Color and Black and White (can’t get black and white version streaming)
When I was working on Blue Ruin, that was the first time we were exposed to this whole world of streaming,” Blair says. “And at first, it’s not that we were suspicious; we were just like, ‘I don’t know how this works. Are people even gonna see it if it’s just on demand?’ And as it turned out, it seems as though people saw that movie much, much more on streaming platforms than they did in the theater. It makes a lot of sense, especially for smaller movies that maybe don’t have a big star in them or maybe they don’t have a ton of money for promotion and they can be discovered by word of mouth.”
Independent cinema is moving out of the art house and into every house. The collapse of this viewing window and the bidding-war armistice has been mitigated by prefab dealmaking. Technocratic distribution companies like Netflix and Amazon have upended the state of independently produced movies. Film festivals that screen these movies were once the bastion for work created beyond the perception of Hollywood’s studio structures — films that were either unable or unwilling to penetrate the cast iron gates that lead to the moviemaking seats of power.