fiction

Less science fiction is being written than ever, and the fault does not have the lack of ideas or the lack of readers

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Literary science fiction interests less than ever. Devoured by subgenres of fantasy with more popular pull, such as Romantasythe books that were previously guaranteed Best-Sellers are now only oddities, samples of a genre that is disappearing from libraries. Why has a genre that has been so popular now languishes? What has changed since a couple of decades ago was the king of the mambo of fantasy? Sales fall. In an article on reading habits, The Washington Post revealed A singular fact: only 12% of readers are interested in science fiction. The figures accompany that fall, to the point that in what we have been in, if we analyze the sales figures in the United States which provides publishers weeklyonly a gender book has sneaked into the top 10 of each year: ‘Ballad of singing birds and snakes’, very significantly the sequel to one of the great successes of the previous decade, ‘The Games of Hunger’. The power of Young adult. The science fiction had never sold as much as in the previous two decades, and all thanks to the dystopic and youth variants of the genre: 12 books sneaked into the best-sellers lists of the Decade of 10 and in the first ten years of the centurywith sagas such as ‘The Hunger Games’, ‘Divergent’, ‘The Host’ and ‘A Time Fold’. There was also space for adult science fiction, no doubt pushed by this receptive state for the genre, especially works of big names such as Stephen King or Michael Crichton. And now, al Romantasy. What makes all the meaning: simply the same readers who augated youth dystopias are now interested in genres such as light fantasy and Romantasy… And that is what occupies the highest positions. In the last two years, books and sagas of the genre such as ‘Alas de Blood’, ‘A court of roses and thorns’ or ‘blood and ash’ have almost totally dominated (especially the 2023 and 2024) lists. Authors such as Rebecca Yarros or Sarah J. Maas repeat, year after year, with a frequency that was only available to the aforementioned King or Crichton. Media avalanche. This change in interest within the fantastic genre of readers who propel sales is the most immediate reason for the descent of science fiction in sales lists, but there are other more endemic causes, not so apparent. One of them is the media ecosystem: The public’s taste for science fiction stories is satisfied with films and series, faster and less demanding to consume. As contradictory that may seem, the absolute relevance of fantasy and science fiction in the mainstream audiovisual has played against books: Who wants to read science fiction sagas if In the cinema it has it embodied more spectacularly? The dystopia is here. From a more sociological perspective, interest in science fiction may have dissipated because reality has advanced to any fiction. It is a recurring bitter joke to talk about how reality has exceeded before planned Future pessimistsas those presented at ‘Blade Runner’ or ‘The maid’s story‘. With the Truncated future sensation That it occurs to generation Z, it is normal for the romantic escapism of ‘blood wings’ to be preferable to reminders that ‘1984’ has come true by advancing on the right and without caught the irony. Creative crisis. To all this is added the creative crisis that crosses current culture and the fantastic genre in particular. Most of the productions that They triumph at the box office and in the book sales They are sequelae or belong to franchises. Science fiction has always been a genre that has fed on risk, innovation and new ideas and with this panorama, it is normal to be stagnant. A classic like Orson Scott Card (‘Ender’s game’) in an article entitled ‘Are we facing the end of science fiction?‘: It is said that “all the really good stories that were possible within science fiction have been written.” Is there salvation? Orson Scott Card himself details in that article that a possible problem of gender is that science gives rise to less narrative formats, such as space trips or stellar wars. Now science focuses more on “theoretical, or sub-psychopic, or trans-cosmic” aspects. But in those sections where authors such interesting and renovating such as Greg Egan arise, Liu Cixin either Ted Chiangperhaps away from the tastes of the general public, but more than trained to make the genre remain alive. And perhaps that is the key: what else does it give whether or not you enter the supervent lists, while the genre continues to innovate Header | Daniel in Unspash In Xataka | The 25 best science fiction books

‘The Eternaluta’ is a masterpiece of science fiction. But the story of its creator gives him an absolutely unique background

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Netflix’s new science fiction series, ‘El Eternalauta’, has a very emotional story for comic fans: not only is it based on a legendary cartoon whose adaptation to cinema and television has been frustrated on countless occasions, but its creator owns a biography that makes its humanistic background, but tragic. This is the story of ‘The Eternaluta’ and its creator, Héctor Germán Oesterheld. The production that opens Netflix is ​​an Argentine series, such as the original comic, and has the prominence of an international fame actor like Ricardo Darín. It has occurred under the supervision of one of Oesterheld’s grandchildren and is the end point of a long list of attempts to adapt a comic that in Argentina has an extraordinary fame. Hence the prestige of the directors who tried to adapt it on previous occasions. In 1998, he assumed the Adolfo Aristarain project (‘A place in the world’, ‘Martín (Hache)’) among other directors such as Gustavo Mosquera (which ended, yes, embarking on a long journey to stand up a biopic of Oesterheld, which has not yet curdled). The project was frustrated due to lack of financing. In 2008 the possible adaptation was reactivated, in a film that would direct Lucrecia Martel (‘The Holy Girl’). Martel distanced himself from the project due to conflicts with the Oesterheld family and the adaptation was canceled. Finally, Netflix began the production of its ‘eternalauta’ in 2020although the filming was interrupted by the pandemic. THE IMPORTANCE OF ‘THE ETERNAUTA’ With a very modern point of view, the story of Oesterheld, drawn in its first phase, in 1958, by a superb Francisco Solano López, tells an extraterrestrial invasion that begins when a mysterious lethal snow on contact with the skin annihilates most of the human beings. The offensive will increase with the appearance of insectoid beings, cascarudes, servants of higher intelligences that will unleash a mixture of intrigue and action where we will have even walks through parallel dimensions. Cascarudos are not the last border of the alien invasion: the protagonist and an impromptu land resistance group will face an alien disturbing who has numerous fingers around the hand (which wins his appeal of hand), and that It is only the servant of even superior and unknown aliens. It would be said that Oesterheld senses an alien presence in the way of Lovecraft, with entities for those who do not assume the slightest threat, but nods them at our level and injects them very understandable intentions. This stage is published in Spain By comic planet. ‘The Eternaluta’ Illustrated by Solano López The adventures of ‘The Eternaluta’ would not end there. A decade later, in 1969, and with Radicalized Oesterheld in his political commitment, the author would script By Penguin). It essentially tells the same story, but with explanations for the invasion much more politicized. Later, in 1976, an official sequel would arrive, set in a desolate and apocalyptic future, a consequence of the ravages we saw in the first installment. I would draw her again Solano López. After her, with missing Oesterheld, we would see multiple sequelae, often with the participation of the original cartoonist. But … What does ‘the Eternaluta’ have to have become an absolute classic of the Argentine comic? When Oesterheld did not know what his destiny would be, the first ‘eternauta’ can be read as a local version of ‘The War of the Worlds’, but with bulls references to the policy of the moment: In 1955 Perón had been expelled from the Argentine government in a coup d’etat led by military. This first version of history is more humanistic than politics, and as Roberto Bartual details In your newsletter on comics And he launches the message that “there are good and bad on all sides”, allowing even demonstrating some compassion for the villains. It has all the meaning that this white and harmless version is the one that takes the Netflix series as a reference. ‘The Eternaluta’ Illustrated by Breccia However, the authentic combative content of ‘The Eternaluta’ would come in the second version that Oesterheld would re-guide and illustrate Breccia: in it, invading aliens have reached a pact with foreign powers. In the 1969 version, the villain of history is imperialism that a few years later would cause coups in Chile in 1973, and later again in Argentina, in 1979. The humans of this version of ‘El Eternalauta’ are the countries of Latin America fighting for their independence. And there is more. The sequel ‘El Eternalauta II’, again with Solano López to the drawings, tells how men and women live in caves to escape the invasion. It is impossible not to think about the authentic oesterheld, which This second part of ‘The Eternaluta’ ended in hiding. The end of the story is absolutely bleak and turns the iconic eternal, with his diver glasses to protect himself from lethal snow, an anti-authoritarian resistance symbol. Even much later, in the demonstrations against the Financial Corralito at the beginning of this century, posters were seen with the images of the Eternaluta remembering their rebel spirit and, above all, denouncing the leaders of any sign that betray their own. ‘El Eternalauta II’, illustrated by Solano López Oesterheld’s fate The radicalization of the creator of ‘The Eternaluta’ would start shortly after the publication of the first version of the story: Oesterheld would begin to fill their stories of criticisms of capitalism and colonialism, reaching a script to political sign as clear as a biography of Che in 1968, before his collaboration with Breco. In the seventies he would join the Montoneros (the second part of ‘El Eternalauta’ ended in hiding, dictating the scripts he later received Solano López, exiled in Spain), and the last thing that was learned of him is that he was arrested in 1977 by the military dictatorship. It was last seen in a clandestine detention center, and as happened with so many other Argentines, from that moment to be part of the list of arrested and missingvictim of Argentine state terrorism. … Read more

When reality overwhelms, we seek to understand it in fiction

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The first thing that many Spaniards did as they recovered the electric current was to look for series and films related to blackouts. If possible, of Spanish or European nationality. In addition to robbing us in An extraordinary phenomenon That has just happened, there is a psychological explanation for this act: fiction comforts us and explains reality. Above all, that part of the reality that we do not understand or that we are great. ‘Broady’ goes from that. In 2022 Movistar Plus+ premiered ‘blackout’a miniseries of five self -conclusive episodes led by Rodrigo Sorogoyen, Raúl Arévalo, Isa Campo, Alberto Rodríguez and Isaki Lacuesta. It started from a catastrophic event (a solar storm causes a global blackout, leaving society without electricity or telecommunications) to reflect, in each episode, a human phase in the face of the crisis: denial, emergency, confrontation, survival and balance. The series, realistic, is one of the main search trends the day after the blackout. People want to see a fiction that tells him what would have happened if the events had been even more serious. It is not the only one. Of course, there are more series on blackouts. In ‘Leave the world behind’ (Netflix), two families have to manage a mysterious blackout after a cyber attack. The French ‘The collapse‘He did not give many reasons for the collapse of society, showing the despair that emerges when the basic vital conditions disappear. The recent ‘zero’ (Netflix) blames a cyber attack on a global blackout and describes the consequent government response. Also a cyber attack is responsible for the disaster in ‘Blackout’, which leaves central Europe without electricity. Each with their tone and style, all of them agree to portray and explain an inconceivable situation. Explain the inexplicable. The narratives help us to understand what exceeds the boundaries of the rational: it is a catastrophe of such magnitude that it exceeds with great domestic space, be they transcendental questions that question the existence of, for example, an ultraterrene life. Those stories, whether religions, urban myths, rumors or, simply, films, help us put limits and tie by the plausible and the rational what we do not understand. That is why we approach series as ‘Blackout’: they help us understand what happened in days like yesterday. Beyond the blackouts. Of course, this phenomenon goes far beyond yesterday’s blackouts. A few days ago we talked about how ‘Conclave’ was reset With all the honors in cinemas, time to accompany the funeral of the Pope: a film explains us better than any documentary (because the emotion of fictions implies) the intestine weaves of the Vatican to succeed the deceased. And if we are going further back there is no more remember successes like ‘Contagion ‘during pandemic: A 2011 film that became suddenly relevant when it demonstrated an absolutely hechizing fortune teller (and reflexive). The Simpsons predicted it. Of course The Simpsons predicted what happened Yesterday, in an episode in which a mass blackout forced people to return to traditional forms of life. This mechanics of using the legendary animation series To explain everything Not only does it have a logical and material explanation (many years of stories, sharp satire of the present, acute and very observant scripts), but to connect with what we said above: we have a natural tendency to seek significant patterns and connections between facts, even when they are the result of chance. These patterns are marked by narratives, series and movies. It sounds to me. The familiarity of the fictitious It allows us to explain reality, and that is why the day after a collapse of the entire electrical system of a country (which is said soon, because we have not stopped to think about it), we go to series and movies that help us digest it with plots and subtramas, with characters with which we identify and with turns that we have already seen in dozens of occasions. When we immerse ourselves in fiction, neural networks are activated similar to when we live real experiencesand we integrate them into our own memories (although distinguishing them as fiction). And that helps us overcome them and turn page. Until next catastrophe. Header | Movistar Plus+ In Xataka | While almost all Spain immersed in chaos, a place continued to function normally: Mercadona

The highest grossing science fiction film without being a saga

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It makes sense that the name of Christopher Nolan comes up when we talk about one of the few films that approach the one billion collection and that are not part of a saga, because in this case Nolan himself is the franchise. We approach his films looking for the author’s brand he guarantees, and that is another way to franchise his works. In any case, this’Origin‘(What can you see in Netflix, Movistar Plus+ and Max) It is a box office milestone. It is not, yes, the highest grossing film in history that does not belong to a franchise, because that honor must be attributed before her to ‘Titanic’, ‘Barbie‘(which should be discussed whether part of a franchise or not),’ Bohemian Rhapsody ‘U’Oppenheimer‘, of Nolan himself. But ‘origin’ is The only one of them that can be considered to belong to the science fiction genre in its purest form. In it we will meet an expert in “steal”, during sleep, secrets of the subconscious of others. Because of this occupation he has had to give up a normal life: but he has a plan for this to change. Through a process known as “inception”, it will implement an idea in someone’s subconscious instead of subtracting it. The plan is complicated when within its labyrinthine plan someone appears who is able to predict all its movements. ‘Origin’ is one of Nolan’s most notorious films, among other things because it is not part of a previous work, as with the much more popular trilogy of the dark gentleman. Your way of visualizing dreams, Although not entirely original, it has been very influential And it is practically impossible to portray in the cinema the dream world without paying the thematic and visual (and sound, very important in the film) that Nolan settled. A classic moden that is worth reviewing … and not only for its extraordinary box office. Header | Warner In Xataka | Christopher Nolan explained to us the end of ‘origin’ with a purpose: prepare for the ‘Oppenheimer’

‘Mickey 17’ is the new dystopian science fiction film that leads the box office. The problem is not enough

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There are times in which to crown the box office with a number 1 means nothing: ‘Mickey 17’, the new Bong Joon Ho movie, director of ‘Parasites‘ and ‘Snowpiercer‘, has been number 1 on American lists. Even so, the high cost of this ecologist dystopia of satirical dyes make it a questionable investment for Warner and, above all, the finding that in Hollywood they still do not curdle the ambitious projects that are not sequelae or reboots. The figures. ‘Mickey 17’ He has pocketed Only in the United States 19.1 million dollars, which are added 25.4 in 66 international territories. Not bad for a real -extravagant movie and that has dethroned films such as Marvel’s last captain America (also with good collection, but with a trajectory that has had to turn on Some other red light in Disney). However, its cost of 118 million, to which to add about 80 in marketing and distribution, leaves the approximately 300 million that it should raise so that Warner does not consider it a failure. A quick comparison. If the question is whether these amounts are expected, we can compare them with those of your immediate rival at the box office: ‘Captain America: Brave New World’ collected 88 million at the box office In its first weekend, and although it started from a budget much higher than the one to aim (200 million), to exceed 50 million in the United States would have been closer to a satisfactory figure for Warner. Doubtful direction. To this initial collection, which The first analyzes estimate as insufficient Before the challenge of reaching the 300 million commented, it is added that the film has not aroused a unanimous opinion between criticism and public: Its mere 78%-72% In ‘Rotten Tomatoes’ it is not especially high (especially considering that its director has signed films that have previously dazzled to public and critical). Among the obstacles of the film to improve its collection in successive weeks is the extravagant argument (Pattinson gives life to a worker who in the future is cloned again and again every time he dies in the course of the dangerous mission of helping to colonize an icy world), and also his tone of farce, acid and very little commercial, which is detected in all the films of the Korean director, but that is ever unleashed here. Warner: decisive year. Without successes guaranteed as new sequelae of its star franchises (‘Dune‘ and ‘Godzilla‘) In perspective, Warner has a year full of very expensive productions but are not a guaranteed success. For example, ‘Alto Knights’, Robert De Niro’s return to a certain “prestigious” cinema; ‘Sinners’, one blaxoploitation vampire of the director of ‘Black Panther’; ‘A Minecraft movie’, whose first advances have a chilling appearance; and the start of James Gunn DC Universewhich looks very good, but that does not have the best precedents. Only sequelae. The prick of ‘Mickey 17’ is one more symptom of the latest trends of a Hollywood that seems to have turned its back on the original high -budget products: by sujuesto that there is always space for a ‘Anoraor any other bombing indie. But The 2024 figures made it clear: sequels and REBOOTS They mark the step at the box office: no Top 10 movie was completely original. The success of ‘Barbie’ (which is not that it was an absolutely isolated product of a franchise) and ‘Oppenheimer’ the previous year It was little more than a mirage. Without franchise there is no return. There is an extra detail that should underline so that it does not go unnoticed: the budget of 120 million dollars is high, but it is triggered to levels that rival the Marvel herself if we add the very high expenses in marketing. This means that on many occasions, the films bet in a lost depth, knowing that only with a box office can not be recovered, but trusting that it is achieved with derived products: books, video games, attractions in parks, spin-offs … and above all, that money serves as something already invested as part of the future marketing of sequelae. A fish that bite the tail and is condemning the original blockbusters such as ‘Mickey 17’. Header | Warner In Xataka | Warner has a problem with the new Harry Potter series: JK Rowling’s opinions

The director of ‘Rogue One’ signed one of the best science fiction films in recent years, and now comes to Prime Video

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After spending less than a year for Disney+, ‘The Creator‘, the magnificent futuristic dystopia of Gareth Edwards, Reach Prime Video. The Amazon platform can provide a tremendous impulse to this film that, Despite the praise received with its premiere in 2023he punctured at the box office. This relegated to a secondary role both in the awards season, where its excellent technical invoice should have been recognized, as in the public reception. Edwards has a very peculiar vision of the genre, a very unique eye for drama and intimate, which has been reflected in his films even for successful franchises: ‘Godzilla’ and ‘Star Wars: Rogue One’, two productions found A similar balance between the show and the small -scale emotion. In that sense, where ‘The Creator’ finds more similar is in the director’s first movie, the excellent ‘monsters’. In ‘The Creator’, Edwards enters an iconic science fiction issue, artificial intelligences, classic since Asimov wrote their robots stories, but with a fiercely modern perspective: in a war between the human species and artificial intelligences, an exagent of the special forces is recruited to locate and execute the creator, a mysterious architect of the AI ​​that has developed a devastating weapon end to war and mean the victory of the machines. He must prevent it. The film is raised as an empathetic approach to the other, to the IAS that in this case are far from being like Skynet, no matter how much they face humans with virulent violence. The great mystery of ‘The Creator’ is precisely what are the last intentions of that creator, and everything is raised in a devastating war environment, with special effects that, despite its modesty (or precisely thanks to it) They work much better than that of so many Blockbusters. An essential event for lovers of the genre. Header | Disney In Xataka | ‘The Creator’ is the science fiction film of the year. And also a declaration of war to clonic franchises https://www.xataka.com/streaming/pelicula-ciencia-ficcion-importante-2023-esta-disney-sus-sugerentes-predictions-ia

You have a few days to see this magnificent science fiction film by the director of ‘Ex Machina’ that will disappear from Netflix

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They were the early days of Netflix’s mass implantation, when it was still far from being the aesthetic and thematic roller in which it has ended up becoming. The platform premiered in 2018 ‘Annihilation‘, a film that had gone through a nightmare struggles to see the light due to its daring proposal, which made cinemas only in a few countries. Finally, Netflix acquired rights and premiered it as their own world. Now, after being one of the exclusive jewels of its catalog, the platform announces that it will withdraw it on March 11. Behind her is Alex Garland, an essential name for modern science fiction who has signed as a scriptwriter or director as daring and personal as’Ex machina‘,’Men‘, ‘Devs‘,’Civil War‘or the script of’ dredd ‘or ’28 days later’. However, with ‘annihilation’ the project was choked: it was the adaptation of the start of the trilogy of books ‘Southern Reach’ by Jeff Vandermeer, an unclassifiable science fiction work very complicated to translate into a conventional narrative argument. ‘Aniquilación’ starts when the husband of a biologist returns from a secret mission in an area cordoned off by the army, zone X, and of which nothing is known. To find out what has happened, he joins a group of five scientific women to discover which intentions has the alien force that controls it. Others have entered the area before her, but no one has ever returned. Zone X is the great finding of this film that, even needing more footage to explain its final stretch, and simplifying too much the fascinating proposal of the book, Throw a series of suggestive images of the fauna and flora of the place that are among the great recent findings of the genre. Excellently interpreted and with a rambling production design, it should be reviewed before Netflix disappears, because who knows how and when we will enter the X zone again. Header | Netflix In Xataka | Within Alex Garland’s mind, the renovator of modern science fiction thanks to works such as ‘Devs’ or ‘Ex-Machina’

A science fiction novel with mystery elements to the Agatha Christie, ‘Hermes file’ wins the XIX Minotaur

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The novel of Science fiction ‘Hermes file’ wins the Minotaur prize the year in which the dean publishing house dedicated to the fantastic turns 70 and her editorial group, planet, turns 75. The prize has been granted unanimously to a manuscript sent under pseudonym And with another title that has finally stayed aside, ‘Lovebot’, and that referred to an important element of the plot. The jury as always, brings together names from the press and the fandom of the fantastic, to which Asier Moreno Vizuete adds, winner of the XVIII Minotaur Award. Next to him have been part of the jury Isabel Clemente (member of Porticothe Spanish Fantasy, Science Fiction and Terror Association), Fernando Bonete (University Professor, Author and prescriber), Daniel Pérez Castrillón and Alberto Pluled (both booksellers and prescribers). In the contest, 274 manuscripts from different countries have participated this year, mainly Spain, Argentina, Mexico and Colombia, although they have also come from other European and even Asian countries. The winning novel has been praised by its Interesting use of classic elements of science fiction and authors such as Isaac Asimovwith issues on artificial intelligence heirs of those already raised by the author mixed with unusual ingredients in gender, such as agatha Christie -type criminals. In the book we moved to the twentieth century, when vacation cruises, Mars and Jupiter have been popularized. On board the SC Schettino, the head of security has to resolve the murder of Condesa Planck, multimillionaire and influencer. Its main witness is also the great suspect: the Lovebot of the deceased, an artificial humanoid created for pleasure. The trip will become an epic of discovery about what makes us human. Header | Minotaur In Xataka | In 1993, an author predicted devastating fires in Los Angeles of 2025 and the “Make America Great Again”

The northern hemisphere has the highest snow extension of the last 20 years. In Spain that sounds like science fiction

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While the extension of Arctic Ice was in January the second lowest Since there are satellite data, snow is giving a surprise. According to the NOAAsnow levels in the northern hemisphere are the highest in 20 years. Although the truth is that Europe (even less in Spain) we are not noticing it. What about snow in the northern hemisphere? It is soon to know. As we knowthere are many descriptors of winter in the hemisphere that may seem inconsistent with each other, but that are only a sample of the enormous climate complexity of the earth. As with Any extraordinary event (And, of course, this amount of snow is) now it remains a whole series of analysis to know what is behind and what we can expect in the coming years. So much to Nevado? So we know more detailed analysis, the increase in snow extension It is mainly due to the strong snowfall that were in early February in Asia and North America. Especially, a huge snowstorm that lasted a week caused many problems In Russia in general and In the distant this Russian in particular. In the US and Canada too They are having more Normal Snowbut the Russian storm is the key push for these historical records. And in Spain? On our side, the extension of snow in Europe is below the average. And, as a result that snowfalls are becoming more irregular, higher levels, Spain is even worse. In the Cantabrian Mountains, for example, We are at 72.6 hm³ Faced with the average of 250. In the Pyrenees, 764 compared to 1400 of the average of the last 10 years. On the other hand, the central and Iberian systems accumulate about 5 hm³ compared to 50 on average. The only one Discordant note is Sierra Nevada: The surroundings of the most southern ski resort in Europe has 12.7 hm³. That is, not only is it twice as the central mountain ranges, but almost exactly the same amount of snow as in the average of the last decade. Little snow … For now. As Nacho Espinos explained in Meteored“just 7% of the mountainous surface in Spain” is covered with snow. In aggregate terms, there are 1,160.9 hm³ of snow compared to 2,000 average. Of course, we will have to wait to see how the year ends: in the 2023/2024 season, the great snow peak came between March and April. And, honestly, time is unpredictable that (despite the “advanced spring” we are living) any scenario is reasonable. Image | NOAA | Joan Oger In Xataka | Snowing stations at the end of the century: the most pessimistic models show what could happen in our high mountain

I wanted to be one of the great science fiction sagas, but the box office failure took ahead to the book saga

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‘Twilight’ and ‘The hunger games’, like or not, marked an era. His aesthetics, his arguments and even his industrial logic (successfully female literary saga, and that adapts in a film with aspiration to open a saga) sowed A series of seeds that set in a good amount of sagas As the semi -infallid ‘divergent’, although few achieved the fame of the two most successful franchises. In fact, Stephanie Meyer herself, author of ‘Twilight’, launched to experiment with science fiction. The result was’The host‘, a new editorial success that was quickly adapted to the cinema. And the film, directed by Andrew Niccol (signatory of ‘Gattaca’ and screenwriter of ‘The Truman show’), was not bad at all. However, the failure was considerable, with only 63,3 million dollars collected around the world compared to 40 budget, insufficient for the saga to have continuity. The film tells how the earth has been invaded by beings that are housed in human bodies and control their minds. The creature that inhabits the body of a young land has to live fight against the memories of this, who strives to not losing the control. To do this, rConstantly recue the man who is in lovewhich makes the creature, Wanderer, also ends up in love with that human. Both will end up allying to reunite with him. As you can see, high doses of youth romanticism in a film that, despite its dishes with the teenage fashions of that time, has a good amount of powerful ideas: visually it is attractive, the cast (Saosear Ronan, Diane Kruger, Emily Browning) It is more interesting than usual and has good doses of violence that distance it from the white approach of ‘twilight’. A pity, since Meyers also abandoned the continuation of the literary series, and there is no way of knowing (for the moment) how the story ends. In Xataka | Between ‘Body snatchers’ and ‘are alive’: 11 films about ultra -corps and other silent extraterrestrial invasions

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