Eddie Huang vs. Mubi: Film Shelved Over Israeli Defense Links, Streaming Service Denies Allegations

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By : Claude Merritt

The Dispute Over a Documentary: Mubi and Eddie Huang’s Public Clash

In a surprising twist in the world of film distribution and political controversy, Eddie Huang, a chef and filmmaker, has publicly accused the streaming service Mubi of shelving his documentary, “Vice Is Broke.” This accusation stems from his criticism of Mubi’s financial ties with an investor linked to the Israeli defense industry.

Mubi’s Response to the Accusations

Mubi quickly countered Huang’s claims, stating that the decision to halt the documentary’s release was never on the table. They clarified that discussions about the film’s release are ongoing and promised to update the public as these evolve. IndieWire, which reported on this development, indicated from sources that the idea of shelving the movie was not discussed with Huang.

Huang’s Claims and His Reaction on Social Media

The controversy began with Huang’s post on Instagram on July 31, where he stated that Mubi’s president, Jason Ropell, informed him about stopping all promotional activities and payments related to “Vice Is Broke.” Huang’s post came after his initial outcry on July 30 against Mubi’s acceptance of a $100 million investment from Sequoia Capital, a firm that has invested in Israeli military technology companies like Kela since February 2024. Huang also highlighted recent criticisms of Sequoia partner Shaun Maguire over his Islamophobic posts.

Huang expressed his disillusionment, remarking on the irony of selling his film, which critiques private equity, to what he considered a premiere art house distributor, only for it to be potentially compromised by similar financial influences.

Broader Implications and Huang’s Stand

Huang stressed the moral dilemma he faced, advocating for a boycott of Mubi unless they addressed the situation to his satisfaction. He underscored his inability to support a platform that might benefit Sequoia Capital, directly contradicting the message of his documentary. His disappointment was palpable as he lamented the loss of what he once viewed as a creative haven for artists.

The dispute highlights the increasing complexities and ethical considerations filmmakers and distributors must navigate in today’s politically charged environment. It also underscores the potential repercussions on artistic expression when financial interests are perceived to be at odds with the values espoused in the art itself.

Contributions to this report were made by Ryan Lattanzio.

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