Letterboxd and how cinema, hm, finds a way
- Mariane Morais
- 11 de mar. de 2025
- 10 min de leitura
To paraphrase Jeff Goldblum in one of his most prominent roles, Dr. Ian Malcolm, in Jurassic Park (1993), “Life, um, finds a way.” Following this same thought, cinema must identify different ways to adapt to the entertainment industry's constant changes.
Covid 19
On December 31, 2019, the World Health Organization was alerted to several cases of pneumonia in Wuhan, located in Hubei province, People's Republic of China. Two months later, on February 26, 2020, Brazil confirmed the presence of COVID-19 within its borders.
On March 11, 2020, WHO officially declared the outbreak a pandemic. This brief and traumatic timeline illustrates how, in just a few months, life as we knew it changed dramatically, at least for a period. To stay safe, people were advised to remain at home. As a way to cope with loneliness and fear, many turned to entertainment, whether through listening to music, cooking, reading, or, like many others, watching movies.
The opium of the people. But is it really?
For Fernando Mascarello, author of World History of Cinema, cinema has been in a state of constant transformation since its birth.
[…] this first cinema witnessed a series of successive reorganizations in its production, distribution and exhibition. […] The history of cinema is part of a broader history, which encompasses not only the history of image projection practices, but also that of popular entertainment, optical instruments and research into photographic images. Films are a continuation of the tradition of magic lantern projections, in which, since the 17th century, a presenter showed the audience colored images projected onto a screen, through the focus of light generated by a kerosene flame, accompanied by voices, music and sound effects. (p. 17-18)
In addition to providing us with our first contact with image projection practices, the author clarifies that cinema's history is intrinsic to popular entertainment. These machines that showed moving photographs had the “characteristic of being autonomous attractions, which easily fit into the most diverse programming of these variety theaters” (Mascarello, 2014, p. 20).
In other words, we cannot speak separately about cinema without mentioning its final audience: the people. Based on this general framework of analysis, understanding the history of cinema and its immeasurable impact on humanity becomes relatively easier. The truth is that the desire to discuss and share experiences is as human as breathing. According to the English poet and cleric, John Donne:
No man is an island,
Entire of itself;
Every man is a piece of the continent,
A part of the main.If a clod be washed away by the sea,
Europe is the less,
As well as if a promontory were:
As well as if a manor of thy friend's
Or of thine own were. Any man's death diminishes me,
Because I am involved in mankind.
And therefore never send to know for whom the bell tolls;
It tolls for thee.
It is understood that human beings, whether by desire, need, or will, are sociable. Our Self is a drapery composed of the linen of Others, and therefore, we seek different ways to connect. For Baumeister and Leary (1995),
“The belonging hypothesis is that human beings have a pervasive drive to form and maintain at least a minimum number of lasting, positive interpersonal relationships. Satisfying this drive involves two criteria: First, there is a need for frequent, effectively enjoyable interactions with a few other people, and second, these interactions must occur in a context of temporally stable and durable structure of affective concern for each other’s well-being.” (p. 497)
In other words, people need people. Engaging in a collective and highly sensory activity is the best way to fulfill this need. However, five years after the pandemic, significant changes remain in how we consume, interpret, and analyze media.
Between 2020 and 2021, movie theaters were either closed or operating at reduced capacity, while streaming services saw a dramatic increase in popularity, according to Forbes (2021).
We still don’t know if the boom in the migration to streaming is definitive or simply motivated by the closure of cinemas and the lack of other entertainment options, such as concerts and plays. But Pedro Oliveira points out that, during this period, Brazilians have been able to see that the cost is more advantageous with streaming. “Today, in Brazil, subscriptions to platforms cost around R$30. Per year, R$360 to have a collection of films and series for the whole family. How much does a family of four spend at the cinema? A single trip costs no less than R$150, including tickets, food and transportation. It’s a trade-off for the consumer that is very obvious when put on paper.
And it is in this context that Letterboxd thrives. The social network for movie lovers, according to the company itself, encourages users to "Track films you’ve watched. Save those you want to see. Tell your friends what’s good."
Add a film. Publish your critique.
More than just a tool for commenting on and rating films, Letterboxd represents an adaptation of the cinematic experience itself to this ever-changing scenario. At first glance, it appears as a digital version of traditional film diaries, but take a closer look, and you’ll see that it functions as an important space for critical or comedic reflection, the exchange of experiences about cinema, and great possibilities for viralization.
Since traditional forms of film consumption are being challenged by new forms of distribution (streaming, digital rental, etc.), Letterboxd is a great option for people who not only watch films in a more individualized way, but also like to share and exchange ideas about these works in real time, creating a more organic network of recommendations and discussions.
It is obvious that digital has changed the way audiences consume content, and the fatal popularization of streaming has integrated the growing supply of films at affordable prices, less annoying experiences and powerful personalization. Therefore, the reduction in the frequency of visits to the cinema has resulted in a more solitary and quiet practice.
Now consider these two points:
How do we adapt to an audience that is increasingly distant from the collective experience of watching a movie in a cinema?
According to Baumeister and Leary (1995, p. 500), “[…] people often need personal contact or interactions with other people. […]”.
The answer may lie precisely in the integration of the “collective experience” and “personalization” factors. One of the great qualities of Letterboxd is how the platform manages to maintain, in a certain way, the community aspect even in a digital environment. Users can follow each other, participate in debates, discover new films, create thematic lists, read articles, and, of course, socialize (even if digitally).
This brings a new form of dialogue, in which the experience of watching a film does not end with the act of consuming the work, but continues with the sharing of opinions, reviews, and ratings, very quickly. In this sense, Letterboxd finds a middle ground between traditional cinema (as a collective art form) and the new digital scenario.
2025 Awards Season and the “I’m Still Here” Phenomenon
Moving on to a macro-environmental analysis of both this awards season and international and local cinema, it is interesting to highlight how the film “I’m Still Here” brought us Brazilians a sense of belonging and pride in being who we are, speaking the way we do, and consuming our own culture. As Fernanda Torres said in an interview with journalist Rodrigo Ortega,
Brazil is a continental island, we are isolated by our language […] We are a power of 200 million people, we are a complex country […] It’s funny, right, because I know French culture, I know American culture, I know Russian culture, German culture, Italian culture, but they don’t know much about Brazilian culture. And sometimes I feel sorry for those who have never read Machado de Assis, for those who don’t know Eça de Queiroz. And now people have discovered Clarice Lispector and they write in awe. How can I talk to someone who doesn’t know who Nelson Rodrigues is […] When someone crosses the border and takes something that is personal to us abroad […] it’s this kind of feeling of national pride.
With this consideration in mind, let's continue the analysis:
Political
Previous Brazilian governments and their public policies for cinema had a direct impact on the production and financing of feature films. There was a significant cut in funding for culture, which directly affected the incentives for film production. Now that the entire marketing strategy and Oscar campaign for Walter Salles' film are over, the question remains: how can we, based on this statuette, expand our audiovisual market (both for consumption by Brazilians themselves and by foreign audiences)?
Economic
In the current economic scenario, Brazilian cinema faces a great disparity between big-budget productions and more independent ones. The difference in the price of a movie ticket also reflects the inequalities in access to culture. For example, it is notable how many people go to movie theaters when the price is R$40, in contrast to when the price is R$10. The public, as written by composers Marcelo Fromer, Arnaldo Augusto Nora Antunes Filho, and Sergio De Britto Alvares Affonso, in the song “Comida” (or Food)
We don't just want food
We want food, fun, and art
We don't just want food
We want to go out anywhere
We don't just want food
We want drinks, fun, ballet
We don't just want food
We want life as life wants it
The purchasing power of the middle and working classes in Brazil is still a limiting factor for the consumption of cultural products. The increase in ticket prices, combined with the economic crisis, has caused many people to stop going to the cinema, making it difficult to access cinema (international and even more so national cinema, which already faced limited distribution). Incentives to promote this space through ticket promotions only confirm what was already clear: to consume culture, all you need is access.
Sociocultural
Cinema is a tool for maintaining identity and plays a fundamental role in building a nation’s cultural identity. By watching films that reflect our reality and customs, we feel connected to our cultural heritage and identify with the stories and characters presented on screen.
Furthermore, language is an essential aspect of cultural identity, and cinema is a powerful vehicle for its preservation and dissemination. The way we speak, the expressions we use, and the stories we tell are all elements that define us as a people. For these and certainly other reasons, the film "I'm Still Here" awakens in us a feeling of absolute patriotism and the need for an out-of-season World Cup.
After all, when will we find ourselves again at the world's biggest film awards (even if somewhat decadent), participating in conversations that do not include us, and doors that are not opened to us?
Technological
Long before the awards season and the controversy surrounding films such as Emilia Perez and The Brutalist - which used AI in their productions - the Hollywood writers' union went on strike, followed later by the actors' union, to face the largest strike in American entertainment since 1960.
The reason? Among several proclamations, the establishment of rules for the use of artificial intelligence technology in productions. In the end, it was agreed that consent is the foundation for the issue. Now, as if by a twist of fate, AI seems to have become irrelevant to voters for several world awards. Returning to the two films mentioned at the beginning, the French feature film Emília Perez used the tool to improve the vocal quality of actress Karla Sofía Gascón, according to the film's sound mixer in Cannes.
In The Brutalist, the use of artificial intelligence was revealed in an interview with the film's editor, Dávid Jancsó. The production touched up the Hungarian dialects of Adrien Brody and Felicity Jones, in addition to creating architectural drawings.
Legislative
The film "I'm Still Here" was released on November 7, 2024, and since then, it has taken 4.1 million people to the cinema and has become the fifth highest-grossing film in Brazilian cinema, according to the Ministry of Social Communication. Three months later, on February 24, the Supreme Federal Court decided - after years - to reconsider the mechanisms that can advance criminal proceedings against those accused of killing opponents of the dictatorship. For BBC Brazil,
When a case receives general repercussion, it means that the STF's decision will apply to all similar cases underway in the country. The Court, however, will still judge the merits of these appeals — that is, decide whether or not the Amnesty Law should be revised. And there is no scheduled date for this for now. For legal experts in the Amnesty Law interviewed by BBC News Brasil, the resumption of the issue in the STF was driven by the film.
In addition to the issue of the Brazilian film of the year, laws that encourage culture are constantly being subject to reprisals, such as the Rouanet Law or the Paulo Gustavo Law. But why this story and why now? The truth is that a people is nothing without its cultural expression, and the relevance of the topic today brings a reflection on the importance of rescuing our history, our culture and, mainly, our ability to connect as a society.
Now is important because we live in a time when culture needs to be affirmed, not only as a form of resistance but as a way to keep our identity alive and ensure that future generations continue to recognize themselves in the stories we tell.
How many stars do you think it is worth?
Overall, Letterboxd serves as a barometer for film trends, as the most talked-about reviews and critiques often influence audiences to pay more attention to certain films. This makes the platform an important indicator of taste and popularity at a time when the film industry is facing fragmentation of audiences and content offerings.
Nevertheless, it is proof that there is an audience eager for new forms of interaction and the fostering of a new culture of digital cinephilia, where active audience participation reflects a new approach to cultural consumption. It can be seen that:
It is a platform/social network for those who seek not only to consume films, but also to understand and interact with the changes that the industry is experiencing.
It is an example of how cinema is adapting to the constant changes that the industry is facing. While cinemas struggle to attract audiences and reinvent themselves, platforms like Letterboxd offer new forms of engagement and interaction, keeping cinema alive and relevant in a digital world.
In conclusion, there must be a movement strong enough to be able to extinguish cinema.
Bibliographic Reference:
'A. Ainda Estou Aqui' ganha Oscar de Melhor Filme Internacional: a trajetória da produção que leva primeiro prêmio para o Brasil. Disponível em: https://www.bbc.com/portuguese/articles/c1w009x22ndo. Acesso em 7 de Março de 2025
BLUM, Renato Opice. O impacto da inteligência artificial nas greves de Hollywood. Disponível em: https://febrabantech.febraban.org.br/especialista/renato-opice-blum/o-impacto-da-inteligencia-artificial-nas-greves-de-hollywood. Acesso em 5 de Março de 2025
LAMMERS, Tim. Uso de IA pode prejudicar indicações de “Emilia Pérez” e “O Brutalista” ao Oscar? Entenda. Disponível em: https://forbes.com.br/forbes-tech/2025/01/uso-de-ia-pode-prejudicar-indicacoes-de-emilia-perez-e-o-brutalista-ao-oscar-entenda/. Acesso em 5 de Março de 2025
MASCARELLO, Fernando. História Mundial do Cinema. Campinas, SP: Editora Papirus, 2014.
SILVA, Rebeca. Um ano depois do início da pandemia, plataformas de streaming contabilizam ganhos. Disponível em: https://forbes.com.br/forbes-money/2021/03/um-ano-depois-do-inicio-da-pandemia-plataformas-de-streaming-contabilizam-ganhos/. Acesso em 5 de Março de 2025
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