Netflix may be willing to send Greta Gerwig’s upcoming Narnia movie into theaters, but if anyone in Hollywood was hoping that decision signaled a broader change of heart, the company just slammed that door shut.
In a candid interview with The New York Times, Netflix film chairman Dan Lin made it clear that the streamer’s relationship with movie theaters remains largely unchanged. While Gerwig’s Narnia is expected to receive a full theatrical release before arriving on Netflix, Lin described the project as an exception rather than the start of a new strategy. More notably, he suggested Netflix has little interest in accommodating filmmakers who continue to prioritize traditional theatrical runs.
“There is a group of filmmakers who still want theatrical,” Lin said. “Those are filmmakers that we’ve accepted we just won’t work with.” It’s a remarkably direct statement, but it also reflects the confidence of a company that no longer feels the need to play by Hollywood’s old rules.
Netflix no longer needs theaters to prove itself
A few years ago, Netflix spent considerable energy convincing filmmakers that it could be both a streaming giant and a legitimate movie studio. Under former film chief Scott Stuber, the company aggressively pursued acclaimed directors, handed out sizable budgets, and occasionally fought for theatrical releases to attract awards attention.
The environment today looks very different. Netflix won the streaming wars, at least by most conventional measures. It has hundreds of millions of subscribers, dominates the viewing charts, and operates from a position of strength while traditional studios continue to search for sustainable business models. As Lin sees it, the company no longer needs movie theaters to validate its films or its reputation.
Instead, the focus has shifted toward making movies specifically for Netflix audiences. Lin has spent the past two years pushing a strategy centered on producing fewer films, spending more carefully, and concentrating on projects that can attract viewers directly to the platform.
That approach has already generated successes such as Apex, which crossed 100 million views during its first month on the service, and People We Meet on Vacation, a romantic comedy that drew millions of viewers while turning relatively unknown actors into recognizable Netflix stars.
The great theatre divide isn’t going away
The tension between streaming and theatrical exhibition has never really disappeared. Many filmmakers still argue that movies are designed to be experienced on giant screens with packed audiences. For directors, theatrical runs can also create cultural momentum, awards consideration, and a level of prestige that streaming premieres often struggle to replicate.
Netflix, however, continues to view the equation differently. Lin’s comments suggest the company is comfortable walking away from creators whose demands don’t align with its business model. That’s a notable shift from earlier years, when Netflix often seemed eager to win over skeptical Hollywood talent at almost any cost.
The Narnia release demonstrates that exceptions can still occur when a project is large enough or a filmmaker has sufficient leverage. But Netflix appears determined to keep those exceptions rare. The company sees its future inside its app, not at the multiplex.
For movie lovers, that may be disappointing. There’s something undeniably magical about watching a major fantasy epic unfold on a giant screen surrounded by strangers. Yet Netflix’s position is increasingly difficult to argue against from a business perspective. If a movie can reach tens of millions of viewers worldwide without relying on ticket sales, the streamer sees little reason to share the spotlight with theaters.
So while Narnia may get its moment under the cinema marquee, don’t mistake it for a revival of Netflix’s theatrical ambitions. According to the executive overseeing the company’s movie division, that chapter was never meant to be reopened.
