When Neon announced that the release of one of the year’s most anticipated arthouse films, Apichatpong Weerasethakul’s Memoria, would be limited to a never-to-be-streamed theater exclusive in which only a single theater would be screening the movie at a time, it initially seemed kind of fitting. The work of few filmmakers besides Weerasethakul’s could make a convincing argument for such an orthodox release strategy.
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