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Comment tester Netflix gratuitement ?

Le 10/12/2018 à 09:00 par Jane Roussel

Modifié le 15/10/2020 à 11:04

Vous souhaitez tester Netflix ? Un mois d’essai gratuit vous est offert pour découvrir les programmes de la plateforme de streaming.

Vous avez entendu 1254 fois que Netflix est une plateforme fantastique avec des programmes variés, originaux, infinis… Mais vous ne croyez que ce que vous voyez de vos propres yeux ? Testez donc Netflix ! Pas question pour autant de souscrire un abonnement avec engagement 24 mois, frais de dossiers, coûts supplémentaires pour se désabonner… C’est ce que vous vous dites ? Figurez-vous que Netflix se teste gratuitement pendant un mois, sans engagement. D’ailleurs, quel que soit le forfait souscrit chez Netflix , le test gratuit est toujours proposé. Et quoi qu’il en soit, l’annulation est gratuite. Télé-Loisirs vous explique comment faire.

⋙ Que veut dire l'expression Netflix and Chill ?

Lorsque vous vous connectez sur Netflix.com apparaît en première page un bouton rouge avec écrit “Profitez d’un mois gratuit”. Cliquez dessus et commencez l’aventure Netflix .

Un mois d’essai gratuit Netflix, sans engagement

Le site vous demande ensuite de regarder la liste des forfaits et d’en choisir un. Vous devrez renseigner votre mail et votre mot de passe avant de renseigner vos données bancaires. Pourquoi ? Simplement pour ne pas avoir d’interruption si toutefois vous décidez de garder Netflix à l’issue de ce mois. Mais rien ne vous sera facturé durant cette période de test.

Le mois gratuit proposé est une phase test d’un forfait. Mais vous n’êtes pas engagé, il vous suffit d’arrêter votre abonnement pour ne rien payer. D’ailleurs, Netflix vous informera via un mail un peu avant l’issue de la période d’essai pour que vous puissiez faire votre choix. D'autre part, vous pouvez arrêter l’abonnement avant la fin de votre période test, votre compte restera quand même actif jusqu’à la date anniversaire de votre souscription.

⋙ Comment regarder Netflix France à l’étranger ?

Mois d’essai gratuit, annulation facile

L’annulation du mois d’essai s’effectue en ligne, à tout moment, 24 heures sur 24 indique le centre d’aide Netflix . Il vous faudra vous connecter sur le site Netflix.com, entrer vos identifiants choisis au moment de contracter l’essai. En haut à droite de la page se trouve l’accès à votre profil, cliquez ensuite sur la case “Compte”. La deuxième rubrique s’intitule “Annuler l’abonnement”, vous n’aurez qu’à la sélectionner. Une fenêtre s’ouvrira alors pour vous demander de confirmer cette option.

Si vous choisissez au contraire de profiter de la plateforme Netflix , le forfait que vous aviez sélectionné avant votre essai sera mis en place et le premier prélèvement effectué à la date (le jour) de votre inscription initiale. Vous pourrez alors garder le forfait originellement choisi ou en changer. Et profiter des contenus Netflix !

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The 22 best thriller movies on Netflix

The best thriller films on Netflix that are guaranteed to get your pulse rate up and make your palms clammy

Has this ever happened to you? It’s the end of a long work week, so you throw on your coziest sweats, pour a glass of the cheapest red wine from the nearest corner store and settle in on the couch for a night of streaming. You pull up that ratty blanket you’ve had since college, pick up the remote… then wake up hours later to the Netflix home screen with absolutely no memory of the movie you picked. 

That’s a whole stinkin’ movie night, just gone! To keep it from happening again, you’re going to need something guaranteed to keep your eyes open – something that’ll fry your nerves and knot your stomach so tight there’s no way you’ll fall asleep. In other words, you need a good thriller movie. Netflix has plenty of flicks that should do the trick, but it also has a ton of endless catalogue filler that’ll knock you out just as quickly as that boring second-rate romcom you went with last week. If you want a thriller that actually thrills, we’ve dug out these 22 flicks that’ll truly take you for a wild ride. 

Recommended:

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Best thrillers on Netflix

1.  Glass Onion: A Knives Out Mystery

The original Knives Out   revived the old-school murder mystery in the most Clue -y sense of the term, investigating the death of a rich old man and relishing in every cliche of the genre. Its inevitable sequel modernises the details – a billionaire tech douche (Ed Norton) invites a bunch of his douchey friends to his private island, only to have one of them turn up dead – but the formula remains more or less the same, and thank goodness for that. Really, they could (and probably will) make a million of these things and they’ll all be fun, as long as Daniel Craig and his utterly unconvincing Southern accent keep returning as ace sleuth Benoit Blanc.

2.  Bad Genius (2017)

Cheating on school tests is a trope from teen sitcoms, but this Thai production gives it high-stakes, heist movie energy. Criminally slept-on outside its home country, Bad Genius deserves delayed cult status for its whip-smart script and the direction of Nattawut Poonpiriya, who manages to make the act of sitting at a desk answering questions as heartracing as rappelling into the Louvre to steal the Mona Lisa. 

3.  I Care A Lot (2021)

You’re forgiven for not knowing that Rosamund Pike won a Golden Globe for her role in this jet-black comedy-thriller – it’s the Golden Globes, after all. But you really should see I Care a Lot , namely for Pike, delectably devilish in the role of a con-artist specialising in bilking seniors, until she defrauds the wrong gangster’s mother. 

4.  They Cloned Tyrone (2023)

• 5 out of 5 stars
• Recommended

Every time it seems like Netflix has gone completely creatively bankrupt, it drops something like this must-see sci-fi Blaxploitation mash-up. After seemingly dying in a motel shootout, nice-guy drug dealer Fontaine (a great John Boyega) reawakens at home without a scratch, and enlists the help of a local pimp (Jamie Foxx) and sex worker (Teyonah Parris) to figure out just what the hell is going on. It’s among the most original movies you’ll see this year, and heralds the arrival of first-time director Juel Taylor as a talent to watch.  

5.  Nocturnal Animals (2016)

Fashion designer turned filmmaker Tom Ford directed this psychological thriller, and it is a fashionable drama indeed. Amy Adams stars as an LA gallery owner who believes that her ex-husband’s (Jake Gyllenhaal) new novel is inspired by their marriage – and whose dark plot might foretell impending doom for her IRL.

6.  Emily the Criminal (2022)

Do not sleep on this jittery, Aubrey Plaza-led late-capitalism nailbiter. It emerged from Sundance and has found a home on Netflix where it packs all the raw materials for a nerve-zapping night in. Plaza plays the titular Emily, an LA dweller who falls behind on her student loans and finds herself drawn into wholesale credit card fraud, from where things go badly awry. Plaza layers her sarky on-screen persona with some no-shits-given edge as a kind of freedom fighter against a broken system. 

7.  Creep (2014)

In what will likely stand as the last, truly novel example of the found-footage fad, Mark Duplass plays the creep in question, an initially congenial, if eccentric, man dying from an inoperable brain tumour who hires a videographer (Patrick Brice) to help him shoot a keepsake for his unborn child. It only gets (wait for it) creepier from there.

8.  Gerald’s Game (2017)

This Stephen King-penned thriller has an admittedly compelling logline: a married couple retreat to a remote cabin for a weekend of kinky sex, but then he dies of a heart attack while she’s handcuffed to the bedposts. The question is, how do you turn that premise into a movie anyone would want to watch? Somehow, director Mike Flanagan ( The Haunting of Hill House ) manages to take a nightmare scenario and turn it into an actual feature-length nightmare that stands among the better King adaptations to come along in a while. 

9.  I Don't Feel at Home in This World Anymore (2017)

• 4 out of 5 stars

Melanie Lynskey, the breakout star of Yellowjackets , delivers a powerfully caustic performance in this darkly comic thriller that plays like a gender-flipped, backwoods take on the ’90s Michael Douglas revenge fantasy Falling Down . After her home gets robbed, nursing assistant Ruth Kimke (Lynskey) teams up with the neighbourhood weirdo (Elijah Wood) to figure out who took her stuff – and allowing her long-simmering rage over the direction of her life to finally boil over. 

10.  Calibre (2018)

A kind of Deliverance  in tweed, this indie nerve-shredder follows the aftermath of a Highland shooting outing gone horribly wrong. Jack Lowden is great as a man whose arrogant best friend leads him into a whole mess of bloody problems in a tight-knit Scottish community. The woodland setting makes a particularly effective arena for the game of cat-and-mouse that ensues.

11.  The Gray Man (2022)

In a year of bad news for Netflix, the Russo brothers’ spy thriller is a big, brash, bodacious victory for the streamer. Just about the most fun action flick the streamer has ever produced, it stars Ryan Gosling as a convicted killer turned CIA assassin codenamed ‘Sierra Six’ who breaks away from the Agency after learning of some nefarious dealings and finds himself duelling it out with a highly trained hitman (Chris Evans). 

12.  Hold the Dark (2018)

A wolf expert (Jeffrey Wright) is summoned to a remote Alaskan village and asked to hunt down a lupine pack thought to have killed three local children. What he uncovers amidst the whiteout, however, is much more unsettling. If you’ve seen writer-director Jeremy Saulnier’s previous film, Green Room , then you know to expect a movie that’ll leave you shaken. 

13.  Prisoners (2013)

Long before he was on Arrakis with Dune , Denis Villeneuve was making intimate thrillers with dense psychological cargos, like Incendies , Enemy and this vigilante abduction story. Hugh Jackman plays the dad of two missing daughters who takes matters into his own hands when he thinks he’s identified the perpetrators. Jake Gyllenhaal is the detective on the case. A superb supporting cast rounds off an enjoyably murky yarn that will hit hard with fans of Gone Baby Gone and Mystic River .

14.  Cam (2018)

An internet cam girl suddenly finds herself competing for views with her own doppelganger. Now that’s a deep fake! It sounds like the plot of a Black Mirror episode, but the knotty script and strong lead performance from Madeline Brewer give it an identity all its own.

15.  The Platform (2019)

One of those pandemic-era time wasters that was actually well worth revisiting, this Spanish sci-fi comes with a high concept: a platform slowly descends through a multi-tiered prison laden with food. If everyone takes only their share, the convicts on the lower levels get to eat. It’s a metaphor for capitalism with a helping of Trading Places , because prisoners swap levels at random. Imagine Snowpiercer , only vertical.

16.  Reservoir Dogs (1992)

Much imitated but never surpassed, Quentin Tarantino’s heist flick still packs a mighty punch three decades on. You know the set-up – a posse of smarty-dressed crims get caught up in the bloody aftermath of a disastrous diamond robbery… only, one of them is an undercover cop – but you may have forgotten the quotable patter, snappy editing and sheer storytelling flair QT brings to the table. And who the hell did kill Nice Guy Eddie?

17.  El Camino: A Breaking Bad Movie (2019)

• Action and adventure

Did this movie-length coda to the Breaking Bad saga really need to be made? Not really. After all, Jesse Pinkman (Aaron Paul) laugh-sobbing as he speeds off towards an uncertain future is a satisfying enough ending for the character. But as with every addition to Vince Gilligan’s great American crime story so far, the kinetic visual language and tight, tense storytelling more than justifies its existence. 

18.  The Stranger (2022)

Sean Harris is a profoundly jittery presence as suspected child murder Henry Teague in this Aussie undercover cop thriller, delivering an unsettling performance even by his own edgy standards. Joel Edgerton’s detective goes deep cover as part of a phoney criminal organisation to try to get a confession out of Harris’s scary drifter. The way it all plays out would be unbelievable if you didn’t know it was based on a true story.

19.  Oxygen (2021)

Those prone to claustrophobia should probably avoid this sci-fi thriller from French sicko Alexandre Aja, but if you’re the sort of viewer who enjoys the vicarious thrill of being slowly suffocated, well, here’s the flick for you! Melanie Laurent ( Inglourious Basterds ) stars as a woman who awakens inside a cryogenic chamber with no memory of how and only a small amount of rapidly depleting oxygen left. She’s able to communicate with the outside world, but that doesn’t make finding a way out any easier.

20.  Shimmer Lake (2017)

For his debut feature, director Oren Uziel brought together a bunch of recognisable – if not entirely identifiable – TV comics for a reverse-chronology murder mystery that plays like the Coen brothers remaking Memento . A small-town sheriff (Benjamin Walker) is investigating a bank robbery gone wrong that involves both his brother (Rainn Wilson) and two sketchy locals. Its backward narrative and ‘hey, I know that guy!’ casting make for a surprisingly engrossing watch on a do-nothing Saturday night. 

The 100 Greatest Thrillers of all Time

100 best thriller films of all time

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TAGGED AS: binge , Binge Guide , Film , movies , Netflix , streaming

100 Best Movies on Netflix Ranked by Tomatometer (May 2024)

In our world of massive entertainment options, who’s got time to waste on the below-average? You’ve got a subscription, you’re ready for a marathon, and you want only the best movies no Netflix to watch. With thousands of choices on the platform, both original and acquired, we’ve found the 100 top Netflix movies with the highest Tomatometer scores! Time to get comfy on the couch!

New top movies this month: The Edge of Seventeen, Liar Liar, Shrek, Traffic.  Notably, L.A. Confidential is currently streaming, which recently topped our list of the 300 best movies of all time .

His House (2020) 100%

L.A. Confidential (1997) 99%

Miss Juneteenth (2020) 99%

The Forty-Year-Old Version (2020) 99%

Under the Shadow (2016) 99%

Ma Rainey's Black Bottom (2020) 97%

Dolemite Is My Name (2019) 97%

Hunt for the Wilderpeople (2016) 97%

Mudbound (2017) 97%

Paddington (2014) 97%

I Lost My Body (2019) 97%

Roma (2018) 96%

Atlantics (2019) 96%

Monty Python and the Holy Grail (1975) 96%

Life of Brian (1979) 96%

To All the Boys I've Loved Before (2018) 96%

Outside In (2017) 96%

The Irishman (2019) 95%

Marriage Story (2019) 95%

Spider-Man: Across the Spider-Verse (2023) 95%

It Follows (2014) 95%

They Cloned Tyrone (2023) 95%

The Sea Beast (2022) 95%

The Wonderful Story of Henry Sugar (2023) 95%

Klaus (2019) 95%

The Power of the Dog (2021) 94%

Moneyball (2011) 94%

The Lost Daughter (2021) 94%

X (2022) 94%

The Edge of Seventeen (2016) 94%

Emily the Criminal (2022) 94%

Private Life (2018) 94%

Traffic (2000) 93%

Hustle (2022) 93%

Enola Holmes 2 (2022) 93%

Cam (2018) 93%

Roald Dahl's Matilda the Musical (2022) 93%

Baby Driver (2017) 92%

Da 5 Bloods (2020) 92%

The Meyerowitz Stories (New and Selected) (2017) 92%

The White Tiger (2021) 92%

The Squid and the Whale (2005) 92%

Jurassic Park (1993) 92%

El Camino: A Breaking Bad Movie (2019) 91%

Devil in a Blue Dress (1995) 92%

Nimona (2023) 92%

The Little Prince (2015) 92%

Set It Up (2018) 92%

1922 (2017) 92%

Uncorked (2020) 92%

Glass Onion: A Knives Out Mystery (2022) 91%

Phantom Thread (2017) 91%

May December (2023) 91%

The Gift (2015) 91%

Beasts of No Nation (2015) 91%

Apollo 10 1/2: A Space Age Childhood (2022) 91%

High Flying Bird (2019) 91%

Happy as Lazzaro (2018) 91%

Gerald's Game (2017) 91%

You Are So Not Invited to My Bat Mitzvah (2023) 91%

Orion and the Dark (2024) 91%

The Willoughbys (2020) 91%

National Lampoon's Animal House (1978) 91%

The Imitation Game (2014) 90%

All Quiet on the Western Front (2022) 90%

Society of the Snow (2023) 90%

The Kindergarten Teacher (2018) 90%

On Body and Soul (2017) 90%

Bonnie and Clyde (1967) 90%

The Trial of the Chicago 7 (2020) 89%

The Big Short (2015) 89%

The Ballad of Buster Scruggs (2018) 89%

The Two Popes (2019) 89%

Amadeus (1984) 89%

Oxygen (2021) 89%

Always Be My Maybe (2019) 89%

Mary and The Witch's Flower (2017) 89%

I Don't Feel at Home in This World Anymore (2017) 89%

Paddleton (2019) 89%

Shrek (2001) 88%

Fear Street Part Three: 1666 (2021) 88%

I Am Mother (2019) 89%

Donnie Brasco (1997) 88%

Captain Underpants: The First Epic Movie (2017) 87%

Fear Street Part Two: 1978 (2021) 87%

My Father's Dragon (2022) 87%

The Breaker Upperers (2018) 87%

Vivo (2021) 86%

Lady Chatterley's Lover (2022) 86%

Munich: The Edge of War (2021) 86%

Kill Bill: Vol. 1 (2003) 85%

Fair Play (2023) 85%

The Wonder (2022) 85%

Shortcomings (2023) 85%

The Deepest Breath (2023) 85%

Hacksaw Ridge (2016) 84%

Waves (2019) 84%

Kill Bill: Vol. 2 (2004) 84%

The Matrix (1999) 83%

Liar Liar (1997) 83%

Fear Street Part One: 1994 (2021) 84%

Dumb Money (2023) 84%

The Swimmers (2022) 83%

Wendell & Wild (2022) 80%

Role Models (2008) 77%

Godzilla (2014) 76%

Dawn of the Dead (2004) 76%

Despicable Me 2 (2013) 75%

The Professional (1994) 74%

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‘Voir’: Why Crafting Video Essays for Netflix Meant Embracing All Types of Filmmaking

Sarah shachat, associate craft editor.

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David Fincher and David Prior’s anthology essay series “Voir” is only six episodes, but fully half of those came from Taylor Ramos and Tony Zhou . Their skill with the form comes as no surprise to fans of their YouTube channel “ Every Frame a Painting ,” which almost served as a proof of concept for a show like “Voir” — and that millions of people would be interested in videos exploring just how the grammar of filmmaking impacts its meaning. When done well, video essays combine the thrill of knowing a secret and the joy of learning more about a long-held passion. Zhou and Ramos spoke to IndieWire about how the process of creating that joyful learning shifted and expanded when working on “Voir.”

“YouTube was very constricting because of things like copyright and DMC,” Ramos said. “The license that Netflix and [David Fincher] gave us, it was very, ‘Oh, we can do anything and everything!’ And [that] was, I don’t want to say daunting, but —”

“It was mildly terrifying,” Zhou added.

More than access to money for media libraries and rights lawyers, however, what Ramos and Zhou had to contend with was the ability to scale how they presented their ideas, expanding from narration over picture to mix in other modes of filmmaking. “Videos are a weird hybrid that have elements of narrative and elements of documentary,” Zhou said. “So [there are] elements of this show that tilt towards narrative… or documentary, in our case. We went out and shot interviews, which we would have done in a doc format, or things like motion graphics, like actually building an animated character.”

Zhou and Ramos’ work on the series represents this hybridization. “Film vs. Television,” narrated by Ramos, follows a viewer from a movie theater to their home, even as the episode uses contrasting film and television footage — sometimes rewardingly shot by the same director or adapting the same material — to illustrate the difference. Zhou narrates the “The Ethics of Revenge,” which contains fascinating interviews with experts sometimes addressing the interviewer and audience directly, which shifts the piece to a more subjective framing. And “The Duality of Appeal,” the episode on which Ramos and Zhou share writing, producing, and directing credits and which Ramos narrates, dramatizes the process of creating an animated character from concept to full CGI rendering, and rewardingly answers a larger question of why female animated characters tend to hue to similar face and body types. “This is gonna be for animators,” Ramos enthused about the “Duality of Appeal” episode. “Like, I hope other people come in, because I want everyone to watch more animation and engage with animation more. But I’m like, ‘This is for my fellow line animators!'”

“It’s for like five Tumblr blogs,” Zhou added.

“The Duality of Appeal” speaks to Ramos and Zhou’s own appeal: They balance a specificity rooted in expertise with relatable, jargon-free language and clarity, and a healthy dose of humor besides. The moment the viewer in “Film vs. Television” flips a table is perfectly timed to the clip the audience is likely having a similar reaction to, and the funniest moment in maybe the entirety of “Voir” is a hard cut to a title card that simply reads “Client Notes.” But the difference between achieving that balance required them to jump into live-action filmmaking in a way they never had before. “In animation, you have to create literally everything. It’s an empty space,” Ramos said. “[In live action, you’re] dealing with physical space and the limitations of that. And that just brings a whole host of problems. I’d be like, ‘Well, why can’t I get that shot?’ And [the crew] would be like, ‘Well, because there are walls there, Taylor.'”

But Ramos utilized her animation background when organizing the live action sequences as well. “I asked to get plexiglass put onto the monitors so that I could get a dry erase marker and draw [on it],” Ramos said. “If I need this cup to be moved to where there’s a shine here, or I can see a light here, or I need this person they’re facing this way, I would actually draw people’s profile.” They would also storyboard shots they knew they could control in advance. Ramos said of the “Television vs. Film” episode, “Basically, we had our script and then I storyboarded it. And so all of the shots you see are almost one-to-one recreations of the boards that I did. We made an entire animatic of that episode.”

“The thing I’m most proud of learning [was] the process of adapting what was effectively a two-person workflow to like 40 to 50 people,” Zhou said. “It’s one of the weird things that they don’t really teach you in school. They’ll teach you protocols for how to do certain things on set, but they don’t necessarily teach you how do you take something that involves just two people talking and make it 40 people without causing chaos.” Ramos added how much she loved learning, from artisans on sets and from her own “client” notes on cuts from David Fincher and David Prior, and how that love bleeds into the final product. “I like the feeling of learning,” Ramos said. “And I liked that there were people on our team that were smarter than us and were enthusiastic to make this project with us and help do good work. That’s always just really nice.” The three episodes of “Voir” made by Ramos and Zhou capture that feeling of learning, with a mix of earnestness, enthusiasm, inquiry, and wry humor, and that’s always just really nice, too.

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Netflix’s Approach Shifts, Pushing Content That Can ‘Pop’

The streaming service long thought spending on ads didn’t result in more viewers. That has subtly changed under the marketing chief Marian Lee.

By Nicole Sperling

Netflix made sure viewers had ample opportunity to hear about “Wednesday,” its macabre hit starring Jenna Ortega .

They could come across it in an airport security line when plopping their belongings into a tray that asked, “What would Wednesday do?” Or see the title character in the Uber app when they ordered a ride. Or they could encounter it on TikTok, where seemingly everyone from Ukrainian soldiers to hip grannies was performing the title character’s arm-jolting, addictive dance set to the Lady Gaga song “Bloody Mary.”

Either way, the marketing resources that Netflix dedicated to the show helped make it a global sensation. The push included shifting Netflix’s social media resources from sites like Twitter and Instagram to TikTok after the amateur dance videos went viral. There was also a campaign in which local markets around the world adapted the slogan “What would Wednesday do?” to their country’s taste and culture. (Billboards in Los Angeles cheekily stated: “I read your screenplay. It’s time to rethink your writing career.”)

The show’s eight episodes were viewed 1.24 billion hours in the first 28 days they were available, Netflix said, making it the second-most-watched English-language series on the streaming service, just behind the fourth season of “Stranger Things.”

For the movie “Glass Onion: A Knives Out Mystery,” there was a widely publicized (including TV commercials) one-week theatrical release on Thanksgiving that generated a reported $15 million in ticket sales. After that, a Los Angeles escape room and a handful of murder-mystery dinners across the country — and more commercials — helped keep the word of mouth alive until the expensive star-studded sequel debuted on the service at Christmastime. It racked up 279.7 million hours watched in the first 28 days, which Netflix said made it the fourth-most-watched English-language film on the service.

Netflix’s marketing tactics are indicative of an evolving strategy for a company that is facing a much more competitive streaming marketplace — and trying to serve an increasingly fickle audience. As it contends with a maturing U.S. market, Netflix has introduced an advertising tier and is cracking down on password sharing. It has also essentially replaced its original creative team, opting for executives with broader tastes to serve a global marketplace.

To sell this evolution of the world’s largest streaming service, the company is relying on Marian Lee, its third chief marketing officer in three years.

“I’m trying to enable creativity, because I want to bring all of this content to more people around the world,” Ms. Lee said in an interview at Netflix’s headquarters in Los Angeles. “I also want the rest of Netflix to understand what the marketing strategy is: We support the content organization.”

She had stayed up late the previous night to finish the reality show “Full Swing,” saying she cried in her bathroom when it was over.

“I’m watching everything, and I’m going to tell you where I think this is really going to pop,” she said.

For all of Netflix’s success over the years, the company has never quite found its footing in marketing. That is primarily because of its core tenet is that the streaming service itself is its greatest marketer, and that spending on expensive commercials or advertisements does not always improve viewer engagement.

In 2019, the marketing operation moved under Ted Sarandos, who was the head of content and is now a co-chief executive. He hired Jackie Lee-Joe from BBC Studios to be chief marketing officer. She departed after just 10 months, when Mr. Sarandos surprised many inside Netflix by appointing Bozoma Saint John as the new C.M.O.

Ms. Saint John used her formidable social media presence — she has 424,000 followers on Instagram — to host her own lifestyle events under the moniker @badassboz while running the Netflix marketing team, but her impact on Netflix’s shows and movies proved less fruitful.

Ms. Lee was the global co-head of music at Spotify when Ms. Saint John hired her in July 2021. She was promoted to chief marketing officer in March 2022 after Ms. Saint John left. In contrast with her predecessor, Ms. Lee’s Instagram account is private, and when she was offered Ms. Saint John’s office, she declined, opting to remain in the one she occupied, which was closer to her staff.

Netflix’s marketing budget has remained fairly consistent, increasing to $2.5 billion in 2022 from $2.2 billion in 2020. But Ms. Lee’s 400-plus global team has enacted a subtle change in strategy, in which many of those dollars have been shifted to focus on individual titles as opposed to the branding of the streaming service itself.

Still, the amount of money set aside for marketing remains relatively small, considering Netflix spends $17 billion a year on its programming. And when filmmakers and showrunners grouse about working with Netflix, the complaints are often aimed at the marketing department, which they feel can be limited by its budget. It is an issue that traditional studios have tried to capitalize on, arguing that they may pay less upfront for a project but will spend more in marketing to let people know when it’s coming out.

“The legacy studios spend more on marketing,” said Tripp Vinson, a producer of the Netflix “Murder Mystery” films, starring Adam Sandler and Jennifer Aniston. The first movie came out in 2019, and the second became available to Netflix subscribers on Friday.

“But as a producer, what do I care about?” he added. “You’re implying that the more you spend, the greater chance you have of getting your audience in that legacy, traditional marketing way. Well, I know from ‘Murder Mystery’ 1, whatever Netflix did to market this movie, the amount of viewers that I got, that’s what I care about. And they were astounding numbers.”

For “Murder Mystery 2,” the streaming service added a second premiere at the Eiffel Tower in Paris, international billboards and commercials during the National Football League’s divisional playoffs. It also teamed up with the social media star Mr. Beast to offer an unwitting couple a surprise trip to the Paris premiere. The first movie landed back on Netflix’s Top 10 list a week ahead of the release, and expectations inside the company for the sequel are high.

Netflix’s chief content officer, Bela Bajaria, pushes against the notion that the company did not aggressively market specific shows and movies in the past.

“I think the tension may be with people feeling like there is only the traditional way to do it, and they don’t realize we market in so many different ways,” she said, noting the service’s social media channels reach 800 million people globally.

Filmmakers, though, have noticed a difference with Ms. Lee.

“Right when she arrived, she came down to see what we were doing and visited the set often,” said Debbie Snyder, a producer of the $80 million sci-fi spectacle “Rebel Moon,” which is directed by her husband, Zack Snyder.

The plan is for the film, scheduled to debut on Dec. 22, to be the first in a trilogy. Did Ms. Snyder receive the same personalized attention when the film “Army of the Dead” debuted in 2021? “No,” she said. “Not really at all.”

Netflix’s film chairman, Scott Stuber, said the marketing department under Ms. Lee was more in tune with the content side of the company. He noted that he was particularly impressed by her nimble approach, like her ability to maintain buzz for “Glass Onion” after its theatrical release.

“I like someone who actually knows the old playbook, but also is very interested in how to rewrite the rules for the new playbook,” he said.

In February, members of Ms. Lee’s brand marketing team crammed themselves into a conference room to discuss, among other topics, “The Marquee,” a handful of high-tech billboards with pithy messages that rotate weekly and appear in strategic locations around the world like Sunset Boulevard in Los Angeles, Times Square in New York and Les Halles in Paris.

She listened intently to the presentation: The board at the Trevi Fountain will be moved to a different location in Rome, one that is less of a tourist spot and more of a place where local Netflix subscribers could connect with it; Times Square is going to get an innovative billboard that is easier to program yet looks like the physical one on Sunset Boulevard. A marquee is coming soon to Warsaw.

“The point of the board is to have fun, be edgy and push all the way to the edge,” Ms. Lee said.

“I know it’s a lot of pressure because they have to come up with a new message every week,” she added, “but if they’re just using it for something lame, I’d rather not do it.”

Nicole Sperling is a media and entertainment reporter, covering Hollywood and the burgeoning streaming business. She joined The Times in 2019. She previously worked for Vanity Fair, Entertainment Weekly and The Los Angeles Times. More about Nicole Sperling

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What’s New on Netflix

Are you searching for the newest movies, series, games, documentaries, and specials on Netflix? Our comprehensive guide is your go-to source for all the latest Netflix releases, including a timely, complete list of new arrivals plus extensive recaps.

We also provide weekly roundups for What’s New on Netflix UK.

New Releases on Netflix for May 14th

New releases on netflix for may 13th, new releases on netflix for may 12th, new releases on netflix for may 11th, new releases on netflix for may 10th.

Blood of Zeus (Season 2)

A commoner living in ancient Greece, Heron discovers his true heritage as a son of Zeus, and his purpose: to save the world from a demonic army.

Cooking Up Murder: Uncovering the Story of César Román (Limited Series)

This docuseries analyzes a murder case implicating a Spanish chef, who built a career in the spotlight through a web of secrets and false identities.

For Our Children (2022)

In this powerful documentary, two Black women whose young sons were brutalized by police build a network of support, healing and political action.

Living with Leopards (2024)

A film crew follows two leopard cubs as they make the fascinating journey from infancy into adulthood in this up-close-and-personal nature documentary.

Montford: The Chickasaw Rancher (2021)

A Chickasaw man survives great hardships and tragedy to establish a vast ranching empire along the famous cattle highway of the American West.

Pokémon Horizons: The Series (Part 2)

Two young adventurers on a thrilling quest visit new lands, unravel ancient mysteries and encounter Pokemon -- and Poke Balls -- they've never seen before!

The Courier (2024)

After shrewdly seizing his chance to join a money-laundering scheme, a modest valet dives into a world of fast cash, fast cars -- and an inevitable crash.

The Ultimatum: South Africa (Season 1)

A six-way partner-swap sparks wild attractions and tearful betrayals. Participants choose whom to love and leave in this heart-pounding experiment.

New Releases on Netflix for May 9th

Bodkin (Season 1)

A ragtag crew of podcasters sets out to investigate mysterious disappearances from decades earlier in a charming Irish town with dark, dreadful secrets.

Hamka & Siti Raham Vol. 2 (2023)

This biopic explores Muslim scholar Buya Hamka's life and hardships alongside his loving wife, Siti Raham, after Indonesia gained independence.

Mother of the Bride (2024)

A doting mom jets off to a tropical island resort for her daughter's wedding -- only to discover the groom's father is the ex she hasn't seen in decades.

Sing Street (2016)

In 1980s Dublin, a teen whose family is falling apart transfers to a tough school, where he forms a rock band to fit in and win a girl's attention.

The Guardian of the Monarchs (2024)

The forests of Michoacán are home to millions of monarch butterflies. Activist Homero Gómez was highly vocal about its preservation - and then he vanished.

Trinil (2024)

Returning home after their honeymoon, a couple find themselves haunted by a disembodied head seeking its missing body.

New Releases on Netflix for May 8th

Slyth The Hunt Saga (2023)

After apocalyptic fires make the world uninhabitable, a group of friends encounters a mysterious reptilian creature who holds the key to human survival.

The Final: Attack on Wembley (2024)

With England finally in contention for a major championship, 6,000 ticketless football fans storm Wembley Stadium, leaving destruction in their wake.

War Dogs (2016)

A massage therapist gets in over his head when he partners with a charismatic childhood pal in the lucrative but shady business of global arms dealing.

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