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Fandor Is Moving Toward the Mainstream, and Bracing for the Backlash — Exclusive

Indie streaming service Fandor has closed Keyframe, its five-year-old digital magazine, in a strategy shift that the CEO admits, "is not for everyone."

Fandor logo

Fandor, the indie and international cinema streaming platform, is turning a new page — and “for better or worse, the new strategy is not for everyone,” admitted Fandor CEO Larry Aidem.

Earlier this week, the company closed Keyframe, its 5-year-old digital magazine, and two of its longtime staffers left the company: editorial director Jonathan Kiefer and David Hudson, who ran Keyframe Daily and whom, in his recent New York Times profile of Fandor, Glenn Kenny praised as a “great asset.”

“When I started at Fandor in 2012, and for several years afterwards, we were a good match, what with our shared sense of cinephilia and appreciation for timeliness,” Hudson said. “As Fandor evolves, its editorial focus is changing, and at this point, it’s best for me and the company to amicably part ways. I truly wish them well and hope that they achieve the growth they’re after.”

Aidem joined the company in September 2015, about nine months after Ted Hope left to join Amazon Studios as its head of production. A former Sundance Channel executive and more recently chief of YouTube content provider IconicTV, Aidem said Fandor is looking to broaden its appeal “beyond cineastes to Movie Fanatics,” he explained in an email.

Fandor keyframe home page

“This evolution is not unlike what Sundance Channel did in the late ‘90s and early ‘00s as we sought to expand the network’s appeal beyond the roughly 5% of moviegoers who are independent film fanatics to the 35-40% who self-identify as ‘movie lovers,’” said Aidem. “To be clear, Fandor is not abandoning the indie-lover core; in fact, expanding the business will enable us to continue to present many indie gems.”

Aidem said Fandor will shift its emphasis “from the written word to video, which is essential to Fandor’s future success.”

Video has always been part of Fandor’s charm, with Keyframe founding editor and chief video essayist Kevin Lee creating hundreds of original video essays for Fandor. However, in mid-2016 the company’s emphasis on video content began to tilt away from Fandor’s library of arthouse titles and more toward garnering “eyeballs.”

“The original idea was to produce editorial content to draw people to the site and watch movies on Fandor, building a community and culture around film,” said Lee, who left Fandor earlier this year. “Then they wanted to figure out how to make things more viral — but the films that are on Fandor are typically not viral conducive.”

Still, Lee’s Oscar-season “Video Evidence” essay series was watched by millions, and a popular video he produced last year about the sexism in the original “Ghostbusters” was also successful. (“It got more views than I’d ever gotten before,” he said, “I was ecstatic.”)

But Lee said the videos became less essayistic and thoughtful and skewed more to the broad, formulaic, and short. “When you set out to make clickbait,” said Lee, “you’re instantly setting yourself back, and audiences catch onto that quickly.”

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Joe Landissimo

This is very sad news. A true loss.


No film site I know of had better links to film writing and reviews and interviews than Fandor/Keyframe. I’ll miss them when the Cannes Festival roles around. Maybe Mubi can fill in for a while.


I hope David Hudson keeps up Keyframe somewhere else, it was an invaluable resource for criticism and news, often the first site I checked in the morning. I can’t even begin to imagine keeping up with so many sources on my own, and I know I’ll be a poorer film viewer for it

Concerned Citizen

“grow an audience” and the types of films I really enjoy Fandor for are two things that could probably never go together.

Chris L.

We’re being steadily suffocated. (“We” being anyone who takes movies seriously as an art form.)

As expressed in comments above, hopefully there’s an outlet somewhere for what Hudson so ably provides, but to cut him loose the week before Cannes is just perverse. Anyway, congratulations fanboys – I mean “fanatics.” One more down, and barely more than a handful left.

Joseph F. Alexandre

As a filmmaker w several films on Fandor, I’m as distraught as the rest about this exodus of the founding fathers and mothers if you will. I have a lot of love for Jonathan Marlow and loved Keyfrane.

I will say tho, it’s possible the ‘old guard’ was inured to any outside stimuli. As one of the ‘Fix Filmmakers’ is the mix for the several rounds of commissioned shorts in which they put up 5k and did the rest on Kickstarter, I found their choices always leaning to the esoteric. It felt like everything had to be Bruce Baille, Stan Brakhage, or Jonas Mekas. Narrative felt excluded, and it just makes one wonder if there wasn’t a middle ground between the ‘old guard’ and the ‘new guard’. I will say it felt a bit cringe inducing to see a Fandor tweet on Judd Apatow:( But, I still wonder aloud if some of the original gang couldn’t have fought a bit harder to compromise a bit. After all, as Ted Hope explained at TIFF 2014, Filmmakers share in revenue at Fandor. It’s a unique formula and if the site could be expanded it could mean the sustainability for a lot of interesting filmmakers! I just wish there were a way to balance the original mission w some new ideas for expansion. Hopefully, the new editorial changes will still bring unique insight into great films!!!


    My concern is that the new Fandor will purge the more non-commercial works on the site, and stop acquiring films on the fringes of the mainstream. I pray this doesn’t happen, but have a bad bad feeling.

Michael Hawley

With the loss of David Hudson’s Keyframe Daily at Fandor, being an actively engaged cinephile just became a million times harder. Beyond horrible.


Just a stupid, stupid decision. Think again Fandor.

Francis Anka

What’s the source for Fandor closing down Keyframe?

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