If after the phenomenon of “Barbie” it is no longer possible to imagine a Hollywood without her, it is equally true that for Greta Gerwig the best is yet to come. After almost twenty years of commitment on the big screen as an actress and screenwriter, the filmmaker has found further impetus in directing; making herself noticed with titles such as “Lady Bird” and “Little Women”. Receiving for her efforts the Golden Globe for best comedy film in 2017 and Oscar nominations including those for best director and best original screenplay, today she is celebrated as the fifth female director to have received an Oscar nomination, and to have reached the milestone of the film directed by a woman with the highest grossing ever in 2023.

With such an impressive resume, it is not surprising to see her reappear with new and exciting developments. Already in 2023, the filmmaker has signed an agreement with Netflix to make the reboot of "The Chronicles of Narnia"; an adaptation of the fantasy classic by CS Lewis that will replace the film trilogy begun in 2005 in a contemporary guise. The project also marks a decisive turning point in the measures adopted by the streaming platform: if initially only the television offer was contemplated, after insistent negotiations Netflix has decided to also provide a distribution for cinemas, including a version of the film even in IMAX format. As we know, Netflix's policy is generally reluctant to consider the programming of its titles in cinemas; generally planned only for short periods and to coincide with the selections in competition at festivals.

This time around, however, “The Chronicles of Narnia” could count on a longer theatrical run. According to Deadline, the film’s 2026 release to coincide with Thanksgiving could suggest a shift in distribution methods. However, the company’s focus remains largely on streaming, and therefore the television space will continue to maintain a privileged space. The streaming service’s co-CEO Ted Sarandos intervened to clarify the matter further, from whom we learn that: “Our main strategy is to offer our members exclusive films first on Netflix. The Narnia Imax release is a distribution tactic. We usually release films in theaters a couple of weeks early to qualify for awards, to meet festival requirements and to drum up a little bit of publicity. In the case of Narnia, it’s a special two-week event, which I think is different from other releases because I doubt that anyone has a screen at home as big as an Imax theater.”

The hope is that the response from the special two-week event will motivate Netflix to further increase the screening days. According to the announcement, Netflix plans to distribute the film in IMAX format exclusively on 1,000 screens in 90 countries, and to run for no more than four weeks. The outcome of the operation will certainly establish more clearly how the company intends to expand its interests beyond the small screen. In the meantime, the television giant has announced that production on “The Chronicles of Narnia” will begin by the end of the year. In addition to plans for at least two projects based on Lewis’ novels, the title will boast a staggering budget of $200 million, according to information provided by the “Observer.” To that figure, another $100 million will be added for the promotional campaign; this means that the film could require around $400-450 million in box office receipts to break even on production costs. Certainly not an easy task, which could further motivate Netflix to retract its position on theatrical releases; also supporting Gerwig's aspirations to guarantee the film the visibility achieved with its previous success.

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