A new Spanish streaming concept called acontra+, which combines movie streaming and cinema ticket sales in a single subscription, has launched on the Magine Pro platform. The service is run by the independent Spanish distributor A Contracorriente Films with a wide catalogue of national and international feature films of all genres, classics and contemporary films and is made available through Magine Pro's multi-platform service.
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Streaming service giant Netflix is experimenting with its pricing policies in a handful of countries in response to high rates of account sharing. Eleanor Patterson, assistant professor of media studies in the College of Liberal Arts at Auburn University, explains what this experiment means for U.S. account sharing and the future of streaming platforms.
European film and television represent 32 percent of all content found on TVOD and 35 percent of SVOD in the EU. For all VOD catalogues (TVOD and SVOD), European content took a share of 33 percent, according to a report from the European Audiovisual Observatory, part of the Council of Europe in Strasbourg.
The Chinese online entertainment service iQIYI has announced that it is upgrading its collaboration model for online film distribution. The new model includes two distribution models, Cloud Cinema Premiere and Subscription Premiere.
Liquid Media has signed a letter of intent to acquire Digital Cinema United. “With the acquisition of DCU, Liquid inherits DCU’s longstanding position as a company of choice for the entertainment and media industry,” says Liquid Media CEO Ron Thomson. “The services DCU provides are essential to film and TV producers and distributors, engage with clients across every aspect of the supply chain, supercharge our solution engine and further our reach.
A new report from content protection specialist Nagra, entitled Piracy Has No Boundaries, claims that thieves steal tens of billions of dollars of content value annually and that more than 80 percent of content theft is attributable to streaming. In addition, the report says, eight percent of U.S. households subscribe to illicit internet protocol services for an estimated $1 billion in illegal subscription revenue every year. The report uses Disney and Marvel Studio’s Black Widow as an example of how things can go wrong when feature films are streamed and estimates that the film lost between $50-$70 million because the movie lacked an exclusive theatrical window over its first ten days of release.
What happens if you compare the streaming giants’ top movies with their ratings on major movie rating sites? The Bad Movie Index, created by Draken Film, the Swedish streaming service for quality cinema, was created to inspire people to broaden their film taste with what the service believes is the first-ever moving subscription price.
Media company Gathr will showcase the re-mastered and digitally enhanced 50th anniversary edition of the Oscar-nominated 1971 documentary On Any Sunday via its fan-driven cinema distribution model Theatrical on Demand. The documentary, financed by and starring movie icon and motocross weekend warrior Steve McQueen, is regarded as the best film ever made on the sport of motorcycle racing.
The total revenues generated by the global cinema industry this year are set to only reach half of 2019’s pre-COVID revenues according to Omdia’s latest Cross Sector Windows report. Global box office revenues are still being impacted by studios experimenting with differing release windows, alternative platform distribution models such as video on demand, as well as government restrictions and more recently, a change in consumer confidence due to the Delta variant.
Cinedigm is partnering with online entertainment marketplace Exeest to power a fully integrated film submission platform for Fandor and its portfolio of channels. The advanced platform will use Exeest's exclusive technology to streamline the film submission process for independent filmmakers, provide the Fandor programming team a state-of-the-art way to solicit, ingest, screen and evaluate film content suitable for its audience.