It took time, until you have recognized the deadly enemy as such. The book publishers have wash around, the newspaper publisher, TV station. Many media have talked, peaceful co-existence with the Internet Kraken were possible – even film producers and cinemas. But now the resistance of the industry is forming in Germany, and against Netflix. Thus, the Berlinale under pressure.

Netflix is a special case, its business model is based on exclusivity. What is Netflix self-produced, can only be seen on Netflix. No Problem, as long as it comes to TV shows, but Netflix is aiming for as any upstart with the blessing of the Establishment, and the highest blessing is still the Oscar. The but is awarded only to long films, and need to be run in the cinema.

So Netflix has begun to produce long feature films and documentaries, and is looking for Ways to meet Oscar rules, at least the letters, not their meaning. A first attempt, the child soldiers the film “Beasts of No Nation”, was ignored by the Oscar voters.

How to hold it in cinema with the Venice winner “Roma”?

Now, Netflix is sending a candidate into the race, is not to be overlooked so easily: Alfonso Cuaróns Mexican society “Roma”, which won at the Venice festival the Golden lion, in the Other completely to the right, because it has long cinema – instead of short television of breath. Netflix is trying to hip Directors and actors and producers to capture. Also Maren Ade (“Toni Erdmann”) received an offer, but it refused, and the German producer legacy is the unwillingness to grow and engage, on Netflix’ terms and conditions.

the Details of The contract between Netflix and Cuarón, you don’t know, but apparently insisted to the Director that his Film needs to be in the movies shown; in which countries, for how long and whether a simultaneous setting in the Streaming platform, all of this is unknown.

get at Least in Germany (and other countries) since the Latest cinemas and distributors Mail from a sender for which you were previously air: of Netflix. The service offers you to play “Roma” in an exclusive, one week prior to the platform launch, and he even wants to pay for it. For that you to Netflix-conditions: “Roma” would have to be played at core times (not in the Afternoon or Late shows), and ticket sales would have to remain a secret (though of every movie, the visitor numbers are published). Netflix wants to extend its culture of secrecy on the cinema, it’s called as we know, no call numbers, and so maintains the fiction that all of his shows have communities large Audience.

The Netflix concept is simple: Kill the cinema!

chains of Some of the cinema and the distributor have rejected the offer, in others the decision is. In principle, all aware of what they are asked to aid in the case of your own murder. The Netflix model is not geared towards coexistence, but rather to the elimination and Extermination of rival players place cinema; films will run immediately after the completion on the Streaming platform and not first few months in the cinemas.

However, the Festivals play an important role in the Netflix strategy, as a marketing troops. They aim to arouse interest in the productions, what has been achieved in the case of “Roma”. Venice offers the Streaming service since “Beasts of No Nation” without reservation, his stage, while Cannes, Netflix has hit the door, because it was denied a theatrical release.

The Berlinale has positioned itself so far, neither in the one nor in the other direction. “We reject film productions from streaming platforms is not, in principle,” says the Berlinale in a statement. “In the past, there were already Netflix-films in the festival programme, including Casting John Benet’ by Kitty Green and ,What Happened, Miss Simone?’ by Liz Garbos in the Panorama.” A Netflix movie in the competition – the king’s discipline – not in Berlin yet, but Amazon Don’t Worry, He Won’t Get Far on Foot” by Gus Van Sant, or “Chi-Raq ran, for example, “” by Spike Lee which also had a theatrical release.

Other Streaming providers to compromise, are willing to cinema – it represents 400 art-house cinemas, 800 screens, and 20 million visitors annually – has prompted festival with one accord, “to show in the film, the evaluation is to provide an exclusive First-on the big screens of the cinemas of the world”. In particular, Berlinale chief Dieter Kosslick, his successor Carlo Chatrian and the state Minister for Culture Monika Grütters be addressed. However, for the moment, the Berlinale does not want to specify clearly: “The discussion”, is in the press release, “has only just begun.”

It would be, in Essence, a Lex Netflix, Streaming providers such as Amazon, the principle of the cinema is not out of the question. “Netflix wants to destroy the cornerstone of a system that has proved its success over the decades, and threatens all actors along the value chain,” says AG-cinema-Chairman Christian Bräuer. He turns the tables: “All Arthouse-cinema invite Netflix to negotiate constructively on models all of the actors and the audience.”