Production for the small screen (which are not small anymore) has an obvious tunnel of prosperity glittering into the future, based on streaming and conventional broadcasters. The battle to get an invitation to the party is ferocious, and we question the scale, but at least producers can build a business plan.
Not so feature films. Just as Nitram is hitting international festival audiences hard in the feels, we are all agog to see The Drover’s Wife, and Jane Campion’s The Power of the Dog is barking majestically across the Venice Film Festival, the future of cinema storytelling is shrouded in doubt and mired in cynicism.
