Before Cannes, Todd Haynes’ “May/December” had no U.S. distribution. After seeing the film, I understood why. This is the kind of kitschy, purposely campy film that, although well reviewed, has zero awards prospects.
Don’t get me wrong, I loved this film, but believing it could garner Oscar nominations is akin to Haynes’ 1995 film “Safe” getting Oscar buzz. It’s impossible. Nada. Zero. Zilch.
However, I’m incredibly disappointed that Netflix just bought “May/December,” for the sum of $11 million. I get it, the times have changed, what’s the value of such a niche film out there in the market? Not much.
What the streaming giant will now do is give Haynes the biggest audience of his career but, in doing so, continue to bury the theatrical arthouse business. I suspect the fact that this film is based on the Mary Kay Letourneau story will be part of Netflix’s marketing, millions will watch it out of curiosity.