Netflix not only wants to produce captivating original series, but also traditional film art, and does so successfully, as can be seen in the recent example of "Roma". In a recent article, Wired points out the balancing act that the TV subscription service has to master. Alfonso Cuarón´s Roma is quite a film coup -- the film has already won numerous awards, including the Golden Lion in Venice. Nevertheless, Netflix left it open for a long time when and where Roma would actually be seen. After initially only a short cinema run in a few halls was planned for December, the exploitation plans later turned into a worldwide release in more than 600 cinemas.
The dilemma in which Netflix finds itself looks like this: the streaming service lives mainly from its subscribers, who are promised attractive and exclusive content. A film that was first shown in cinemas for several months (as in 2016 the film "Manchester by the Sea" produced by Amazon) is anything but exclusive, but by Internet standards already an old hat. At the same time, cinema exploitation is absolutely necessary in order to be nominated for some renowned film awards. In May, for example, there was a dispute with the film festival in Cannes (www.slashcam.de/news/kurz/Netflix-an-Cannes--Wettbewerb-oder-gar-nicht-1512.html), where productions not destined for the cinema are only shown out of competition; a generally formulated rule, which however explicitly aimed at Netflix.
Netflix is now testing how not to alienate its own TV clientele and still get a stable foot in the cinema and award door in the learning-by-doing process. The 130-minute film epic Roma in black and white certainly benefits from being seen on big screens, but has also been shown in Netflix Streaming since 14 December.