This is Everything Else, the Culture Podcast from The Financial Times.

In this episode, we're going to look at how Netflix is reshaping the entire film industry.

Why was everybody talking about it at the Cannes Film Festival last week?

And has Netflix got too big and too powerful?

And after that, we're going to be talking to the writer, Reni Edo Lodge.

She's just published her first book. It's called Why I'm No Longer Talking to White People About Race.

We're Griselda and John, and that's what we have for you this week.

So the Palm Door has just been announced on Sunday.

The Cannes Film Festival, the film industry's biggest sort of get-together and celebration has just ended.

And this is the first year Netflix has been admitted into the competition with not one but two films.

Yep, Bong Joon's Okia starring Tilda Swinton and Noah Barnumbach's The Mioit Stories. Both of those were shown in competition at Cannes. They did not win anything, which is something that we'll be discussing later and why that might be. Because yeah, this narrative of Netflix versus Cannes has been huge this year. Yeah, there's been a lot of ding-dong between the traditionalists and the digital disruptors.

And the French and the Americans,

the sort of like two sides pitted against each other in this big row

that could define the future of the film industry.

So, Griselda, in a nutshell, what has sparked this massive, massive argument?

So basically, French law, it's pretty inflexible, definitely compared to American law.

It states that if a film is shown in cinema, it can't then be screened on TV for three years.

Obviously, this does not suit Netflix's model, which is content immediately straight to television.

So Netflix doesn't want to have to wait for three years after showing its films on French cinema.

So it has decided not to show the films that it's showing it can in France, in just normal cinemas.

That has caused huge row.

So the Spanish filmmaker Pedro Almodova, who was on one of the jury panels, said,

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