At this year’s San Sebastián Film Festival, a mini-revolution was staged. Journalists, myself included, decided to walk out on an imminent interview with director Johnny Depp and two cast members for his film, Modi: Three Days On The Wing Of Madness. Due to the late running of their press junket, the PRs informed us that two separate groups of journalists (six people per group) would be compressed into one. We were promised 25 minutes, but as is often the case that could not be assured. Such occurrences are not uncommon; but for once the disgruntled press pushed back and walked out. 

Now, you may be thinking ‘so what?’, but this symbolises a wider malaise in entertainment journalism, where access is getting harder and more controlled in an increasingly shrinking marketplace. At this year’s Venice Film Festival, press who rely on speaking with big stars were shocked to find that nine major movies, including the sequels to Beetlejuice and Joker, were not conducting any interviews there. Perhaps it was a freak year, but it left most freelancers concerned for their livelihoods. Gone, it seems, are the days when studios were willing to court the press for coverage of their latest blockbuster. 

Further consternation came last month when Future Publishing announced the closure of Total Film after 27 years and 356 issues. One of the major UK magazines to cover both commercial and arthouse film, this news spawned plenty of sadness on social media, as readers and contributors alike lamented what a loss it is to the industry. With so few titles left on the shelf that cover movies in-depth, it felt pertinent when the magazine’s features editor suggested in a post on X that he was concerned for the fate of longform film journalism.

Together with the increasing reliance by studios on social-media influencers to generate publicity, the threat is very real right now to intelligent film coverage. Perhaps this comes to represent the way we consume film now, where a Rotten Tomatoes cumulative score seems to matter more than considered criticism. But for those who still value cinema, it feels like a moment in time. If we don’t keep fighting, then the entertainment articles you read will become increasingly diluted and bland. Or non-existent if there are simply no outlets left. Please show your support for print journalism by picking up The List; and tell all your friends to do the same.

James Mottram is a freelance film journalist and author.