I know that theater owners are going crazy, in a tug of war with Netflix over 30 days or less windows in cinemas before the TV streaming service pulls their movies and puts them basically on TV, computers and phones.

But this year, this year, not next, we’re going to have to deal with the Netflix situation. They are going to have three of the nine Best Picture nominees at the Oscars, not to mention all the people who worked on them. And I’ll tell you what’s happened: before Harvey Weinstein lost it, he was kind of mentoring Ted Sarandos. Not in being a predatory fool, but in quality movie making and in good taste. Everything Netflix is doing now mirrors Miramax’s heyday. It took chutzpah to think “Roma” was going to win the Oscar. Sarandos went for it. Harvey would have done the same thing.

Now Netflix has a triumvirate of films carved right out of the Miramax playbook. Martin Scorsese’s grand, essential “The Irishman,” Noah Baumbach’s intimate, funny “Marriage Story,” and Fernando Mereilles’s gorgeously made “The Two Popes.” I saw the latter Sunday evening at the Hamptons Film Festival, and I was floored by its magnificence. It’s A plus work.

Don’t forget, Mereilles and his crew received four Oscar nominations in 2004 for “City of God,” including Best Director. If, if, if…if Miramax or The Weinstein Company still existed, “The Two Popes” would be their movie. It’s that high quality, from beginning to end and everything in between.

This is also a “What if” kind of story, a historical adventure that mixes fact and supposition in the most charming way. Working at the top of their games, Anthony Hopkins and Jonathan Pryce play respectively Pope Benedict XVI and the current pope, Francis. Benedict ruled from 2005 to 2013. He was the first Pope to step down since 1415. He is still alive at age 92. Francis, upon succeeding Benedict, became a worldwide sensation. I went to with Aretha Franklin to meet him in Philadelphia a few years ago. It was a remarkable experience.

When the German born Benedict (whose given name is Joseph Ratzinger) was getting ready to retire, screenwriter Anthony McCarten imagines a meeting between him and the would-be Francis, the Argentinian cardinal Jorge Mario Bergoglio. Their burgeoning friendship, and the story of Bergoglio’s political life in Argentina, is the center of “The Two Popes.” Ratzinger is clear: he doesn’t like any off Bergoglio’s opinions or stances. So they are an odd couple. But Ratzinger realizes Bergoglio is the future. So he’s smarter and more with it than we think.

Mereilles has made another film with Hopkins– “360”– which received harsh reviews and a very low critics score. His other English language film was “The Constant Gardener,” which won Rachel Weisz an Oscar and also starred Ralph Fiennes. Maybe knowing Hopkins helped here, because the Oscar winning star of “Silence of the Lambs” does his best work in eons, harkening the beautiful, elegant turns in “Howard’s End” and “The Remains of the Day.” Pryce, who was overlooked last year in “The Good Wife,” is every bit his equal, and Pope Francis should be sending him champagne and flowers. They are each stunning performances. You can’t get enough of them. (The only thing better would be Judi Dench playing a nun who chats with them.) And the work below the line– set and production design, costumes, etc is going to rack up nominations. Kudos to Mark Tildesley, who went from this movie to the new James Bond.

PS I don’t know if Mereilles or McCarten actually know if the popes like the Beatles, but they use the Fab Four as a kind of running gag. In the movie, Benedict seems to be ignorant of the group, but in real life he absolved John Lennon from his famous “The Beatles are bigger than Jesus” line in 2010, well before this imagined meeting takes place. Later, Pope Frances gives Benedict a Beatles gift that’s a pretty good plug for “Abbey Road.” Maybe McCarten and McCartney are friends, who knows? But Sirius XM’s Beatles channel should get an audio clip to play before “Eleanor Rigby.”

Disney has released a list of films from its catalog headed to their streaming service. The list includes all of the “Star Wars” films — to give a push for the upcoming final installment — plus some of their classic animated titles like “Fantasia,” “Lady and the Tramp,” and “101 Dalmatians.” There’s also “Wall-E,” which I will watch first.

But there are many, many titles missing from Disney’s release. To begin with, “The Lion King,” “Aladdin,” and “Dumbo”– all recently rebooted in live action versions — are MIA. Disney is still selling them as front line movies. So the animation versions remain off line.

But also not included are Disney’s great Bette Midler movies from the 80s including “Down and Out in Beverly Hills,” “Ruthless People,” “Outrageous Fortune,” and “Hocus Pocus.” Also, “The Insider,” the much awarded Michael Mann movie about “60 Minutes” taking on the tobacco industry. For a time, Disney through its Touchstone label made some great films for adults. I hope they’re coming soon.

And very definitely not on the list: “Song of the South,” Disney’s infamously racist 1946 animated feature based on the Uncle Remus stories. It’s been dead and buried for years, and it’s not coming back.

Here are some quick notes on the Hamptons International Film Festival, which has had a heavy schedule of good films and conversations despite raw weather and quality celebrity guests..

This year’s HIFF has impressed. “The Irishman” caused long lines on Friday and seemed to soak up a lot of attention. But an indie film that has no distributor yet, “Human Capital,” proved to be a sleeper hit. A kind of omnibus story with connected character, the Marc Meyers directed, Oren Moverman written movie is a crowd pleaser. Once again, Maya Hawke, 19 year old daughter of Uma Thurman and Ethan Hawke, lights up the screen and steals the show from excellent elders like Liev Schreiber, Peter Sarsgaard, and Marisa Tomei. The two younger guys in the story, Alex Wolff and Fred Hechinger, are equally good. This is a perfect February-March release. Hello, Bleecker Street, Neon, Focus.

In a more serious note, audiences were moved last night by “The Song of Names” from Sony Pictures Classics. Coming out December 25th, the music branch must nominate Howard Shore for a gorgeous score that took two years to compose. “Song of Names” is tangentially a “Holocaust movie” produced by Robert Lantos and directed by Francois Giraud (“Red Violin,” “Boychoir”). Forget that idiotic “Jojo Rabbit.” This is the real deal. Our Regina Weinreich will have a longer piece on this in days to come.

HIFF has had lots of nice parties, and conversations with filmmakers also including a talk with Alfre Woodard, star of “Clemency.” Alfre is certainly on the list for possible Best Actress nominees this year. Alec Baldwin interviewed legendary director Brian DePalma at Guild Hall, and DePalma’s 23 year old daughter Piper– named for actress Piper Laurie, star of DePalma’s “Carrie”– presented him with HIFFs Lifetime Achievement Award. DePalma’s long list of great movies is stunning in clip reel. From “Carrie” to “The Untouchables” to the first “Mission Impossible” movie and all his great quirky films like “Dressed to Kill” and “Body Double,” what a resume!

DePalma certainly had a good time, too. He, Woodward, and Baldwin among others turned up later in the day at Silvercup Studio owner Stuart Match Suna’s glittering annual gathering in East Hampton, where the canapes were good but secondary to the smart talk.

Cannes prize winner “Parasite,” from South Korean director Bong Joon-Ho set a record this weekend for foreign films. In just three theaters, the social satire made $376,264 or $125K per theater– one of the top openings ever. Little distributor Neon Pictures, which began ignominiously with a Michael Moore documentary and no logo, has a big hit on its hands. They’re headed to the Oscars, where they’ll have to take on Pedro Almodovar’s “Pain and Glory” with Antonio Banderas. Not bad.

“Parasite” is indeed a social satire about a family of grifters inveigling themselves into a wealthy household. It’s sort of like a soap opera on steroids, and the audience quickly begins rooting for the lower class family to get away with, well, murder. Things turn dark about halfway through, and then eschewing a happy fun ending, Bong Joon-Ho really goes for it Tarantino style.

Kudos to Neon for recognizing that this movie would strike a chord with American audiences.

Meanwhile, “Gemini Man” starring Will Smith eked out $20.5 million for the weekend, a little more than expected if the numbers hold. But it’s once of Smith’s poorest openings ever, and doesn’t bode well for its future.

In loftier worlds, “Joker” will cross $200 million US in the next day or so, by Tuesday. It’s now up to around $600 million worldwide with no end in sight.

At the other end of the spectrum, “Lucy in the Sky” from Fox Searchlight made nothing over the weekend and has a two week cume of $154,612.  Seeing the critics response, parent Disney has just buried this completely. It’s a tough deal for the actors and everyone who made it,

Box office Friday:

“Joker” killed it Friday night with another whopping $17 million. That’s now a total of $154 million in 8 or 9 days, depending on how you count it. So Warner Bros. is celebrating a huge win after a disappointing summer and early fall counting “The Goldfinch.” That bird has flown. They should use all this money to pump “Just Mercy,” their Oscar movie with Jamie Foxx and Michael B. Jordan.

Will Smith’s “Gemini Man” is DOA. The real Friday number is $5.9 million, plus the $1.6 million it made Thursday. Paramount may fall short of their low end $19 million prediction. But you know, Will Smith has survived worse outings. And this year he already starred in “Aladdin,” a big hit. He’s had tons of flops but they don’t seem to matter. Plus, he’s set for life, and he’s married to a very bright, talented actress (Jada Pinkett Smith). Maybe Gemini was just the wrong sign.

“Downton Abbey” crosses $80 million tonight. “Hustlers” flirts with $100 million this coming week, maybe by Monday or Tuesday.

Will Smith’s “Gemini Man” didn’t draw much buzz last night in previews.

The Paramount film with weird visuals took in just $1.6 million. They’re now aiming for a third place, $19 million opening over four days.

“Gemini Man” doesn’t have much help from critics, who gave it a 29% on Rotten Tomatoes.

Smith’s sci-fi adventure should finish third behind “Joker,” again at number 1, and “The Addams Family” animated film (also panned with a 36%).

But even though $19 million isn’t great, it’s better than some of Smith’s other recent films like “Collateral Beauty” with $7 million opening, “Concussion” with $10 million, and “Focus” with $18.6 million No one remembers those films and they were less than five years ago.