The noises of war could be heard from afar: the head-on collision is about to begin between the worlds of cinema, television and the Internet. Yesterday the Minister of Culture, Alberto Bonisoli, declared that "Today I am preparing to sign the decree that regulates the windows on the basis of which the films will have to be released in theaters first and after that on as many platforms as you like. I think it is important to ensure that those who manage a cinema are comfortable being able to program films without them being available on other platforms at the same time". By some it has been interpreted as a declaration of belligerence, in particular against Netflix and Amazon Prime which are gaining progressive acclaim among viewers of various types in our country as well.
In reality, the Minister's initiative refers to a decree implementing the Law in favor of Cinema issued in 2016 which defined "Public intervention in support of cinema and the audiovisual sector to guarantee the pluralism of the cinematographic and audiovisual offer and favor the consolidation of the national film industry in its various sectors also through financial support instruments”. The fact is that, also following pressure exerted in various locations by the main players in the field, the provision has been read in an anti-streaming key. On the merits, the provision is addressed only to national production interested in using the various financial support and tax relief, to obtain which it is necessary to first go through a certain number of days in theaters (over 100) or 60 days if the film is distributed in at least 80 theaters.
However, it is necessary to remember that the battlefield has long been prepared to welcome the contenders. There was first the strong controversy at the Cannes Film Festival, when Netflix production films not yet released in cinemas are not admitted to the competition. Then, in June, during the Mediaset Shareholders' Meeting, both the Chairman Felice Confalonieri and the CEO, Pier Silvio Berlusconi, announced the idea of giving life to a European project of a common platform capable of dealing with the aggressive advance of various competitors on broadband. Then, in September, the Venice Film Festival took place, where the issue of distribution in theaters rather than the network of cinematographic operations took center stage: Netflix not only participated but also brought home significant awards.
The principle that has been affirmed is that a film is appreciated or not in relation to its quality, its contents, and not in relation to the ways in which it is distributed. As stated by Antonio Morabito, the director of Forgive us our debts, first released online and later in theaters, "I put the fact of being distributed in 190 countries in 22 languages on one side of the balance together with their enthusiasm to support a film that has a strong political value and on the other the non-screening and I had no doubts”. The theme is exactly this: how can the hemorrhage of spectators from cinemas be faced?
The data, the numbers on tickets sold at the box office, in most "cinematographically advanced" countries speak for themselves: the public is gradually deserting the big screen in favor of streaming, personal, private viewing. This happens both for the contents (see all the serial productions of great global success) and for the methods of use. The film can be seen where, when and as much as you want, on any portable or fixed device and, let's add, at a much lower cost. In fact, compared to an average cost of 6 euros for a ticket, a subscription to a very large library is paid for a little more.
Fans of the big screen are like those who prefer a print newspaper to an online one. The two worlds can coexist, we don't yet know for how long, but the ground for truce and peaceful coexistence is only quality. The market, as always, will play its part and make it possible to decide on which side we can bury the hatchet.
