As a passionate cinephile and collector of physical media, I find myself deeply inspired by the insights shared during the Heritage Roundtable discussion at the Locarno Film Festival. The resurgence of interest in 4K heritage titles is not just a market trend, but a testament to our shared desire to preserve the rich tapestry of cinema history for future generations.
In recent times, there’s been a revival of physical media, boosted by the careful selection and promotion of high-definition classic films in appealing merchandise for a specific, albeit specialized, group of collectors. This was the general agreement among participants during the Heritage Roundtable discussion, which took place as part of the Locarno Pro section at the Locarno Film Festival.
In response to a significant drop in mainstream sales, the experts concluded that there was potential growth in the restoration and enhancement of classic works. These refurbished pieces are now available in high-definition formats like 4K or 2K, complete with additional bonus materials.
Vincent Paul-Boncour, representing Carlotta Films, showcased some of his company’s recent and upcoming products as examples of success, such as a compilation of Dario Argento films in a box set and a new release of Luchino Visconti’s “Bellissima.”
“Paul-Boncour stated our primary goal is to distribute movies for theater viewing first and foremost. In France, we capitalize on a thriving market for classic editions. Our aim is to create the finest product possible, ensuring it’s in 4K quality, with an abundance of original extras. Quality is crucial, and we’re fortunate to have a strong catalog already. In France, England, and America, there’s a demand. People appreciate having these films as part of their personal collection, like a library or archive.”
As a devoted cinema enthusiast, I often find myself confronted with one persistent challenge in our industry: the matter of rights, particularly when it comes to films owned by American studios. Ronald Chammah from Les film du Camélia aptly put it: “It seems that American studios are less inclined to facilitate a movie release, be it self-managed or through another party, on traditional physical media. Their primary objective appears to be Video On Demand (VOD), and perhaps they view physical media as an adversary to their video platform.”
Manlio Gomarasca and Severin observed that in Italy, the DVD market has significantly declined. Instead, people are opting to go directly to streaming platforms.
Scarcely, Italian movies, even those of renowned filmmakers like Michelangelo Antonioni and Luchino Visconti, are not abundant. Many top-tier productions originate from outside Italy. Gomarasca proposes a unified strategy among companies as a potential remedy: “Given our small market, I advocate for more cooperation and less rivalry among businesses.”
Frédéric Maire, Director of Cinémathèque Suisse, expressed his consent, stating that with the latest launch of “La Paloma,” it would be beneficial to include multiple language subtitles on the Blu-ray version. While our primary market and rights are for France and French-speaking regions, we possess global rights for the film. Consequently, there’s a possibility that this Blu-ray could circulate globally, creating a single, unique worldwide Blu-ray of ‘Paloma.’ If the right circumstances arise, it would also be worthwhile to seek international cooperation to think on a global scale rather than just locally.
K.J. Relth-Miller, a consumer and collector herself from the Academy Museum of Motion Pictures, commented: “It appears that collectors and those who value physical media, like myself, are experiencing a similar trend to that of vinyl collectors ten years ago for my generation.”
She added, “We notice that both Gen Z and millennials have a strong inclination towards owning tangible items. The fleeting characteristic of streaming content means that what you want to watch and add to your list today might no longer be there tomorrow. It’s transient, it’s not permanent. So, if you’re deeply interested in gaining more insight into the history of this art form we all appreciate, I believe purchasing physical media could be a viable approach.”
Additionally, Relth-Miller pointed out that the hobby of VHS collection is on the rise in Los Angeles, using the instance of Quentin Tarantino and Robert Avery’s Video Archives as an illustration. This LA-based microcinema focuses specifically on VHS and 16mm screenings.
There was a feeling of cautious excitement as everyone focused on developing a long-lasting market and culture, considering future technological shifts – “Are there still people using these devices?” Frederic Maire wondered aloud. Essentially, everyone seemed to understand their role in safeguarding this artistic craft and the items it generates.
Manlio Gomarasca expressed his viewpoint: “We discuss the market since we’re dealing merchandise. However, in my perspective, Blu-rays transcend simple commodities. They serve as cultural artifacts. Reflect on the numerous directors who were interviewed for the bonus material that are no longer with us – their stories live on thanks to Blu-ray. Thus, I view Blu-rays as valuable cultural relics that deserve our support.”
This support should also come from governments, Gomarasco argued, as it does in France.
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2024-08-13 18:19