Netflix Isn’t Trying to Kill Cinema — It’s Trying to Reinvent It

There’s growing anxiety across the film industry that Netflix’s increasing influence poses a serious threat to cinemas worldwide. Much of this concern has focused on theatrical windows, particularly fears that Netflix could push the industry away from the traditional 45-day exclusive cinema windowtoward something closer to17 days.

But I don’t believe Netflix is the real danger to cinema.

If anything, cinema risks damaging itself if it doesn’t innovate fast enough.

The debate around release windows has become a convenient distraction from the deeper, structural problems the cinema industry has been struggling with for years.

The Real Problems Facing Cinema

The challenges facing cinemas today run far deeper than Netflix’s business model. Among the most pressing issues are:

Heavy reliance on blockbuster tentpoles
A shrinking slate of mid-budget and independent theatrical releases
Rising ticket and concession prices
Limited reasons for audiences to return outside opening weekends
Weak local community engagement
A lack of experimentation with new formats, events, and participation

Extending or protecting a 45-day window won’t fix any of these on its own.
Cinema doesn’t just need protection — it needs evolution.

Netflix Is Becoming More Interested in Cinema, Not Less

Contrary to the idea that Netflix is hostile to theatrical exhibition, its actions suggest the opposite: it increasingly sees cinema as complementary to streaming, not in competition with it.

Netflix has made notable investments in physical cinema spaces:

The Paris Theater (New York City)  A historic single-screen cinema that Netflix has operated since 2019, used for limited releases, repertory programming, and awards-qualifying runs.

Grauman’s Egyptian Theatre (Hollywood)  Acquired by Netflix in 2020 and fully restored, the Egyptian Theatre officially reopened in November 2023. Netflix programs the venue Monday to Thursday for premieres and special events, while the American Cinematheque continues to program it on weekends — blending prestige premieres with classic and curated cinema.

These aren’t symbolic gestures. They’re long-term investments in cinema as a cultural and experiential space, not just a distribution channel.

Cinema as Event, Not Just a Screening

Netflix has also shown a growing understanding of cinema’s true strength: shared, fan-driven experiences.

Netflix partnered with major chains like AMC for select theatrical releases, breaking down years of exhibitor resistance to streaming-first films.
Limited theatrical releases such as Glass Onion demonstrated that Netflix titles can perform strongly when positioned as events.
Netflix has used cinemas to host fan-first screenings, Q&As, and finale events — including large-scale theatrical showings tied to Stranger Things — creating moments that simply don’t land the same way on a sofa at home.

These experiments underline a crucial point: Cinema works best when it’s treated as an event, not just a place to watch content early.

Netflix will always be streaming-first — but it clearly sees the value of cinema in building prestige, fandom, and cultural moments that streaming alone can’t replicate.

The Window Isn’t What Will Save Cinema

Whether the theatrical window is 45 days or 17 days is unlikely to be the thing that keeps cinemas alive.
What will matter is:

How well cinemas embrace events and participation
How effectively they build local communities
How diverse and flexible their programming becomes
How willing they are to work with creators, fans, and even streamers

Cinema can no longer rely purely on blockbuster economics. Audiences need reasons to show up that go beyond “it’s new.”

Where Screenwave Fits In

This is exactly where Screenwave comes in.

Screenwave helps film fans come together to create community-driven screenings and events — turning films into shared experiences rather than passive viewings. It empowers audiences to decide what gets shown, when, and where, and helps cinemas tap into demand that already exists but is currently fragmented.

Cinema doesn’t need saving from Netflix.  It needs better tools to connect with audiences who want to come together — but need a reason to do so.

The Bottom Line

Netflix isn’t trying to kill cinema.

It’s testing how cinema fits into a modern entertainment ecosystem — one built on fandom, community, and experience.

The real question isn’t whether Netflix respects cinema enough.
It’s whether cinema is ready to reinvent itself.

Other Blogs

Why audiences still turn up for films they’ve already seen at the cinema

Fifty years ago, Jaws captured audiences around the world. People queued. Word spread fast. It became a genuine cinematic moment.Fast forward to 2025 and Jaws returned to cinemas with an official re-release. At first glance, it makes little sense. Almost everyone has seen it. It’s widely available on streaming. The effects, impressive as they were for their time, don’t need a modern 4K DCP to be understood. And yet — it worked. The 2025 re-release of Jaws reportedly took over $16 million worldwide, with no billboard campaign, no TV chat-show circuit, and no press junket. That’s a remarkable result for a film most of the audience already knew by heart. Back to the Future told a similar story, earning over $13 million on re-release — again, without a traditional marketing push. So why did people bother turning up? Nostalgia is part of it — but not the whole story Yes, nostalgia plays a role. Many audience members had seen these films before, often years ago. A significant portion of the crowd skewed older — people revisiting something that mattered to them. But what’s interesting is who else showed up. Re-releases consistently attract younger audiences — people who didn’t experience these films in their original theatrical runs. For them, it isn’t about nostalgia. It’s about context. They want to understand why these films mattered. To experience them in the environment they were made for. To see what the atmosphere was like when a packed room reacted together. These films didn’t just succeed — they shaped what came after Part of the appeal is that many classic films aren’t just popular — they’re foundational. Jaws didn’t just scare audiences. It changed how films were made and marketed:• It helped define the modern summer blockbuster • It showed the power of suspense over spectacle • It influenced everything from Jurassic Park to CloverfieldSeeing Jaws on the big screen today isn’t just about the shark — it’s about recognising the DNA of modern cinema in its earliest form. The same is true of Alien. When Alien returned to cinemas, it wasn’t simply nostalgia driving audiences in. The film’s influence is everywhere: • Its slow-burn tension shaped modern sci-fi horror • Its production design echoes through films like Blade Runner 2049 and Annihilation • Its sound design and pacing still feel contemporary For younger audiences especially, these screenings act like a live masterclass. They can see where their favourite modern films came from — not through clips or essays, but in the format that gives those ideas their full weight. Atmosphere turns films into identity When Jaws and Alien were first released, audiences didn’t know they were classics. They hadn’t built identities around them yet. Cult and classic screenings today are different. People attending them often already feel a connection. These films say something about who they are — their taste, their values, their cultural reference points.That sense of identity doesn’t translate well to a sofa at home. It does translate in a cinema, surrounded by people who care for the same reasons. Streaming hasn’t killed this — it’s helped it Streaming isn’t the enemy here. In many ways, it’s part of the reason this works. Streaming keeps older films visible. It introduces them to new audiences. It allows people to discover films casually — and then decide they want to experience them properly. Cinema offers what streaming can’t: • A shared audience • Focused attention • Scale and sound • A sense of occasion People aren’t choosing cinema instead of streaming. They’re choosing it when the experience feels worth leaving the house for. Special events amplify demand Add context and participation, and demand increases again. This was especially visible following the death of David Lynch, when films like Eraserhead and Blue Velvet returned to cinemas. These weren’t just screenings — they were moments of reflection, tribute, and shared appreciation. Audiences turned up because it felt meaningful. Cult and classic films bring different people back New releases often serve a predictable cinema-going audience. Cult and classic screenings often bring back people who don’t attend regularly — or at all. They don’t come because it’s new. They come because it matters. That’s why audiences still turn up for films they’ve already seen. Not because they’ve forgotten them — but because they want to experience them together, and understand where cinema’s most enduring ideas came from.

Why Cult and Classic Films Are So Hard (and Expensive) to Put Back on the Big Screen

Three people watching the latest release. Thirty-three people wanting a cult or classic. And yet the latest release still wins. That’s the maddening reality of modern cinema — and it’s one of the biggest frustrations I have with the film industry. This article will probably get me into trouble, but it needs to be said.Getting the films people actually want back onto the big screen is far harder — and far more expensive — than most cinema-goers realise. The hidden costs no one talks about Let’s take a real example. If a local cinema wants to screen RoboCop, it’s not as simple as pressing play. First, they must request a DCP (Digital Cinema Package) — the digital version of the film — which typically costs around £120 + VAT. Then comes the big one: the minimum guarantee to the distributor. That’s usually another £120 + VAT, or 35% of the box office — whichever is higher. So if tickets are £10 each, the cinema needs to sell at least 25 tickets just to cover the rights — before accounting for staff time, marketing, scheduling, projection setup, or even keeping the lights on. By contrast, a brand-new release usually works on a straight revenue share, with no upfront minimum guarantee. The bizarre result This creates a completely backward situation: It can be more economical for a cinema to show a half-empty screening of a tired new release than to put on a cult or classic film that could attract 30+ genuinely enthusiastic people. That’s not a typo.And yes — it’s as crazy as it sounds. From a business point of view, there is very little incentive for cinemas to expand their catalogue. It makes more financial sense to rotate two or three new releases per week, even if demand is weak. And no — this doesn’t even factor in concession spending, which would often be higher for event-style screenings. “But it’s digital now — why is it still so expensive?” This is the question I get asked all the time. Why is there: • No discount on digital formats? • No flexibility on minimum guarantees? • No incentive for cinemas to take creative risks? Studios no longer ship bulky 35mm prints around the country. Everything is digital. And yet the pricing model hasn’t meaningfully evolved. For local and independent cinemas, the risk simply isn’t worth it. They’d rather show an unpopular new release than gamble on a classic — even when the demand is obvious. And there’s another uncomfortable truth… The quiet pressure cinemas don’t talk about Many cinemas believe — rightly or wrongly — that if they don’t give enough screen time to the latest releases, they may receive less favourable terms on future films. For small cinemas, that risk is existential. New releases are their bread and butter. They can’t afford to upset the supply chain. So they play it safe. And cinema culture quietly suffers. Where Screenwave comes in This is exactly the problem Screenwave is trying to solve. We reduce the risk by only putting forward screenings that already show real demand. No guessing. No blind bets. If enough people want to see a film, we prove it before the cinema commits. But we can’t do it alone. Distributors need to meet us halfway. Lower minimum guarantees. More flexible terms. Smarter pricing for digital formats. Because the truth is simple: The more people we get into cinemas — across a wider range of films — the healthier the industry becomes. The even stranger part: films you’re not allowed to screen at all Some films are under moratorium, meaning studios simply won’t allow public screenings — even when there’s clear demand. Titles like Fight Club or Harry Potter are often unavailable, with no clear explanation. Others — like Jurassic Park — are sometimes held back so all attention stays on the latest franchise release. Personally, I don’t understand this logic. Why wouldn’t you want people celebrating both the originals and the new films? Taking back ownership of cinema Screenwave exists because cinema-goers deserve a say. Our mission is simple: to bring classic, cult, and independent films back to the big screen — where they belong. Not by guessing. Not by gambling. But by proving that the audience is already there. Because when 33 people want to watch a classic, it shouldn’t lose to 3 people watching something they don’t even care about.

How Screenwave Works

Screenwave is changing how cinema events happen — putting the power back in the hands of film fans. Every screening starts with a creator. That could be anyone with an idea for a great cinema experience: a cult classic, a much-loved favourite, an independent film, or something special they have the rights to show. 1. Choosing the film Creators select from films that Screenwave can license, typically through distributors such as Park Circus or Filmbank Media for non-theatrical screenings. We also avoid busy release periods, focusing on quieter days when cinemas have more flexibility. 2. Setting the target Each cinema has a different break-even point, so every screening has a funding target based on how many tickets are needed to unlock it. This keeps things realistic and fair for both the cinema and the audience. 3. Funding the screening The creator promotes the screening to their own network and taps into the wider Screenwave community. People back the screening knowing that: • If it hits the target, the screening goes ahead • If it doesn’t, everyone is automatically refunded — no risk 4. Confirming the date Once a screening reaches its target, we confirm the date with the cinema to ensure availability. At this point, the screening is officially locked in. 5. Backer perks Backers get first access to seats, plus optional extras such as: • Having their name in the opening credits • Adding a short message These features make Screenwave especially popular for birthdays, celebrations, or events where you might not have enough friends to fill a whole screen on your own. 6. Public ticket sales Once confirmed, the screening opens up to general ticket sales, allowing anyone to attend. 7. Creative control Creators also set the tone for the event: • Want to introduce the film with a short talk? • Encourage cheering (or booing) certain characters? • Keep it quiet and cinematic, or make it rowdy and fun? The rules are up to the creator. Proven demand So far, Screenwave has supported 50+ screenings across the Fylde Coast, including venues like Backlot, The Island, and The Regent — all showing strong demand for community-led cinema events. What’s next We’ll be opening more screens. And it’s not just cinemas — anywhere we can put up a screen is possible. A castle? An outdoor festival? Watch this space.

Forget luxury seats and popcorn buckets — cinema’s real advantage can’t be streamed

“Cinema is dead.”It’s a line we’ve all heard — usually followed by a list of reasons why streaming, sofas and subscription services have supposedly won. But that argument often ignores something important: cinema’s greatest strengths were never about comfort or convenience in the first place.Over the years, many industries have evolved quickly in response to digital change. Cinema, by comparison, is often portrayed as having stood still. In reality, what’s been overlooked is not what cinema lacks — but what it already does better than anything else. Cinema brings people together in a way nothing else does I was once at a screening where someone said: “There’s nothing like a group of strangers, all there for the same reason, watching the same film.” At the time it sounded slightly poetic — even a bit odd. But they were right. For two hours, phones were away. No pausing. No second screens. Full attention. You could hear every laugh, every gasp, every moment of tension ripple across the room. Time felt suspended in a way that simply doesn’t happen at home. That shared focus — the collective experience — is something streaming can’t replicate, no matter how good the TV or how big the sofa. A screening becomes an event when people care We once hosted a screening of The Crow. It’s not a film I’d personally put in my top ten — but that wasn’t the point. For many people in the room, it clearly was. Some turned up wearing T-shirts. Others talked passionately about Brandon Lee. There was a sense of tribute in the air. This wasn’t just a screening; it felt like a small act of collective homage. This is something cinemas across the UK already see: Prince Charles Cinema has built a reputation around turning films into events — sing-alongs, quotes shouted back at the screen, curated introductions.Independent cinemas regularly host director intros, Q&As, themed nights and anniversaries, often drawing bigger crowds than standard listings.Cult and classic titles frequently outperform expectations precisely because the audience chooses them.These aren’t luxury experiences. They’re meaningful ones. Cinema doesn’t need to compete with streaming — it can complement it Streaming services aren’t the enemy. In many ways, they’ve helped this model. Streaming has: • Introduced new generations to older films • Kept cult titles alive between theatrical runs • Created demand for films people then want to see properly Cinema can act as the front door, not the final destination.A successful screening can spark renewed interest, conversation, rewatches and — yes — streaming views afterwards. One doesn’t cancel out the other. Luxury isn’t the point — connection is This isn’t an argument against comfortable seats or good food. Those things matter. But they’re not cinema’s defining feature. Cinema’s real advantage is: Shared attentionCollective emotionA sense of occasionPeople choosing to be there togetherThat’s not something you can stream.As cinemas continue to evolve, the opportunity isn’t just to be more luxurious — it’s to be more human.And that’s where cinema still has an edge.

How Screenwave Is Going to Change the Cinema Industry

It’s expensive to put on a cult or classic screening. Cinemas don’t want to take the risk. And, right now, that makes perfect sense. As I explained in my previous article the financial model actively discourages cinemas from programming cult, classic, or independent films. Minimum guarantees, upfront costs, and distributor pressure all push cinemas toward the “safe” option — even when audience demand says otherwise. But the problem goes deeper than screening costs. The industry is playing it safe — and everyone feels it Film studios are understandably risk-averse. The result? A release calendar dominated by sequels, reboots, and rehashes: Dune: Part ThreeJumanji 4The Hunger Games: Sunrise on the ReapingThe Devil Wears Prada 2Wuthering HeightsEven in 2025, the majority of the most heavily promoted films are remakes, sequels, or franchise extensions.Don’t get me wrong — I’m excited for some of these.  But they’re not original.  They don’t create momentum.  And they rarely define a generation.Compare that to the late ’80s and early ’90s. Films from that era didn’t just entertain — they launched careers, created new genres, and reshaped cinema culture entirely. Many of today’s “classics” were once risks. Indie films exist — but cinema isn’t opening the door There is no shortage of brilliant independent and regional filmmaking today. In fact, streaming has helped many of these films find audiences. Cinema hasn’t caught up. The barriers to entry are still too high for: UK regional filmsFirst-time directorsSmall international releasesCult favourites that grew audiences after their initial releaseIn other countries, this works better.Markets like France, South Korea, and parts of Scandinavia actively support locally produced films with: Guaranteed screen quotasRegional cinema fundingStrong audience-cinema relationships built around national and local storytellingThese films don’t just exist — they’re seen, discussed, and celebrated on the big screen.In the UK, far too many of these films never make it past festivals or streaming algorithms. This is where Screenwave steps in Screenwave isn’t trying to replace cinemas. And we’re not asking them to gamble. We’re changing the economics. We: • Prove demand before a screening is scheduled • Secure funding upfront • Show that people will actually buy tickets — not just say they’re interested That changes everything. Instead of guessing, cinemas know: • The audience exists • The costs are covered • The screening has momentum before it’s even announced This creates a risk-free environment for cinemas to: • Programme cult and classic films • Support independent and regional cinema • Create genuinely exciting, community-led events All without relying solely on box office “smashes” — which are becoming rarer as release windows shorten and attention fragments. The bigger picture Cinema doesn’t have a demand problem. It has a visibility and risk problem. Screenwave is about unlocking what already exists: The audienceThe enthusiasmThe love of cinema as a shared experienceWe’re still early. We have a long way to go. And we can’t do it alone.If you care about cinema — not just opening weekend numbers — we need: Cinemas willing to experimentDistributors willing to evolveFilm fans willing to back what they want to seeBecause the future of cinema won’t be saved by the next sequel alone.It will be saved by giving people back a voice in what appears on the big screen.