I got the news from Girish Shambu (via Facebook), who directed me to a report on IndieWire by Eugene Hernandez, who confirmed it: New Yorker Films is closing its doors. The devastating news is on the New Yorker homepage.
Anyone who was active in film culture in the days before the video business gave us access to many (though by no means all) of the classics of world cinema will remember New Yorker Films. When repertory theaters and college film programs were our only access to foreign films new and old, New Yorker distributed new films from great directors around the globe and built a small but essential library that kept in circulation the works of such auteurs as Jean-Luc Godard, Yasujiro Ozu, Robert Bresson, Werner Herzog, Louis Malle, Rainer Werner Fassbinder, Ousmane Sembene… the list goes on and on. The prints weren’t cheap, but they kept the works and the artists alive.
When home video changed the landscape of film distribution and pretty much ended the culture of repertory cinema, New Yorker’s print library found fewer venues for theatrical showings. The rights for home video distribution were not in those original contracts and foreign studios shopped many of those rights around to other video distributors and, later, DVD labels. I hadn’t heard the rumblings at New Yorker, but I saw the signs. DVDs were announced, then delayed, then delayed again. The number of titles on their schedule dwindled. And, to be honest, New Yorker was still looking to define itself on DVD. They were late to mastering widescreen films in anamorphic widescreen. The quality of DVD masters, while fine, often showed the telltale signs of PAL-to-NTSC conversion, rather than a fresh digital master for American DVD. Supplements were slim, if there were any. Criterion had established itself as the gold standard for classics on DVD. New Yorker struggled to catch up, but you could see the efforts in recent releases.
But I imagine that the real culprit in New Yorker’s demise is the changing face of film distribution: foreign films are finding a harder time finding screens, local coverage of non-mainstream films is dwindling, and even the alternative weeklies in major cities can’t be counted upon to cover these films that live and die by local support.