Hollywood’s rejection of streaming platforms like Netflix reeks of elitism

Last night marked the 94th Academy Awards – an annual event that, since 1929, has celebrated cinema. Among this year’s nominees for The Big One (Best Picture) were Denis Villeneuve’s epic Dune, Kenneth Branagh’s love letter to his hometown, Belfast, and, naturally, Steven Spielberg’s adaptation of West Side Story (after all, it wouldn’t be the Oscars if he didn’t get at least one nod). The winner was Sian Heder’s coming-of-age story CODA.

Peppered in among the grandiose blockbusters exclusively released in theatres, there were a few titles that audiences might recognise from Netflix – most notably Don’t Look Up, which, thanks to its star-studded cast, including Leonardo DiCaprio and Jennifer Lawrence, secured more than a few nominations at this year’s event (even if the film itself was lousy).

However, beyond these Hollywood thoroughbred-infused flicks, Tinsel Town has rarely been welcoming when it comes to talent from streaming services.

Just a few years ago, Spielberg himself was embroiled in a row about Netflix. Even though Roma, a Spanish-language, black and white feature about a domestic worker, drew recognition from critics worldwide and bagged a noteworthy number of accolades on the night, the E.T. director was so indignant about its inclusion at the prestigious event that he reportedly tried to amend the qualifying rules – a motion that was met with fierce backlash from some of his peers and social media users.

And while some time has passed since Spielberg’s outburst – ostensibly about protecting “culture” and encouraging a shared experience, which, according to him, can only be enjoyed inside the confines of a cinema – it appears to me that Hollywood attitudes haven’t really changed. Unless, of course, you consider the deal between Spielberg’s production company Amblin and Netflix.

Look at the dealings between streaming services and film studios throughout the pandemic. I fully appreciate that artists, crew, and big production studios wish to get as much buck for their efforts as possible, but the swift departure from newly established relationships with streaming services – or, at least, the desire to sever ties – came after months of support from these platforms.

At a time when cinema-going was simply not an option, these services were vital for both consumers and the industry itself, offering a life raft when it was most needed.

But it isn’t just about the film industry. The view that movies released on streaming platforms are somehow less worthy than those that aren’t reeks of elitism. It illustrates how out of touch Hollywood is, in thinking that everyone is able to go to the cinema to watch a movie.

While the cinema can be a wonderful experience, complete with the scent of freshly made popcorn and the intense shudder of surround sound, there are many who simply can’t attend – due to reasons of accessibility, income or location, among others. Are we to believe that these people are less appreciative of the art of cinema than those who can afford the sheer luxury of paying 20-odd quid to sit in an Everyman or Curzon?

It reminds me of going to see my favourite band as a child. I saved for months for the ticket and for me and my sister, it was the highlight of our adolescent lives. Our seats were crap and we had an obstructed view, but we loved every moment of it and belted out every lyric. Afterwards, I asked my sister why there was a section of fans at the front of the concert who were allowed to go backstage after the show. She explained to me that that part of the night was exclusively for rich fans; real fans. The thought that money made them more dedicated to the band than I was was beyond my comprehension. And it sucked to know the band viewed their followers differently, simply because of how much money mummy and daddy were willing to part with.

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The cinema isn’t cheap. Add on the price of food, snacks, drinks, and it becomes a monumental event instead of the fun, casual visit it’s meant to be. So, for that very reason, I cannot help but applaud sites like Netflix, Disney+ and Amazon Prime Video for making films more accessible.

Not only is it more affordable, but artists with lower budgets and without Hollywood backing can make a splash. They have the opportunity to get noticed and to share their work with the world on a much larger scale than was previously possible. Without streaming platforms, we would never have witnessed work such as Rocks and, as far as I’m concerned, this year’s showstopper, The Hand of God – which, FYI, should have been nominated for a lot more than just Best International Feature Film.

Just as the rest of the world has had to respond and adapt to the ever-changing nature of the digital arena, it’s about time the film industry heeded the call, instead of dragging its heels. Spielberg et al need to realise that the only threat to their art is their own attitudes.

If they are truly producing groundbreaking work worthy of recognition, why don’t they stop fretting over Netflix and trust the institution that, more often than not, favours their nostalgic, typecast movies? After all, Mr. Spielberg himself already has an impressive 19 nominations and three Academy Awards under his belt.