The COVID-19 pandemic reshaped the film industry in ways that are still being felt today. While blockbusters like Dune and Spider-Man: No Way Home managed to draw crowds, many critically acclaimed and creatively ambitious films were left in the dust. What’s fascinating—and, frankly, a bit heartbreaking—is how these flops weren’t just mediocre movies but often masterpieces that fell victim to timing, shifting audience behaviors, and the industry’s scramble to adapt. Let’s dive into why these films failed and what their stories reveal about the pandemic’s lasting impact on cinema.
The Pandemic’s Unfair Hand: Timing and Audience Shifts
One thing that immediately stands out is how the pandemic didn’t just change where people watched movies—it changed what they wanted to watch. Films like West Side Story and In the Heights were victims of this shift. Personally, I think West Side Story’s failure is particularly tragic. Steven Spielberg’s reimagining of the classic musical is, in my opinion, one of his greatest works. But it was released in late 2021, when audiences were still wary of theaters and more inclined to seek escapism in blockbusters. What many people don’t realize is that older demographics, who might’ve been the film’s core audience, were less likely to risk infection for a musical—no matter how brilliant. This raises a deeper question: Can a film’s quality ever outweigh the timing of its release?
In the Heights, meanwhile, should’ve been the feel-good hit of the summer. But Warner Bros.’s decision to release it simultaneously on HBO Max diluted its theatrical appeal. If you take a step back and think about it, this wasn’t just a pandemic issue—it was a clash between old and new distribution models. The film’s failure wasn’t just about COVID; it was about an industry struggling to redefine itself.
The Adult Drama Dilemma: A Genre Left Behind
Films like The Last Duel and Nightmare Alley highlight another pandemic casualty: the adult drama. Ridley Scott’s The Last Duel is a thematically rich, visually stunning film, but it flopped hard. Scott’s infamous blame on millennials for not wanting to be ‘taught anything’ misses the point. What this really suggests is that audiences, conditioned by years of blockbuster dominance, were less willing to engage with complex, slower-paced narratives. Nightmare Alley, despite its Oscar nod and Guillermo del Toro’s visionary direction, suffered a similar fate. A detail that I find especially interesting is how both films were overshadowed by horror blockbusters like Halloween Kills—a genre that thrived during the pandemic as audiences sought catharsis through fear.
Streaming’s Double-Edged Sword
Streaming saved the industry in many ways, but it also buried films that deserved better. The Tragedy of Macbeth, Joel Coen’s surreal masterpiece, was relegated to a limited theatrical release by Apple TV+, prioritizing subscribers over cinephiles. This isn’t just about one film—it’s about the broader trend of streaming platforms dictating how and where we experience art. Personally, I think this is one of the most significant shifts in cinema history, and we’re only beginning to understand its implications.
The Indie Struggle: Lost in the Shuffle
Indie films like First Cow and Saint Maud were blindsided by the pandemic. First Cow, Kelly Reichardt’s slow-burn masterpiece, was released just as theaters were shutting down. Its VOD pivot was necessary but overshadowed by bigger titles. Saint Maud, Rose Glass’s terrifying debut, faced similar challenges. What makes this particularly fascinating is how both films tackled themes of isolation and existential dread—perfect for a pandemic audience, yet they failed to find their footing. This raises a deeper question: Can smaller films ever compete in an era dominated by streaming giants?
The Future of Cinema: Lessons from the Pandemic
If there’s one takeaway, it’s that the pandemic accelerated trends that were already brewing. Streaming, audience fragmentation, and the decline of mid-budget films are here to stay. But what’s truly interesting is how these flops remind us of cinema’s resilience. Films like Pig and Petite Maman may not have broken box office records, but they found audiences who cherished them. In my opinion, this is where the future lies—not in blockbuster dominance, but in diverse, passionate communities that keep cinema alive.
As we move forward, I can’t help but wonder: Will the industry learn from these failures, or will it double down on safe bets? One thing’s for sure—the pandemic didn’t just change how we watch movies; it changed what we expect from them. And that, in my opinion, is the most exciting—and terrifying—part of all.
