The cinematic experience is dying, and streaming might be the culprit. But is Hollywood doing enough to save it? Filmmaker Kleber Mendonça Filho, whose Oscar-contending film The Secret Agent is making waves globally, has issued a stark warning about the erosion of traditional moviegoing habits, particularly in markets like the U.S. where theatrical releases are increasingly overshadowed by streaming platforms. At the Marrakech Film Festival, Mendonça Filho didn’t hold back: “We’re in the midst of a cinema-going crisis, and the pandemic only accelerated the shift toward streaming. The old rules no longer apply, and that’s pulling audiences away from theaters.”
And this is the part most people miss: Mendonça Filho argues that Hollywood must take a stand by enforcing longer theatrical windows before films hit streaming platforms. He suggests a minimum of three to four months, citing Brazil’s thriving cinema culture as proof that such a strategy works. “In Brazil, we’ve made it clear that The Secret Agent will be in theaters for months before streaming. That clarity brings audiences back to the cinema,” he explained. But here’s where it gets controversial: Is Hollywood willing to prioritize the theatrical experience over the convenience of streaming? Or is the industry too far gone?
Mendonça Filho admits he’d be reluctant to make a film destined solely for streaming. “I don’t think I could focus on my craft knowing the first viewing would be on a small screen,” he said, jokingly referencing viewers who watched his 2012 film Neighboring Sounds in 17 installments. “It’s fine, but that film truly came alive in cinemas.”
The Secret Agent, a politically charged thriller set during Brazil’s military dictatorship, has resonated globally, winning accolades at Cannes and drawing parallels to modern political climates. Mendonça Filho noted its relevance to Brazil’s recent history under Jair Bolsonaro, whose populist regime echoed the authoritarianism of the 1970s. “It felt like Bolsonaro was trying to resurrect the military regime, almost like a Halloween party,” he remarked. The film has also struck a chord in Spain, under Franco’s shadow, and in the U.S., where reactions have been intense.
But here’s the bigger question: As streaming continues to dominate, are we losing something irreplaceable about the cinematic experience? And should filmmakers like Mendonça Filho compromise their vision for the sake of accessibility? Let’s debate this in the comments—is the theater still the best place to experience a film, or is streaming the inevitable future?
