The Family Fang and Private Life: Netflix is no longer the replacement of cinema?

These two films available in Netflix open the stage to think what place occupy streaming platforms in the film industry.What to expect from your catalogs?The Family Fang and Private Life are a sign of how intimate projects gain ground among commercial bets.

In recent years Netflix opened its catalog, historically composed of large industry productions, to intimate projects.He even takes the producer's role in some of these films, as in Marriage Story (Noah Baumbach), and leaves the place of the box office to the classics before, recently included in his page: Jurassic Park, Indiana Jones, Matrix,Back to the future, etc..

The great commitment to these small-large projects allows you to find a possible new role for platforms, which moves them away from the dreaded "replacement for cinema".Rather, rather, creators of new hybrid proposals: blockbusters, made based on super budgets and super casts, but with intimate scripts and plots, carried out by supreme actions.

The objective of the platforms is not only in producing these films, but also in including them in their endless catalog.It is a new curatorship, increasingly present and with more force, in all streaming pages.The hybrid between the mainstream and the indie, between the Hollywoodan of Scarlet Johansson and the independent of Adam Driver, the wonderful chance of having a Spielberg movie and one of Greta Gerwig next to.

(You may be interested: five new film classics to see in Netflix)

It seems, then, that little by little, these pages find a more own place.They deposit their money in feature films that appear not to need it, with the most precious actors and directors of Hollywood, interpreting small (as valuable and non -derogatory adjective) papers.Far from being critical, this type of films are those that end up capturing the public and giving Netflix, Amazon, Flow, etc..a new entity, away from "The typical Yanki", "what is going to kill the cinema" and many other names with which they were called.

Within this type of plots, because the central thing in these intimate blockbusters are the plots, family life is found.The one that swept this category was, the aforementioned, Marriage Story that seems to have overshadowed (and rightly) other projects of the same nature, which is worth looking for.

The Family Fang (the FANG family) is a film directed by Jason Bateman, better known for his work as an actor (arrest development, or mount, Juno), based on a novel of the same name, written by Kevin Wilson. El largometraje fue incluido a Netflix recientemente, habiendo sido estrenada en el 2015. Con un elenco de oro (Nicole Kidman, Christopher Walken y Jason Bateman a la cabeza) y un guión de lujo, vale la pena hurgar entre Django, Apollo 13, Mad Max, Blade Runner… y demás, para disfrutarla.

Fang are a family of artists, made up of parents and two brothers, who perform performances in public places (skating tracks, squares, banks, museums, etc..).To carry out their actions, the Fang use their two children as part, and a bit like objects, their numbers.What seems to be a game that includes children in the fame of the two adults, recognized by bohemian fans who take performances as messages against hierarchical society, begins to form a trauma.Fang children, who begin their career as artists at just months of age, and for pure family demand, grow as puppets of that performatic and eccentric world.

When trying to reveal, already of adults, against these manipulations, revenge are turned in the form of news on the front page: Fang parents, recognized artists of the most controversial performances, disappear after a violent car accident.

(You may be interested: before the cold passes: five movies to see in winter)

Is it a performance more than those two manipulators?Is it a way to capture your children again when they want to reveal themselves?Or truly suffered an accident and were kidnapped?The FANG: Are they alive and acting, or dead after disappointing your family?

In a short duration, the Fang brothers (Bateman and Kidman) resolve the mystery of the disappearance.With a surprising address of Jason Bateman, who is not far behind in performance and a Nicole Kidman who is still surprising as an actress.The parents, embodied by, the always wonderful, Christopher Walken and Maryann Plunkett, manage to generate hatred and empathy at the same time, turning the Fang family into one like anyone: controversial and problematic, loaded with love, understanding and bad decisions.

Another example of this hybrid, intimate and giant at the same time: Private Life.This is a bet produced by Netflix, released on the platform in 2018.The director is the ingenious and, for the common belief, quite far from the Streaming stereotype, Tamara Jenkins.In the 90s he directed the independent comedy Slums of Beverly Hills (Suburbs of Beverly Hills) and in 2007 he created The Savages (the Savage family), starring the excellent Laura Linney and Phillip Seymour Hoffman.

Jenkins returns with this dramatic comedy, which deals with a marriage, of past 40, which seeks to have a child. Pero esto es, tan solo, el centro del guion.Because in peripheries, as in real life, it is where the important thing happens. De eso se trata Private Life: de lo que pasa en paralelo a la tragedia.Of the little or great moments that make up a link and that keep it for years, beyond forming a family.It is not a fight against infertility, nor is it a history of conformation.It is simply a life story, loaded with everyday life, in which tragedy sneaks into ... only when it can.

(You may be interested: Shirkers: Netflix's hidden jewel where reality surpasses fiction)

Both projects available in Netflix show that you must continue betting on the platforms, but from a new place.That they include, or produce, these types of films that perhaps are not the most busy in movie theaters.

Allowing these projects to exist and triumph is to give a place to intimate films, to the prominence of the script, to the importance of actions and a quality of direction that does not come with great effects.It is also to give a new entity to the platforms, which moves them away from being a replacement to the cinema, where Hollywood premieres are uploaded that would be better used in a room and with Pochoclos.

The platforms exist and are booming, instead of fighting them, it might be given their own place, which could well be that of cinematographic hybrid creators, of small projects.

(You may be interested: East cinema in Netflix: A complete sample or a starting point?)

** Aware of the complex economic moment in which a large part of the company is located, we leave open a monthly or only time collaboration route to help us do our job, especially when it comes to solving expenses - often invisible- That they have digital media.Add LPP and click here.

You can also donate a coffee or the amount you want.