Cannes Vs Netflix: Which side of cinema are you on?

What is ‘cinema’? This seemingly absurd question has been thrust into the fore through the recent Netflix debate that has engulfed the ongoing Cannes film festival. Cinema puritans and some jury members are furious that two Netflix films are being considered for the Palme D’Or — one of cinema’s most prestigious awards — this year. Their reason: Netflix is not cinema because ‘true’ cinema belongs to the big screen and should be released as such before being called ‘cinema’ or considered for an award.

The debate throws up many questions about the increasing use of technology in our mainstream movies. In today’s age, where we can consume a film through our mobiles and computers and through different websites, is it not foolish to demand this puritanical definition of cinema? After all, web streaming devices demand the same things from a viewer as a large-screen film does — they demand attention, exposure and easier access to films that we may not see, or be persuaded to see, otherwise. Most importantly, Netflix is not pirated so the film-maker and stars do not lose revenue.

As Will Smith, a Cannes jury member and an advocate for Netflix pointed out, why does it have to be one or the other? Giving his family’s example, Smith said that his children go to the movies and watch them on Netflix at home. “Netflix has broadened my children’s global cinematic comprehension.” Though Smith did not say this, the message is clear — we must change with the times.

Puritans of cinema disagree and it will take some time before the online streaming service’s movies will find acceptance. Already Cannes authorities have passed a directive stating that films must have a theatrical release (this must be in France) to be considered for an award. Various other restrictions too will ensure that Netflix or any other web streaming giant that may emerge will find it harder and harder to not just screen their films at Cannes or other film festivals, let alone win awards.

Many of us will probably disagree, many of us who are passionate viewers of Netflix, will find such restrictions ridiculous. But let us stop to think for a moment. Apart from Bollywood and Hollywood, there is serious concern worldwide for the large screen. The lack of cinema-goers to the large-screen movie halls can affect a number of people from film distributors, theatre owners and right down to the usher boys who guide you to your seat.

Already in India, we are increasingly seeing the closure of single-screen theatre places due to their inability to compete. The reason is the rise of multiplexes and perhaps it is just a matter of time before we may see multiplexes in trouble. Given the speed at which urban Indians have gobbled up smartphones and the increasing use of Netflix in this country, multiplex owners in India and possibly the world over are already gearing up for ‘war.’

Perhaps this is an alarmist view, perhaps Smith is right when he says that the world over people will use and appreciate both forms of cinema viewing. But let us not take anything for granted. If the history of technology has taught us anything, it is that one technology has often subsumed another. Take the pen for example. From the fountain pen to the ballpoint to the computer, the pen today is largely used for exams, forms and signatures and even that is disappearing. One can say with some truth it is the government and schools that are keeping the ordinary pen alive today in India.

Such a thought should be a sobering realisation for us. Yes, Netflix is great, but the “cultural change” that Netflix operatives have talked about will come at a cost and it would be naive to think otherwise. We need to think about this before we jump wholeheartedly onto the tech bandwagon.