Steven Spielberg is continuing his quest to push filmmakers to make movies for theaters and not just for television.
Netflix’s “Roma” is going into the Oscars on Sunday, Feb. 24 with 10 nominations, including best picture and best director for Alfonso Cuarón, after it was offered in a limited, theatrical window.
And they’re going to love ‘Roma.’ They’re going to love it on their phone, they’re going to love it on a huge big screen.” While speaking at Variety’s annual Dealmakers breakfast in December, Netflix chief content officer Ted Sarandos raised eyebrows when he said, “I love the theatrical experience and we’re not in conflict with anyone, I think we’re a complement to each other. [“Roma”] is awesome on the big screen, but most of the world does not have access to do that. What I want to do is connect people with movies they’re going to love.
The sound is better in homes more than it ever has been in history but there’s nothing like going to a big dark theater with people you’ve never met before and having the experience wash over you. Some of the greatest writing being done today is for television, some of the best directing for television, some of the best performances [are] on television today. That’s something we all truly believe in.” I love the opportunity. While he didn’t mention any one streaming service or network by name, Spielberg said, “I love television.
The “A Star Is Born” director said Spielberg is an idol to every “first-time director,” but then he added, “f— that — [to] every since director.”” />
“I’m a firm believer that movie theaters need to be around forever.” “I hope all of us really continue to believe that the greatest contributions we can make as filmmakers is to give audiences the motion picture theatrical experience,” the directing legend said on Saturday night while accepting the Filmmaker Award at the Cinema Audio Society's CAS Awards at the InterContinental Hotel in downtown Los Angeles.
Bradley Cooper presented the award to Spielberg “for consistently pushing the envelope over decades of incredible work and for appreciating the contributions that sound has made not only to your films but to movies.”
I don’t believe films that are just given token qualifications in a couple of theaters for less than a week should qualify for the Academy Award nomination.” “Once you commit to a television format, you’re a TV movie,” he told ITV News. In March 2018, Spielberg spoke out against Netflix films earning Oscar recognition. “You certainly, if it’s a good show, deserve an Emmy, but not an Oscar.

And then my dad and my producer were in the room and they're like, ‘We have to tell you something,’ and it was really intense. “It was like the last thing that would have ever come to mind, honestly,” Bu says, “because Jessie and T Bone and Billie and all these amazing artists went on, and I was already producing stuff but not yet thinking about releasing anything. I cried.”” />
The most clear and obvious use of sounds lifted from the movie — and perhaps the album’s one truly light-hearted moment — is Sonido Gallo Negro’s “Cumbia del Borras,” which samples the title critter, bringing back either happy or traumatic memories of the film’s voluminous garage poop.
The decision to include a song of his daughter’s was a late one for Cuarón and his music supervisor/co-producers. She was not expecting it.” “Lynn had listened to Bu’s songs because there was a TV show that wanted to use one of them, and it was Randall who suggested, ‘I believe that Bu should be part of the mix,’ and that’s when I invited Bu.
We invited different artists to watch the film, and see if they were inspired. During the film’s production, Cuarón says, “Lynn Fainchtein, my music supervisor, was also part of my conversations about gathering all the sounds of Mexico City — you know, the knife sharpener and the sweet potatoes cart and the rubbish collector and so on. “We would deliver a tape to them, and some would use the sounds, some would not use the sounds,” but in each case, he says, there was some point of connection. At some point, we thought it would be cool to come up with some cool musicians and have each musician doing one of these sounds in a piece of music. They didn’t slap any of the artists’ wrists if they didn’t strictly adhere to the original brief. Eventually, as we were finishing the film, it became another conversation. The very first one was T Bone; I sent him the sounds, and he presented this amazing piece of music. From then on, we thought, this can be an excuse to collaborate with artists that we admire.” Another familiar name in the world of music supervison, Randall Poster, was brought in to help with the post-production project.
Cuarón can cite a specific film that inspired him, when it came to keeping songs on the low-down, as source music only, and it was a Martin Scorsese picture.
So this album was almost created to replace the music and the soundtrack of the movie, and in its own way deal even more with reality.” Says Bu, “I think that music does manipulate feelings in the movie, and that's why ‘Roma’ lacks (score) music, because it doesn't want to manipulate a feeling, because it wants to deal with reality.
“It was almost like a game between me and my dad about which artist we would (want). … I was in class, and instead of listening,” she admits, “just texting my dad like, ‘Oh my god. For example, I would be like, ‘Oh, let's put Jessie Reyez. She’s so cool; her production is amazing and it's crazy.’ And then my dad would actually act on it, and then Lynn would be able to actually get her, and she’s on the album. Listen to this; this is so good.’ And even if it was not going to happen, it was fun to have an excuse to talk about and just enjoy music together.”
You could put together this diverse group of people and it could feel too eclectic, but the mood is very consistent, and I'm very proud of that.” Adds her dad, “There's an aspect of the overall album that you might call mellow, but I would call melancholic and a little bit nostalgic. That’s one reason we placed ‘Those Were the Days’ with Laura (Marling) late into the album, just to have that sense of flow leading into that. There’s a certain acceptance of a mystery of life in most of the songs, and of the fact that life is challenging, but at the same time, it’s also joyful.
But Alfonso Cuarón, the director of “Roma,” is determined to find some artistic validity in the idea of a companion album that was created independently from a film’s soundtrack… and to actually have there be some truth in advertising in that “inspired by” tag. Back around the ‘90s, “music inspired by the film” albums got a bad name, as buyers tired of collections full of random recordings that clearly were inspired by nothing but the desire to use movie branding to launch a hit song.
But I'm happy it is. I didn't mean it as a title song! I just called it ‘Roma’ at the time because that's what I was working on. “All the street vendors in Mexico have a call or a sound, and Alfonso had recorded them and sent me all these different sounds and said, ‘Do something with them.’ So I just put them to a beat and it turned into this really interesting piece of music, when you put the sounds of the street together. “It’s so much better than everything.”) In a separate interview, T Bone Burnett confirmed the process. It ends the record, so I think it’s appropriate.” (Burnett is a fan through and through, saying “Roma” has “got to” win best picture.
Philharmonic’s ranks). “It’s very clear that when they watched the film, they referred back to those songs and, after all these years, decided that it was the time. A few reviews have been confused with why a couple of artists chose to record remakes for their “inspired” contributions. So if ‘Roma’ can serve as an excuse for that, it makes me very happy.” Cuarón said his was not to question why these artists made those choices in connection with his film. Smith redid her own “Wing,” and Beck did a cover of the Colourbox oldie “Tarantula” (which he recently performed on James Corden’s show with Gustavo Dudamel and an orchestra culled from the L.A.
You’re used to, whenever in cinema you have a famous song, particularly, they will play it full volume, full blast, in your face. “There’s a scene in which (Griffin Dunne) is talking to someone and you can hear the Pretenders playing so far away, and you can tell that it’s something playing on a small radio through a window, and I loved how they used it with that quality. And here just was a song that was so far away, and I said, ‘Wow, this is so beautiful.’ it took me to the place, you know?” ‘Probably the first time I saw music used this way was when I was seeing ‘After Hours,’” the director recalls.
In a conversation with Variety, Cuarón explained the thinking behind the collection, which brings together a trans-generational and international cast of musicians that includes Billie Eilish, Beck, T Bone Burnett, Patti Smith, R&B’s Jessie Reyez, EDM’s UNKLE and DJ Shadow, France’s Ibeyi, hip-hop’s El-P, Mexico’s Quinque Rangel and Sonido Gallo Negro — and even the debut track from the filmmaker’s daughter, Bu Cuarón, 16, who also participated in the interview.
Cuarón worked not only with Fainchtein and Poster but had an uncredited assist from Bu that made for a father/daughter bonding experience.
Not one of the 15 songs on the newly released album “Music Inspired by the Film ‘Roma’” appears in or was intended for the Oscar-nominated movie. But if there is none of this music in the movie, there is a lot of the movie in the music, both thematically and aurally. The closest any of the choices come is a fresh recording by English singer Laura Marling of Mary Hopkins’ 1968 hit “Those Were the Days,” a version of which does pop up in “Roma” — albeit not Hopkins’ version, but an easy-listening cover by Ray Conniff.
The movie itself includes snippets of about 40 songs in some form, but zero of them are pushed to the forefront. These choices — the in-your-face and very much out-of-your-face — both reflect a healthy respect for music and how it can be received in different media. There’s an irony in “Music Inspired by the Film ‘Roma’” using songs to ask you to think back on the film.
Says Bu, “Their Cumbia about the dog is probably my favorite track on the album because it's just so fun to listen to, and you could be with your family at dinner and start dancing to ‘Cumbia del Borres.’ And the album goes from that to sad and mellow with (Eilish’s) ‘When I Was Older.’ I feel like the album really deals with reality. For example, Jessie Reyez, one of her verses, if you don't know it in Spanish, (translates to) ‘You don't know how to love but it's not your fault. It's the fault of your parents.’ It's literally portraying the reality of certain situations that connect to their personal life but also connect to the movie.”
She intended to make her song not literally about that movie dynamic but a broader set of relationships in which anger is followed by an apology. She says, ”It’s someone that hits you and then all the sudden they're like, ‘Oh, I'm so sorry.’ And you’re thinking, you just hugged me but do you really mean it? For her own song, “Psycho,” Bu used dialogue snippets in which the mother character is briefly lashing out at the Cleo character in the film. I guess I connected it to situations I had in real life.”

Variety caught up with Macdonald (who can also be seen in Netflix's "Dumplin" opposite Jennifer Aniston) on Friday night at the Australian Academy's eighth annual AACTA International Awards at the Mondrian Skybar in Los Angeles.
Nicole Kidman – “Boy Erased” (WINNER)
Hugh Jackman – “The Front Runner”
Christian Bale – “Vice”
I was like 'How are you this prepared?'" "Because we were filming it towards Christmas a year ago, she had like this little set up in the house of all the different traditions for different religions, and everyone could put their own tradition in. She had gifts for all of us. "I'm in shock by how organized Sandy is," co-star Danielle Macdonald tells Variety.
Claire Foy – “First Man”
Best Lead Actor
Mahershala Ali –”Green Book” (WINNER)
Emily Blunt – “A Quiet Place”
Lady Gaga –  “A Star Is Born”
Alfonso Cuarón – “Roma”
Viggo Mortensen – “Green Book”
During the pre-show cocktail hour, attendees and stars mixed and mingled with glasses of champagne by the pool, with Olivia Colman chatting up Glenn Close, and Rami Malek snapping photos with Nicole Kidman.
Olivia Colman – “The Favourite" (WINNER)
Timothée Chalamet – “Beautiful Boy”
Toni Collette – “Hereditary”
Best Lead Actress
Best Direction
“Roma” (WINNER)
“Bohemian Rhapsody”
Bradley Cooper – “A Star Is Born”
Amy Adams – “Vice”
Bradley Cooper – “A Star is Born”
Best Film
Spike Lee – “BlacKkKlansman”
“I'm humbled to be receiving this award…to be counted among that group of actors is mind blowing,” Malek said. He’s an immigrant, I'm the son of immigrants. This means everything to me.” “I got the incredible privilege to play a man I have the utmost respect for, Freddie Mercury…I could wax on him forever.
See the complete list of nominees and winners below:
Just call her Santa Claus!
Anthony McCarten – “Bohemian Rhapsody”
Best Screenplay
"And then she had her kids, and they were all taken care of," she continued. "I was like, 'You woke up this morning and took your kids to school and now you're at work all day, and you're the lead of this movie, you're in every frame!' I don't know how she did it, because I can barely handle just the work part. She's like an alien, in the best way."
Alfonso Cuarón – “Roma” (WINNER)
Sam Rockwell – “Vice”” />
“A Star Is Born”
Sandra Bullock surprised the cast and crew of "Bird Box" with a holiday celebration while they were filming the hit thriller at the end of 2017.
Tony McNamara, Deborah Davis – “The Favourite” (WINNER)
Rami Malek – “Bohemian Rhapsody” (WINNER) 
Best Supporting Actor
Earlier in the evening, Kidman, who wore a black and white dress with a ruffled collar, said one of her favorite parts about awards season is “getting dressed up.” As for whether her daughters, get ready with her, she said, “They're sometimes interested and sometimes not, it depends on what toys they're playing with and what play dates they have over.”
Joel Edgerton – “Boy Erased”
Glenn Close – “The Wife”
Bullock's gift to Macdonald? Incense.
But the real reward for me and someone like me is to be seen and heard. So, it’s an honor, and I’m very grateful to be recognized. It’s wonderful and disorienting.” Hannah Gadsby also got personal as she was presented with best performance in a television comedy for her comedy special "Nanette." “To say this would be a dream would be a lie,” she said. “Hopes and dreams were squeezed and beaten out of me at a young age.
Warwick Thornton – “Sweet Country”
Sam Elliott – “A Star Is Born”
We should all go and get drunk now.” “To be in that group of women is amazing,” she said. "I was punching above my weight with two very beautiful women [Emma Stone and Rachel Weisz],” she said, adding with a laugh, “This is really lovely. It’s a very nice start to the weekend. Meanwhile, Colman took home best lead actress for "The Favourite," which also won best screenplay.
John Krasinski, Scott Beck, Bryan Woods – “A Quiet Place”
Nicole Kidman – “Destroyer”
Yorgos Lanthimos – “The Favourite”
“Please go see it. “I want to thank him for giving me the chance to play Martha, and to bring this story to the world, and to Focus Films for actually giving us the money to make the film, because it's a really hard film to get financed and it’s a hard film to get out there,” she continued. I know people say, ‘Oh it’s going to leave me wrecked and destroyed,’ but actually it won’t, it will give you hope.”
“[Joel] called me up and he said, ‘Nicole, I know we've never worked together, but I’ve got something for you.’ That's always great when somebody says that and it's actually true." Kidman, who won her her second AACTA International Award for best supporting actress for "Boy Erased," thanked her director and co-star Joel Edgerton for asking her to be in the movie, about a college freshman (Lucas Hedges) sent to gay conversion therapy by his deeply religious parents (Kidman and Russell Crowe).
Charlie Wachtel, David Rabinowitz, Kevin Willmott, Spike Lee – “BlacKkKlansman”
“I think it has potential." As Queen's “Bohemian Rhapsody” played in the background, Malek strolled on stage to accept the award for best lead actor for "Bohemian Rhapsody." “That’s great music, I love that song,” he quipped.
Sweet smell of success, indeed!
Margot Robbie – “Mary Queen of Scots”
Best Supporting Actress

Launched more than five years ago, Giorgio’s — named after music producer Giorgio Moroder, aka “The Father of Disco” — takes place on Saturday nights at the Standard hotel on Sunset Boulevard. Guests have included Beyoncé, Emma Stone, Alan Cumming, Leonardo DiCaprio, Selena Gomez, Kerry Washington, Drew Barrymore, Henry Cavill, Mick Jagger, Robyn, Frank Ocean, Kylie Minogue and fashion designers Zac Posen, Olivier Theyskens, Prabal Gurung and Monique Lhuillier.
3. Bryan Rabin and Adam Bravin will transform the iconic Mr. Lyons in Palm Springs into their legendary Giorgio’s discotheque following the opening night gala of the Palms Springs International Film Festival on Jan.
Giorgio’s is heading to the desert.
Lyons fits the bill in every way as a location so it’s one of those perfect moments." “I love the glamour of the desert, the sexy nights, the architecture and the deep history of Palm Spring as Hollywood’s playground. So many of our clients will be in town and Mr. "We have been looking for the right opportunity to bring Giorgio’s to the desert,” Rabin tells Variety.
On Jan. 4, “Black Panther” director Ryan Coogler will receive the Creative Impact in Directing Award as part of Variety’s annual 10 Directors to Watch brunch at the Parker Palm Springs.” />
The Palm Springs pop-up begins at 10 p.m.
Honorees at this year’s festival opening night gala include Olivia Colman (“The Favourite”), Melissa McCarthy (“Can You Ever Forgive Me?”), Glenn Close (“The Wife”), Rami Malek (“Bohemian Rhapsody”), Alfonso Cuarón (“Roma”), Bradley Cooper (“A Star Is Born”), Regina King (“If Beale Street Could Talk”), Spike Lee (“BlacKkKlansman”), Timothée Chalamet (“Beautiful Boy”) and “Green Book.”

Okay, I exaggerate. Alfonso Cuarón’s "Roma," as everyone knows by now, is the most acclaimed work of art in the history of mankind. From the moment I saw it before the Venice Film Festival, I knew "Roma" would be hailed as a masterpiece (even though I didn't share that feeling about it), and the M-word has in effect become part of its brand. From the start, though, there’s been an aura surrounding this movie — a holy aesthetic halo.
14; that’s when it dropped on Netflix itself. More weeks! What would the commercial trajectory of "Roma" have looked like without Netflix? Every week seems to bring another breathless headline about all the theaters Netflix is putting "Roma" into. 70mm showings in half a dozen locales! The movie, as it stands, is still playing on a limited enough number of screens that the amount of people who end up seeing it that way will prove relatively miniscule. More cities! The film’s official release date, however, was still Friday, Dec. We won't know, of course, because Netflix doesn't release its viewer numbers.) And why does it feel as if adding theaters for "Roma" is like pulling teeth for Netflix? (How many people will actually see it on Netflix? More venues!
Whereas when a movie gets "released," but all that means is that it becomes available on a streaming service on such-and-such a Friday, the heightened quality of its presence in the world lessens. Theaters are destinations that have meaning (I’m not just talking about boutique theaters; over the years, I have formed intense attachments to certain megaplexes). If it’s not high profile (or even if it is), it can seem like it’s gone into the Bermuda Triangle. The movie is out there…and not out there. And when you know that a movie is out there, playing at a theater or (better yet) a number of them, it adds to its existential reality in the world. That's part of what makes it a shared experience — and what makes a film at a theater into an advertisement for itself. Yet consider an additional, adjacent aspect of the theater experience. Movies play, in a sense, in the public square.
Since the company’s business model (all movies at home! How will all of this effect the Academy Awards chances for "Roma"? "Roma" will undoubtedly be a player in the Oscar game, though maybe not in the way it would have had it received a full-scale theatrical release. all the time!) threatens the essential paradigm of how people in Hollywood have existed for a century (making movies that create a mountain of revenue in theaters), there are glimmers of animus against it. For one thing, the Netflix factor isn’t doing the film any favors politically. A vote for "Roma" is, on some level, a vote for Netflix, and some may not want to cast that vote.
Especially when you consider the question… Cuarón clearly favored the deal that Netflix offered, or he wouldn’t have taken it. Even if it was an unconventional black-and-white autobiographical tone poem set in Mexico City with subtitles? Yet if you apply what we know about movie economics, does it make sense to say that Alfonso Cuarón, coming off the massively acclaimed and beloved hit — the global movie phenomenon — that was "Gravity" (domestic gross: $274 million; worldwide gross: $723 million; aesthetic and critical triumph: priceless), would have had any trouble finding a conventional studio home for his next project? But the notion that it would somehow be a pipe dream for the director of "Gravity" to win a major release for his all-time labor of love feels like a drastic overstatement.
"Roma," like any film up for the Oscars, should be judged on its own merits — on how people feel about it as a movie. As it stands, the film’s presence looms less concretely that it might have. That phenomenon strikes me as petty. If "Roma" were being distributed and experienced the old-fashioned way, as the purest of cinematic spectacles, and if it became that rare phenomenon, an art-film-turned-mainstream-hit, there's no doubt it would be perceived as being fully out there. But that, in a more elusive way, could wind up being influenced by the Netflix factor as well. So the degree to which a movie gets out there, into the culture at large (even if it’s not a huge hit), matters. It’s a movie that’s hovering above all other movies, shimmery and ethereal and a little abstract — like a masterpiece, but also like a ghost. The movies that win Oscars are the movies that Academy voters are choosing to symbolize the heart and soul of their industry.
I’m not privy to the details of that (or of what Netflix paid to distribute the film), but I do think that what’s being forged here is a kind of mythology: Netflix as the Savior of Movie Art. (No one else would give Martin Scorsese $125 million!) But forgive me if I don’t entirely buy it, and there’s no better example to point to than "Roma." Produced by Participant Media, it had a budget of $15 million (I’ve spoken to one studio head who, off the record, suspects that the budget was higher), and it's worth noting that the deal Cuarón struck wasn’t merely about budget. It was about winning the right to an unusually extravagant shooting schedule, which allowed him to tinker endlessly, during the filming, with the movie’s visual design.
That idea — the power of the big screen; the larger-than-life quality of movies; the religious potency of sharing a movie with an audience that becomes, in effect, a congregation — doesn’t need to be rehashed at length here. It matters because it’s a part of the cinema experience to feel that a movie is out there. I don’t believe that movies in theaters are about to go the way of the dodo bird, and I have always argued for the primacy of the movie-theater experience.
Why does it matter if "Roma" became a phenomenon in theaters? In 2006, "Pan’s Labyrinth" grossed $37 million.) So let’s say, for the sake of argument, that my hunch is correct. Let’s pretend, for the sake of argument, that it’s Fox Searchlight. So indulge me for a moment. (That’s what "Like Water for Chocolate" made in 1993. Yes, "Roma" is a small quiet film in a language other than English, with no actor in it who approaches the marquee visibility of an international movie star. Yet the extraordinary level of acclaim and excitement surrounding the movie has lent it a uniquely buzzy gotta-see-it prestige art-film-event factor. I can’t prove this, of course, but I believe that "Roma," with passionate and proper handling, could easily have grossed $20 million in theaters. What difference would it make? Enter my imaginary counterworld in which "Roma" actually gets distributed by a conventional movie studio.
"Hi, my name is Owen, and I don’t think 'Roma’ is all that." But if you’re a critic, that’s just the way it goes sometimes. I don’t begrudge the film its extraordinary acclaim. As someone who was knocked sideways by the silvery imagistic virtuosity and you-are-there-in-Mexico-City-in-1971 time-machine quality of "Roma," and was touched by moments of its tale of a saintly housekeeper, yet still felt it to be an experience at once immersive and detached (that’s been true both times I’ve seen it), I have, on occasion, fantasized about joining a support group for those of us who are critical outliers on the movie. I do feel, however, that its existence as a motion picture is now merging with the drama of how it’s being distributed — or not — by Netflix. Here’s how the "Roma" saga has begun to compete with what’s on screen.
At least you get to see them! Would "Roma" have seen the light of day without Netflix? The reason it's out there about "Roma" is that the company has, to an extent, spun it that way. Viewed by various sectors of Hollywood as a force arrayed against the primacy of the theatrical experience, Netflix has essentially mounted the following argument, citing a number of its films (such as Paul Greengrass’s edgy terrorist drama "22 July"): "Stop griping! That’s because we’re backing films that other studios won’t." The filmmakers themselves, happy to be making movies on their own terms at Netflix, have frequently echoed that sentiment. Why does it matter so much if you’re watching our movies at home? On the face of it, that’s a weird question, because it’s not one that gets asked about other movies.

·        Los Angeles: The Egyptian – January 10-11
·        Hartford, CT: Cinestudio – January 23 – 26
·        New York: Alamo Drafthouse Brooklyn – January 11-17;
·        San Francisco: The Castro – January 2-5; Alamo Drafthouse – January 12-14
It is for sure the most organic way to experience 'Roma.'” “The 70mm print of 'Roma' shows unique details not available on any other version. “'Roma' is designed to be meaningful whether experienced at home or on the big screen but offering cinema lovers the opportunity to see it in theaters is incredibly important to me,” said Cuarón. Being shot in 65mm, these prints bring live detail and contrast only possible using a big format film.
The 70mm special presentations include:
FotoKem, the only remaining 70mm print lab worldwide, handled the transfer from digital to film, as well as the production of 70mm film prints.
The 70mm presentation has already been showing in Toronto at the Bell TIFF Lightbox. It will also screen in Austin, Chicago, Hartford, Los Angeles, New York and San Francisco.
·        Chicago: The Music Box – January 9 – 13
Netflix has set Alfonso Cuarón’s awards contender "Roma" for a 70 millimeter release in seven North American cities over the next month.
·        Toronto: Bell TIFF Lightbox – currently showing through December 20″ />
It has been selected by Mexico as the country's foreign-language submission for the 91st Academy Awards. The film, produced by Esperanto Filmoj and Participant Media, is also considered a strong contender for a best picture nomination. "Roma" highlights Yalitza Aparicio as a live-in housekeeper in the middle-class neighborhood of Roma in Mexico City.
“With our theatrical engagements in over 700 theaters worldwide and release on Netflix, 'Roma' is now available to millions of people all over the world.” “We’re excited to make this cinematic experience possible as another part of the release of this special film,”  said Scott Stuber, head of Netflix’s film group.
The theatrical presentation of the black-and-white film began in the United States and Mexico on Nov. 21. Its announcement Thursday of the 70mm showings is an indication that the company wants to keep showing that it's giving "Roma" more than a cursory showing in theaters — even though it has defied Hollywood convention by not disclosing any theatrical grosses so far. Netflix has put the film in more than 700 locations worldwide and began streaming the awards contender on Dec. 14.
·        Austin: Alamo Drafthouse Ritz – December 26 – January 1