The deal with the “kangaroo” that is revolutionizing the film business
As of: 8:42 p.m. | Reading time: 3 minutes
Up to three million viewers would have drawn the “kangaroo chronicles” to the cinema if Corona hadn’t intervened. Now the film could trigger a big cinema revolution.
Dhe kangaroo is taking a lot out. It eats in huge quantities of schnapps chocolates, carries out anti-terrorist attacks against “the system” and propagates the world communist revolution. Of course, this remains largely gray theory (except for the consumption of chocolates), but from now on the “kangaroo chronicles” are actually at the forefront of a development that must be described as a revolution. Everywhere it is murmuring that after Corona nothing will be the same as before, but nobody knows anything specific. This is specific.
After ten years, Marc-Uwe Kling’s “Chronicle” bestseller had finally become a film that was released in cinemas on March 5, where 500,000 people saw him in the first week. It could be extrapolated that Dani Levy’s filming would have seen two to three million Germans at the end of his film run. But at the beginning of the second week of the cinema, the virus knocked out the marsupial, which obviously hadn’t counted on.
Under normal circumstances the kangaroo would be unlucky! – now disappeared in the sinking until September, because the “cinema window” in Germany lasts six months; the period in which cinemas can exclusively evaluate a film. This applies to films made with funds from film funding (i.e. almost all of them). The cinema window provides six months for DVD evaluation, also six months for video on demand (single purchase) and twelve months for video on demand (on flat-rate platforms). The window system is under pressure worldwide because the streamers want to show new films as early as possible.
And now the kangaroo is dancing out of line, selfish as we know it: From now on, his film can be bought on all relevant download pages, streamed and downloaded to his own device. Five months before the funding rules actually allow it. This required a dispensation of the kind that only the Pope can actually give, and the Vatican in German film is the Filmförderanstalt (FFA), which granted the exemption.
If it were no exception, what the FFA and the “kangaroo” producer X-Films have negotiated would actually be a revolution. But the deal goes much further on uncharted territory. If the curfew is lifted at some point, the “kangaroo” should return to the cinema as if nothing had happened in between, after a two or three month break, and that has never happened before.
But the most groundbreaking aspect is yet to come: The revenue of the digital “kangaroo” is divided between the platform, the producer (X), the distributor (Warner) – and the cinemas, although at this point they no longer have anything to do with it. It can be seen as the solidarity demanded by everyone in the crisis or as a concession so that the cinemas can swallow the toad of the shortened time window.
But you can also discover the dawn of a true revolution, in which all possible participants are still afraid. The model does exist, it was seriously discussed a few years ago, but then quickly stalled. In essence, it would mean that the cinemas themselves become streamers. They would only show the film in their halls for two, three, four weeks.
Maybe revolutionary after all
Then, when the audience gets fewer, they would offer to stream the film through their own website. They would earn further from this, it would increase customer loyalty and make the cinema window more flexible, tailored to the different traction of the films. It would even give them the chance to get the film back on their big screen.
Perhaps this way the kangaroo will become the revolutionary it always wanted to be. It would not be the big overthrow that swept away all capitalism, but kangaroos also had to start small.