Vue Boss Blasts IMAX Over Netflix’s Narnia Deal

Tim Richards, founder and CEO of Vue Entertainment, one of Europe’s largest privately owned cinema operators, has issued a strong rebuke against IMAX over its exclusive deal with Netflix for Greta Gerwig’s upcoming “Narnia” film. In a public letter, Richards expressed significant concerns that the agreement risks “undermining” the entire theatrical business ecosystem, sparking a wider debate within the film exhibition industry.

The Controversial “Narnia” Deal

The deal, first announced in January 2025, grants Netflix’s “Narnia” adaptation an exclusive two-week run on IMAX screens worldwide, starting Thanksgiving Day 2026. This would be followed by a “dark period” of two weeks before the film becomes available to Netflix subscribers for streaming on Christmas 2026.

Traditionally, films enjoy an exclusive theatrical window, typically ranging from 45 to 90 days, before being released on home entertainment platforms. Netflix has historically been resistant to lengthy theatrical releases for its original content, prioritizing its streaming platform. However, director Greta Gerwig reportedly pushed for a significant theatrical presence for her “Narnia” films following the massive success of her previous film, “Barbie.”

Vue’s Formal Rejection of the Agreement

Richards’ letter marks the first formal and public condemnation from a major cinema operator regarding the IMAX-Netflix partnership. He contends that both audiences and the industry stand to “lose” from this arrangement. His primary concerns revolve around the deal’s restrictive nature, which he argues will prevent “Narnia” from being seen by audiences on 99% of cinema screens globally, as it will only play on IMAX screens operated by those willing to violate established theatrical release windows.

Richards also highlighted IMAX CEO Richard Gelfond’s reported “nuclear option,” which allegedly refers to a way of legally compelling theaters to screen “Narnia” on their IMAX screens, even if they wish to uphold traditional release windows. This perceived coercion has further fueled discontent among exhibitors.

Undermining the Theatrical Ecosystem

The Vue CEO’s core argument is that by agreeing to this “restrictive model” and potentially encouraging other filmmakers to follow suit, IMAX risks destabilizing the very foundation of theatrical success. Richards points out that if such exclusive deals become common, it could lead to a fragmented viewing experience where certain films are only accessible on specific premium formats, creating an “anti-consumer activity race.”

This situation directly challenges the long-standing theatrical window model, which distributors and exhibitors have historically championed to maximize box office revenue and maintain the cinema-going experience as a distinct event.

The “Barbie” Precedent and PLF Landscape

Richards bolstered his argument by referencing the phenomenal box office success of Greta Gerwig’s “Barbie,” which grossed over $1.4 billion worldwide without an IMAX release. He quoted Gerwig herself, who expressed a preference for audiences to see her film in Dolby Vision with a Dolby Atmos mix.

He further challenged IMAX’s position as the sole technological leader in premium large format (PLF) cinema, noting that other formats like Dolby Cinema, Cinemark’s XD, and others consistently rival or even “out-gross” IMAX screens. Modern projection and sound technologies, including Dolby Vision HDR projectors and Dolby Atmos immersive sound, offer compelling alternatives, making IMAX “no longer the technological leaders they once were.” IMAX represents less than 1% of screens worldwide, according to Richards, suggesting it’s not “singularly critical” for a film’s success.

Broader Implications for Exhibition and Audiences

The controversy surrounding the “Narnia” deal highlights the ongoing tension between traditional cinema exhibition and the evolving landscape of streaming. While Netflix CEO Ted Sarandos has stated that this deal does not signify a shift in the streamer’s overall release strategy, such exclusive arrangements set a concerning precedent for many in the industry.

Exhibitors fear that if studios and streamers increasingly bypass broader theatrical releases in favor of limited, exclusive runs on select premium formats, it could ultimately diminish the overall cinema experience and reduce audience choice. The debate underscores the need for collaborative solutions that balance the interests of filmmakers, distributors, and exhibitors while continuing to offer diverse and accessible viewing options for audiences.

FAQ

What is the “Narnia” deal between Netflix and IMAX?

The deal grants Greta Gerwig’s “Narnia” film a two-week exclusive theatrical run on IMAX screens globally starting Thanksgiving Day 2026, followed by a two-week “dark period,” and then a release on Netflix for streaming on Christmas 2026.

Why is Vue Entertainment’s CEO, Tim Richards, against this deal?

Tim Richards argues that the deal “undermines” the theatrical business by breaking established release windows, limiting audience access to the film (as it will only be on IMAX screens willing to participate), and potentially encouraging similar restrictive deals that could harm the wider cinema industry.

What is the “nuclear option” mentioned by Tim Richards?

The “nuclear option” is reportedly IMAX CEO Richard Gelfond’s way of legally enforcing theaters to show “Narnia” on their IMAX screens, even if the cinema operators prefer to adhere to traditional theatrical windows.

Did Greta Gerwig’s “Barbie” movie have an IMAX release?

No, “Barbie” did not have an IMAX release for its initial run, yet it achieved significant global box office success, grossing over $1.4 billion worldwide.

Are there other premium large formats besides IMAX?

Yes, there are several other premium large formats (PLFs), including Dolby Cinema, Cinemark XD, Regal RPX, and others, which offer enhanced viewing experiences with advanced projection and sound technologies.