Inflection Points

Abstract

Editorial| June 01 2023 Inflection Points B. Ruby Rich B. Ruby Rich Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (2023) 76 (4): 5–8. https://doi.org/10.1525/fq.2023.76.4.5 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation B. Ruby Rich; Inflection Points. Film Quarterly 1 June 2023; 76 (4): 5–8. doi: https://doi.org/10.1525/fq.2023.76.4.5 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFilm Quarterly Search As I have often noted here, the US film, television, and streamer industries have failed—now for the sixth year in a row—to deliver any works addressing the toxic political climate or disastrous economics of the United States in the post-2016 era. In early 2023, film festivals survived and prospered, streaming services continued to pour huge amounts of cash into production and promotion (especially Oscar promotion!), yet movie theaters continued to close down. The cinema closures were not happening only in the United States either. At this writing, a campaign was under way to stop the destruction of two cherished movie theaters in Greece: the Ideal (which opened in 1921) and the Astor, both in central Athens. The announcement of their imminent conversion into an office block and a hotel was greeted with outrage. Costa-Gavras objected, Yorgos Lanthimos protested, even the president of Greece spoke out against it.1 “Our cinemas,... You do not currently have access to this content.