It’s unlikely that your picture window will be bought off the shelf, so they don’t come in standard sizes as such. (Image credit: Nigel Ridgen / SHS Burridge Architects)
We may not be able to go to the movies, but as the success of Letterboxd shows, we still want to talk about them.SHS Burridge Architects (opens in new tab) ' specified a large picture window for this private residence in Cairngorm's National Park. The surge in growth suggests that while the film industry has in many ways been devastated by lockdown orders and the scourge of the pandemic, film culture itself is still thriving. We know we’re not going to appeal to every single Netflix user, but we also know that the appetite for film content is growing.” “There are tens of millions of Netflix users, for instance. The growth has brought the platform to a new level of success, and Buchanan sees even greater potential. That shift toward a younger user base means Letterboxd is finally starting to expand outside the hard-core movie-buff niche - and the more than a million new users in 2020 represent a lot of people “who aren’t strictly cinephiles,” Buchanan explained. “They’re coming on having watched ‘The Princess Switch: Switched Again’ and discovering ‘The Umbrellas of Cherbourg,’” she said. And she said that once drawn to the platform, these younger members often soon find their tastes starting to evolve. “There’s been an enormous growth in younger members,” Gracewood said. On the app, which the company reports is how 75 percent of users access Letterboxd, the largest demographic is 18- to 24-year-olds. Letterboxd’s explosion in growth is indeed trending young. I didn’t go to school for writing or anything like that, but I do call myself a critic in that sense.” “I find that honesty on Letterboxd fascinating. “There’s now less shame when lower ratings are handed out to acclaimed older films, and there’s more love to go around for things like rom-coms,” she said.
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You might find political disquisitions written with breathless zeal: “As the most destructive action in the world, as the source of more war, death, and exploitation than anything this world has known since chattel slavery was born, imperialism is the highest, most vile, most horrifying aspect of capitalism, and we oppose it.” (That is, of course, a review of “Wonder Woman.”) Or you might find a single cryptic sentence, such as one of the site’s most popular reviews of the movie “Joker”: “This happened to my buddy Eric.” What rises to the top of the site’s page for most popular reviews ranges wildly: There are obscure memes, diaristic essays and sprawling screeds packed with pseudo-academic jargon. That freedom gives writing on Letterboxd a kind of wild-west quality. I make jokes and references you would have to have a fairly deep film knowledge to understand.
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“Whereas on Letterboxd, I don’t worry about pro forma things like plot synopsis.
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“If I’m writing a professional review, I’m writing for a general audience,” he said in a recent phone call. The company is no longer just Buchanan and von Randow’s side project, and over the last year, they have brought on several full-time staff. “Our metrics are up across the board.” Their revenues have increased, from advertising and optional paid memberships, which give users added features. It’s more use: “We’ve seen more activity per member,” Buchanan said in a recent Zoom interview. Letterboxd has seen its user base nearly double since the beginning of the pandemic: They now have more than 3 million member accounts, according to the company, up from 1.7 million at this time last year.Īnd it’s not just more users. In 2020, however, the site’s growth was explosive. The result was an app and social media network called Letterboxd, which its website describes, aptly, as “Goodreads for film.”Īfter it was introduced at the web conference Brooklyn Beta in the fall of 2011, Letterboxd steadily developed a modest but passionate following of film fans eager to track their movie-watching habits, create lists of favorites, and write and publish reviews. IMDb was a database it wasn’t, in essence, social. At the time, he reflected, he used Flickr to share photos and Last.fm to share his taste in music. Their business, a boutique web design studio called Cactuslab, developed apps and websites for various clients, but they wanted a project of their own that their team could plug away at when there wasn’t much else to do.īuchanan had an idea for a social media site about movies. Early last decade, Matthew Buchanan and Karl von Randow, web designers based in Auckland, New Zealand, were seeking a passion project.
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