cinema

Nolan is rolling ‘the Odyssey’ in the Western Sahara. A good part of Spanish cinema has been thrown over

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In the absence of One year for the premiere and having seen Only an official image From what it holds, the next of Christopher Nolan is already raising some controversy, although this time the reasons are completely extracinematographic. The filming of the film in the city of Dajla, in Morocco, already He aroused certain protests a few weeks ago, and these are now increasing with A statement signed by a large number of Spanish artists They ask for transparency with the reasons to have chosen that place. All against Nolan. Directors such as Rodrigo Sorogoyen, Benito Zambrano, Fernando Colomo and Icíar Bollaín and actors such as Javier BardemJuan Diego Botto, Carolina Yuste, Javier Gutiérrez, Nathalie Poza, Carlos Bardem, Guillermo Toledo, Alberto San Juan, Melanie Olivares or Luis Tosar have joined the aforementioned prior manifesto of the Sahara International Film Festival (Fisahara) against the recording of the film in this area of the African continent. The manifesto asks the producers of the film to “break their silence on why they chose the city of Dajla, occupied by Morocco, in the Western Sahara, as a place of filming of the movie scenes.” Without consent. The manifesto explains the reason for the protest: to film “without the consent of the Saharawi people. The only consent he received came from the occupant force: Morocco.” The problem, according to the festival, is that “Nolan (…) may have contributed without knowing it to the repression of the people of the Western Sahara, helping to normalize the brutal occupation of Morocco.” And he continues: “Morocco has turned Dajla into a tourist center, as Netanyahu intends to do with Gaza, a place to practice kitesurf, cultural events (…), conferences, renewable energy projects used to make the occupation green, etc.” The background of the conflict. The Western Sahara conflict It originates in 1975when Spain left its colonies, delivering the territory to Morocco and Mauritania instead of celebrating the self -determination referendum promised to the Saharawi people. Morocco launched the “Green march“That same 1975, an invasion of 350,000 civilians accompanied by military forces that occupied the Western Sahara, causing the Saharawi population to run massively into the desert and subsequently to the refugee fields of Tinduf, in Algeria. During this escape, Moroccan aviation systematically bombarded civilians refugees with napalm and white phosphorus in Camps like Um-Draigawhere they died between 2,000 and 3,000 Saharawis. 170,000 Saharawis They have lived as refugees for almost 50 yearswhile the Polisario Front continues to claim the independence of the territory and the right to self -determination recognized by the United Nations, in a conflict that resumed militarily in 2020 after 29 years of high fire. A laundering operation. The Moroccan government has been immersed in an intense international image washing strategy in relation to the Western Sahara, focused on the normalization of the occupation, the Economic and tourist promotion of the territoryand diplomatic and media manipulation. That is precisely what is attributed to Nolan from the statement that may be helping to be done, consciously or not. Much discussed lately it has been the Mass Influencers Invitationjournalists trips and content creators of European countries to promote the occupied city of Dajla. Nolan’s key role. Reda Benjelloun, from the Moroccan Cinematographic Center, told the local environment Stockings24 That the production of ‘the Odyssey’ has a vital importance for the city, since it is the first major Hollywood production that does so. In a radically opposite position is the Ministry of Culture of the Polisario Front, the Saharawi nationalist group that seeks self -determination, and which issued a release in which he affirmed that “this act constitutes a dangerous form of cultural normalization with the occupation, and an unusual exploitation of art and cinema to bleach the image of a colonial situation that is still imposed by force” In Xataka | Morocco has given Israel 34,000 km² of the Atlantic for gas exploitation. The problem: they are waters in conflict with Spain

This Sony sound bar is ideal for riding your own home cinema

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When watching television, a sound bar can significantly improve the experience. If you have been looking for a time for your living room and wanted a compact model, this Sony HT-S2000 It is a good purchase option and more that is now on offer. In Amazon, you can take it almost with a 40% discount, for 306.31 euros. Sony HT-S2000 TV sound bar * Some price may have changed from the last review A super compact sound bar and now very lowered Signed by Sony, this sound bar is 3.1 channels and its compact size makes it ideal even for small rooms. It stands out for bringing the subwoofer integrated, with which to enjoy deep serious and is compatible with technologies Dolby Atmos and DTS: x. Offers one 350 W power and 3D dimensional sound. In addition, it has a technology that limits distortion, so that you enjoy a quality sound. If you have one TV Sony Bravia, in addition, you can control it from the Smart TV menu itself. Finally, it can be noted that configuring it is very simple. You can connect it by Bluetooth And also through cable HDMI and following the steps that appear in the Home Entertainment Connect app. Other devices that can help you to ride your own home cinema 30000 lumens projector (official Netflix & Dolby Audio) * Some price may have changed from the last review Amazon Fire TV Cube (last generation) * Some price may have changed from the last review Some of the links of this article are affiliated and can report a benefit to Xataka. In case of non -availability, offers may vary. Images | Sony In Xataka | Best Bluetooth speakers. Which to buy and 10 recommended models In Xataka | Best televisions in quality price. Which to buy and seven recommended 4K 4K

‘The fantastic 4 is the most disappointing superheroes saga in the history of cinema. And the first criticisms are not optimistic

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‘The fantastic four: first steps’ is more than An essential film for Marvel: After some box office failures and a doubtful future, the company is at a point where the success or failure of this new installment of its superhero adventures can mark many future decisions. The previous trajectory of Marvel’s first family in cinemas does not give much hope, so this summer will be for Disney as essential as It is being for Warner. A delicate moment. Why do we say that Marvel is at a key point? They have had a 2024 of Impasse: They just released a movie, ‘Deadpool and Wolverine’that although it was a Great box office successdoes not easily fit into the continuity of the house, that is, it does not “guarantee” future successes, as the “you will continue” of the first phases did. In 2025, Marvel has stumbled upon two films that have worked halfway at the box office, ‘Captain America: Brave New World‘ and ‘Thunderbolts‘And, in part, they frustrate the future of the house (its most emblematic hero, new avengers …) At this point, the success of’ The Fantastic 4 is vital for the company. What comes next. The fantastic four supposes many things, and we do not speak only of a welcome and healthy turn in the aesthetics and the tone that the MCUy asked from the moment it premiered ‘Endey me‘. It also opens doors to the future, to the next Avengers and, of course, to the hopeful ‘Doomsday‘with which The Russo return to Disney. It has already been leaked that ‘the fantastic 4’ includes direct references to that future in which Marvel is putting all his wait, so he will also serve to test the real interest of the public, beyond Soponcios in the Comic-Con. What came before. The fact is that the previous history of the fantastic 4 in cinema feeds, in part, the expectation. As much as they are the groups of key heroes of the House of Ideas (well above the Avengers), they have not had luck in the past, for both reasons. Roger Corman produced An absolutely disastrous version that it was not released in cinemas and whose intrahistory is much more interesting than the film itself. At the beginning of the century two films arrived (one of them also adapting the arrival of Galactus to Earth) that were not bad but were something generic and forgettable, and whose only legacy seems to have been the chance of Qiue Chris Evans, future captain America, gave life to human torch. Finally, in 2015 we had another version, also with very interesting details, also with fateful results and that has again A more stimulating intrahistory than the film itself. And what is looking like. The film reaches the screens today, but we can access the first impressions of the press: it has a very positive 89% in Rotten Tomatoes and a somewhat more discreet 65 in Metacritic. They are, to begin with, scores much higher than those of the previous films of the characters, which suspended in all cases on both platforms (some of them as abysmal as the 2015 version, which has 9% in Rotten Tomatoes, being the Marvel film with the lowest score in history). Thus, In Variety They say that the film says it is “just what is needed to recover the public that suffers superhero exhaustion.” In Screen Rant They claim that Marvel Vuyelve “to the basics: a solid superhero film, with a lot of heart, but with little spectacular.” And Empirethat “with an exemplary cast and a brilliant new alternative universe to enjoy, this is the best movie of the fantastic four so far. And if that standard seems too low, then it is also the best Marvel movie in years.” With nuances. There are, however, some clouds on the horizon. ‘Thunderbolts’, despite its disappointing box office, has a comparable score in Rotten Tomatoes (89%), and surpasses it in Metacritic with a 68. In fact, ‘the fantastic 4’ does not even enter into The best valued Marvel Top 10 In Rotten Tomatoes, which only includes films above 90%. Data that, without a doubt, have nothing to do with their performance at the box office, but they give away what can be the Marvel Achilles heel: we may not be facing an infallible film. For example, Our Espinof companions They claimed that “throughout the second act the film becomes a Space Opera Moral that slows down the thrilling rhythm of the beginning “and put the character of Estela Silver, which” has a tiny character arc and a sudden evolution that cuts the film dry. “Despite everything, the general impression on the film was positive and” reminds us why we fell in love with Marvel. “The only way to dissipate these doubts will be attending the rooms. Header | Disney In Xataka | Marvel chronological order. The definitive guide to see all the UCM films and series

Three essential pieces of current cinema depend on its success

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There are hardly a few days left for the premiere of ‘Superman‘, a movie whose premiere we have been waiting since James Gunn announced the plans for his renewed DC universewith which Warner would borrón and new account with respect to everything that his superhero cosmos had meant so far. That is, ‘Superman’ plays much more than it seems. Its success or failure can bring consequences that do not dissipate for many years. Good prospects. To begin with, it should be clarified that a flattering future is opened to Gunn’s movie. It is true that your Budget has been very considerable (It is estimated that between 225 and 363 million dollars). To be profitablesome sources point out that they would need to exceed 500 million global dollars to be considered a success, and others raise that figure to more than 700 million to justify the relaunch of the DCU. Gunn has rushed to Define the size of those figures. In any case, the forecasts are good but not extraordinary: in principle, and depending on the source, there was talk of collections between 125 and 200 million dollars, but the presale has reduced expectations a bitthat now are between 90 and 145 million. The first receptions of criticism, yes, They have been excellent. Essential for three key pieces of current cinema. In short, the success of ‘Superman’ can affect three important cinema pieces mainstream Hollywood. On the one hand its success is key to Warner’s maltrecha. On the other, it is the starting point of a new superhero universe, with all that implies. And finally, ‘Superman’ is framed in the genre of superheroes, which has been going through ups and downs. The success or failure of ‘Superman’ will mark the future of all these variables. Warner needs it. Warner has been submerged in a Very delicate financial situation. His caresses with HBO have long since They bring tailbut they don’t raise their heads Nor in the film division: In the first quarter of 2025, Warner Bros. registered net losses of 453 million dollars. And eye, it is still a 53% reduction compared to the same period of the previous year, since in 2024 the losses were fired up to 11.3 billion dollars, compared to the 3.100 million of 2023. Because despite adding 110.5 million users in Max, the streaming business fails to compensate for losses from other areas. Superman, that symbol. More specifically within Warner, ‘Superman’ has special relevance within the superhero universe of DC. It is not surprising that the first film of this relaunch of the seal is ‘Superman’ (not Batman or Wonder Woman): the Kryptonian is a clear symbol of Warner’s vision of the genre (different from Marvel’s, more realistic, those of DC are full heroes, of a piece, more fantastic). A box office failure would be not only a puncture for this film, for this hero, but for a whole philosophy: Superman, as a symbol of the DC universe in its entirety, needs to succeed to boost the seal. What comes behind. If Superman is successful there are already future prepared premieres, such as ‘Supergirl’ (June 2026). Very sensitively, the DC calendar is being deployed much more slowly and carefully, Warner clearly wants to be cautious and distance from what has ended up condemning Marvel: excess premieres. This long parenthesis until the next premiere of DC makes it clear to which Superman is not a link in a chain, but a founding stone that Warner needs to work and make badly forget badly too recently as disastrous’The Flash‘ either ‘Black Adam‘. The emporium of the superheroes. For a long time, the one who was the Dominant genre in Hollywood It crosses a serious phase of ups and downs. It is true that there is still a box office, but we are no longer facing the great guaranteed successes of Marvel’s early days, and that Disney itself was responsible for burning. We have gone through one year of Impasse (where there was only one premiere, ‘Deadpool and Wolverine’, which was a capital success, yes, but Out of the continuous MCU), And Marvel has returned this year with ‘Captain America: Brave New World‘ and ‘Thunderbolts‘, which add the whopping of 800 million dollars of collection … but they are insufficient to be profitable. And now we are faced with great expectation: ‘Superman’ starts a new stage for Warner, and ‘The fantastic 4: first steps‘It also opens this year, with very good expectations and a possible face washing for Marvel. And in 2026 two possible box office pumps such as the new sequel to Tom Holland’s’ spider-man and the Return of the Avengers with ‘Doomsday’. Despite these expectations, superheroes are no longer the dominant force in the box office, as demonstrated by films like ‘NE ZHA 2‘,’Lilo and Stitch‘ and ‘A Minecraft movie‘, away from superhero cinema but that have been the greatest successes of 2025. Little heroic superheroes. That is the superhero cinema situation, after two years of very specific successes. Hence the importance of ‘Superman’ and ‘The Fantastic Four’, not only for their respective franchises (as seen in the case of Superman), but for the Hollywood industry itself and the public, which begins to be tired of cyclic stories and people with super powers. Superman, essential piece. In the same way that happens in his fictional universe with the character, the ‘Superman’ film is perhaps the most important film of the year from the point of view of the industry. The relevance as creative of James Gunnwho is trusting to give a face washing not only to the DC universe, but to the whole superhero genre, turns this film into a very special bet. The great investment that Warner has made, one of the largest in recent years for the company, also puts in check the accounts of the producer. A series of bets to which the entire industry now looks closely. In Xataka | We have analyzed the scores of Marvel and DC movies to solve … Read more

One of the most mythical cars in the history of cinema can be “copied” by anyone. And that has consequences for the industry

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You can have Eleanor in the garage. That is what an American court has decided for whom the most famous Ford Mustang of ‘cars thieves’ or his Ramake ’60 seconds’ is mere telzzo and not a character in itself. And this has its particular implications when selling replicas. He is not a character. Specifically, according to a United States Court, it is “ATZZO”. We read the information in Motorpasion where they echo the ratification of a sentence that has been chasing Shelby for a long time. According to his decision, the coach may continue selling Eleanor replicas. That is, if you want, Shelby can sell a preparation of the Ford Mustang as they appeared in the film since those responsible for the Court of Appeals of the Ninth US Circuit have indicated that we are facing a mere vehicle and not a character in itself so you cannot apply copyright. Where do we come from? The decision of this Court certifies the previously issued other courts of lower rank. Denice Halicki, widow of HB Halicki, director, screenwriter and producer of ‘Gone in 60 Seconds’, known in the 70s in Spain as ‘cars thieves’ had denounced Shelby for selling vehicle replicas. Then there was a judicial career that It began in 2022 and that has ended in 2025 with the ratification of the latter court. And although Shelby can continue to manufacture their replicas, there are a little smaller particular cases that have also received good news, Like this youtuber who had been tried for the feet of his particular modification. Identifying features. That is what Denice Halicki has defended all this time. According to the woman of the screenwriter, director and producer of the original film, that Eleanor reappeared with a leading role in the remake known as ’60 seconds’ gave an idea of ​​its relevance and, in his opinion, that it was one more character in the film. For the judge, however, “Eleanor has no right to the protection of the copyright of the characters because (1) had no conceptual qualities, (2) had no consistent features and (3) was not especially distinctive”, in words collected by Carscoop. In fact, they point out that “along four films and eleven appearances in those films, Eleanor lacks consistent features. For example, Eleanor’s physical appearance frequently changes throughout the various films, appearing as a yellow and black fastback Mustback, a Mustang Shelby GT-500 gray and black and an oxidized and without paint that needs repair.” Eleanor is not a batmobo. In the films that have appeared, Eleanor has always been shown as a special car. Without going any further, in ’60 seconds’ Nicolas Cage points to that of all cars that have to steal during the movie, Eleanor is special because he has always escaped him. Knowing if you will get it is, without a doubt, the great attraction of all the films in which you have appeared. But, for the judges, it is not a Batmobile. They point out that in this case we do talk about a character in itself because the Batmóvil can act for itself (without Bruce Wayne at his side) and has a specific and very identity aesthetic (which resembles a bat). Towle test. What the judges applied to know if Eleanor was or not protected by copyright is what is known as “Towle test”. That is, the car would be subject to copyright if it meets the following premises: The character must have physical and conceptual qualities. The character must be sufficiently delineated to be recognizable as the same character every time it appears. It must show consistent and identifiable features and attributes, although the character does not need to have a consistent appearance. The character must be especially different and contain some unique elements of expression. It cannot be an archetypal character. This test refers to what was applied in the same court in 2015 to decide if the Batmóvil was a character in itself, after DC Comics denounced Mark Towel, a man who had manufactured the car replicas. In this case, he failed in favor of the plaintiff and, therefore, the foundations settled to know whether or not a character was a character in himself. A break. As we say, this victory is a break for Shelby and for people who, on their own like the youtuber of B is for buildThey have wanted to work in their own replicas of the famous Mustang Shelby GT-500. These types of replicas are common among the greatest fans of certain films and vehicles that modify their cars to have their own Kitt, Herbie or the Delorean ‘return to the future’. Even Ford has sold its own ‘Bullit’ version of Ford Mustangremembering the beautiful sports that Steve McQueen was driving in the film of the same name. Photo | In Xataka | 17 iconic cinema and TV vehicles in 45 photos: This will be the exhibition of the largest science fiction cars in history

7 out of 10 spectators were last weekend to see ‘Lilo and Stitch to the cinema. It is not as good news as it seems

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There is no possible discussion: the absolute queen of the box office this past weekend was ‘Lilo and Stitch’, the remake in real image of the animated Disney classic of 2002. In just a couple of days he raised more than Disney had invested in it, and in countries like Spain he has been completely imposed at the box office. Raising, incidentally, doubts about the convenience that there are premieres that dominate the rest with so many clarity. The numbers sing. This first weekend, ‘Lilo and Stitch’ has collected worldwide 341 million dollars. In an unusual but very significant note, practically half of that amount, 157.8 million, has been in international markets. In this way it becomes the second best premiere of the year, just behind ‘A Minecraft movie‘. With a budget of only 100 million dollars to which you have to add up to others in marketing (absolutely key in this case), the business has been round for Disney. In Spain, even more. In our box office, According to Comscorethe thing has been even more triumphant: more than 750,000 spectators have seen it, entering about 5.7 million euros in 1107 screens, that is, the best premiere of the year. Thanks to Disney, the box office receives a welcome oxygen ball, becoming the best weekend of 2025. For comparing, the general box office has been 205% higher than the previous weekend. Without rival. In total, this weekend 8.3 million euros and almost 1.1 million viewers have been raised in all movie theaters. From there, the accounts are simple: 70% of the weekend market share corresponds to titles distributed by Disney in Spain (remember that films such as ‘Thunderbolts’ are still running). That is, the collection of ‘Lilo and Stitch’ is 67% of the Spanish total box office. Or in other words: 750,000 spectators against 1.1 million. 7 out of 10 spectators have seen the Disney movie. La Puntilla: ‘Mission Impossible’. The eighth delivery of the adventures of Ethan Hunt de Tom Cruise has finished rounding a weekend absolutely marked by the blockbusters: the film has entered 190 million worldwide, of which 1.55 million euros have been in Spain. Here is the fifth best premiere of 2025 and they are not absolutely spectacular figures, but we take this into account: of those 3 out of 10 spectators who did not enter ‘Lilo and Stitch’, As the box office expert Pau Brunet saysmore than half saw Tom Cruise’s movie. Short -travel nostalgia. ‘Lilo and Stitch’, regardless of their box office or its limited creative interest, is an interesting exhibition of the state of things: the nostalgia of generation X and millennials, exploited, of millennials, exploited, It is the turn of generation Z. This film is the first to go to the memories of such a young generation: the original film represents the sunset of Disney’s Golden Age, with the advent of Pixar and primed by the last VHS copes, where the sequelae of the film were released. A twilight environment for animation cinema that is now remembered with love. The teddy business. That is why that investment of 100 million euros in marketing makes sense. Stitch’s stuffed animals and dolls have been the great surprise triumph of merchandising of Disney products in recent years: since 2019, annual sales of character -related products have gone from 200 million dollars to exceed 2.6 billion dollars in the last yearaccording to ‘The Wall Street Journal’. And that is just the most visible part of the business: Stitch has become one of the undisputed stars in Disney attractions parks, and the products with the alien face They multiply without rest. The danger of success. Although all this are excellent news for Disney, to the box office (especially Spanish) leaves it in a complicated situation: hypertaquillea films such as ‘Lilo and Stitch’ or ‘Impossible mission 8’ are magnets that attract viewers … to the detriment of the rest of the movies. Although the box office has shot thanks to Disney, 16 titles are distributed Collection crumbs: 474,000 euros. Insufficient to lift a box office that needs the crutch of a couple of Blockbusters To take oxygen, which undoubtedly does not give too many hope about the good health of movie theaters. Header | Disney In Xataka | Ozores was a day the most important person in Spain. To the point of delaying the premiere of ‘The Empire Contraataca’

The Oscar idyll with independent cinema is not a mirage, and ‘anora’ razing this year is the best test

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The whims and trends of Hollywood go through Rachas and now (and for a few years) it is the turn of independent cinema: ‘Anora’ has made a full of five Oscars and confirms a trend that had been seen for years: the blockbusters are no longer the beautiful girl of the industry, which prefers to reward the small, emotional and remote tapes of the Blackbides of the blockbusters. Five Oscar, five. Be Baker He has taken with ‘Anora’ five Oscarfour of them for Baker on a personal capacity: Best film, best address (Baker), Best Screenplay (Baker), Best Assembly (Baker) and best cast actress (Mikey Madison). It is especially striking that Baker has collected four of these five awards (including best movie, since he produces it), marking a total record in the history of the Oscars: never before one person had won so many awards in the same gala. It is an unusual recognition. Triumph for independent. With this success of ‘Anora’, this edition of the Oscar completely reveals a type of cinema that is made with six million dollars (and raises more than 40), which makes Sean Baker the movie one of the cheapest to win the Grand Prix of the Night. And there is a second winner: the indie neon -only distributor that two years ago It was A24 With ‘everything at once everywhere, which already has experience in these lides, since it was the one that took the Korean’ parasites’ to the United States, facilitating its victory in 2019. The indie sweeps. As We have commented previouslythe Oscars have been rewarding independent or, at least, at least, regardless of the great proposals of the Majors: ‘All at once everywhere‘In 2022,’Coda‘In 2021,’Nomadland‘(2020) or’Parasites‘(2019) have been the most recent. The only exception on this streak took place last year, with ‘Oppenheimer‘, But in this edition we return to the fold, in what is confirmed that it is more than a coincidence: next year we will have to be very attentive to the proposals in the margins, because in view it is that they start more likely to success. A convulsed year. The sweep of ‘Anora’ has left almost without prizes to the rest of the favorites, who have had to settle for secondary and very distributed awards. ‘Emilia Pérez’ has been punished for Karla Sofía Gascón’s tweetsand he has only taken cast actress for Zoe Saldaña; ‘The Brutalist’, maybe also affected by the use of AI In the movie, he stays with photography, music and actor for Adrien Brody; ‘The substance‘, another that could have put up the gala, does not wear an actress or director, and is made up of makeup and hairdressing. Of secondary actor, in short, the favorite Kieran Culkin wins. Below the blockbusters. That ‘Dune 2‘ and ‘WICKED‘They have gone home only with technical awards (sound and visual effects one; costume and production design another) makes the Oscar turn very clear. Above all, taking into account how good it went to ‘Oppenheimer’ last year; And no, it is not useful that in reality, that is an author film: the same can be said of ‘Dune 2’, which also belongs to a genre very dear to Nolan. Small movies is what he likes now, and Majors Like Disney, Warner or Universal will do well in taking note of it. All Oscar 2025 winners Best movie Anora (winner) The Brutalist A Complete Unknown Conclave Dune: Part 2 Emilia Pérez I’m still here Nickel Boys The substance WICKED Best leading actor WELL PROTECTIVE ACTRESS Best address Sean Baker (Anora) (Winner) Brady Corbet (The Brutalist) James Mangold (A Complete Unknown) Jacques Audiard (Emilia Pérez) Coralie Fargeat (the substance) Best cast actor Yura Borisov (Anora) Kiera Culkin (To Real Pain) (Winner) Edward Norton (A Complete Unknown) Guy Pearce (The Brutalist) Jeremy Strong (The Amprentice) Best cast actress Monica Barbaro (A Complete Unknown) Ariana Grande (Wicked) Felicity Jones (The Brutalist) Isabella Rossellini (conclave) Zoe Saldaña (Emilia Pérez) (winner) Best animated film Best animated short film Beautiful Men In the Shadow of the Cypress (winner) Magic Candies Wander to Wonder Yuck! Best photography The Brutalist (winner) Dune: Part 2 Emilia Pérez Maria Callas Nosferatu Best costume design A Complete Unknown Conclave Gladiator II Nosferatu WICKED (Winner) Best documentary feature film Black Box Diaries NO OTHER LAND (Winner) Porcelain Ware Soundtrack Oh a Coup d’Etat Sugarcane Best documentary short film Death by Numbers I am ready queen Incident Instruments of a Beating Heart The Only Girl in the Orchestra (Winner) Better assembly Anora (winner) The Brutalist Conclave Emilia Pérez WICKED Best International Film Best makeup and hairdresser To Different Man Emilia Pérez Nosferatu The substance (winner) WICKED Best music The Brutalist (winner) Conclave Emilia Pérez WICKED Wild robot Best original song The evil (Emilia Pérez) (winner) The Journey (Six Triple Eight) Like a Bird (the lives of Sing Sing Sing) My path (Emilia Pérez) Never Too Late (Elton John: Never Too Late) Best Production Design The Brutalist Conclave Dune: Part 2 Nosferatu WICKED (Winner) Best Short Film in Real Action To Lien Anuja I’M not a robot (winner) The Last Ranger The Man Who Could Not Remain Silent Best sound A Complete Unknown Dune Part 2 (winner) Emilia Pérez WICKED Wild robot Better visual effects Best adapted script A Complete Unknown Conclave (winner) Emilia Pérez Nickel Boys The lives of sing sing Best original script Anora (winner) The Brutalist To Real Pain SEPTEMBER 5 The substance Header | Gtres In Xataka | There is a “ghost” category of the Oscar that is not spoken: it is so demanding that there have never been films that opt ​​for it

It is considered one of the best video game adaptations to the cinema ever made and has just arrived at Netflix

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Almost twenty years have passed since its premiere, but it is undeniable that the overcrowding visual force of ‘Silent Hill‘, that He has just arrived in Netflixremains intact. In the last two decades, the special effects have evolved in very different directions, but the incredible makeup of this Christophe Gans movie and its clear and open intention to make a faithful and respectful version of Konami’s original video game has gained Many of his fans. And that, as they say, ‘Silent Hill’ is maladaptable: the unforgettable experience of the first video games exists because it lives in the first person, and that makes that The cryptic argument and the atmosphere built with fog and sirens sounding in the distance Be sufficient to raise panic. But Gans has the need to convert that sensory experience into a film with conventional argument, and that sometimes makes decisions that move away ‘Silent Hill’ from an absolutely literal adaptation. In spite of everything, it works at a wonders. In this adaptation, a woman lives desperate to find a cure for her daughter’s mysterious disease, and decides to locate Silent Hill, a town that the girl speaks constantly in dreams. But upon arrival, a mysterious figure causes an accident after which, his daughter disappears. Accompanied by a police officer, the two women begin to look for it, and will soon discover that the desert people after a devastating fire hides much more than it seems. ‘Silent Hill’ belongs to a time when cinema began to produce, finally, visually faithful adaptations to the video games that inspired them. Far away were the times of the hilarious ones (but far from the originals) ‘Super Mario Bros.’ or ‘Street Fighter’, and Hollywood began to pay attention to the digital medium with films such as this or the success ‘Tomb Raider’. We would still have to suffer horrendous productions such as the bulk of UWE Boll’s films, also of this era, but ‘Silent Hill’ stands out among the rest for understanding and adapting, even with its problems, Konami’s original game with a remarkable dignity. In Xataka | ‘PT’: The best horror video game in history is a demo and hard just a few hours

How fantastic cinema has invaded the main nominations of the 2025 Oscar

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For a few years, fantastic cinema is living a kind of face washing thanks to prestigious successes and labels such as “high terror“. The cotton test is always in the Oscars: as a maximum representation of Hollywood’s respectability and the show industry, when gender movies appear in the main categories, we live a new era of acceptance of the fantastic. Like this year. The circle of life. It is not a new phenomenon, but it has not always existed either. For decades all genres outside the drama, comedy and its variants (musical, western) were none by the Oscars. Until the international success of ‘arrivedStar Wars‘At the end of the seventies, and the technical categories of effects began to acquire relevance. The next spicy of the horror genre in the Oscars arrived in the nineties, with films without traces of series B in its DNA as ‘the silence of the lambs’ or ‘misery’. Since then, and by streaks, there have always been periodic claims of the fantastic in the Oscars (‘Let me out’, ‘The form of water’, ‘The Lord of the Rings‘), And this year he plays again. A significant precedent. Although last year there was almost almost the presence of fantastic cinema among the Nominated for Best Film (‘Barbie‘, of course, but above all’Poor creatures‘-Two films that never had the slightest opportunity-), the most interesting nominations in this regard took place in 2023. Not only was it nominated’Avatar: The sense of water‘, but ‘All at once everywhere‘He won seven awards, including the best film. A pure fantastic movie that also put on the table a producer who had been talking for years, A24. The legacy of A24. The great winner of the 2023 Oscar were neither her directors, the Daniels, nor her squad of actors (all awarded), but As we said at the timeproducer A24. Although it is not a specialized producer, it is responsible, distributing and producing the cinema of directors such as Robert Eggers (‘La Bruja’, ‘El Faro’) or Ari Aster (‘Hereditary’, ‘Midsommar’) that the fantastic cinema live A new era of respectability. Which includes, as a consequence, a renewed presence in the Oscars. 2025, Fantastic Oscars. This year we have several gender films among the nominees. On the one hand, the inevitable blockbuster, the equivalent of the ‘avatar’ of 2023: ‘Dune: Part two‘. On the other, ‘WICKED‘, which is a musical and therefore is more in the Hollywood tradition than in the rupture of norms, but let’s not forget that it is a prequel to’ The Wizard of Oz ‘, a classic absolute of the genre. Yeah ‘Emilia Pérez“It is fantastic or not would be something to sit down to discuss it (or better not), but it is clear that the radical point puts it. ‘The substance‘, a film that drinks from the troma and series B, of the Body Horror and the Gore, of Cronenberg and the latex feasts of the eighties. A true surprise whose only presence in nominations is already an indisputable award. And this year there are possibilities? First of all, it should be said that it was not planned that ‘everything at once everywhere’ razed in 2023, so there are always possibilities. But in principle, no: this year the thing is between ‘The Brutalist‘,’ Conclave ‘and’ Wicked ‘, and even’ Anora ‘and’ Emilia Pérez ‘, but neither’ Dune: part two ‘(which possibly takes a good amount of technical awards) nor, of course,’ the substance ” (Too Molona for Hollywood, it could be said, although Demi Moore should not lose hope) they are among the favorites. In any case, having reached nominations is a triumph: it is still clear that the fantastic is renewing Hollywood. In Xataka | Karla Sofía Gascón has achieved more than endangering her own Oscar: jumping all Netflix alarms

In 2024 Nicolas Cage, in 2025 Stephen King. The revolutionary horror cinema returns with a new epic of humor and gore

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Osgood Perkins is one of the most stimulating horror film directors of today (in addition, consecrated to gender: fans are lucky that it is not one of those creators who roll two impact films and then retire to more prestigious genres or profitable). And above, it is wonderfully prolific: last year, ‘Longlegs‘It became the cult film par excellence; This year, already in February, his ‘The Monkey’ is on his way to running the same fate. Oz Perkins likes fear. As is well known, Perkins is the son of an authentic horror cinema icon, Anthony Perkins, but with his good work he has been distanced from the titanic shadow of his father: before his international revelation with ‘Longlegs’, Perkins He already signed small but tremendously disturbing films, in which he showed an incredible hand for gender. As in his debut, the very sick ‘The envoy of evil‘, his personal vision of fairy tales with’Gretel and Hansel‘, And the modest but very intense’I am the beautiful creature that lives in this house‘For Netflix. ‘Longlegs’, a murky descent to madness. Descent, but as one descends rolling down the stairs to the darkest corner of a flooded medium basement. ‘Longlegs’ left Patidifuso to everyone in 2024 thanks to one of the most extreme papers of Nicolas Cage (which is already), but also because of the unexpected of their script turns and for the few concessions that this story gave this story this story of an FBI agent with some extrasensory capacity, and that is embarked in the search for a murderer who soon acquires absolutely inexplicable dyes. And now, Stephen King. Here is all of icons of the disheveled gesture and the insomnia nights. Stephen King, Nicolas Cage and now, Stephen King. Because his is the story that inspires Perkins’s new movie, ‘The Monkey’, which arrives at theaters this week. The original story is the variant of a code that King has used on countless occasions (‘the store’, ‘animal cemetery’), that of the monkey leg: do not want something very strong, because the desire can meet with the same force and with devastating consequences. But Perkins has brought the original story completely to its land. The desire monkey. The film starts when two twin brothers find among their father’s objects, whom they did not get to know, an old toy monkey with a drum. Soon a series of truculent deaths begin to happen in their surroundings, and that blame the monkey. The brothers decide to get rid of him and continue with their lives, although they end up distancing over the years. But suddenly the strange deaths take place again and the brothers must meet to end the power of the monkey. Laugh until he died. We said that Perkins had taken his own way when adapting the original story, and that path is that of humor. The deaths, absolutely free, unexpected and very bloody, are the most grotesque that have been seen on the screen from the saga ‘final destination’, with which ‘The Monkey’ has more than one point in common. Blood acrobatics, creative gore and a feverish rhythm of demential deaths mark the rhythm of a hilarious film and that definitely consecrates Osgood Perkins as one of the greats of modern terror. In Xataka | About the new ‘Wolf Man’ weighs more than a curse: the shadow of the failed mcu of monsters that wanted to build universal

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