DecryptionThe cinema and the audiovisual industry are disrupted by the expansion of Internet platforms. With their gigantic resources, they propel films, series and documentaries to a global audience and threaten the future of television channels and cinemas.
Ten years after the film’s theatrical release Untouchables, who made her famous, the French superstar Omar Sy receives, on November 29, the Rose d’Or for performance of the year for his role in Lupin, one of the most important international television awards. This series produced by the French cinema studios Gaumont is one of the biggest successes of global audience of the American video platform Netflix, which, in the wake, signed, in October, a multi-year mega-contract with the actor. Frenchman turned executive producer.
Unprecedented for the Californian company, which claims 213 million subscribers worldwide, this exceptional contract for a French actor demonstrates the power of Netflix, which reshuffles the cards of audiovisual and world cinema even in relations with producers. . Television channels and cinemas suddenly find themselves marginalized in this unprecedented maelstrom of the international circulation of works. “The trend is towards ‘glocalization’, which is the acceleration of the distribution of programs stemming from local stories but which speak on a global scale, like the Spanish series. The Money Heist, french Lupin [dont la troisième partie est actuellement en tournage à Paris] or, even more recently, South Korean Squid Game », notes Frédéric Vaulpré, director of Glance, the international entity of the Médiamétrie audience measurement institute.
Global platforms now spend a huge amount of money each year on original productions: $ 17 billion (€ 15 billion) just for Netflix in 2021, according to its founding boss, Reed Hastings. Where the traditional national channels spend only a few hundred million euros per year in cinema and audiovisual. In France, the cumulative total of all players – stagnant for ten years – is around 1.1 billion euros each year. And Netflix is not alone. Amazon, which already spends more than $ 10 billion on production worldwide, seized century-old Hollywood studio Metro Goldwyn Mayer (MGM) in May for $ 8.45 billion.
“King Netflix, Queen Disney and Prince Amazon”
Television is in fact surrounded by the multitude of these subscription video-on-demand (SVOD) platforms. In addition to the pioneer with the red “N” logo launched in January 2007, Hulu (March 2007), OCS (November 2008), Amazon Prime Video (December 2016), Disney + (November 2019), Apple TV + (November 2019), Discovery + are jostling each other. (March 2020), Peacock (April 2020), HBO Max (May 2020), Salto (October 2020), or Paramount + (March 2021). According to Glance, there are more than a hundred video streaming platforms, local, regional or global, some subscription-based, others free and ad-supported.
You have 77.58% of this article to read. The rest is for subscribers only.