Netflix and IMAX partner on Greta Gerwig’s Narnia

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After months of negotiations, Greta Gerwig’s adaptation of The Chronicles of Narnia for Netflix will have an exclusive run on IMAX screens before it debuts on streaming.

The Big Picture: Netflix has toyed with theatrical over the years, either so films could qualify for Oscars (RomaThe Irishman) or to eventize some very big investments (Knives Out: Glass OnionArmy of the Dead). But the Narnia deal is the biggest bet yet and the first to include premium-format screens worldwide, potentially marking a new era for the company.

Behind The Scenes: After the monster success of Barbie, Gerwig has used her clout to make a (so far) one-of-a-kind deal.

  • Narnia will be released in IMAX on November 26th, 2026 — Thanksgiving week, one of the biggest weeks for moviegoing — before debuting on Netflix on Christmas Day.
  • It’ll have an exclusive two-week run playing in 90 countries across 1,000 screens, with a third week possible if the movie rakes in revenue. It may also expand to some non-IMAX screens.
  • Interestingly, the movie will be branded as a Netflix/IMAX film from the get-go — seemingly the first time the streamer has shared branding with another distributor.

The Future: What Hollywood wants to know is if the IMAX release is just a stunt or foreshadowing similar deals with top filmmakers, especially after losing some projects to those who chose less money, so they could have a theatrical debut. Only time will tell. But Netflix is riding on Narnia becoming a major franchise, which the streamer doesn’t have a lot of in comparison to other studios, so it could’ve just been a perfect storm of elements.

But if Netflix is open to making more deals like this with the top 1% of filmmakers, it may be hard for theatrically-minded directors to ignore the draw of getting both the biggest screens and the biggest streamer.

David Vendrell

Born and raised a stone’s-throw away from the Everglades, David left the Florida swamp for the California desert. Over-caffeinated, he stares at his computer too long either writing the TFP newsletter or screenplays. He is repped by Anonymous Content.

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