The list is probably larger than the skimpy overview provided in the article--but, then again, it's an absurd state of affairs for a major provider, demonstrating what happens when your business model is to become the Enron of the movie business.
Much of what Netflix had in its earlier incarnation has dissipated to Amazon Prime or to HBO Max. "Repertory cinema" is apparently an oxymoron for Ted Sarandos and crew, who targeted and infiltrated the American Cinematheque as classic predatory capitalists in order to get hold of a cinema landmark (the Egyptian Theatre) in order to further their Enron-esque strategies.
With their "period of readjustment" due to crashing cash reserves still underway, the American Cinematheque is going to need all the help it can get in 2023-24 as they try to survive what will be a very chaotic transition back into its old home, where they will be weekend interlopers--at least for awhile. Chances are high that Netflix will find a way to fob off the Egyptian to someone with deeper pockets than the AC if/when their situation deteriorates further. Looking for someone with deep enough pockets to return the Egyptian to the AC is going to be like looking for a needle in a haystack, and the organization will be lucky to have enough cash to continue their current operations in Los Feliz and Santa Monica, in theaters they don't own.
The Film Noir Foundation has an escape hatch in their association with the American Legion Theatre in Hollywood, a smaller venue than the Egyptian but one that is much more stable and less subject to the winds blowing through Hollywood amongst the big players. Don't be surprised if they play it both ways in the next several years, screening films in both venues until the dominoes fall.
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