film

The definitive map of Ulysses’ journey in ‘The Odyssey:’ Christopher Nolan’s film, explained interactively

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Today is the day. Today ‘The Odyssey’ premieres. Three years have passed since Nolan’s last breakthrough in traditional cinema, ‘Oppenheimer’. And this Homeric feat aspires to nothing less. The new pretty girl from Universal Pictures that uses the most advanced IMAX technology is already placed in the highest position in the career of a director, Christopher Nolan, author of gems such as ‘The Dark Knight’, ‘Memento’ or ‘Interstellar’, who has not surrendered to anything other than his personal vision. Because yes, to the complaints of resorting to white marble instead of classical polychrome, to that mania of making actors very sexy with studded leather and stylized helmets, comes the question of historical reconstruction. Can? Maybe. We have made our attempt and we have something more historically accurate: a map. But not just any one: a dynamic tour that includes the entire journey point by point and draws connections between facts and fictions. Let’s travel together through the great epic of the Mediterranean. We leave the editorial debate to authorities such as Vinzenz Brinkmann, Barry Strauss or Robin Lane Fox. When Homer wrote the Odyssey, probably between the years 750 and 700 BC. c.the map of the Mediterranean ended long before where Europe ends today. Beyond were the monsters, capricious gods, impossible islands and an ocean that no one dared to describe. Two thousand seven hundred years later, the big question remains the same: where did Odysseus really travel? And, why not ask, did it ever reach what is now Spain? The short answer is no. The long one is much more fascinating. We have the historiography of Strabo, Herodotus, Avienus, Pindar, Apollonius of Rhodes, Diodorus Siculus and Pliny the Elder. Their references explain why Gibraltar, Tartessos and southern Hispania ended up being incorporated into the Homeric imagination without Homer having ever mentioned them. That part is often overlooked but we want to review it thoroughly. Let’s travel to the key moment. It all started with a war that (maybe) did happen The Odyssey It starts when the Trojan War has already ended. Ulysses—or Odysseus, as you wish—tries to return to Ithaca after ten years of combat. This is the more or less approximate historical chronology so that we can situate ourselves: c. 1250-1180 BC. C.: possible Trojan War. c. 1170 BC C.: journey of Odysseus. c. 750-700 BC C.: Homer writes the Odyssey. 7th-6th centuries BC. C.: the Greeks arrive in Iberia. Today’s archaeologists rely on a real conflict. Excavations at Hisarlik in Türkiye have shown that Troy existed and that one of its cities It was destroyed around 1200-1180 BC. c., right at the end of the Bronze Age. It is difficult to know if Achilles, Hector or Ulysses existed, but the historical scenario is compatible with a great war between Aegean kingdoms. If that war inspired the poem, Ulysses’ journey would have occurred around 1170 BC. C. However, the story we know was written about four centuries later, when many of those memories had already been mixed with legends. Ten years wandering around the Mediterranean As any reader remembers, Ulysses’ journey begins in the ruins of Troy: “Talk to me, Muse, about that man of multiform genius who, after destroying the sacred city of Troy,” declaims the first verse of Canto I. Violently destroyed around 1180 BC. C., Troy VIIa It is the main candidate for having inspired the conflict, according to the German Heinrich Schliemann, who decided to search for the real place in 1871. From there he sails to Ismaro, the city of the cicones, on the present-day coast of Thrace. Then the lotus eaters arrive, whose fruit makes one forget the desire to return home; the island of the cyclops Polyphemus; the kingdom of Aeolus, guardian of the winds; the laestrygonians, anthropophagous giants; the island of Circe; the descent into Hades; the passage alongside the sirens; the strait guarded by Scylla and Charybdis; the island of the Sun, where his men sacrifice the sacred cattle of Helios; the island of Calypso, where he remains captive for seven years; the land of the Phaeacians and, finally, Ithaca, the small island in the Ionian Sea that some authors insist on not pairing with the Ithaca of the work. Perhaps it was Leucade, Kefalonia, Duliquio, or Corfu? It doesn’t matter to us. The reality is that Odysseus’ route is estimated between 3,800 (from 40º East, that is, Troy, to 6º West, Hades of Gibraltar) and 4,650 kilometers, in an area of ​​more than five million km²perfectly navigable in a much wider sea. Of course, there are proposals for locations that even talk about Ireland, the Black Sea or the Azores. Or that the nymph Calypso kept Ulysses locked up on Parsley Island for seven years. What is clear, because the book says so, is that the journey takes ten years, twenty if we count from the departure to the return: when he returns, his son Telemachus is already an adult and barely retains memories of his father. I repeat it in the list, which is easier this way: Troy Ismaro (cicones) Country of the lotus eaters Cyclops Aeolus Laestrygonians Circe Hades Mermaids Scylla and Charybdis Trinacia Ogygia Esqueria Ithaca Many of these places can be related to real scenarios. The mermaids are usually located off the coast of Campania. Scylla and Charybdis are reminiscent of the Strait of Messina, between Sicily and Calabria. The island of Circe has been identified with Mount Circeo, south of Rome. Other episodes remain open because Homer never offers precise coordinates and whoever reads a specific point on his narrative map is because, too often, it is contaminated by some proximity bias. Your Mediterranean, more than an atlas, is a sandbox. Gibraltar was the true end of the world Even Spain is part of that playground. When Homer wrote the Odysseythe Greeks knew the western end of the Mediterranean, but little else. But between the 7th and 6th centuries BC. C. they began to sail further and founded colonies such as Emporion … Read more

The Don Quixote that Orson Welles never finished will finally take shape. Four film libraries have had to agree to achieve this

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It took Welles almost thirty years to finish Don Quixote. It took Terry Gilliam another thirty and he got it, but the process was a nightmare that deserved its own documentary. Adapting Don Quixote has given us several minor classics and some other milestones (the historic Spanish animated series, without going any further) and now, four European film libraries are about to demonstrate that there is a third way, through the recovery and restoration of one of the most famous non-films in history. International collaboration. Four film institutions have decided to finish, to the extent that something like that can be finished, the work that Orson Welles left unfinished after his death. During the Cinema Ritrovato festival in Bologna, the Spanish Film Archive, the Cinémathèque Française, the Italian Cineteca Nazionale and the Filmmuseum in Munich They confirmed the beginning of the reconstruction of their ‘Don Quixote’. The project is coordinated by Esteve Riambau, historian, filmmaker and former director of the Filmoteca de Catalunya. The objective, as explained by Riambau himselfis to have the reconstruction ready in 2028. An infinite shoot. In 1957, Welles’ friend Frank Sinatra invested $25,000 in the project. The original idea It was to function as a complement to the singer’s own television show, in the form of a short special for CBS. At that time it was scheduled to star Charlton Heston, but it couldn’t be due to scheduling issues. Filming took place in Mexico, Spain and Italy and lasted, with interruptions and returns, over almost three decades. The agreement with CBS ended up falling apart and Welles decided to turn the television special into the feature film that would never be finished and that would evolve bathed in pure chaos: in Mexico, for example, Welles worked without a finished script, filming improvised sequences in the street, and he himself was in charge of keeping track of the filming with obsessive detail. Neither the death in 1969 of the actor who played Don Quixote, Francisco Reiguera, nor that of the actor who played Sancho Panza, Akim Tamiroff, in 1972, stopped Welles, who also continued filming in color. In 1982, three years before he died, he was still making changes to a film he affectionately called My baby. A curse that spreads. Don Quixote has a reputation for devouring races. Terry Gilliam needed eight failed filming attempts and a lawsuit from his own producer to carry out ‘The Man Who Killed Don Quixote’, a project that started in 1998 and finally premiered in 2018. The disaster of the first attempt, in 2000, with Jean Rochefort and Johnny Depp, was portrayed in the documentary ‘Lost in La Mancha’. Before them, Peter O’Toole, John Lithgow and Rafael Rivelles had already given life to the gentleman in much more conventional versions. What material do we have? A huge and dispersed amount. The Cinémathèque Française preserves about 80 minutes in 35 mm positives that were exhibited at the 1986 Cannes Festival. The Spanish Film Archive bought 16 and 35 mm rolls in 1991, totaling 50,000 meters of film, in addition to the cultural exploitation rights, and is the researcher of the entire legacy. The partially unpublished block is in Rome: between 40,000 and 50,000 meters of negatives that the editor Mauro Bonanni kept in Cinecittà and that Oja Kodar, Welles’s last collaborator, recovered in 2017 after settling a dispute with the editor. What’s coming Riambau affirms that all these materials “no one has seen yet.” Added to that are more than 2,000 pages of script that Welles wrote over decades, although some of the material has been lost. Riambau will order a script that does not yet have a clear structure and in 2027 it will be compared with the images to census all the available material. There may be surprises on the thousands of meters coming from Cinecittà: this Quixote can still cause more headaches. In Xataka | 124 years later, the Lumière brothers’ 1896 classic is scaled to 4K 60fps using artificial intelligence

Clint Eastwood has no regrets about a film he made with difficulty but it has a rating of 4.9 out of 5

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Alan Horn, retired president of Warner Bros.read the script for ‘Million Dollar Baby’ (which you can see on Prime Video, Movistar Plus and HBO Max) before a single actor was attached to her. Eastwood showed up “discreetly, in his own way” and gave him the script without an associated cast. Horn admits that his first reaction was that he “just didn’t see it clearly” and responded to her request with an expeditious “no, I’m sorry.” He doubted the public would want to see a woman boxing. The Girlfight precedent. The fact is that Horn had logical reasons for hesitation in the abstract, but not much practical basis. Four years earlier, ‘Girlfight’ had shown Michelle Rodríguez as a Brooklyn boxer in a film directed by Karyn Kusama with awards at Sundance included, and a critical reading that transcended its status as an independent film. The thesis has been defendedEven that ‘Girlfight’ directly promoted the arrival of female protagonists in the boxing genre, and that films like ‘Million Dollar Baby’ were heirs of that change. It was hard to get there, yes. Get me money. Eastwood did not argue with Horn and went looking for money outside of Warner. He found it at Lakeshore Entertainment, which agreed to cover half the budget, which was said to be around 25 million dollars. With Lakeshore in, Warner became interested but the obstacles did not change, because Horn kept asking for changes, and these appealed to the very essence of the film. of whathe goes ‘Million Dollar Baby’ follows a lonely veteran boxing trainer (Clint Eastwood), who runs a run-down gym in Los Angeles with his only friend, a former boxer who is blind in one eye (Morgan Freeman). A young waitress (Hilary Swank) shows up at the gym every day asking for Frankie to train her, something he rejects for weeks, claiming that he doesn’t train women and that she is starting the sport too late. He finally relents, and Maggie quickly rises through the ranks of women’s amateur boxing, earning herself a million-dollar shot in Las Vegas against a champion known for fighting dirty. More changes. Horn wanted different tragedies that happen to the protagonist (be careful with spoilers: that she died at the end, that she lost her tongue after biting it, that she lost the fight) to be softened. But Eastwood believed that issues like these were the very essence of the film and refused to negotiate the third act. In the interview mentioned above, Horn himself quotes William Goldman, a two-time Oscar-winning screenwriter, acknowledging that he is right in his famous criticism of the film machinery, which includes himself: in Hollywood nobody knows anything about anything. A success. ‘Million Dollar Baby’ was released on December 15, 2004 and reached the 77th edition of the Oscars with seven nominations. It won four: film, director, leading actress for Hilary Swank and supporting actor for Morgan Freeman. The great favorite that night, ‘The Aviator’ by Martin Scorserse, took home five technical statuettes but was left without the most important one. Controversy where you least expect it. And finally ‘Million Dollar Baby’ was controversial, yes, but not where Horn thought it would be. It came because of the treatment of euthanasia in the final stretch, with organizations defending people with disabilities questioning the film’s reading of life after a spinal cord injury. Articles were published against the film, rating it of “melodramatic and cheesy assault on people with disabilities” or comparing it to Nazi propaganda. And curiously, Eastwood attacks also came on the opposite side of the political spectrum, accusing her of pro-euthanasia propaganda. In Xataka | One of the most famous phrases in the history of the “western” was improvised and was not even uttered by Clint Eastwood

One of the most famous western phrases is in a Clint Eastwood film, but it was improvised by one of his companions

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An actor who, a priori, did not have to say any dialogue, fired four shots and uttered a phrase that sixty years later is still quoted in all Western stories. But that phrase wasn’t in any script. What’s more, the actor who pronounced it was not even the protagonist of a legendary spaghetti western work: ‘The Good, the Bad and the Ugly’. What’s happening. Tuco (Eli Wallach) is taking a bath when an old enemy surprises him with a revolver. Tuco shoots through the bathwater, cloudy with dust and soap, gets up and blurts out: “When you have to shoot, you shoot, you don’t talk.” According to Wallach himself, the scene I had no dialogue; It was he himself who improvised the phrase on the spot, and both Sergio Leone and the rest of the team laughed so hard that they kept it in the final cut. It is significant that the phrase was only uttered on two occasions: one during filming, in 1966, and another a year later, when dubbing the scene in the studio. How it got there. The actor used to say that Leone had signed him for his role as the bandit Calvera in ‘The Magnificent Seven’. However, what actually convinced Leone was a specific moment from ‘The Won of the West’, from 1962. Wallach recalled that his agent told him about “an Italian director who has seen your Western films”, to which he responded skeptically that he did not believe that Italian Western existed. However, he changed his mind when Leone showed him a sequence from ‘Death Had a Price’. All yours. Once he won the role, Leone let him do practically whatever he wanted with Tuco: the straw hat, the leather knee pads, the gesture of crossing himself at full speed several times in a row, it was all Wallach’s idea. Also he improvised almost the entire armory scenedespite having no idea how to assemble a revolver, and the real bewilderment of the clerk who was explaining the parts to him was captured on camera. Eastwood’s jealousy. The star of what would be the third film in the Dollar Trilogy worked in a much more contained manner, and his final presence on screen was much more dependent on editing. The script distributed the narrative weight between three characters for the first time, and he was not happy about that. In fact, Clint Eastwood he was close to turning down the roleuncomfortable with Tuco having more footage and better lines than him. He negotiated $250,000 and 10% of the profits in the United States before accepting. The film would end up grossing more than 38 million dollars with a budget of just 1.2 million, a success that consolidated both Eastwood’s status as an international star and Leone as a leading author of the genre. However, his fears were more than justified: decades later, it is Wallach’s improvisations that are most frequently cited when discussing the film. That’s what the classics are: untamable. In Xataka | “They were not used to silence”: when Clint Eastwood set foot in Spain for the first time in 1964, he was marked forever

The fourth highest-grossing Spanish film in history lands on Netflix full of political incorrectness

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28 years ago, Santiago Segura shot the first film in the highest-grossing saga in the history of Spanish cinema in eight weeks and with 1.7 million euros. Now, the sixth part of the series, ‘Torrente President’lands on Netflix with a history of records that speaks for itself: the best first weekend of a Spanish film in the last 15 years, more than 3.7 million spectators in cinemas, the fourth highest grossing of a Spanish film of all time, and a budget that Segura estimated at just under six million euros. Twelve years after ‘Torrente 5: Operation Eurovegas’, José Luis Torrente, the former fascist and Atleti police officer, returns, always convinced that Spain is going through its most critical moment and that only he can save national dignity. This time he discovers that politics may be his best opportunity to thrive and after a series of entanglements he ends up leading the populist NOX party thanks to his unmistakable and demagogic style, so similar to current political reality. It was clear that Spain was thirsty for Torrente, and Segura, who can be accused of many things but not of not having a commercial nose, has been able to take advantage of a very specific social moment to return Torrente to the billboards. Right now, ‘Torrente, Presidente’ has already grossed more than half of all Spanish cinema released in 2026, and will surely become one of the most viewed films of the moment on Netflix, which helped co-finance the production and which has the rest of the saga exclusively in its catalog. The notable thing about all this is that ‘Torrente Presidente’ is not a rarity for Segura’s commercial career. Beyond the fact that the series has already raised more than one hundred million euros, Bowfinger International Pictures is behind the film, the production company directed by Segura together with María Luisa Gutiérrez. The company has more than forty titles and a history that includes ‘The Infiltrator’ (Goya for Best Film) and the sagas ‘Padre no hay más que uno’ and ‘La familia Benetón’. Between 2025 and 2026, its productions accounted for 30% of the Spanish box office. And between its traditional production agreement with Atresmedia and now the entry of Netflix into the company’s finances, the production company has a muscle with little to envy of much larger traditional production companies. In Xataka | Today on Disney+, the film that, despite exceeding one billion at the box office, has left the continuity of its franchise up in the air

After Germany did not rate Uwe Boll’s new film by age, Elon Musk decided to premiere it himself on X

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The German FSK, the German age ratings body (private, self-regulated by the film industry, not related to the government) has been denying age ratings to films of extreme violence for decades. This time a controversial decision with the latest film by one of the most disastrous directors of all time has ended up resulting in the richest man in the world publishing it on his social network as an act of resistance against state censorship. Let’s see who is right in all this hubbub. But who…? Uwe Boll is a German director and producer known primarily for his film adaptations of video games. Terrible adaptations: ‘BloodRayne’, ‘Alone in the Dark’, ‘In the name of the king’ (based on ‘Dungeon Siege’) or ‘Postal’ are some of them. Despite some occasional successes (‘House of the Dead’ has a very nice trotting edge), Boll has deservedly earned the fame of being one of the worst directors in history, a fame only surpassed by his ingenuity when it comes to organizing publicity stunts, such as sketching evenings against his critics. What is it about? A former American military man based in Europe inherits his father’s real estate business. After witnessing the murder of a mother at the hands of migrant criminals, he decides to take justice into his own hands and begins a violent campaign against criminals and corrupt judges that turns him into a viral phenomenon: celebrated by many, and also persecuted by law enforcement and powerful enemies. Citizen Vigilante. His new film, written, produced and directed by Boll himself, was released on June 19 in a few theaters in the United States and on digital through Quiver Distribution. The protagonist is Armie Hammer, a detail of the casting that adds murky layers to the film: it is Hammer’s most relevant role since his career sank following allegations of sexual assault and emotional abuse in 2021 (with unspeakable overtones of cannibalism), although the investigation concluded without charges. Hammer recognized that ‘Citizen Vigilante’ was his first job offer in five years, and that when Boll called him, he burst into tears. Boll, very cunning, chose Hammer deliberately. As explained“I hired him because he is a great actor and also because he had been canceled and wanted to work. They didn’t accuse him of anything, there was no lawsuit. He was just a famous guy who had behaved badly.” It is an important detail: the casting is already a political statement, as it could not be otherwise, anti-woke. The role of the FSK. The FSK denied the film an age rating in two successive rounds. And although Boll calls it state censorship, it is not. The FSK is an entity serving the film industry itself, not a government body. The State only intervenes when a work violates current criminal laws, so Boll could have released his film without going through the FSK. Of course, there are commercial consequences: without the rating, the film cannot be shown in multiplexes or sold on DVD in large stores, and platforms such as Netflix in Germany do not include it in their catalog. But of course: Boll himself welcomes this decision by the FSK: without this extra publicity, ‘Citizen Vigilante’ would have gone unnoticed. The scandal is part of the film’s dissemination campaign. Enter Musk. Since December 2025, X has been in open conflict with the European institutions. That month the European Commission imposed a fine of 140 million dollars to X for failure to comply with the Digital Services Act, the law that forces platforms to combat misinformation and illegal content. In February 2026, X filed an appeal with the General Court of the European Union, alleging serious procedural errors and bias in the investigation. The publication of ‘Citizen Vigilante’ in Musk’s TL It fits perfectly with that narrative: Europe censors, X is a territory of freedom. Of coursethe reactions of those close to Musk (Libs of TikTok, Alex Jones, Milo Yiannopoulos) were immediate. But we have already seen the reality of the matter: no one has censored ‘Citizen Vigilante’, which has simply been rejected at a private ratings board. To watch. As is usual in cases of films used as throwing weapons between political factions, opinions are dispersed: audience score of the 93% on Rotten Tomatoesbut only three critic reviews, all negative. Variety He said the film is “so astonishingly bad that it almost seems like Boll is deliberately sabotaging his protagonist, whose return can only be harmed by this project.” But thanks to Musk’s push, he is in the 31st place on IMDB. For now, until tomorrow the film will be able to be seen on X, on Musk’s own account. The movie is possibly horrible. But not everyone can boast of having Elon Musk as an enthusiastic distribution partner. In Xataka | Elon Musk is going to turn 4,000 workers into millionaires and himself into a billionaire thanks to one thing: SpaceX

Today on Disney+, the film that, despite exceeding one billion at the box office, has left the continuity of its franchise up in the air

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‘Avatar: Fire and Ashes’the third installment of James Cameron’s billion-dollar saga, lands in Disney+. A film that opens with a statement against AI, introduces the franchise’s first major Na’vi villain, and leaves the future of two sequels in the airsequels that, despite the extraordinary collections of the franchise’s films, are still not guaranteed to survive. The film picks up where ‘The Way of Water’ left off: the Sullys, grieving the death of their eldest son Neteyam, try to protect another family member while facing two simultaneous threats. The RDA returns with reinforcements and the Mangkwan, known as the People of Ash, also appear: a volcanic Na’vi clan that has renounced the spiritual entity that underpins the entire cosmology of Pandora. It is the first time in the franchise that the Na’vi occupy the role of antagonists, which breaks the moral structure of the first two films: until now, only humans were the aggressors. The film’s visual effects were carried out by Wētā FX, the New Zealand studio that was linked to Peter Jackson. The team signed 3,132 visual effects shotsand the rendering process accumulated 1.248 million computing hours. One of the key technical innovations for the film was Kora, a set of tools for chemical combustion simulations, developed to solve a problem they had already identified in ‘The Way of Water’: photorealistic fire was extraordinarily difficult for artists to handle. Kora makes creating these types of images remarkably easy. In its opening weekend, the film grossed $347 million worldwide, and has already grossed $1,490. It is Cameron’s fourth film to exceed one billion, after ‘Avatar’, ‘Avatar: The Way of Water’ and ‘Titanic’. The three films in the saga total more than $6 billion at the global box office, making it the first trilogy in history to reach that figure. However, calculations say that Disney needed to exceed one billion to make a profit, and that figure is increasingly being exceeded more closely. Without a doubt, an obstacle in the way of an ambitious story that may not tell everything that Cameron has in his portfolio. In Xataka | Today on Prime Video, a disaster movie that lost 45 million in theaters but is sweeping streaming

Amazon invested $50 billion in OpenAI. Four months later, he has hidden an already finished film about Altman

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‘Artificial’ is a film already completely finished. Luca Guadagnino, director of ‘Rivals’ and ‘Call Me by Your Name’, filmed it between July and October 2025, with Andrew Garfield in the role of one of the men of the moment, Sam Altman. It has been shown in different test runs and has been liked. It cost 40 million dollars. And on Friday, June 20, 2026, Amazon announced that it would put it in a drawer and not distribute it. What happened. The decision It came from Mike Hopkins, head of Prime Video and Amazon MGM Studios, who personally communicated the resolution to Guadagnino’s team. The director was dismayed and Amazon communicated this in an extremely diplomatic, almost incomprehensible way: “We have the greatest respect and admiration for Luca Guadagnino as an award-winning filmmaker, and also a long-standing relationship that we hope to continue. We believe that ‘Artificial’ will work better in another studio and we are working closely with the team to find it a new home.” Of course, data is missing here. What really happened. On February 27, 2026, four months before the announcement, Amazon and OpenAI announced a multi-year strategic alliance. Amazon will invest $50 billion in OpenAI, starting with $15 billion immediately and an additional $35 billion when certain conditions are met. AWS becomes the exclusive cloud delivery provider for OpenAI Frontier, the company’s enterprise AI agent platform. In addition, OpenAI expands its infrastructure consumption agreement on AWS by $100 billion over eight years, and commits to deploying approximately 2 gigawatts of Trainium capacity, Amazon’s proprietary chips. Why ‘Artificial’ is so controversial. ‘Artificial’ it has a comedy point bitter, and comes with the stamp of screenwriter Simon Rich, who worked on none other than ‘Saturday Night Live’. The story focuses on the 72 hours in November 2023 when the OpenAI board removed Altman and He hired him again days later.. The comparison with ‘The Social Network’, the film by David Fincher and Aaron Sorkin about the origins of Facebook, has come up numerous times among those who have been able to see ‘Artificial’. Also it has been said that Altman is portrayed as a pathological liar, and is described by another character in the film as “one of the most manipulative people on the planet.” All of this, of course, had been approved by Amazon, although the film apparently became darker as filming progressed. Some speculation suggests that Amazon saw the setup, realized the potential damage to its numbers and image, and that they simply did not want to commit billions at a stroke. Even more, is spoken that Amazon’s investment in OpenAI “undoubtedly” influenced the decision to abandon the film. September 2026. OpenAI wants to debut on the stock market in September 2026, with a valuation of between $730 billion and $850 billion. The company filed its confidential S-1 with the SEC on May 22, 2026. If the Initial Public Offering prepared by OpenAI goes well, Amazon’s stake appreciates very substantially. Possibly, the view of Altman as a pathological liar does not benefit this stock market bet, and Amazon does not want to be behind this hypothetical put a spanner in the works. Nobody wants ‘Artificial’. For some time now, we have seen how this same path that ‘Artificial’ has begun to take was experienced by films produced by companies eager not to spend more money than strictly necessary. It happened with ‘Coyote vs.- ACME‘, which has finally found its way, or with ‘The war of tomorrow‘, which Paramount produced and Prime Video released in the pandemic. The curious thing about this case is that no one seems to want to approach the project. CAA Media Finance, which represents Guadagnino, has been conducting private passes for potential distributorsand the likes of Netflix, A24, Focus Features, and Warner Bros.’ Clockwork have all nixed the project. At the moment, only Mubi or Neon are potential candidates. And how is this, that A24, queen of independents and difficult projectsAren’t you interested? Well, because the distributor is backed by Josh Kushner’s Thrive Capital, who sits on OpenAI’s board and is among its most prominent investors. Amazon’s story repeats itself with A24 because AI money is widespread throughout the entertainment financial ecosystem. And so it is difficult to produce ambitious and independent films. In Xataka | AI is going to generate unprecedented wealth. The question everyone is starting to ask is who is going to stay with her?

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

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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

A new true crime by Carles Porta arrives along with a film that won six Oscars to Movistar Plus

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There are just a couple of days until summer begins, beach and pool time. But, what do we do all those hours that we can’t leave the house? There, having movies, series or documentaries to watch can save us from a boring afternoon. If you like the true crime, You have an appointment on Movistar Plus with the new Carles Porta: you can see it by 4.99 euros per month. And it arrives almost at the same time as a movie that swept in the last Oscars. Monthly subscription to Movistar Plus The price could vary. We earn commission from these links It can be shared, has no permanence and you can see what you want offline This new Movistar Plus Free Plan It arrived a few weeks ago and is a very interesting option for all those users who don’t like sports at all. That is the only difference with respect to the other plan available on this platform, which has a price of 9.99 euros per month. For the rest, it is identical: it has no permanence and can be contracted regardless of the operator we are. Besides, You can also share the account with a friend or family member. Let’s now talk about the premieres. He true crime in question of Carles Porta it is called ‘The twins’ plan‘and, as indicated its synopsisit seems that it is going to be just as good (or more) than the last one that arrived on the platform, called ‘Peregrina’. This one has been available since yesterday and joins a good assortment of other documentaries by this same author that are available on Movistar Plus. As for the film that won several Oscars, we are referring to ‘One battle after another‘, directed by Paul Thomas Anderson and starring Leonardo DiCaprio. This joins others that have recently arrived in the catalog of this platform, such as ‘F1: The Movie‘ either ‘Gladiator 2‘, among others. Other interesting ones will also arrive in the coming days, such as ‘Sisu: Road to revenge‘ either ‘Blue Moon‘. It is a good time to try this Movistar Free Plan. If you are one of those who plan to travel by plane or train in the coming months, this platform can help you make the journey more enjoyable, since it allows you to download anything and view it offline. Some of the links in this article are affiliated and may provide a benefit to Xataka. In case of non-availability, offers may vary. Images | Espinof, Movistar Plus In Xataka | Less than five euros per month and without permanence: this is the new Movistar Plus plan that you can even share with a friend In Xataka | Movistar Plus activates its Free Plan with complete programs and a lot of content, regardless of which operator you are

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