"In a broader sense, New Yorker's long-term willingness to defy the marketplace realities of American film distribution never seemed like a sustainable business model. While the films listed above attracted at least some American viewers, New Yorker was worshiped in cinephile circles precisely because it often took on difficult and adventurous cinema that was destined to find almost no audience. Sometimes Talbot and Lopez seemed to be running an educational foundation under the guise of a for-profit business. In bringing films by African cinema godfather Ousmane Sembène, Chinese rebel Jia Zhang-ke, obscure American auteur Lodge Kerrigan and legendary French documentarian Chris Marker to a handful of American viewers they were undeniably performing a public service, but they surely didn't make any money in doing so."
Andrew O'Hehir in Salon reports the demise of New Yorker Films.
No comments:
Post a Comment