While streaming services are creating more and more content, these recent works are very rarely released on physical media. This trend jeopardizes the future of cinema, both films and series. If VOD platforms decide to discontinue a feature film or series, what trace is left for future generations? In the face of this threat, is piracy the only solution to ensure that these works of art survive the test of time?
Cinema vs. piracy, a long-standing feud
Cinema has always fought against piracy. This illegal practice undermines the film industry’s economic system. By downloading a film or series, the pirate avoids paying a fee to a theater operator, a retailer or a streaming platform, to name but a few, in violation of copyright laws.
This is why piracy is the movie industry’s number one enemy, to the extent that a warning message is systematically projected in movie theaters or on physical media before the start of the film, for example. The rapid growth of the Internet has forced countries to legislate to close a legal loophole and protect the film industry. The HADOPI law came into force in France in 2010. Its aim is to deter pirates of cultural goods on the Internet. However, its effectiveness is proving to be rather limited.
Video piracy has been on a steadily rising curve since the early days of the Internet. According to a study conducted in 2023 by MUSO and Kearney, some 141 billion visits were recorded on video piracy sites. Movies and series accounted for 65% of pirated content, with anime accounting for 25%, and the remaining 10% split between live broadcasts and sports. These figures demonstrate the extent to which cinema is particularly targeted by cultural piracy.
Piracy, the unexpected ally?
Nevertheless, a new threat hangs over films and series. More pernicious, it is posed by streaming platforms such as Netflix, Disney+ and Prime Video. Indeed, these VOD services are increasingly producing their own content in order to offer an exclusive catalog to their subscribers. However, these films and series are very rarely released on physical media. As the sole holders of the licensing rights, the platforms can decide to delete content overnight, wiping out all trace of the work.
It’s at this point that piracy comes in. Like in a film, the enemy or the troublesome neighbor is transformed into an unexpected ally that we come to cherish. Feature films and series are works of art that moviegoers love to share. For instant access, physical media is the only legal way to let friends and family (re)discover a film at any time.
This is why, while piracy continues to be an illegal practice, it is also emerging as an alternative to dependence on VOD platforms. In France, the Institut National de l’Audiovisuel (INA) is responsible for preserving the country’s audiovisual heritage. Is it possible to imagine such a backup system dedicated to cinema and TV series?
More than just a business, cinema is above all an art form and a cultural asset that must be passed on. It conveys values and messages, and highlights certain social issues. This is the paradox of piracy, which is both the scourge and the savior of a system in search of balance.
