To all the painfully expensive Venice Blvd. Dwayne Johnson HOBBES AND SHAW billboards inundating helpless drivers caught in traffic on their way home hopelessly lost in an urban sea of shallow material obsession forcing said drivers to look not up to the sky but down at their cellphones only to result in rear-end collisions driving up insurance rates and adding to the misery of driving in Los Angeles, take notes. <\/em><\/p>\n\n\n\n ———————————————————————————————————————<\/p>\n\n\n\n Thanks to Netflix and the subsequent endless onslaught and validation of streaming media, the traditional American box office is at a crossroads. On paper as a simple bottom line, both the American and international box offices are more profitable than ever before. However, though 2018 brought in the most ticket sales revenue in film history, there are several factors inflating this figure that hide the dire economic conditions of the theatrical film market. This is due to the number of films and average ticket price having increased, while the individual average film gross has steadily decreased in the past five years. At play is a consumer reluctance to go to theaters, leading to a huge disparity and disconnect between massive budget blockbusters and low-mid budget films now relegated to the indie film circuit. The unavoidable truth for film studios and distributors is that viewers now would rather simply stay home to watch content provided by a few gargantuan media monoliths (cough, Disney). Hope for the independent feature wholly funded and produced for the sake of artistic expression seems slim. And amidst all this chaos and change is one relatively small-but-mighty independent distributor quietly finding their own way to survive. <\/p>\n\n\n\n