After a love-hate relationship with cinemas that has lasted for years, Netflix has finally decided what it wants them for

Netflix finally seems to have assumed what its relationship with cinemas is: using theaters as promotion and as a way to create community with specific and very striking releases, which includes the theatrical release of the sumptuous ‘Frankenstein’ from Guillermo del Toro to the latest and highly anticipated episodes of ‘Stranger Things’. But although now there is complete calm, this relationship has gone through notable ups and downs: from the initial devotion and wanting to become a major of Hollywood to confront the old guard head-on, reaching this current middle ground that benefits both cinemas and the platform.

Many moves. For more than a decade, Netflix has radically transformed the audiovisual industryfirst revolutionizing the home consumption model and then challenging traditional film distribution and exhibition systems. Currently, Netflix is ​​a giant available in more than 190 countries, with its own production that competes directly with the majors from Hollywood. And until reaching that point, Netflix has gone through very diverse stages: it tried to position itself as a conventional super-producer, there were controversies, triumphs at the Oscars, a certain cold phase of disagreement and, finally, a more pragmatic adoption of the theatrical space.

Devotion and confrontation. In its first years of original production, Netflix wanted to play an important role within the conventional film industry. One of its first early milestones was the 2015 release of the film ‘Beasts of No Nation‘, both in selected rooms and on the platform itself. streaming. A bold move, since it involved challenging the traditional model of release windows that until then gave up an exclusive period of time in theaters before reaching other formats: Traditionally, this window could last between 90 and 180 days.

The conflict begins. The powerful North American cinema chains and the most prestigious festivals began to openly reject Netflix moviessince they considered that the absence of a long theatrical window affected the overall profitability of the releases, and would end up damaging the theatrical experience. This situation led to public tensions given that Netflix excluded from some major film festivals for several years.

Netflix he defended himself saying that their model prioritized the viewer’s experience at home and that they understood the theaters as a complement and not the core of their business. At the same time, it was generating more and more original production, of increasingly higher quality and budget.

And COVID arrived. Netflix’s position backed by traveling companions like HBO (paradoxically, property of a majorWarner, which was beginning to see a clearer benefit in the streaming that in the rooms) had as its fruit a crisis of the film distribution model. The situation became particularly acute during the COVID-19 pandemic, which accelerated the decline in viewers, completely settled the streaming experience and gave rise to decisions that were, in a certain sense, the final straw for classic distribution: majors traditional companies such as Disney and Warner releasing blockbusters of the caliber of ‘Mulan’, ‘Black Widow’ or ‘Kong vs. Godzilla’ at the same time on their newborn platforms. streaming and the cinemas.

Have a mania Significantly, in May of this same yearTed Sarandos, executive director of the platform, criticized the theatrical experience, which he defined as “outdated” and “restricted.” He stated that the long-running theatrical window, traditionally defended by cinema chains, is not compatible with their business model. And although Netflix recognizes the cultural value of theatrical cinema, for many of its releases, “streaming first” is what drives success and the construction of fandoms. Already then he stated that each film has a “tailored” strategy regarding its relationship with theaters, and that is what we are seeing now. Of course, without passing up the opportunity to say that Netflix is ​​not destroying Hollywood, but “saving” it.

Change of strategy. In recent years, Netflix has begun to show an evolution in its strategy regarding movie theaters, adopting a more pragmatic approach. One of the milestones that mark this change, and which was already mentioned in the aforementioned interview with Sarandos, is the decision to make outstanding theatrical premieres for productions with a high potential for cultural and popular impact. Significant example: the premiere of the final season of “Stranger Things” in select theaters, a move that combines the platform’s drawing power with the community and promotional effect of the theatrical experience.

Netflix knows well that the theaters are remnants of the past, but they still have an indisputable communal power of attraction: there are films that appeal to specific audiences and very juicy areas of the fandom, as was the case with ‘The K-pop Warriors’. This film was a milestone: the first Netflix title to reach number one at the US box office, which makes clear the company’s ability to use theaters not only as a traditional distribution channel, but as a space to amplify platform phenomena.

Hybrid model. Netflix’s current strategy is a hybrid model: it combines the strength of streaming with the cultural and promotional value of the cinema experience. Instead of seeing the rooms as a distribution channel, Netflix uses them as a speaker. Not as competition, but as strategic promotion allies. It is clear that Netflix has discovered what it can get out of traditional exhibition: Now it remains to be seen if the theaters understand what they can get out of a hypothetical (and much-needed) symbiotic relationship.

In Xataka | 13 premiere movies and series to watch in November 2025 on Netflix, Prime Video, HBO Max and streaming