This is not "the government" subsidizing film production. People who choose to go to the movies are contributing to the future of movies. And the genius of this system is that if millions of people pay to see, say, "Avatar," then that's not only good news for the various foreign entities that produced it, it's excellent news for France—more money in the kitty to make French films!

As a result, France, a nation of 65 million people, is still building movie theaters. It's easy to go out to a movie in most cities in France whereas it's a bit of a challenge in my native Chicago (which was a great film-going town when I was growing up). And, at least in cities, most movies can remain on screens as long as there are customers because there are enough movie theaters. Movies that are still attracting filmgoers don't have to be axed to make room for whatever new title needs a slot.

In Paris, some "small" films play for months, even years. In Chicago, they might be lucky to play for a week at Facets Cinematheque, the Gene Siskel Film Center, the Music Box Theatre or a few times at the Chicago International Film Festival.

Because it's possible for movie theater personnel to make a living exhibiting movies, filmgoers in France have access to a wonderfully wide range of films.

It is the opposite of a vicious circle—it is a virtuous circle. I've also heard it described as an "ecosystem." But Netflix (which closed its Paris office last year) doesn't feel like contributing to it. They could certainly afford to but they just don't like the sound of it. They have a war chest from subscribers in 198 countries to use to make movies and TV series, and that's terrific. Netflix is making worthwhile movies available to people all over the world wherever they may live. But by saying "Nope, we don't feel like making 'Okja' or 'The Meyerowitz Stories' available in case a French distributor would like to release either or both of them in regular movie theaters," they are opting out of the system that serves France so well.

Really, how dare France inconvenience Netflix in the pursuit of its business model?

If all the rights holders of the 19 films in Competition this year were driving individual cars along a French toll road, 17 of them would agree that in order to have well-maintained roads, it makes sense to pay a modest toll. But Netflix doesn't like the sound of that. So, if need be, they'll drive their two cars off the road and around the toll booth, thumbing their nose at the other drivers and thinking righteous thoughts about how their driveway and parking lot back home are nicely paved so who needs safe, smooth French thoroughfares anyway?