Netflix might still send Greta Gerwig’s upcoming Narnia film to cinemas, but anyone hoping that this signals a broader shift should know the company has firmly closed that door.
In a frank interview with The New York Times, Netflix film chair Dan Lin made it clear that the streamer’s ties with movie theatres remain largely the same. While Gerwig’s Narnia is slated for a full theatrical run before arriving on Netflix, Lin called the project an outlier, not the start of a new policy. He also hinted that Netflix is not eager to accommodate filmmakers who continue to favor traditional theatrical windows.
“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.”
This blunt remark underscores the confidence of a company that no longer feels compelled to follow Hollywood’s old playbook.
Netflix no longer needs theatres to prove itself
A few years back, Netflix poured energy into convincing directors that it could be both a streaming powerhouse and a legitimate studio. Under former film chief Scott Stuber, the service chased acclaimed talent, allocated hefty budgets, and sometimes fought for theatrical releases to boost awards chances.
Today the landscape is very different. Netflix has won the streaming wars by most conventional metrics, boasting hundreds of millions of subscribers, dominating viewership charts, and operating from a position of strength while traditional studios still search for sustainable models. As Lin sees it, the company no longer requires movie theatres to validate its films or reputation.
The focus has shifted to creating movies specifically for Netflix audiences. Over the past two years Lin has pushed a strategy of producing fewer titles, spending more prudently, and concentrating on projects that can draw viewers directly to the platform.
This approach has already yielded hits such as Apex, which logged over 100 million views in its first month, and People We Meet on Vacation, a rom‑com that attracted millions and turned relatively unknown actors into recognizable Netflix stars.
The great theatre divide isn’t disappearing
The tension between streaming and theatrical exhibition remains. Many creators still argue that movies are meant for big screens and packed auditoriums, where theatrical runs can generate cultural momentum, awards buzz, and prestige that streaming premieres often lack.
Netflix, however, sees the equation differently. Lin’s comments suggest the company is comfortable walking away from creators whose demands clash with its business model—a notable shift from earlier years when Netflix seemed eager to win over skeptical Hollywood talent at almost any cost.
The Narnia release shows that exceptions can still happen when a project is large enough or a filmmaker wields enough leverage. Yet Netflix appears intent on keeping such outliers rare. The company envisions its future inside its own app, not in multiplexes.
For cinephiles, that may be disappointing. There is something undeniably magical about watching a sprawling fantasy epic on a giant screen surrounded by strangers. Yet from a business standpoint, Netflix’s position is hard to dispute. If a film can reach tens of millions worldwide without ticket sales, the streamer sees little reason to share the spotlight with theatres.
So while Narnia may enjoy a brief stint under a cinema marquee, don’t mistake that for a revival of Netflix’s theatrical ambitions. According to the executive overseeing the movie division, that chapter was never meant to be reopened.