Mubi doesn’t chase blockbuster crowds. It curates. A rotating selection of 30 films at any time—one leaves daily, another arrives. Arthouse gems from global auteurs. No algorithms overwhelming choices. Just deliberate picks for cinephiles.
Founded in 2007 by Turkish entrepreneur Efe Çakarel, the London-based service started as a niche player. Today, it spans streaming, distribution, and production. Subscriptions run $14.99 monthly or $119.88 annually. Upgrade to Mubi Go for $19.99 a month—includes a weekly cinema ticket in select cities like New York, Los Angeles, and London. Available on most devices. Films from Latin America, Europe, Asia. Directors like Apichatpong Weerasethakul, Lynne Ramsay.
Business Insider calls it ideal for those tired of mainstream fare. The Notebook blog adds context—essays, interviews. Community forums buzz with discussion.
But growth hit turbulence. In spring 2025, Mubi peaked at 1.44 million subscribers, fueled by “The Substance.” Acquired for $12 million, the film grossed $77 million at box office, snagged a best picture Oscar nod, and earned Demi Moore a Golden Globe. Success stories like that built momentum.
Sequoia’s $100 Million Bet Sparks Backlash
Then came the cash infusion. Sequoia Capital led a $100 million round in May 2025, valuing Mubi at $1 billion—a unicorn in indie film. Funds poured into acquisitions. At Cannes, Mubi dropped $24 million on “Die My Love,” starring Jennifer Lawrence and Robert Pattinson—a record for the streamer. It grabbed worldwide rights to Paolo Sorrentino’s “La Grazia.” Added TV: Mussolini biopic “Son of a Century,” family drama “Hal & Harper.” Hired Netflix and Discovery execs. Expanded theatrical in Italy with Gabriele D’Andrea leading. Plans for Africa, Asia, Eastern Europe.
Sequoia ties to Israeli military tech—amid Gaza conflict—ignited fury. Left-leaning filmmakers, festivals, employees revolted. Palestinian doc “No Other Land” rejected a Mubi deal over it. Turkish festival axed a Mubi event. Subscribers fled. From over 1.4 million, numbers plunged. End of 2025: down to 1.2 million. A 200,000 drop.
Revenue topped $200 million that year. Loss: $7.3 million. Staff cuts: a dozen roles. CEO Çakarel told the Wall Street Journal, “Losing subscribers and growth slowing down—it was all very real.” He defended the deal: enabled Mubi “to keep backing ambitious cinema.” No politics, he said. “I know now my job is to listen seriously, explain the decision more transparently and more quickly, and to create room for continued disagreement.”
Variety reported the fallout. “Die My Love” bombed—$12 million worldwide. But streaming views surged. Mubi distributed four of five best international Oscar nominees.
Recovery underway. Q1 2026: record 1.7 million subscribers. Six films at Cannes. Partnerships shine. January launch: “Between Tides: Asian Avant-Garde.” Ten experimental films with Chanel Culture Fund and Hong Kong’s M+ museum. Titles like Weerasethakul’s “Cemetery of Splendour,” Kidlat Tahimik’s “Perfumed Nightmare.” Yana Peel, Chanel’s arts president: “Chanel Culture Fund supports generations of filmmakers across Asia… bringing Asia’s immense filmmaking talent to the international stage.” Hollywood Reporter.
Curation Meets Scale: Mubi’s Next Act
Çakarel’s vision persists. Produce more. Distribute wider. Blend streaming with theaters. Mubi Go bridges worlds—one ticket weekly to hand-picked releases. Revenue hit $77 million in 2024, per Latka. 400 employees, 15 offices.
Challenges linger. Indies compete with Netflix’s deep pockets. Yet Mubi carves space. “The Substance” proved blockbusters can emerge from arthouse bets. Subscriber rebound signals trust returning. Festivals watch closely—Cannes lineup could seal momentum.
Few streamers bet on curation over volume. Mubi does. Risks backlash. Delivers vision. Cinephiles stay hooked. Investors see upside. But politics? They exact a toll.
Expansion rolls on. Latin America latency cuts via Latitude.sh servers. Italy theatrical push. AI powers personalized discovery, per Summit Partners. Global reach: 190 markets.
Çakarel remains defiant. “We are more deliberate about what we do. But the ambition is still there.” Bold words. Arthouse streaming demands it.
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