One of the most frustrating aspects of “awards season” for those that do not live in New York or Los Angeles is that films are often released in those cities before gradually expanding to other markets several weeks or even months later — sometimes, not at all. This has been a strategy that has been around for decades, as films are first exposed to smaller markets in order to build up buzz ahead of their wide releases. However, the box office has certainly been struggling in the aftermath of the COVID-19 crisis and the SAG-AFTRA strike, both of which caused major fluctuations in the cinematic calendar. It is important for films to be widely accessible to interested audiences, as preventing smaller titles from connecting with or simply reaching viewers leads to a marketplace that is only dominated by blockbusters.
The Selective Release Strategy Is Outdated
Limited-release models have lost their ability to be effective due to different methods that are used to create buzz. Most award-season contenders are initially placed in limited release prior to their widespread debut, which puts less emphasis on the markets in New York and Los Angeles to get the conversation started. This year, films like Anora have been building buzz since their debut at Cannes, with Venice offering a glimpse of other noteworthy titles like The Brutalist and The Room Next Door. The best way to capitalize on this momentum is to create a cultural moment in which audiences can converse about a film at the same time. This year, titles like A Different Man and Saturday Night failed at the box office because they were unable to sustain the hype that they received from their festival debut after spending weeks only accessible to audiences on the coasts.
2024 has proven that audiences are interested in more “serious” films aimed toward adults and that theaters do not have to only rely on superhero blockbusters and uninspired sequels in order to stay in business. There were several major dramas aimed at adults that avoided the limited release model and went wide in their opening weekend; unsurprisingly, films like Longlegs, Challengers, Civil War, Conclave, and We Live In Time filled a gap in the cinematic ecosystem because audiences had been starved for original content. Putting a film into wide release initially signifies a studio’s confidence in its ability to be mainstream, as hiding it in only a few theaters suggests to audiences that it is only targeted at a niche crowd living in the main coastal cities. Given the quick turnaround time that it takes for these films to reach VOD services, audiences are more likely to wait to watch a new release at home if they haven’t been able to see it in their local market.
Independent Cinema Cannot Become a Niche Market
Films that have broad commercial appeal are often stuck within limited releases, preventing a vast majority of viewers from getting the opportunity to see them. This year, Warner Brothers curiously chose to screen Juror #2, the final film by director Clint Eastwood, in less than 50 theaters; it is not hard to imagine that based on the positive reviews and the appeal of Eastwood’s name, Juror #2 could have easily been a profitable hit for the studio. Similarly, A24 chose not to expand their acclaimed drama Sing Sing this summer, preventing audiences from connecting with an important film that touches on topical issues surrounding America’s rate of incarceration.
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The marketplace for independent film cannot be sustained if studios are reliant on only two cities, as they still need to make profits in order to stay in business. While attending festivals like Toronto, Venice, New York, and Telluride is the best way to keep up to date on all the films that will likely be in contention for the Academy Awards race at the end of a given year, the opportunity to attend these events is only possible for a select number of critics that can afford the exorbitant fees involved. Going to see independant cinema should not become like Broadway, in which accessibility is based on location and capital. It is up to studios to empower their audiences by making their films available, which will only lead to broader conversations from a more diverse set of cinephiles.
Anora follows a young sex worker from Brooklyn who impulsively marries the son of a Russian oligarch, igniting a potential fairy tale. Upon learning of the union, his influential parents travel to New York to annul the marriage, jeopardizing her unexpected chance at a new beginning.
- Release Date
- October 18, 2024
- Director
- Sean Baker
- Cast
- Mikey Madison , Mark Eydelshteyn , Karren Karagulian , Yuriy Borisov , Vache Tovmasyan , Ivy Wolk , Luna Sofía Miranda , Ross Brodar , Lindsey Normington , Darya Ekamasova , Emily Weider , Alena Gurevich , Masha Zhak , Paul Weissman , Charlton Lamar , Aleksey Serebryakov , Ella Rubin , Vincent Radwinsky , Michael Sergio , Brittney Rodriguez , Sophia Carnabuci , Anton Bitter , Zoë Vnak
- Runtime
- 139 Minutes
- Main Genre
- Comedy
Anora is now playing in select theaters in the U.S.
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