Zach Cregger's 'The Flood' Faces Deep Waters Over Netflix Theatrical Release Standoff

The filmmaker behind the hit horror movie "Weapons" is reportedly at an impasse with Netflix over his new sci-fi project, "The Flood," all because of a big-screen disagreement. It's a classic Hollywood battle: director's vision versus streaming giant's strategy.

TL;DR:

• Zach Cregger's sci-fi film "The Flood" is stalled at Netflix due to the streamer's refusal to guarantee a theatrical release.
• Netflix Films chairman Dan Lin reportedly offered Cregger a theatrical run, but co-CEO Ted Sarandos later vetoed the idea, upholding Netflix's streaming-first policy.
• Despite Netflix making occasional theatrical exceptions for other major projects and Cregger's recent $267 million worldwide box office success with "Weapons," the director remains committed to a big-screen debut for "The Flood."

A Director's Big Win and a Streaming Giant's Hard Line

Imagine you're a filmmaker who just crushed it at the box office, not once, but twice. Your latest original horror movie, "Weapons," released this summer, defied expectations and raked in an astounding $267 million worldwide. This comes after your previous chiller, "Barbarian," also became a sleeper hit, making $45.4 million on a modest budget. You're Zach Cregger, and suddenly, Hollywood is calling. Everyone wants a piece of your magic, including Netflix.

Cregger had an original sci-fi script called "The Flood," penned during a previous deal with Amblin. Netflix, eager to secure his next project, reportedly flew its Films chairman, Dan Lin, to Prague in summer 2025. Cregger was there prepping his upcoming "Resident Evil" movie for Sony. Insiders claim Lin dangled a significant incentive: a theatrical commitment for "The Flood" to entice Cregger to direct it for the streamer. This seemed like a win-win, aligning Cregger's desire for a big-screen presence with Netflix's ambition to court top talent.

When Promises Clash with Core Strategy

However, the plot thickened quickly. According to TheWrap, Netflix co-CEO Ted Sarandos later shot down the prospect of a theatrical release for "The Flood." This reversal has left the project in limbo, as Cregger is reportedly "adamant" that he wants his film to be made for theaters. It’s a classic standoff, where a director’s artistic vision for how their work should be experienced bumps up against a company's deeply ingrained business model.

While some sources confirm the project is stalled, others offer a glimmer of hope, stating that "talks are still ongoing" and that "The Flood" is in "active development." This kind of behind-the-scenes negotiation is common in Hollywood, but the core disagreement highlights a growing tension across the industry regarding film distribution.

"There’s no change in the strategy. Our strategy is to give our members exclusive first-run Movies on Netflix. We occasionally release certain films in theaters for our fans, like we did with ‘KPop Demon Hunters,’ or as part of our launch strategy, publicity, marketing, qualification, all those things, and we’ll continue to do that."

— Ted Sarandos, Netflix Co-CEO (during a third-quarter earnings call)

Netflix's Selective Approach to Theaters

Sarandos' statement from a recent third-quarter earnings call clearly reiterates Netflix's primary strategy: prioritize at-home streaming for its 167 million global subscribers. However, Netflix's actions haven't always aligned perfectly with this "streaming-first" mantra, leading to a perception of selective flexibility that can frustrate filmmakers.

The streamer does, in fact, release approximately 30 films in theaters annually. Most of these are short, awards-qualifying runs in major cities like New York and Los Angeles. Yet, for certain high-profile projects or big-name talent, Netflix has made significant exceptions:

• KPop Demon Hunters: This film received a wide release, generating $19 million at the box office and selling out singalong screenings in 1,700 theaters. Source: TheWrap, "Zach Cregger’s ‘The Flood’ Stalled at Netflix Over Lack of Theatrical Commitment," November 6, 2025
• Guillermo del Toro's Frankenstein: This highly anticipated movie was shown in over 400 theaters for a three-week run before its streaming debut on November 7. Source: TheWrap, "Zach Cregger’s ‘The Flood’ Stalled at Netflix Over Lack of Theatrical Commitment," November 6, 2025
• Stranger Things Season 5 Finale: Slated for New Year's Day 2026, the series finale will enjoy a simultaneous release in theaters and on Netflix.
• Greta Gerwig's Narnia Adaptation: Fresh off "Barbie" success, Gerwig reportedly negotiated for months to secure an unprecedented IMAX release for her "Narnia" film in 2026. It's set to play on 1,000 to 1,800 IMAX screens globally for two to three weeks, a full month before it hits Netflix on Christmas. Source: FanBolt, "Netflix's Talent Problem Just Got a Name: Zach Cregger," November 7, 2025

These instances reveal a selective flexibility from Netflix, but they also underscore the "why not me?" frustration for directors like Cregger, who believe their films warrant similar treatment, especially after demonstrating significant box office appeal.

The Growing Exodus of Top Filmmaking Talent

Cregger is not alone in his desire for a theatrical experience, nor is he the first to butt heads with Netflix over it. This dispute is part of a larger trend of filmmakers pushing back against the streaming-only model. Director Christopher Nolan, for instance, left Warner Bros. after their handling of "Tenet"'s theatrical rollout during the pandemic. Even Apple reportedly canceled a sequel to "Wolfs" after shunting the original film onto its servers at the last minute.

Other notable examples include Emerald Fennell, who reportedly turned down a larger Netflix offer for "Wuthering Heights" to ensure a traditional theatrical release elsewhere. Rian Johnson, after fighting hard for a wider release for "Glass Onion" (which ultimately got a limited one-week run in 600 theaters), is also reportedly moving on from the streamer. Even the Duffer Brothers, the creative force behind Netflix's crown jewel "Stranger Things," have signed a deal with Paramount for future film projects, specifically because Netflix wouldn't commit to theatrical releases for their movies. Joseph Kosinski also rejected a Netflix offer for "F1" due to a lack of theatrical commitment. Source: World of Reel, "Netflix Loses Zach Cregger to Theatrical Demands," November 6, 2025

Navigating the Trade-Offs: Prestige vs. Subscribers

From Netflix's perspective, CEO Ted Sarandos has a clear and pragmatic reason for holding the line: the company's entire empire is built on providing exclusive, first-run content directly to its massive subscriber base. Theatrical releases, especially wide ones, complicate this model. They require coordinating with exhibitors who have historically resisted Netflix films due to the streamer's refusal to adhere to traditional release windows. They also potentially divert attention from the platform itself, which is designed to keep viewers engaged at home.

However, what Netflix's data, focused on subscriber growth and viewing hours, can't fully measure is "prestige." This intangible quality comes from the collective cultural experience of a film debuting in theaters: the buzz, the critical discourse, the communal viewing, and the recognition that often accompanies awards season. For many A-list directors, this prestige is not just ego; it's fundamental to how they see their art and their career trajectory. They want their work to be seen on the biggest screen possible, as intended, and to become part of the cinematic conversation in a way that often eludes direct-to-streaming releases.

The Dilemma of Artistic Integrity in the Streaming Age

This dynamic creates a significant trade-off. Netflix offers massive budgets and unparalleled global reach directly into homes, a tempting proposition for any filmmaker. But it often comes at the cost of a traditional theatrical launch. Conversely, studios offering theatrical releases might have smaller budgets or less guaranteed reach, but they provide that coveted big-screen debut and the associated cultural validation.

Example: Imagine a filmmaker, let's call her Sarah, who has poured years into a visually stunning sci-fi epic. She knows the sweeping landscapes and intricate alien designs demand a giant screen. A streamer offers her a huge budget and creative freedom, but no theatrical release. A traditional studio offers less money but guarantees a wide cinema run. For Sarah, the artistic integrity of seeing her vision realized on the big screen might outweigh the larger paycheck and wider immediate audience of streaming, even if it means a smaller budget. This is the kind of calculation many directors are making, and why Cregger's stance resonates.

What This Means for the Future of Filmmaking

Zach Cregger's situation with "The Flood" isn't just about one film; it's a microcosm of the ongoing power struggle between creative talent and streaming platforms. Cregger has proven his ability to generate significant box office revenue with original concepts. His success gives him leverage that many directors don't have, making Netflix's refusal particularly striking. The real question is whether Netflix will eventually bend its "no change in strategy" policy further, or if it's willing to let increasingly vocal and successful filmmakers walk away.

For now, Cregger is busy with "Resident Evil," a major studio project set for a theatrical and IMAX release on September 18, 2026. The fate of "The Flood" hangs in the balance, a testament to the evolving landscape where convenience and artistic vision are often at odds. Ultimately, the industry watches to see who blinks first in this high-stakes game of cinematic chess.

Frequently Asked Questions About "The Flood" and Netflix What is Zach Cregger's "The Flood" about? Specific plot details for "The Flood" are currently being kept under wraps, but it is known to be an original sci-fi film written by Zach Cregger. When is "The Flood" expected to be released? Due to the ongoing dispute between Zach Cregger and Netflix regarding a theatrical release, "The Flood" is currently stalled, and no release date has been set. It was originally expected to follow Cregger's "Resident Evil" adaptation. Will "The Flood" be available in theaters or only on Netflix? That's the core of the conflict. Zach Cregger is insisting on a theatrical release, while Netflix co-CEO Ted Sarandos has reportedly rejected the idea, aiming for an exclusive streaming release on the platform. Its future distribution is uncertain. What other projects is Zach Cregger working on? Zach Cregger is currently filming a "Resident Evil" adaptation for Sony Pictures, starring Austin Abrams, which is slated for a theatrical and IMAX release on September 18, 2026. He has also teased potential future projects, including a "Weapons" prequel and other original ideas. Sources

• TheWrap, "Zach Cregger’s ‘The Flood’ Stalled at Netflix Over Lack of Theatrical Commitment," by Umberto Gonzalez, November 6, 2025.
• GamesRadar+, "Zach Cregger's next sci-fi movie is delayed after Netflix refuses to give it a theatrical release," by Megan Garside, November 6, 2025.
• A.V. Club, "Zach Cregger and Netflix are reportedly having a spat about theatrical releases," by William Hughes, November 6, 2025.
• ScreenRant, "Zach Cregger's Netflix Sci-Fi Movie Hits Major Setback After Weapons Box Office Success," November 6, 2025.
• FanBolt, "Netflix's Talent Problem Just Got a Name: Zach Cregger," by Emma Loggins, November 7, 2025.
• World of Reel, "Netflix Loses Zach Cregger to Theatrical Demands," by Jordan Ruimy, November 6, 2025.