documentary

a documentary that delves into what ‘Michael’ did not want to tell and an excellent Spanish thriller

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If you thought that ‘Michael’ fell a little short when it came to offering a complete portrait of the artist, this week Netflix has a docuseries that promises to reveal some of the secrets left to tell. This, without a doubt, is going to be a dark week on Netflix, because it is joined by an excellent Spanish-style thriller and a British series that recovers a very controversial real case. Series Michael Jackson. The verdict The premiere of this three-part docuseries comes at the most controversial moment possible: it coincides with the renewed interest in the figure of the artist after the success of the biopic ‘Michael’, who was accused precisely of whitewashing his figure and avoiding the controversial lawsuits for abuse that surrounded him in the last years of his life. The series reconstructs the 2005 trial based on testimonies from jurors, journalists, eyewitnesses and individuals linked to both the prosecution and the defense. There are dimensions of the case that the public never saw and this documentary tries to provide more material to continue the discussion between the artist’s fans and those of ‘Leaving Neverland0, whose director, by the way, does not agree at all with the conclusions of this Netflix proposal. Premiere: Wednesday June 3 He witness ‘The Witness’ seeks to continue the success of ‘Adolescence’, and moves in the same terrain: created by Rob Williams, the series reconstructs the murder of Rachel Nickell in 1992 from the point of view of her partner, who becomes a single father and decides to focus his entire life on protecting his two-year-old son, the only witness to the crime. The series focuses on an investigation peppered with errors and decisions that generated great controversy at the time. It stars Jordan Bolger, who we remember for his excellent participation in ‘Peaky Blinders’. Three episodes for a high-grade true crime miniseries. Premiere: Thursday June 4 Other series New Amsterdam – June 1 My Hero Academia (Season 6) – June 1 Law & Order: Special Victims Unit – June 1 Evergood – June 2 The King of Queens – June 4 Full time fans – June 4 This is how you will learn – June 5 Movies The unknown Adapting the novel of the same name by Rosa Montero and Olivier Truc, this thriller shows us the discovery of a gagged woman in a container in the port of Barcelona who does not remember her identity. He survives an assassination attempt in the hospital and becomes the center of a police investigation that revolves around his amnesia. Gabe Ibáñez (‘Autómata’) signs this film for exclusive release on Netflix that stands out for its spectacular cast, which includes people like Candela Peña, Ana Rujas, Pol López and Manolo Solo. Premiere: Friday June 5 Other series Milky☆Subway: The Galactic Limited Express – The Movie – June 1 The drawback – June 1 The murder of Rachel Nickell – June 4 Poldi – June 4 Oh, mom! – June 4 Mexico 86 – June 5 Turbulence in the office – June 5 The babysitter – June 5 The High Knights -June 6 In Xataka | Stephen King unequivocally recommends Netflix’s new number 1: it is “an absolute pleasure”

The production of this Disney movie was so chaotic that a documentary detailing how it was made disappeared

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In 1994, the director of ‘The Lion King’ had his next big movie ready: a musical epic about the Inca Empire, with Sting composing the songs and Owen Wilson in the cast. Six years later, what ended up hitting theaters was ‘The Emperor and His Follies’, something radically different: an emperor turned into a llama, a good-natured peasant and meta jokes that broke the fourth wall. Animated on the fly from an unfinished script, all to meet the release deadlines promised to McDonald’s. A real debacle recorded in a completely inaccessible documentary. The successor to ‘The Lion King’. Development of the film began in 1994 under the title ‘Kingdom of the Sun‘ (The Kingdom of the Sun), as an epic and dramatic adventure loosely inspired by ‘The Prince and the Pauper’ by Mark Twain. Its director was Roger Allers, who was coming off the biggest hit in the studio’s recent history, ‘The Lion King’. Allers introduced then-Disney CEO Michael Eisner, a story set at the height of the Inca civilization. What was it about? The premise was ambitious: an arrogant emperor swaps places with a peasant who physically resembles him, while the villainous Yzma wants to destroy the sun to obtain eternal youth. For the soundtrack, following the model of Elton John’s success in ‘The Lion King’Allers signed Sting, who had already written several songs linked to the original plot. The team traveled to Machu Picchu in 1996 to learn about Inca architecture and Andean landscapes. It was exactly the type of production that Disney had been making since ‘The Little Mermaid’: epic, musical and very, very expensive. So much for Disney. After the disappointing box office results of ‘Pocahontas’ and ‘The Hunchback of Notre Dame’, two films loaded with dramatic elements, studio executives believed that the project was too ambitious and serious, and that it needed more comedy. The solution was to hire Mark Dindal as co-director, and he was tasked with lightening the tone. Allers continued working on his dramatic epic while Dindal pushed toward the absurd. A test screening in 1998 revealed that schizophrenic tone, in two mutually incompatible directions. One of Disney’s executives threatened producer Randy Fullmer with canceling the project. The McDonald’s problem. Added to all this was an extra problem: the film had to be finished in time to be released in the summer of 2000, since the promotional agreements with McDonald’s, Coca-Cola and other companies had already been signed and depended on that date being met. Allers acknowledged that production was delayed, but asked for between six months and a year of extension to solve the problems. It was denied. The director resigned, leaving Disney with at least $20 or $30 million already spent on animation. And no movie for the summer of 2000. Eisner gave Fullmer two weeks to prove the movie was salvageable. If not, the project was closed. Dindal took control alone. He completed ‘The Emperor and His Follies’ in a year and a half, a record for a Disney production, and with an unusual need in the world of animation: it was produced without a finished script. Also in this process the cast changed: Owen Wilson was replaced by John Goodman, because the character of Pacha stopped being a double of the emperor to become a burly family man from the countryside. The hilarious character of Kronk, one of the film’s great discoveries, did not exist until the end: he was added during emergency rewrites. The documentary that Disney doesn’t want you to see. Sting had agreed to compose the songs on one condition: that his wife, documentary filmmaker Trudie Styler, could film the production process. The resulting documentary‘The Sweatbox’, covers the long and troubled production. The title comes from the screening rooms at Disney studios, known for lacking air conditioning. ‘The Sweatbox’ premiered at the Toronto International Film Festival in 2002 and quickly disappeared from circulation: Disney has never released it on DVD or streaming. The documentary includes, among other moments, the call in which Fullmer tells Sting that his eight songs have been eliminated. Only two Sting songs survived on the final soundtrack. The documentary has been compared to ‘Hearts in Darkness’, the making-of of ‘Apocalypse Now’, for its portrait of the human cost in a decaying creative process. And of course, there is a copy of ‘The Sweatbox’ circulating unofficially on the internet. Poor results. The film ended up grossing $169 million worldwide on a budget of $100 million, a disappointing figure compared to Disney’s other hits during the 1990s. The film found some success in the domestic market and became the best-selling DVD of 2001, which would spawn a television series (‘Kuzco: An Emperor in School’) and a direct-to-video sequel (‘The Emperor’s Crazy 2: Kronk’s Big Adventure’). The footprint. Curiously, the influence of ‘The Emperor and His Follies’ is deeper than it seems. The film’s non-stop parody humor anticipated ‘Shrek’, released just a year later, and other animated films with which DreamWorks Animation would find success in subsequent years. This film is quite a visionary and remains one of the most unclassifiable films of modern Disney. In Xataka | The first cartoons were flat and unappealing, until Walt Disney invented something: the multiplane camera.

this week, a remake of an explosive thriller, a disturbing documentary and very recent Spanish cinema

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The week of April 27 to May 3 comes packed with new releases on Netflix. The most anticipated title for action thriller fans is ‘The Fire of Vengeance’. In the documentaries section true crime highlights ‘Should I Marry a Murderer?’, a three-episode docuseries about a woman who discovers her fiancé’s dark past. And the gem of the week is the Spanish ‘Mi Querida Señorita’, produced by Los Javis. series Should I marry a murderer? The documentaries true crime are one of Netflix’s safest bets, and ‘Should I Marry a Murderer?’ He wants to continue the streak. The British-produced docuseries begins with a more or less conventional love story: a young forensic examiner meets a man through Tinder and the relationship progresses quickly until a commitment is made. One day the man confesses that he has committed a murder and the victim is still missing. However, the woman decides to keep the commitment while gathering evidence against him. The series is built from real testimonies, archival material and reconstructions of the case. The fire of revenge One of the platform’s most ambitious action bets for this spring goes beyond the simple remake of the blockbuster directed by Tony Scott and starring Denzel Washington in 2004. The series is based on the original novels by AJ Quinnell and proposes a renewed vision of John Creasy’s character, taking advantage of the episodic format: a former special forces soldier suffers from untreated post-traumatic stress disorder that keeps him on the brink of collapse. A former colleague offers him a job as a bodyguard in Brazil, where he develops an unexpected bond with the person he must protect. Other series you will go to hell – April 27 Rescue Me: Rescue Team – April 27 envious (Season 4) – April 29 Parenthood – May 1 30 Rock – May 1 Glory – May 1 Booba (Season 6) – May 1 Miraculous: The Adventures of Ladybug – May 1 Movies Gladiator II One of the great film releases of 2024 arrives this week in the Netflix catalog, returning us to ancient Rome to explore what happened after the death of Maximus, placing the action fifteen years after the duel in the Colosseum. The protagonist is the grandson of Marcus Aurelius and son of Maximus, and is played by Paul Mescal: captured and enslaved after the invasion of his home in Numidia, he is forced to fight in the arena while seeking revenge. A top-notch cast with Pedro Pascal, Denzel Washington and Joseph Quinn stands out in this return by Ridley Scott to the universe that gave him one of his greatest commercial successes. My dear lady Free adaptation of the 1972 film of the same name by Jaime de Armiñán, which completely changed the image of José Luis López Vázquez, and which here delves into much more contemporary terrain thanks to the script by Alana S. Portero and the production by Los Javis. The story follows Adela, the only child of a conservative family, marked by silence about her intersexuality, a condition she is unaware of but that shapes her life. An unexpected friendship with a priest and other decisive events in her life take her from Pamplona to Madrid. The protagonist is Elisabeth Martínez, also an intersex actress who makes her debut here as the protagonist. Premiere: May 1 Other movies My name Agneta – April 29 Janur Ireng – April 30 Miraculous World: Paris, The Adventures of Shadybug and Claw Noir – April 30 Boys and girls – May 1 Exchanged – May 1 The son-in-law – May 1 In Xataka | Today the animated spin-off of the platform’s only powerful franchise premieres on Netflix: ‘Stranger Things’

Filmin has released a documentary about the riot police of the process. And now it has threatening graffiti on its headquarters

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The Barcelona headquarters of Filmin It woke up on January 20 with graffiti on its façade: “Collaborators with Spanish repression.” The message, signed by the independence collective Nosaltres Sols!, marks the most critical moment of a boycott campaign that began days before on social networks. The trigger: the programming of the documentary ‘Icarus: the week in flames’, focused on the testimonies of riot police from the National Police who acted in Barcelona during the conflicts of October 2019, after the sentencing against the leaders of the processes. What is it about? ‘Ícarus: the week in flames’, directed by Elena G. Cedillo and Susana Alonso, reconstructs the riots that occurred in Barcelona for seven days in October 2019, after the sentence against the leaders of the processes. The documentary, filmed in 2022 and available on Filmin since January 9, is based on interviews with agents and commanders of the Police Intervention Units who participated in the operations. “We had the feeling that this was a war,” declares one of them. The sequences include material recorded by the riot police themselves and from a helicopter, with scenes of the clashes in El Prat, Urquinaona Square and in front of institutional headquarters. The answer. Jaume Ripoll, editorial director and co-founder of Filmin, has tried to defuse the controversy appealing to the classic principle of “Programming a film is not equivalent to subscribing to its approach.” The platform insists that it does not censor content based on ideological orientation and defends that cinema should serve to “look squarely at what makes us uncomfortable.” However, the virulence of the reaction raises a question that transcends the specific case: can streaming platforms maintain a position of editorial neutrality, or does their catalog inevitably reflect an ideological position? Filmin is the platform with greatest historical commitment with the Catalan language and culture. In June 2017, two years before the events narrated ‘Icarus’the company launched Filmin.catbecoming the first digital platform for series and movies specifically in Catalan, anticipating giants like Netflix or Disney+. According to the last report from the Audiovisual Consell of Catalonia Introduced in December 2025, Filmin includes Catalan (in audio, subtitles or both options) in 2,350 titles in its catalogue, which represents 20.7%. The figure contrasts radically with Prime Video (9.5%), Netflix (3.5%), Max (3.2%) or Disney+ (2.2%). The paradox. The data makes the controversy more striking: Filmin is the platform that has historically supported the Catalan language and culture the most. In June 2017, two years before the riots that ‘Ícaro’ documents, the company launched Filmin.catthe first digital platform dedicated specifically to series and cinema in Catalan, before Netflix or Disney+ did so. Latest report from the Audiovisual Consell of Cataloniafrom December 2025, places Filmin as the platform with the greatest presence of Catalan (whether in audio, subtitles or both) with 2,350 titles, 20.7% of its offer. The figures for Prime Video (9.5%), Netflix (3.5%), Max (3.2%) or Disney+ (2.2%) are much lower. The platform has also produced original fiction in Catalan through Filmin Originals, such as ‘Selftape’, a series by the Vilapuig sisters about abuses in the Catalan audiovisual industry, and has co-produced titles with international coverage such as ‘Molt Lluny’ or ‘Forastera’. This history makes more surprising the painting of “collaborationism with Spanish repression” that it has received, signed by Nosaltres Sols!, a right-wing independence group born from the 2019 mobilizations led by the influencer David Silvestre. Other platforms and ideological controversies. The case of Filmin is not an exception in the sector. The large platforms have experienced comparable situations in recent years: debates about the permanence of certain content in the catalog and whether programming a work implies endorsing it. Netflix went through one of its greatest internal turbulences in 2021 due to the comedy special ‘The Closer’, by Dave Chappelle, which sparked accusations of transphobia. Trans workers from the company called a protest rally calling for the withdrawal of the program. Ted Sarandos, co-CEO of Netflix, justified keeping it on the platform by arguing that “not all of Netflix’s content will be to everyone’s taste.” Woody Allen, of course. Prime Video faced a conflict of a different nature in 2019, when Woody Allen took the platform to court for breaking a contract that provided for the distribution of four feature films. Amazon argued that the “public perception” of the filmmaker had changed after accusations of sexual abuse against him reappeared, a circumstance that made the agreement unviable from a commercial point of view. The dispute ended with an extrajudicial agreement whose terms were not disclosed, but established jurisprudence: platforms can disassociate themselves from commitments with creators if they consider that their reputation damages the corporate image, without the need for judicial convictions. And ‘Gone with the Wind’. HBO Max adopted a measure in June 2020 that caused international reactions: the Temporary withdrawal of ‘Gone with the Wind’ coinciding with the moment of greatest intensity of the Black Lives Matter mobilizations. The platform explained that the 1939 film reproduced “ethnic and racial prejudices” that could be “hurtful” seen from the present. Weeks later, the film returned to the catalog preceded by an intervention by film historian Jacqueline Stewart, who contextualized its historical relevance while pointing out its racist representations. The formula chosen by WarnerMedia established a middle path: a title can remain available without omitting its conflicting elements, as long as they are presented with the necessary critical framework. Header | Jaume Ripoll In Xataka | Disney+ has discovered that Generation Z does not want to watch its two-hour movies. So he’s going to give them vertical microdramas

‘No Other Land’ is the best documentary of the year according to the Oscars. The problem is that in the US nobody can see it

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No one escapes that The Oscars They are not only recognition in the form of awards for some of the most outstanding films of the year, but an authentic commercial maneuver that gives the box office to films of all kinds. But … what happens when a movie has not found distribution? This is the case of the winner with the Oscar for the best documentary feature film, ‘No other Land’. A movie about Palestine. This documentary is led by four Palestinian activists (Basel Adra, Hamdan Ballal, Yuval Abraham and Rachel Szo, two of them Israelis) in co -production with Norway and premiered at the last Berlin Festival. In it, we focus on the life of a young Palestinian activist from Masafer Yatta, a West Bank region. We can see the Gradual destruction of your homelandwhere Israeli soldiers break down houses and evict their inhabitants. He will establish friendship with an Israeli Jewish journalist, which highlights the contrast between the lives of both. No distribution. The special of ‘Not Other Land‘It is that the film has no distribution in the United States due to the conflict of its theme. In our country, for example, it was seen in cinemas last November and is currently in the Filmin catalog (among another twenty of countries in the world). This has greatly limited its reach in the Oscar country, has opened a new debate about the power of commercial censorship, much more powerful than openly political, and raises the irony that a film like this has reached few Americans beyond academics who have been able to see it for their condition of voters. An anomaly. In one Interview with Variety Before the nominations, its creators talked about the anomaly of the state of the distribution of the film, which saw as “something completely political. Obviously, we are talking about the Israeli military occupation of the West Bank, and it is very unpleasant. The film is very, very critical with Israeli policies.” And they added: “Part of the reason we made the film is to reach people who may not support what we do, to whom the film could challenge. (…) If you have a large distributor, you reach people of various political opinions and with various degrees of knowledge about Israel and Palestine. And those are exactly the people we want to show the film, because it is how we can boost the change.” It is not the only one. There are other documentaries that are facing this problem in recent times. ‘The Last Republican’, for example, is a portrait of Adam Kinzinger, a former Republican congressman who became one of the great critical voices against Donald Trump. Josh Braun, one of the directors of the company that distributed the film, confessed to The New York Times That “with the result of the elections, I think there is a question about some political content films.” Unusually apolitical Oscar. All this occurs in the context of a Oscar delivery unusually apolitical, where comments from presenter and guests that allude to the situation of the country are not usually lack. However, this year, Donald Trump has been avoided openly, although guests have alluded to sensitive issues such as diversity, immigration, and conflicts that affect the country, such as those of Palestine and Ukraine. Jimmy Kimmel, for example, presented in 2017 the gala coinciding with the first year of Trump’s previous mandate, and filled his monologue with references to the president. Conan O’Brien, however, has a less political style, and those references were missing, as in most aseptic speeches. In Xataka | Oscar’s “ghost” category: it exists but it is so demanding that there have never been films that opt ​​for it

Alejandro Sanz’s documentary series premieres this year in Netflix

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Alejandro Sanz He granted an interview with the television program “El Hormiguero” and He shared details of his documentary series -even without a title -, in which he will reveal aspects of his professional and private life. Will premiere on the platform Netflix. Alejandro Sanz denies rumors on the Treasury with strong message “Soon you will have just recorded and you will begin to be released”Said the Spanish singer. “And the truth is that (I’m) very happy with that, because there are very beautiful things.” He clarified that in the series he will not appear acting, but only being interviewed and narrating his professional achievements. Alejandro Sanz reacts to his girlfriend’s comparisons with Shakira Regarding what it is to have cameras all the time with him and if he limit some things, Sanz said: “I am very good and very collaborative, but sometimes you forget that you carry the microphone and say: ‘The last two hours can you cut them to me? ‘ But nothing happens, I have the last word there for what will come out. ” The 56 -year -old artist, who has previously participated in other documentaries, says that this time he will expose his musical side more: “In other documentaries I have shown an aspect of my life, and in this I want to focus much more on the musical part. In all records, in everything that has happened in each of those albums, in ‘Why those songs?’ ” Alejandro has four children, and in the series aspects of him will be seen as dad: “My relationship with my children, with Alexander in a matter of music. For example, there is a scene where I am composing with him in Miami; I’m teaching him the beat with bulerías, do you know? And that part is very pretty. ” The series of Alejandro Sanz It will be three episodes, and was produced together with Sony Music Vision; is scheduled to be released in Netflix In the second semester of this year. The director is Álvaro Ronknown by television series as “Protected” and “Hernán”. Continue reading: (Tagstotranslate) Alejandro Sanz

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