Mati Diop’s Senegalese ghost story/romance epitomizes the greatness—and frustration—of streaming.
. The very fate of cinema lies in these woefully unmanicured hands! I’ll try to be gentle.
Netflix, for instance, has been both at war with the theatrical experience and responsible for reopening the last surviving single-screen cinema in Manhattan after it, the first film from a black woman to be in competition in the long history of Cannes—available on an unimaginably wide global platform. The trade-off is that unless you’ve properly trained your algorithm, you wouldn’t know that work is there at all.
To describe these companies as saviors or destroyers of anything is to credit them with a more cohesive agenda than I think makes sense—they’re behemoths who happen to be reshaping the cultural landscape as they lumber in pursuit of the largest possible audience.
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