Clearly, it depends on huge growth, but up to now, the studio has consistently provided it. A house of glass to rival the House of Mouse.

An adaptation of Booker prize winner The White Tiger stands out, while there is also the lockdown-inspired Malcolm and Marie.Īs ever with Netflix, the note of caution is whether this generous model is as inherently fragile as the distribution pattern it is disrupting. But these are joined by films that lean much more into the company’s desire to increase the size of its awards cabinet. We will see the big-budget Red Notice, featuring Dwayne Johnson, Ryan Reynolds and Gal Gadot, released alongside the Leonardo DiCaprio and Jennifer Lawrence-fuelled Don’t Look Up. This year’s slate has its fair share of tent-pole releases.

Netflix can’t yet claim to be the saviour of the cinematic experience, but it is undeniably giving the industry a major shot in the arm – and something approaching stability in profoundly unstable times – through a commitment to producing original content of all sizes. The past year has highlighted the fragility of a cinematic ecosystem which relies on blockbusters regularly making more than $400m to strike a profit and keep cinemas afloat. Beneath the beaming smiles … Ryan Reynolds, Gal Gadot and Dwayne Johnson in the Netflix promo video.

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