Tribune. At the time of the end credits, before the lights come back, some shy applause, soon joined by others, without triggering general unleashing. Because we are not so many in the room … The scene breeds in many movie sessions since the reopening of the rooms. I observed it and I participated in the end of movies as different as Drive My Car (Ryusuke Hamaguchi), die may wait (Cary Joji Fukunaga), the fracture (Catherine Corsini), and standing women! (François Ruffin) – which naturally grows to applause.
Does the spectators applaud the pleasure of being in a movie theater, a place forbidden for long months because of the pandemic of Covid-19? That of sharing with others the experience of a movie? Or finally review the generic scrolling in full? It is reinvented with the companionships lived at the cinema. Finding in an obscure room with unknown, to share the vision of the same film, even with the mask and the sanitary pass, it lacked!
The fear of places too frequented
We are all the more despite to learn from the Harris survey on the French and the post-crisis cultural outings (conducted between 31 August and September 3, 2021) they have not found the way to the movie theaters (only 41% are returned) and above all, do not intend to take it back soon? . A large third party also plan to reduce their appearances to the cinema by the end of the year. The reasons most often invoked are the fear of places too frequented … and the preference now for digital content (less available for the “living show” than for cinema).
It is all the more striking that, according to this investigation, it is most often the moviegoers who have disapproved to go to the cinema, those who frequented the obscure rooms regularly returning the least, now preferring the frame of their house. To see movies so readily available and for cheaper (still …).
The film seems to have joined the domestic space, as the series, of which we have seen how associated with the fallback at home, consequence of the confinement, during which they played the role of Doudou or Psy. The intense reception of the series in therapy, Eric Toledano and Olivier Nakache, is an example among the privatization of cultural life that could be a radical modification of these lives where we went to the cinema.
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