Joel Edgerton Criticizes James Cameron for Arguing Over Films Eligible for Oscars

At the Gotham Awards on Monday night, Joel Edgerton addressed James Camerons argument that movies without theatrical releases should be excluded from Oscar consideration. Edgerton, whose latest acclaimed film is Netflixs Train Dreams, told Variety, None of us should be squabbling with each other over what has a right to be seen or awarded or part of a conversation because there are some people that only get their chance because of streamers. I dont necessarily think something should be seen as lesser than.

Last week, on Matt Bellonis podcast The Town, Cameron criticized Netflixs awards strategy as fundamentally rotten at the core, insisting that films should only qualify for the Oscars if they screen in at least 2,000 theaters for a month. A movie should be made as a movie for theatrical release, Cameron said. The Academy Awards to me mean nothing if they dont mean theatrical.

Since Netflix first made waves with Roma in 2019, the streaming platform has received ten Best Picture nominations, though none have won the top award. Their films met eligibility through limited runs in major cities rather than traditional wide releases. For 2025, the Academy updated rules require a one-week qualifying run plus a seven-day expansion in 10 of the top 50 U.S. markets within 45 days of initial release. Some, including Edgerton, worry this may disadvantage smaller-budget films that cannot afford extended theatrical campaigns.

Edgerton elaborated, I think the point James is making is there should be more of a robust fight for the survival of cinema, but at the cost of saying that people whose only chance is to get their movies made on a streamer shouldnt have a chance to also be seen and heard. Some people who have had a long history, where it makes it a bit easier for them, theyre willing to fight harder. And I really respect that. James is one of the greats. Hes making movies on a big canvas. Hes always been a pioneer.

Others, such as Stellan Skarsgrd, favored Camerons stance on prioritizing theatrical releases. Thats the only way to make the theater survive. Thats the only way to make cinema survive. And without cinema, you dont have any Netflix, the actor said.

However, post-pandemic viewing habits have shifted, with many audiences preferring to watch new releases at home. An AP-NORC survey found that about 75% of U.S. adults streamed at least one new movie in the past year, and nearly a third did so monthly. Director Park Chan-Wook commented, I understand the sentiment behind why [Cameron] would say that, but because of the increasing number of great films that have been made for streaming, I just dont think that fits in with the reality that were living in right now.

Reflecting on cinema personally, Edgerton said, Ive died on the hill of cinema a few times over a few issues as a producer, director and an actor. A friend of mine once said to me, How many of your favorite films did you ever actually watch at the cinema? Most of my favorite movies were made in the 70s I didnt get a chance to watch them until I was watching them on a VHS cassette on a shitty TV. And theyre still my favorite films.

He concluded, I would still semi-die on a hill for cinema. But Im also a pragmatist.

Author's Perspective on the Streaming vs. Theatrical Debate

The debate about whether films made for streaming platforms should be considered for prestigious awards like the Oscars has been reignited by statements from James Cameron and responses from actors like Joel Edgerton. At the Gotham Awards, Edgerton made it clear that he doesn’t believe movies made for streaming should be automatically discounted in the conversation about awards. His position is grounded in the belief that platforms like Netflix have allowed filmmakers to reach audiences who might never have had the chance to see their work otherwise. He noted, "None of us should be squabbling with each other over what has a right to be seen or awarded." This highlights the fundamental shift in how films are distributed and consumed today.

James Cameron, however, has strongly argued that the Oscars should only recognize films that have been released theatrically, stressing that without theaters, there would be no streaming platforms. His comments, especially regarding Netflix’s awards strategy, reflect his belief that the survival of cinema depends on the continued prominence of theaters. But Edgerton points out that this view might disadvantage smaller-budget films that can't afford the extensive marketing and release campaigns that large-scale theatrical releases demand.

The changes to the Academy's rules for 2025 have further complicated the conversation. Now, a film must have at least a one-week qualifying run in theaters and expand to at least 10 major markets. While this rule seems to favor theatrical releases, it could unintentionally harm independent filmmakers who don't have the resources for widespread releases. As Edgerton rightly pointed out, "Some people who have had a long history, where it makes it a bit easier for them, they’re willing to fight harder."

The growing preference for at-home streaming, especially post-pandemic, makes it clear that audience habits have changed. According to an AP-NORC survey, approximately 75% of U.S. adults streamed at least one new movie in the past year, with many now favoring the convenience of home viewing over going to the theater. This is a stark reminder that, while theatrical releases remain important, the digital age has ushered in a new way of consuming films that is no less valuable.

In the end, while both sides of the debate present valid points, the broader issue is about balancing tradition with the realities of modern film distribution. For Edgerton, who appreciates the history of cinema but acknowledges the shift in how films are consumed, there’s room for both to coexist. His final thoughts encapsulate a pragmatic view of the industry’s evolution: "I would still semi-die on a hill for cinema. But I’m also a pragmatist."

Sources:

• Joel Edgerton Says James Cameron Shouldn’t ‘Be Squabbling’ Over ‘What Has a Right to Be Seen’ After Arguing Netflix Films Don’t Belong at the Oscars