As the threat draws closer, the humans look elsewhere, get jealous, and rip into each other under the bewildered eyes of their indoor robots. "Locked together, a not-quite-so-blended family, an intrusive neighbor and her enterprising sex-robot are now forced to put up with each other in an increasingly hysterical atmosphere! While, outside, the Yonyx, the latest generation of androids, are trying to take over. So much so that humanity relies on it to satisfy its every need and every desire - even the most secret and wicked." an official description reads. "In 2050, artificial intelligence is everywhere. The film follows four people whose domestic robots take them hostage during a robot uprising. Dominique Pinon, Elsa Zylberstein, Isabelle Nanty, Youssef Hajdi, Alban Lenoir and Francois Levantal star.īigbug takes place in a quiet residential neighborhood in 2050. And those who, in a certain sense, always make the same film: Tim Burton, Woody Allen.Bigbug hails from Delicatessen and Amélie director Jean-Pierre Jeunet, who co-wrote the film with Guillaume Laurant. "There are two types of directors: those who renew themselves constantly but don't have any style. The studio might have changed, but "BigBug" remains very much a Jeunet production: "People who like my work will love it those who don't will love to hate it," he said. The world is changing, we have to adapt." The big films will always be shown in cinemas. "Platforms haven't replaced cinemas, which didn't replace the theatre. "Things don't replace each other, they add," he said. He rejects the fear that streaming platforms are killing off cinemas. Now everyone is calling me to say they want to do the same." 'The world is changing' "When I signed with Netflix, people mocked me, saying I shouldn't do it. And now (with Netflix) we have half a billion potential viewers - if only one percent watch the film, that's a lot of people."
"As soon as the film is released, they have their eyes on how many tickets are sold.
#Amelie movie streaming how to#
"Marketing has all the power and the decision-makers are people who come out of business school and want to tell you how to make your film," he said.Ģ001's 'Amelie' was an international hit ERLEND AAS NTB SCANPIX/AFP Spivet" failing to match the excitement around his previous films.īut for Jeunet, this only underlines what he sees as the hypocrisy of the French film industry - complaining about the financial clout of foreign streaming platforms, while being just as obsessed with money. To be fair to French studios, the director's track record has been mixed, with 2004's "A Very Long Engagement" and 2013's "The Young and Prodigious T.S. In order to win concessions, it has poured money into the French film industry - a boon for riskier propositions like Jeunet. The streaming platform has faced some of its biggest obstacles in France, a country with strict rules about how long films must wait between a cinema release and home-viewing.
"They said yes to the project in 24 hours," Jeunet said. Netflix, however, called at just the right time. "I heard the same words, the same phrases as I did for 'Delicatessen' (his 1991 debut) and 'Amelie': it's too weird, too detached and therefore too risky." I came close to a full-blown depression," Jeunet told AFP. "Almost no one wanted my new film in France. Jeunet was similarly strained to find studio support for his movie, "BigBug", a dystopian comedy set during a war between humans and robots that premiers on Netflix on Friday.
The US streaming giant has found great success in poaching directors who increasingly struggle to get funding elsewhere, including Martin Scorsese ("The Irishman"), Alfonso Cuaron ("Roma") and Jane Campion ("The Power of the Dog").
0 kommentar(er)
