![]() ![]() In two of Europe’s biggest box office territories, new battles over windowing have flared up just as the industry elsewhere has put them to rest. ![]() “I don’t see any more discussion on windowing going forward.”īut France and Italy beg to differ. “We’re all in agreement on this,” says Richards. If a 75- to 90-day window was standard pre-pandemic, now the waiting period between theatrical release and online bow is typically about 45 days in the U.S. Studios and exhibitors have even found common ground on the length of the theatrical window - long a sticking point in negotiations. “Can you imagine watching Top Gun or Spider-Man on a streamer instead of the big screen?” “It’s proven very difficult to launch a big franchise on a streaming service, which is one reason why Wall Street has fallen out of love with subscription services,” Richards notes. ![]() “There is no question that audiences want to and will come back to the cinema to see a great movie,” says Tim Richards, CEO of VUE International, a cinema group operating nearly 2,000 screens across nine international markets. The in-cinema success of MGM’s No Time to Die ($774 million gross worldwide), Disney’s Doctor Strange in the Multiverse of Madness ($933 million), and Sony’s Spider-Man: No Way Home ($1.9 billion) - exclusive theatrical bows all - seems to have settled the argument that the theatrical window boosts box office and builds momentum for a movie’s eventual streaming release. film in more than a year to be released exclusively to theaters, the Robert Pattinson superhero reboot earned $760 million worldwide, nearly $370 million of that from the domestic market. Global Streaming Is Still Growing, But Starting to Get Squeezed ![]()
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