Peter Bart: Opportunity and Disaster for Independent Film Launches, Especially in Theaters

“Unless you’re Tom Cruise, releasing a new movie today is work in frustration. Or self-destruct.”

So says a senior independent film distributor commenting on the current film market (see below), supported by filmmakers and seekers gathering at this week’s Tribeca Film Festival.

Tribeca marks the start of the festive season in the United States, where opportunity and disaster go hand in hand. Independent filmmakers consider it the tastiest running pad in Tribeca, but this year their schedule is filled with streamers, music, voice awards, various activist shows and even celebrity shows: Taylor Swift presents her new short and short film. Documentary Ნ part time, the festival’s opening film, but will not be released theatrically, even under the influence of López’s advertising. It will premiere on Netflix next Tuesday.

There will also be premieres of indie dramas and romantic comedies, but finding them will be difficult. Tribeca has removed the word “movie” from the title, so their busy schedules mirror the content maze – finding the next one will be harder than ever. show last picture ANYONE Sex, lies and videotapes, respected “sleepers” of past generations. But the high-energy festival has added online premieres that distribute receipts to creators both abroad and in the US.

Even under the banner, Hollywood felt that watching movies was expensive. Twenty years ago, two rival films by Wyatt Earp were released side by side; That’s how several $100 million disaster movies happened (Armageddon Y Ღ Impact) with similar alarming plots.

While studios use their marketing power to support their tents, independent films continue to rely on the goodwill of critics and festivals. Robert Altman once said: “Every filmmaker should find a rabbi among the critics. He cleverly followed Pauline Kael with special references and expensive dinners. Some directors even received positive reviews by paying critics to rewrite them.

This year, the release program focuses specifically on short, pre-branded repositories: jurassic world domination of the wagon and Tori: love and thunder I’m curious about Warner Bros. Elvis Director Buzz Lurman reminds us of the old Hollywood show and therefore its most daring.

Overall, the majority estimated annual revenue to reflect a 70% increase over last year, but still 34% below pre-pandemic levels. But independent films are significantly scarce on release pages, reflecting not only the lack of movie theaters but also the lack of reviews. Mainstream media is getting more and more stingy outside of the field of scrutiny. New York TimesThat’s up to 20 movies being reviewed every Friday.

Your generosity has been a mixed blessing ever since Times Critics are often disgusted by the enthusiastic critiques of new films, but instead master the subtle vocabulary of rejection: “All story developments feel predestined” (fire island); “The referential taste of the film is not so important when compared to the more important works” (18+).

Yes TimesSecond-level reviewers don’t help with ticket sales, and top critics remind the reader of their cultural preferences. Last week, AO Scott voiced his generous criticism blessingA biographical film about an English poet named Siegfried Sassoon. Terence Davis, the Englishman who gave it to us earlier, directed the film. quiet passionDealing with another poet, Emily Dickinson. As Scott reassures us, his work was “as attentive to the internal climate of the subject as to the details of its time and place.”

Last week, Scott even apologized in part for his “hot” review on Low Budget a few months ago. DogChanning Tatum (also director). Now, he realizes that this is “a politically charged reverse film that offers a peaceful journey through scorched earth.”

deserve criticism Times Or other newspapers in major cities, film distributors should provide theatrical releases, even if they are short. This exercise can cost $150,000 for even a modest 20-theatre production.

“There’s never been a better time to release a movie,” says Strat Hamilton, president of Tri-Coast Film Distribution, which distributed overseas last year. Novice, Tribeca winner. “You need a good movie and a good actor,” he confirms. Hamilton’s luck has improved since one of his releases this year, wolfhound, an independent aerial action movie. “It helps me share his genre with Tom Cruise,” he says (Grindstone/Lionsgate is releasing the movie in the United States).

Given all the hurdles, do indie movies still shine? “Of course they will,” insists Hamilton. “Making movies is an attitude. That’s why I hope to see you. ”