There is one good sign on this front, which is that Criterion, the makers of the highest-quality DVD editions in the world (or at least in the U.S ., has just started releasing Blu-Ray versions of its films, and it's pricing them the same as its DVDs (which are, admittedly, already very expensive).
It needs more of its films to be beloved as well as financially successful.
Disney, however, already sells some of its films via a startup it funded this year called Moviebeam, which delivers movies to homes through a set-top box, but not over the Internet.
If there is a trend in this year's festival, it is that so many of its films blur the lines between fiction and documentary, some literally, others stylistically.
It's a fair criticism: all of its films have been directed by men, except for "Brave," and Brenda Chapman was removed from the picture halfway through.
The African-American community has begun to look to itself rather than Hollywood when it comes to supporting the distribution of its films.
The vitality of American independent filmmaking is one of the defining cinematic phenomena of our time, one that will be commemorated in museums and studied in books; it's good that at least some of its films are getting, in their own day, the attention and acclaim they deserve.
But Slade and other media historians who depend on this archive for their stag research, describe it as less than accessible, and say many of its films are decaying past the point of visibility.
Under Wanda's ownership, Legendary should have a better chance of its films being screened in China – not least because it owns Wanda Cinema Line.
Aardman, it is clear, knows what it is doing, commercially as well as artistically: none of its films have grossed less than $100m globally, and another solid hit would appear to be on the cards.
The problem isn't just a lack of recognition come awards season – it's Hollywood's staggering lack of representation across all of its films.
