cinemas

Which cinemas meet the requirements designed by Christopher Nolan

by

Let’s tell you what is the best way to see The OdysseyChristopher Nolan’s new film. It is his particular adaptation of Homer’s poem, which with the director’s filmography and its spectacular cast has already become one of the film events of the year before its premiere. Nolan is known for having very particular tastes when it comes to recording his films, and ‘The Odyssey‘has not been an exception. Therefore, if you want to experience his film as he intended it, you’re going to need to seek out cinemas with particular characteristics. And this is what we are going to talk to you about. See The Odyssey as it was intended by Nolan In order to see The Odyssey as it was designed by its director, we will need a cinema with specific technologies and characteristics. Cinema should be IMAX and in 70mmsince that is how the film was shot. But now comes the bad news, because No cinema in Spain meets these two characteristics at the same time.. We have cinemas that allow you to watch movies in IMAX and others that support 70mm, but no theater in our country combines both. Best cinemas to see The Odyssey in Spain Taking into account what we just told you, you have two options: go to IMAX theaters or theaters that support 70mm with a 2.20:1 aspect ratio. These are the theaters that support each of these features. IMAX cinemas in Spain: Palafox Cinemas, in Zaragoza Kinépolis Valencia, in Paterna, Valencia Kinépolis City of the Image, in Madrid Cinesa Parquesur, in Leganés, Madrid Cinesa Heron City, in Las Rozas, Madrid Cinesa Diagonal Mar, in Barcelona Cinesa Festival Park, in Mallorca 70mm cinemas in Spain: Aragonia Cinemas, in Zaragoza Palafox Cinemas, in Zaragoza mk2 Cine Paz, in Madrid Phenomena Experience, in Barcelona If you have any of these cinemas nearby, you will be able to see The Odyssey in the best possible way in Spainalthough without getting to experience the film as it has been conceived by its director. In Xataka | There are people very angry about the inaccuracies in Nolan’s ‘The Odyssey’. But not because of the uniforms: because of the diversity

The IMAX format of Nolan’s ‘The Odyssey’ is an ambitious experiment. So much so that in most cinemas the film will be seen mutilated

by

The official website of ‘The Odyssey’ by Christopher Nolan has a very unusual function: in the Explore Formats sectiona selector allows you to see the same trailer in six different formats, from the almost perfect square of IMAX 70mm to the wide panoramic view of conventional 35mm. It is a promotional decision that reinforces the idea that Nolan is extraordinarily concerned with image and the format of your film. But… what if what this gadget transmits is just the opposite? The formats. What changes between one format and another is the proportion of the image, the shape of the plane. In IMAX 70mm, the format in which the film was originally shot, a person is in the center of the screen, with “air”, or a part of the image without vital information, above and below; In the 35mm format that most audiences will see in conventional cinemas, that same shot appears cropped from above and below, eliminating that superfluous information. You just have to compare the trailer on the film’s website with the tools that are provided to us: the story is the same but the image is, literally, from two different films. Aspect Rancio Facts. It is worth clarifying a little what this is aspect ratio, the relationship between width and height of the image. Basically, it determines what the viewer sees and what the director leaves out of the frame. It is, basically, the minimum compositional decision in cinema. And the framing differences can be very noticeable: in the 2.39:1 widescreen version, a considerable part of the image is cropped compared to the IMAX 70mm in 1.43:1. Only a few theaters in the world can show the film in IMAX 70mm, so many IMAX theaters present the films in 1.90:1, which is the second largest format, much closer to the traditional scope. The third in size is the standard 70mm at 2.20:1, which is not very different in height from the traditional 2.39:1 35mm widescreen. In other words: the IMAX 70mm in 1.43:1 shows up to 40% more image than standard screens. Translated to the plane: what is cut out in the conventional distribution are not the sides (the width is preserved) but the top and bottom of the frame. The 70mm horizontal runs across the projector rather than vertically, creating that monstrous frame size. But it’s not just a question of seeing more or less, but of what is seen and what is not. Or to put it another way: if Nolan assumes that we are not going to see 40% in widescreen… has he included a 40% superfluous image in IMAX? And this affects planning, of course: in a very close-up of a face in IMAX, will we see only the actor’s face in conventional cinemas, without a stage around it? Cinephile elitism. On July 17, 2026, when ‘The Odyssey’ hits theaters, the viewer’s experience will depend, to a large extent, on where they live. Only 30 theaters in the world are equipped to offer the IMAX 70mm format, and none of them in Spain. There are rooms here that project in 70mm and there are also IMAX rooms, but none have both at the same time. The only cinema in the country that will offer the two options, although separately, are the Palafox Cinemas in Zaragoza: their room 4 will project in 70mm five-perforations, while on July 17, coinciding with the premiere, they will inaugurate a new IMAX room. Only theaters with IMAX 70mm can reproduce the film exactly as it was photographed. The other versions preserve much of the visual presentation, but crop or reduce parts of the original image, as we have seen. That has sparked a debate that has been going on for weeks. circulating on social networks: There is talk of elitism and that Nolan is turning his back on his audience, and the reason is that the planning, as we have seen, changes drastically from one format to another… and the frames have been planned for a very minority format. The framing is what you are looking for. Because there is a question that Nolan has not answered: did they compose each shot also thinking about the 2.39:1 crop? When Nolan was mixing formats in ‘Dunkirk’ or ‘Interstellar’ (using IMAX only for certain sequences and the rest in scope), the composition of each scene was planned for its specific format. The visual leap between square and panoramic formats was part of the film’s language: the horizon literally widened in moments of maximum tension. The decision to shoot 100% of ‘The Odyssey’ in IMAX, instead of the usual 60-70% in his previous films, means that the dialogue shots between two actors are also in 1.43:1. In 2.39:1, those same shots will lose vertical information from the original frame. The premiere on July 17 will reveal, with the support of the public, whether it has paid off for Nolan to shoot, literally, for thirty theaters around the world. In Xataka | There are people very angry about the inaccuracies in Nolan’s ‘The Odyssey’. But not because of the uniforms: because of the diversity

In two days on Netflix, the film that last year caused people to riot in cinemas around the world

by

When in a movie theater a baby zombie rides a chicken and the entire room, all teenagers, bursts into screams, throwing popcorn and TikTok is flooded with videos corroborating the chaos in the roomssomething has happened that has gone under the radar of industry forecasts. ‘A Minecraft movie‘ was not exactly the critics’ favorite of 2025, but it undoubtedly had one of the best box offices of the year. This weekend you can see why it happened in Netflix. In just two weeks, the film surpassed $550 million in worldwide receipts. It ended up close to a billion. A true phenomenon that revitalized the industry’s interest in video games, already highlighted by the success of ‘Super Mario Bros. The Movie’ in 2023 with its more than $1.36 billion at the box office. With Sonic, Mario and ‘Mortal Kombat’ having several sequels and a second part of ‘A Minecraft Movie’ scheduled for 2027, it remains to be seen if we are facing a momentary impact or a true trend. The movie does a good job in transforming the almost abstract original game into a story with minimal coherence: Steve (Jack Black) is a doorknob salesman with the dream of working in a mine and discovers a portal that transports him to the Overworld, the cubic world of Minecraft, where he is captured by Malgosha, a pig sorceress who seeks to dominate that world. Some time later he will join four strangers from the real world (including Jason Momoa) to find his way back home. The film’s impact not only translates into box office success, but also into a revitalization of the brand: by April 2025, ‘Minecraft’ had sold more than 350 million copies worldwide, consolidating its position as the most popular video game of all time. Following the film’s release, console and mobile sales of the original game grew by 35% and daily active users on console increased by 41%. A true phenomenon that demonstrates, once again, that while adults point to the moon with a solemn gesture, young people do, essentially, whatever they want. In Xataka | The latest from the director of ‘Longlegs’, streaming tomorrow: almost no one has seen it, but it is the most disturbing of the year

In a few weeks, cinemas will receive the most nostalgic fantasy of the year

by

Today many speak of it as one of the most anticipated releases of the summer, perhaps as a familiar and colorful contrast to denser proposals such as ‘The Odyssey‘. And yet, ‘Masters of the Universe’ has a history of war of rights, box office failures and various confrontations behind it that has turned it into a feat worthy of one of its most tumultuous adventures that, four decades after its creation, this Conan in space reaches the screens. Failure after failure until the final victory. In August 1987. Cannon Films, the Israeli-American production company that had built its reputation on low-budget action films in franchises such as ‘The American Warrior’ or ‘Missing in Action’, bet heavily on ‘Masters of the Universe’ as an entry ticket to the Hollywood of the big studios. With a budget of $22 million (huge by Cannon standards) and ambitious marketing campaigns that presented it as capable of rubbing shoulders with ‘Star Wars’, the result was a resounding commercial failure: only 17.3 million in collection, which contributed to the collapse of the company. Fans of the very popular animated series that served as an advertisement for the new releases of the toy line protested against the most discussed decision in the movie: Instead of showing the fantastical world of Eternia, most of the story took place on Earth, far from the magical creatures and epic battles that had fueled the spectacular illustrations on the action figure boxes. The reason for that decision was strictly economic: Eternia was very difficult to bring to life on the screen with the budget Cannon had at his disposal. 39 years of waiting. What came next was one of the longest sagas of frustrated development in modern cinema. The rights to the franchise passed successively through Warner Bros. (2007), Columbia Pictures (2009), Netflix (2022) and finally Amazon MGM Studios. Multiple names were linked to creative teams and cast, such as Jon M. Chu, McG or John Woo, and Noah Centineo was in talks for the lead role. Already with Amazon, Travis Knight was announced as director and Chris Butler as screenwriter. Was the first time in almost four decades that a ‘Masters of the Universe’ completed its production. FBarbie actor. The film comes in a very specific context for Mattel: the company has been trying to become a generator of successful franchises for Hollywood for two years. ‘Barbie’ raised more than $1.4 billion worldwide and won an Oscar, becoming the benchmark for Mattel’s entire film strategy. Since then, the company has more than fifteen announced projects including adaptations of Hot Wheels or Polly Pocket. The comparison with ‘Barbie’, however, falls apart in some respects. They are essentially different franchises and possibly very different films (‘Masters of the Universe’, quite possibly, has nothing of that intelligent pop feminism capealthough it very possibly has the same ironic approach to characters who, without humor, would not support an updated review). The toys are not the same either: Barbie is a ubiquitous brand in global culture, while He-Man is niche generational nostalgia. A nostalgic artifact. Travis Knight’s debut was ‘Bumblebee’, the excellent spin-off of ‘Transformers’ that bathed in adventurous simplicity what in Michael Bay’s installments had been a crazy epic. From his ‘Masters of the Universe’ has said that “we are not making a cartoon, we are making a live-action fantasy film” The cast is one of the strong points of the project: Nicholas Galitzine is He-Man, Camila Mendes is Teela, Alison Brie is Evil-Lyn, Morena Baccarin is the Sorceress, Idris Elba is Man-At-Arms and Jared Leto is Skeletor. Travis Knight is very aware of the responsibility he has to the franchise’s fans: “When we started envisioning this world, we wanted to do the fans justice,” Knight said, adding that “watching them come to life on the big screen makes you a little emotional.” The challenge. The first box office forecasts They place the domestic opening between 25 and 35 million dollars for the weekend of June 5. With an estimated budget of between 170 and 200 million dollars, they are clearly insufficient. Can the movie get young audiences interested in He-Man, Skeletor, and Eternia in 2026? Without a doubt, a pertinent question, because it can guarantee continuity for other toy franchises or the lock for Castle Greyskull for another four decades. In Xataka | The toys of the future will include AIs to be able to interact with us: Barbie and OpenAI are already taking steps in that direction

After a love-hate relationship with cinemas that has lasted for years, Netflix has finally decided what it wants them for

by

Netflix finally seems to have assumed what its relationship with cinemas is: using theaters as promotion and as a way to create community with specific and very striking releases, which includes the theatrical release of the sumptuous ‘Frankenstein’ from Guillermo del Toro to the latest and highly anticipated episodes of ‘Stranger Things’. But although now there is complete calm, this relationship has gone through notable ups and downs: from the initial devotion and wanting to become a major of Hollywood to confront the old guard head-on, reaching this current middle ground that benefits both cinemas and the platform. Many moves. For more than a decade, Netflix has radically transformed the audiovisual industryfirst revolutionizing the home consumption model and then challenging traditional film distribution and exhibition systems. Currently, Netflix is ​​a giant available in more than 190 countries, with its own production that competes directly with the majors from Hollywood. And until reaching that point, Netflix has gone through very diverse stages: it tried to position itself as a conventional super-producer, there were controversies, triumphs at the Oscars, a certain cold phase of disagreement and, finally, a more pragmatic adoption of the theatrical space. Devotion and confrontation. In its first years of original production, Netflix wanted to play an important role within the conventional film industry. One of its first early milestones was the 2015 release of the film ‘Beasts of No Nation‘, both in selected rooms and on the platform itself. streaming. A bold move, since it involved challenging the traditional model of release windows that until then gave up an exclusive period of time in theaters before reaching other formats: Traditionally, this window could last between 90 and 180 days. The conflict begins. The powerful North American cinema chains and the most prestigious festivals began to openly reject Netflix moviessince they considered that the absence of a long theatrical window affected the overall profitability of the releases, and would end up damaging the theatrical experience. This situation led to public tensions given that Netflix excluded from some major film festivals for several years. Netflix he defended himself saying that their model prioritized the viewer’s experience at home and that they understood the theaters as a complement and not the core of their business. At the same time, it was generating more and more original production, of increasingly higher quality and budget. And COVID arrived. Netflix’s position backed by traveling companions like HBO (paradoxically, property of a majorWarner, which was beginning to see a clearer benefit in the streaming that in the rooms) had as its fruit a crisis of the film distribution model. The situation became particularly acute during the COVID-19 pandemic, which accelerated the decline in viewers, completely settled the streaming experience and gave rise to decisions that were, in a certain sense, the final straw for classic distribution: majors traditional companies such as Disney and Warner releasing blockbusters of the caliber of ‘Mulan’, ‘Black Widow’ or ‘Kong vs. Godzilla’ at the same time on their newborn platforms. streaming and the cinemas. Have a mania Significantly, in May of this same yearTed Sarandos, executive director of the platform, criticized the theatrical experience, which he defined as “outdated” and “restricted.” He stated that the long-running theatrical window, traditionally defended by cinema chains, is not compatible with their business model. And although Netflix recognizes the cultural value of theatrical cinema, for many of its releases, “streaming first” is what drives success and the construction of fandoms. Already then he stated that each film has a “tailored” strategy regarding its relationship with theaters, and that is what we are seeing now. Of course, without passing up the opportunity to say that Netflix is ​​not destroying Hollywood, but “saving” it. Change of strategy. In recent years, Netflix has begun to show an evolution in its strategy regarding movie theaters, adopting a more pragmatic approach. One of the milestones that mark this change, and which was already mentioned in the aforementioned interview with Sarandos, is the decision to make outstanding theatrical premieres for productions with a high potential for cultural and popular impact. Significant example: the premiere of the final season of “Stranger Things” in select theaters, a move that combines the platform’s drawing power with the community and promotional effect of the theatrical experience. Netflix knows well that the theaters are remnants of the past, but they still have an indisputable communal power of attraction: there are films that appeal to specific audiences and very juicy areas of the fandom, as was the case with ‘The K-pop Warriors’. This film was a milestone: the first Netflix title to reach number one at the US box office, which makes clear the company’s ability to use theaters not only as a traditional distribution channel, but as a space to amplify platform phenomena. Hybrid model. Netflix’s current strategy is a hybrid model: it combines the strength of streaming with the cultural and promotional value of the cinema experience. Instead of seeing the rooms as a distribution channel, Netflix uses them as a speaker. Not as competition, but as strategic promotion allies. It is clear that Netflix has discovered what it can get out of traditional exhibition: Now it remains to be seen if the theaters understand what they can get out of a hypothetical (and much-needed) symbiotic relationship. In Xataka | 13 premiere movies and series to watch in November 2025 on Netflix, Prime Video, HBO Max and streaming

Lead the box office in cinemas

by

Taylor Swift has done it again: he is accustomed to Shake the ticket offices with premieres that They go for free and that move on the tightrope between the documentary for fans and the unpublished material, but the fact is that he has crowned the box office in a weekend without memorable premieres. But still Swift’s thing is a phenomenon and predicts a reorientation of the box office to a type of film other than the traditional. The launch of a star. The film is’ The Official Release Party of a Showgirl “, the film that accompanies the new star album, ‘The Life of a Showgirl’, and has raised 33 million in the North American market and another 13 in the rest of the world. The film has been distributed independently as it already did with ‘The Eras Tour’, reaching an agreement with AMC and Variance (a distribution company for service), with which it has reached more of 3,700 rooms. More records. Any vazaña is Swift: never before any artist had placed in his first weekend an album and his accompaniment film in the number one of their respective lists. As Deadline remembersnor did he get it Prince With ‘Purple Rain’ (the soundtrack reached number 3), or Whitney Houston with ‘The bodyguard’ (the film stayed in 2). In addition, ‘The Life of A Showgirl’ has been the second best -selling album in history in its first weekend since digital sales are counted, with 2.7 million physical and digital copies added. No publi. The most curious thing about this success is that the film has barely had a promotion: there have been no trailers or signs in cinemas. Only street advertisements, website and social media machinery of Swift, the envy of many Majors: Direct access to the TLS of more than five hundred million users. One more example of the promotional muscle of the Fandom and the networks when turning a premiere into a success. Towards eventization. This success only confirms, beyond the overwhelming fame that Taylor Swift enjoys, that the cinema is eventizing, that is, that the great premieres are taking the form of events that go beyond the pure footage of the film, something that has almost reserved for the traditional films that circulate in streaming. The films event are premieres designed to live in the room: giant screens, immersive sound and special functions that justify a higher price and a social assistance ritual. Premium experience. While the assistance figures of film rooms are resent with continuous falls (the global collection figure 10% fell in 2024 With respect to 2023, and the change in consumption habits and the impact of strikes seem to be The great responsible), The phenomenon ‘Barbenheimer‘A couple of years ago it seems to have marked a way to consider the premieres that since then you want to repeat. Immersive experiences, films that “must be seen” in cinemas (the last phenomena in that sense were ‘WICKED‘ and ‘A Minecraft movie ‘), Sing-Along versions … The film industry crawls in search of new spectators. Paradoxically, artists completely outside Hollywood seem to have the keys to provide an oxygen ball. In Xataka | Taylor Swift has already released 34 editions from his latest album. OBJECTIVE: Never abandon success lists

is that they also do it in cinemas and spotify

by

When a few weeks ago We talked about the initial success of ‘The K-Pop Warriors’ We already pointed to how its original support was transcending, the movie released directly on Netflix. However, the days have passed and we can talk about phenomenon with all the letters: ‘The K-Pop warriors’ is not only one of the successes of the year in Netflix, but one that has entered land that Netflix possibly did not weigh in its first calculations: cinema and music. K-POP Cantajuegos. The film, which tells the clash between the K-Pop Hent/X band (actually, incognito demon jackets) and a rival boyband, the Saja Boys (five infernal creatures with Machiavellians intentions), has had a fleet Cante, a vitaminated karaoke format that is living in great acceptance thanks to premieres like ‘Wicked!’ Well, although there are no official figures because Netflix does not give collection data, Comscore talks about weekend figures around 17-18 million dollars in 1.7000 rooms. The experiment has gone so well that Netflix has released this Sing-Along version this week on the platform, titled in Spain ‘Sing with the K-pop warriors‘. Return to cinemas. With this limited but very noticeable success, Netflix returns to the rooms in style. It has had to dodge the refusal of AMC Theatres, the main American room chain, which does not project films that can be seen in streamingbut the following chains in importance (Regal, Cinemark and Alamo Drafthouse) have projected it without rechistar. Although Netflix seemed to have resigned from the signs of his successesleaving behind the times in which he tried to conquer the Hollywood awards And see them at the box office with the successes of the industry, this little caramel has not come bad for the platform or for the rooms themselves, which are not having a summer especially lucid. Record success. But cinema and streaming are communicating vessels that share successes, trends and stars. More strange and worthy of celebration is the impact of ‘The K-Pop Warriors’ on the lists of record successes, although on the other hand it has a very clear explanation: the resultona and infectious soundtrack of the film is composed and played by musicians of Theblacklabel (like Ejae, which gives life to one of the protagonists, but has co-composed a good part of the soundtrack), seal of the experienced producer of the genus. Park. Revolution on lists. As Producer Ian Eisendrath for Billboardthe secret has been in “Bring people from the pop world to write for the film, instead of people from the world of cinema who write in the style of K-Pop.” Result: milestones such as the “false” Saja Boys and Hent/X groups becoming the most listened to K-Pop bands in Spotify history in the United States, exceeding monsters like BTS or Blackpin. Or the landing of no less than Four songs on the top 10 of the best -selling albumsfirst time in the story that happens with a soundtrack. To get an idea of ​​the size of success, the last time a movie did something comparable, with three songs in the top simultaneously, it was with ‘Saturday night fever’ in 1978. The secret of his success. The film, despite the exclusive premiere on the platform, is produced by Sony Pictures Entertainment, one of the most interesting animation film factories of the moment: His style manages to distance from mainstream Pixar or Disney Absolute With equally affordable approaches for all audiences, but also attractive to adult spectators thanks to sophisticated aesthetics and good doses of irony, as already seen in franchises such as ‘Rain of meatballs’, ‘Hotel Transylvania’ or, above all, the movies of the movies of the Spider-Man Spider-Verso. This formula has been applied with the same expertise in this ‘The K-Pop Warriors’ that is not only captivating a children’s audiencebut also sweeps between a more youthful fandom, the one who generates fanfics or discuss your favorite films on social networks. Header | Netflix In Xataka | Many young people see and hear everything at 1.5x. They have not come there by chance: there was a lot of money at stake

In 2016 a man began to edit movies with kittens videos. Today he projects them in cinemas and is raising a fortune

by

Imagine that you like cats so much that you decide to set up a movie from funny videos that you find online. And now imagine that You end up becoming a film festival And I peta. It is not fiction, it is the story of Cat video fest And last year he raised more than one million dollars. The phenomenon. The cats are A whole genre of the Internetone that seems that It never goes out of style. In 2016, Will Braden decided to set up a feature film with funny cats of cats because … why not? It was the principle of Cat Video Fest, an annual event that projects a cinemas in cinemas and has a very noble objective: to donate part of the collection to shelters and associations of needy cats. He began projecting in the United States and Canada, but growing popularity has made it projected in other countries in the world. Cats and that’s it? Yes, cats and that’s it. Throwing things from the table, in strange postures, making mischievas … there is no history or conductive thread, only funny videos of cats, one behind the other. The 2024 film lasted 73 minutes. Those are many cat videos. In a Variety reportthe creator admits that he sees more than 15,000 cat videos a year and selects about 200 for the movie. A job. “It’s my full -time work. On my card I see that I see cat videos,” says Braden. It looks like a fairly easy and pleasant job, but there is a quite dense part: request and get permits to use the content. The selection of videos takes a complete quarter, as is the same as getting the permits of everything. The last quarter before launch is dedicated to distribution and promotion tasks. Of course, he admits that his wife who is a primary teacher wins more than him. It is profitable. There is not much information about the total raised from the first edition, but we do know what they achieved in 2024. In a Note to Shareholders (Yes, he has shareholders), Will Braden said that the total collection amounted to 1,026. $ 470, of which she would donate $ 100,000 to shelters. In one Reddit Question SessionBraden said that the minimum they donate from each entry is 10%, “sometimes more depending on the city.” It does not give details of how the remaining 90% is distributed, but they do say they dedicate it to pay the cinemas where it is projected. The 2025 edition begins to project tomorrow and hope to get 1.2 million dollars only in the collection of the United States and Canada. Image | Cat video fest In Xataka | The ‘Maullido Division’, when Russia released 5,000 cats to help in World War II

Participate in our draw and earn 20 double entries to see ’28 years later ‘in cinemas

by

’28 days later ‘is one of those films that feel precedent in a genre and that never go out of style. It is considered one of the masterpieces of horror and science fiction cinema, and its “infected” proposal (not so much “zombie”) has permeated to this day. After a successful sequel released in 2007, in just a few days, on June 20, it will be screened exclusively on cinemas’28 years later‘, the Third installment of the saga. Well, with a little luck, you and a companion can go see her completely free. The reason? That from Xataka, and by the hand of Sensacine, Let’s overcome 20 double entries. Participating is very simple and you can have not one, but two awards. We tell you more right away without any spoiler of the new film. How to win 20 double tickets to see ’28 years later ‘ Getting one of the 20 double tickets to go to the cinema to watch the new Danny Boyle movie is very easy: you just have to Point to the Scream Club of our Sensacine companions Through this form. The members of this club will have the opportunity to attend special and advanced projections of the latest premieres of horror movies, among many other advantages. Legal bases here. With just signing up, you will participate in the raffle of the tickets, but it goes more. One of the keys of the Scream Club is that, after each film session, the members can score the movies, give their opinion and, among all, grant the seal of “masterpiece”. Well, those who belong to the club, go see the movie and score it in Scream Club can also participate in the draw for two headphones Sony Ult Wear. Legal basis available in this link. About ’28 years later ‘ Attention: Spoilers of the first two films below. As you already know everything in horror cinema, ‘28 days later‘It places us at the beginning of this zombie apocalypse, when a group of activists enters a British laboratory and releases primates infected with a modified rabies virus. This virus, which is transmitted by saliva and blood, infects people and makes them violent and thirst for blood. In just one month, all the United Kingdom ends up succumbing to infection. In the absence of new dams, the infected end up starving. Six months, or ‘28 weeks later‘(Name that received the sequel), the outbreak is considered content. NATO forces enter London and begin an attempt to repopulation that is frustrated when an infected person, but asymptomatic, causes a new outbreak. In the end, the virus manages to cross the puddle and reach Europe. The film ends with a horde of infected running around the Eiffel Tower. ’28 years later ‘will tell us how survivors have adapted to a world full of infected And we get to ‘28 years later‘. This film, directed by Danny Boyle and starring Aaron Taylor Johnson, Jodie Eating and Ralph Fiennes, will premiere exclusively in cinemas on June 20 and tells us how some people have managed to adapt and survive in a world full of infected. A group of these survivors inhabits a small island connected to the continent by a single highly protected and guarded road. One of the members decides to venture in the continent, discovering all kinds of horrors and secrets related not only to those infected, but to other survivors transformed because of the virus. It is a movie that will be Visceral, terrifying and that will delight fans to scream in a movie theater. Cover image | Sony

‘A Minecraft movie’ is becoming such a large phenomenon that is causing disturbances in cinemas

by

‘A Minecraft movie’ is in its second week in cinemas and we can stop considering it a day flower: His monumental box office He has already made it the film that has raised the most in what we have been from the year. But there are more: the passes are becoming authentic jungles, with disturbances, interrupted passes and a long etcetera of phenomena that have nothing passenger. We are facing the most noticeable movie of the year … although for reasons that have nothing to do with their quality. Second weekend. 80 million dollars in the United States has raised, which represents a 50% drop with respect to its overwhelming 162.7 million debut, but remains a figure that makes the film the success of the year: it has already been raised 550 million in the world, advancing to ‘Captain America: Brave New World’. The film has given a very welcome thrust to a loose box office for this start of the year and gives the starting gun for a series of expected successes: ‘Thunderbolts’, the new ‘impossible mission’ and ‘Lilo & Stitch’ The most popular game in history. Although the first advances were badly receivedkneading a spectacular amount of Dyslikes In Warner’s official channels on YouTube, there is a different phenomenon, but comparable to that of the film of ‘Super Mario Bros‘: A failure between median critics and spectators, but a success among its target audience. It is actually pure mathematics: ‘A Minecraft film’ is aimed at a number of potential spectators of 300 million (it is the last official sales data, October 2023), and many of them are responding to the call. Not everyone plays. And those 300 million (which today will be many more) are multiplied by a very simple issue: many of the game fans They do not playbut they consume videos related to the game. It is calculated that could be tens of thousands of Streamers of the gameeach of them with their own thousands of followers, who are not necessarily players. Recall that there are 600 million registered players (the fourth most popular game in the world). It is a real land paid to take the Z generation to the rooms. A complicated phenomenon to adapt. ” Minecraft ‘has successfully brought to the big screen part of its aesthetics, but it is a not very easy task on paper. This creation of Markus Persson and now owned by Microsoft (by 2,500 million wing) It has openly rudimentary but very versatile graphics, which allow constructions of all kinds to be carried out, and without pressures: for many players, the attractiveness is simply to enter the game and build, which has undoubtedly been key to attract very young users. Fanaticism was triggered in the early last decade, before even the launch of the first official version: At that time he already had 16 million players. The infinite. In fact, the secret that, on the way to two decades after its launch, the game remains fresh and attracting millions of players are the thousands of mods, mostly free, which generate new ways to interact with him. Not only that: the ability of the game to generate communities makes it essentially a collective game and, a large part, lacking the central narrative. What, beyond its values ​​as a film, makes this Warner bet a considerable achievement: they have turned an experience into a narrative. And successfully. The key to success: the winks. The reason why ‘a Minecraft movie’ has become a success is because it speaks of you to you with the players: overflow memes and tributes to the games that the staunch fans know how to decrypt, of the phrase “As a Child, I Yearned for the mines” to the iconic sound bang of the game, work of C418. And above all, to Chicken Jockey, a apparently harmless meme and is generating an unexpected response among the young audience of the film: disturbances in the movie theaters. A liberating cry. The cry of “Chickn Jockey!” comes from the scene streamer. There is only 5% chances that a zombified character will self -generate on the stage just above a chicken, creating the illusion that he is riding it. That is why it is so weird and is celebrated when it happens in a streamand hence the chain reaction that this character has unleashed when appearing in the film, and that went viral when he was filmed by a spectator, in the first weekend of life of the film, with a mobile. Followed by an explosion of jubilation of the spectators. The chaos. In an unheard of situation (since the time of ‘Rocky Horror Picture Show‘Even the most recent’WICKED‘Public participation in projections is not entirely strange). The Descriptions and Videos of what happens in the rooms are Out -control projectionswith notices to the police and people putting in the fireworks artificial or, of course, chickens. The latest manifestations of the phenomenon have been starring the own Jack Black asking for calm In a surprise appearance in a projection, a New Jersey room warning that they will only allow the assistance of minors if they are accompanied and a poster of disclaimer warning the spectators of the consequences if they do not behave. Cinemas ON FIRE. The subject will still give us to talk, because the box office and success guarantees it. For example, they begin to proliferate 4xd projections Where the Berraco behavior (except for the part of introducing farm animals, dirtying the armchair or that the cinema burns) is more than welcome. At the moment, he leaves criticism in an awkward place when explaining these phenomena, because they are not an extravagance without further ado: they belong to the highest grossing film of the moment. Do we embrace chaos or cry out about the end of culture by moving the spectators of the consequences if they do not behave. Header | Warner In Xataka | The largest artificial society experiment is happening in Minecraft: what happens when you … Read more

Log In

Forgot password?

Forgot password?

Enter your account data and we will send you a link to reset your password.

Your password reset link appears to be invalid or expired.

Log in

Privacy Policy

Add to Collection

No Collections

Here you'll find all collections you've created before.