be seen on the big screen internationally encourages practices that endanger an important sector of the film industry. Cinema and television are different mediums, and cinematic films are made to be seen according to high-quality standards on the big screen.”
The EU is readying a quota to ensure Netflix, Amazon and other streamers operating in the European Union have at least 30% local content in their on-demand catalogs. This 30% quota of European works was first set out and announced by the Commission in April and an EU Commission spokesperson has confirmed to us today that it could become law by the end of this year. Variety was first to report that the law could come into effect by year's end.
Meanwhile, some 165 leading screenwriters and directors, including Jacques Audiard, Paolo Sorrentino, Mike Leigh, Agnieszka Holland, Lone Scherfig, Matteo Garrone, Lázló Nemes and Pawel Pawlikowski, have signed a petition calling on the European Parliament to adopt the the latest version of the EU Copyright Directive. The declaration, revealed today in Venice, is backed by the Federation of European Film Directors, The Federation of Screenwriters and the Society of Audiovisual Authors. The petition states, “Together, we have been calling on the European institutions to adopt a Directive on Copyright in the Digital Single Market that introduces an unwaivable right to proportionate remuneration for authors, collected directly from the on-demand platforms by the collective management organisations representing us, the authors.” An EU vote on the directive will take place on September 12 after a previous version of the proposal was rejected by the EU Parliament.” />