Katarzyna Petru
IMAX has signed a high-profile deal with Netflix, under which the new adaptation of “The Chronicles of Narnia” will be available exclusively in IMAX theatres at the time of its cinematic release. And it is this decision that has sparked a genuine storm in the industry. Vue (formerly CinemaxX) — the largest private cinema chain in Europe — openly attacks IMAX, even though it operates IMAX screens in some countries. The reason? According to the head of Vue, it is an attack on the foundations of the cinema ecosystem.
What happened? The dispute over "Narnia" and the exceptional "2 + 2" model
The conflict has been escalating for months since it was revealed that IMAX secured exclusivity for Narnia: The Magician’s Nephew in cinemas. The film will be shown only in IMAX theatres for 2 weeks, after which… it will completely disappear from cinemas for another 2 weeks, before debuting on Netflix on 25 December 2026. This is a controversial "2 + 2" model that practically cuts out 99% of cinemas worldwide from the premiere.
Most major cinema chains had previously rejected similar proposals from Netflix — the exclusivity is too short, and the streaming premiere is too soon; it's a blow to their traditional distribution window.
Netflix can afford this — since 2018, it has held the rights to adapt all seven books, which have sold over 100 million copies.
ChooseTV: “IMAX is ruining the cinema ecosystem”
Tim Richards, founder and CEO of ChooseTV, has published a sharp open letter, quoted among others by “Variety”. In his opinion, IMAX has not only broken industry rules but also pushes other filmmakers in a similar direction:
“IMAX has not only agreed to this restrictive model, but actively encourages other creators to replicate it. This risks destroying the ecosystem that enables films to succeed in cinemas.”
Richards argues that the deal will not only harm the industry but, most importantly, the viewers:
“Millions of families who would like to see Narnia in cinemas will be deprived of that opportunity.”
ChooseTV also points out that other premium formats — Dolby Cinema, Cinemark XD, or their own Vue format called EPIC, introduced in 2025 — often earn more per cinema than IMAX, but will also be completely cut from the premiere.
“IMAX is just one option. Not the only one.” Richards strikes at the foundations
In his letter, Richards undermines the dominance of IMAX, reminding us that:
IMAX accounts for less than 1% of screens worldwide.
It is not essential for massive successes — as exemplified by “Barbie,” which did not premiere in IMAX and grossed $1.5 billion.
Many directors prefer other technologies. Greta Gerwig (director of “Narnia”) has previously stated that she prefers screenings in Dolby Vision + Dolby Atmos.
Richards also emphasises that the quality of technology has sharply levelled out:
HDR projectors from Dolby, Christie, and Barco deliver an image that “surpasses” the former advantages of IMAX,
Dolby Atmos with 64 channels remains the industry standard for sound,
and PLFs (premium large formats) are now much more diverse.
The conclusion from Vue is clear:
“The industry should collaborate with studios and focus on the viewer experience. No one should convince people that there is only one right way to watch a film.”
Has IMAX gone too far? The industry stands on the brink of a new conflict
This is not a simple dispute over a single premiere. According to Vue, the stake is the future of the cinema market and the rules that have been in place for years. The largest chains are still demanding a minimum of 45 days of cinematic exclusivity before a film reaches the viewer's home. The "2 + 2" model is something the industry has not seen before. And if it works in the case of "Narnia," others may follow the same path. That would be another step towards a world where streaming dictates the terms, and cinemas struggle for survival.
