That's because you've never dealt with a conventional film distributor. Netflix pays monthly (last time I checked) and supplies producers with useful analytics. Indie (and some major) film production companies love dealing with Netflix because they're transparent and reliable, whereas film distributors traditionally make used car salesmen look like models of fiscal probity.

Also, film companies themselves aren't inclined to go vertical; there was a time when studios owned chains of theaters but antitrust litigation brought that to a painful end (United States v. Paramount Pictures, Inc., 334 US 131), so the industry sense is that self-distribution is too risky legally, and setting up their own independent competitor looks dangerously close to cartel behavior. Film economics are so brutal to begin with that litigation over anything other than well-defined copyright cases does not sit well with investors. Also, nobody wants to sink all the time can capital into building a CDN; being a technologist is a career-limiting move in Hollywood because the power revolves around the ability to bring stars, stories, investors and distributors together, so it's very much people-driven.

Of course film production involves a great deal of technology but if your specialty is in a technical role then you're considered a craftsman, not an artist. The thing is, the film product doesn't depend on technology for success; of course you'll want to use it for an action or superhero movie, but great movies can also be very simple, technically. Case in point: Joss Whedon directed The Avengers in 2011, but took two weeks off during post-production to shoot an (outstanding) adaptation of Much Ado About Nothing at his home. He used digital cameras to save time and cash, but it could just as easily have been shot on film and edited on a moviola.