The film industry is one of the most affected during this pandemic by COVID-19 and its different variants. By early 2020, the movie industry was estimated to lose a total of $5 billion. On the other hand, there were even more worrying figures: the figures amounted to 20,000 million and 30,000 million dollars. Some time later, in Spain a local figure was calculated: the cinema lost 446 million euros during that year. The example, although particular, serves to measure the losses. In this context, films like Spider-Man: No Way Home Y The Matrix Resurrections, with Keanu Reeves as the main reference, emerged as a kind of lifeline.
Although these films served to revive the sector a bit, especially Spider-Man: No way home, the case of The Matrix Resurrections is still being studied. The film, headed by Keanu Reeves, brought back one of the most important science fiction stories of the 21st century. The story brings together a huge number of followers in different parts of the world. However, its impact on the movie billboard has not been as expected. This is not only understood as a blow to the industry but also, in particular, to the story developed by Lana Wachowski.
One of the countries in which the little economic impact of the premiere of The Matrix Resurrections she’s Chinese. The film, which featured several of the key figures who brought the base trilogy to life, did not gross as expected.. During the first weekend of release, it only reached 7.5 million dollars, not far from the also low figure of 12 million in the US market. How is this explained? There are at least two reasons.
The why The Matrix Resurrections
didn’t work in china
Journalist Mike Reyes mentioned two causes that explain this unfortunate present for the film starring Keanu Reeves, Carrie-Anne Moss and Jessica Henwick. In his article, Reyes explains that piracy and poor reviews from viewers dynamited the film’s potential. The first of the reasons made the film available in different spaces at little or no cost.
On the other hand, It was announced that the film would arrive at some point on the HBO Max platform. In other words, the viewer, if he waited a little longer, would have the option of enjoying the film at a cheaper cost in relation to the cinema ticket (and how much it may imply). Was it a strategic error? could be understood as such. In the case of Spider-Man: No way home, it was not specified from the outset when it would be available on Disney Plus.
In a context that is still strange for this type of production, while audiences continue to grow in services for private use, production companies find themselves deciphering what the best strategy is at the time of premieres of this style. It is understood that the goal is that the cinematic experience remains the first option, while it is desired to increase subscribers in particular spaces, as part of the war of streaming.