film

In 1932 Hedy Lamarr performed the first nude in film history. And then he went to invent WiFi

by

Throughout its 85 years Hedy Lamarr He dedicated himself to chaining lives. First there was Hedwig Eva Maria Kiesler, the name her parents gave her when she was born in Vienna in 1914, and with which she became a gifted child and a pioneering actress: the first to appear naked from head to toe and fake an orgasm in a commercial film. For a few years she was also Mandl’s Lady, his wife and “slave” (as she herself would later define that stage). by the Viennese Fritz Mandla jealous, controlling and tyrannical magnate, who provided weapons to Hitler and Mussolini. Towards the end of the 1930s, in Hollywood, she became Hedy Lamarr, the name with which producer Louis B. Mayer baptized her and with which she would rise to fame. Already a diva of the cinema, she was the engineer Lamarr, who dedicated her nights to cultivating her side of inventor and managed to develop a key technology for the subsequent development of wireless communication of mobile phones, GPS or WiFi technology. Already in the last years of her life she had to assume the saddest role: she secluded herself in her mansion in Florida, obsessed with operating rooms, kleptomaniac and hooked on pills. How to improve WiFi at home The life in three acts of a woman who passed through the world as if she were playing her best and most demanding Hollywood role. Lamarr won the title of “most beautiful woman” of golden cinema and (already at the end of his days), when his technological contributions were echoed, he obtained numerous recognitions from the scientific community: the Pioner Award, from the Electronic Frontier Foundation (EFF), or the Viktor Kaplan medal from the Austrian Association of Inventors and Patent Holders, among others. The date of his birth, November 9, has become International Inventor’s Day. Act one: the first nude in cinema The future Hedy Lamarr was born in Vienna, in 1914, with the name Edwig Eva Maria Kiesler. Theirs was a Jewish family, cultured and wealthy. His father was a prosperous banker from Lemberg and his mother, a pianist from Budapest raised Catholic. Since she was a child, she received a careful education that soon revealed her prodigious intelligence. It is said that when he was only five years old he satisfied his scientific curiosity by gutting musical boxes that he would then put back together piece by piece. Kiesler began his engineering career, but abandoned it to dedicate himself to his other great vocation: acting. In 1932, at only 19 years old, he starred in his first bombshell: Ecstasy, a film by Gustav Machaty in which she broke molds by appearing on screen as God brought her into the world and faking an orgasm. That bravery was met with the anger of his family, the indignation of a good part of the prudish society of the time, and even provoked the wrath of the Vatican. The sensual and intelligent Viennese woman fascinated Fritz Mandl14 years older than her. The tycoon got Kiesler’s parents They approved the wedding and the couple walked down the aisle in 1933. Mandl, an arms businessman who worked with the Nazis, soon showed himself to be a sexist tyrant. In a fit of jealousy he tried to buy all the tapes of Ecstasy so that no one could see Kiesler’s scenes, and he even prohibited her from bathing or undressing if he was not in front of her. He also forced her to accompany him to his business meals. Fed up with that slavery, in 1937 the young woman he pulled his wits to escape: He hired a maid who looked like him, sedated her, dressed like her and managed to evade the surveillance of his confinement. She sold her jewelry and set sail for the United States after stopping in London. “He had played at keeping me prisoner. I played at escaping. He lost,” she would later relate. This first act of her life closes with a thrilling escape while Mandl’s thugs are hot on her heels to force her to return to her golden cage. Second act: the great diva of Hollywood Destiny awaited Kiesler around the corner. Specifically, on the ship he boarded to travel to North America. There he met Louis B. Mayer, the famous producer, who showed off his unfailing eye for celluloid. He offered her a job and renamed her Hedy Lamarr, a peculiar tribute to the actress Bárbara La Marrwhose life had been taken prematurely by tuberculosis and nephritis just a decade earlier. In Hollywood, Lamarr deployed all his talent in front of the cameras, she won the title of “most beautiful woman” and fulfilled the role of femme fatal. He acted in Algiers, Lady of Tropics, Comrade…And dozens of other titles. He shared the bill with some of the brightest stars in Hollywood and they say that the creators of snow white and catwoman They were inspired by her stunning beauty. The most famous role he played was that of Delilah in Samson and Delilah. Her fame could have been much greater if Lamarr or those who advised her had had more aim when choosing roles. He rejected the main characters in two bombshells that would go down in cinema history: Casablanca (!) and Dying lightwhich together had almost twenty Oscar nominations. Throughout his career, Lamarr produced his own films. In his private life, he had six marriages that ended in as many divorces. She ended her days retired in Florida, a kleptomaniac, obsessed with cosmetic surgery, succumbing to drugs and starring in notorious scandals. She died at the dawn of the new century: on January 19, 2000. “She was a victim of the system,” comments one of her sons in one of the documentaries filmed about her. Proof of how little society knew how to value her is the anecdote that happened to her when, during the Second World War, she offered her collaboration to the United States as a brilliant engineer. The answer … Read more

Russia’s biggest threat in Ukraine is not a drone or a missile. It is a film agency with 30 secret floors

by

That the war in Ukraine has become the largest drone laboratory combat power on the planet is beyond any doubt. In fact, both Russia like, to a greater extent, Ukraine, have elevated these devices to configure a war industry unprecedented that places machines as the army of the future of any conflict. What was not so well known was where most of Ukraine’s drones came from. Origin and metamorphosis. What started three years ago as a location and props agency in basements and garages has mutated into a war industry on an almost industrial scale: Fire Point, whose owner and executives come from from the world of cinema and the construction of outdoor furniture, has gone from assembling drones with commercial parts to producing, according to its executives, hundreds of propelled and long-range munitions from at least thirty secret locations scattered throughout Ukraine. But there is much more, because the company has grown so much that it has currently consolidated itself with contracts for around billion dollars in a single year. A transit that reflects the rapid professionalization and commercialization of initiatives born out of patriotism and urgency in February 2022, when improvised underground workshops became an effective (although precarious and fragmentary) response to a large-scale invasion. Production, design and employment. Fire Point products, such as your FP-1 droneare simple machines in materials (polystyrene, plywood, plastics, and carbon fiber from cycling) but assembled with a logic of volume production: rocket-assisted takeoff, two-stroke engine, range measured in hundreds of kilometers and warheads of more than fifty kilos in some designs. Its catalog also includes the promising Flamingo missilea larger device, with a jet engine and a theoretical autonomy and load that, if confirmed at scale, could reconfigure the Ukrainian capacity to hit deep targets. The Ukrainian industrial philosophy here is clear: cheap, disposable, massive. Efficiency does not require reprocessing or longevity, only that some specimens cross the defense networks and fulfill their unique mission. An FP-1 Military strategy and effects. The proliferation of these munitions has allowed Ukraine to sustain a systematic campaign against energy infrastructure Russian companies (refineries and logistics nodes) seeking not only a tactical effect but also strategic pressure and leverage in eventual negotiations. In fact, the multiplicity of manufacturers domestic forces and technical adaptability have forced Russia to face a daily erosion of its apparent air immunity, forcing it to reallocate defensive resources and contemplate low-cost warfare as a decisive vector. Transparency and control. Fire Point’s meteoric rise has not been free of shadows: Public complaints and audits point out opaque awards, absence of mandatory price negotiations, questions about initial technical quality and the possible involvement of actors linked to the media and business environment close to power. In fact, the National Anti-Corruption Agency has inspected links with figures associated with the presidential circle and there are parliamentary calls to investigate pricesspecifications and the destination of multimillion-dollar benefits. Despite this, the public narrative combines suspicion and exaltation: national heroes and strategic businessmen who have shored up the defensive capacity, while activists and analysts demand more controls and transparency in war contracts. Industrialization and ecosystem. The phenomenon is not an isolated case but the center of an industrial revolution: Thousands of companies, hundreds focused on long-range drones and dozens competing for contracts, attract foreign funds, partners and joint venture projects. State agencies charter incentiveswhile international funds (such as the recent Norwegian-Ukrainian vehicle) show that the ecosystem is beginning to professionalize and seek commercial and technological legitimation beyond the emergency. For European and North American defense, Ukraine now offers a unique experience in unmanned missions and rapid design, which arouses interest both military as industrial. Ethical dilemmas. There is no doubt, the balance raises dilemmas: the domestic war economy reduces dependence on allied donations and scales offensive capacity, but it raises questions on democratic control, accountability and the risk that lucrative war businesses are perpetuated beyond strategic necessity. Plus: the proliferation of cheap and massive systems exacerbates the asymmetric nature of the conflict and poses risks of escalation and diffuse responsibility for selective objectives and collateral damage. Perspectives. In sum, the Fire Point history summarizes the Ukrainian phenomenon: industrial creativity (in many cases, they have no other choice) converted into a strategic muscle, an industry that emerged from volunteering transformed into key actor of the military apparatusbut also in focus of controversy due to its speed, its margins and the opacity typical of a country at war. The future challenge is twofold: to consolidate technological and productive capabilities that continue to perform in combat, and at the same time insert this thriving sector into frameworks of governance and transparency that prevent war efficiency from evolving towards economies of corruption or political capture. How Ukraine resolves this binomial will define whether its revolution dronistics It remains a collective merit or becomes an institutional burden. Image | xMezha In Xataka | They call it Skyfall, Burevestnik, or flying Chernobyl. The problem is not the name, it is what Russia’s latest missile does In Xataka | The war in Ukraine was a drone war. Now it is a war of drones that are not actually combat drones

Adam Driver contacted Soderbergh to make a more “personal” film about Kylo Ren. Until Disney stopped them

by

It is the eternal tension between creativity and corporate control that grips a Hollywood devastated by the presence of franchisesand which especially suffocates Disney, which either fails to get some of its most iconic brands to overcome the feeling of wear and tear (Marvel), or fails to get them to take creative flight (Indiana Jones, ‘Star Wars‘). The last test, the cancellation of a project that could have been a bubble of fresh air in George Lucas’s galactic saga. The return of Ben Solo. In one interview with The Associated PressAdam Driver revealed that Disney rejected a sequel film focused on Ben Solo, better known as Kylo Ren), titled ‘The Hunt for Ben Solo’, which he developed with director Steven Soderbergh and screenwriter Scott Z. Burns for two years. Despite enthusiastic support from Lucasfilm, including Kathleen Kennedy and Dave Filoni, the project was vetoed by Disney CEO Bob Iger and co-chairman Alan Bergman, who argued that they were not sure Solo would still be alive after his redemption and death in ‘The Rise of Skywalker‘, from 2019. How it was going to be. The project was born from Driver’s personal interest in closing the arc of Kylo Ren, a character whose evolution he felt was incomplete. Originally, Driver had believed that there would be a reverse arc to that of Darth Vader that we saw in the prequels, but the trilogy produced by JJ Abrams did not develop it as the actor expected. After a call from Kennedy in 2021, Driver teamed up with Soderbergh to create a more intimate, character-driven film, inspired by the somewhat more twilight tone of ‘The Empire Strikes Back’. How would I resurrect? Driver insists in that the apparent death of Ben Solo was just that, apparent, and that Disney was carried away with a literal vision of the films. And with this he left aside the tradition of the ‘Star Wars’ universe of resurrecting characters through clones, spirits, time travel or mystical forces, as happened with Emperor Palpatine himself in ‘The Rise of Skywalker‘.​ Driver suggests with his statements that, once again, instead of betting on imagination and betraying expectations, Disney embraced linear and conventional narratives. The shadow of Han Solo. In Marvel only in recent times and with very specific cases, such as ‘The Marvels‘, ‘Eternals‘ either the latest installment of Captain AmericaDisney has encountered box office failures that, in any case, have not been resounding either. On the other hand, we have been six years since the last ‘Star Wars’ film, and this despite the notorious success of the last trilogy. The reason may have been how poorly received proposals such as ‘Han Solo‘ or ‘Rogue One’, which tried to propose narratives outside the Skywalker Saga. Stage fright. However, that saga has ended and Disney seems paralyzed by a stage fright that could be reinforced by the poor reception of series like ‘Obi Wan Kenobi‘ either ‘The Acolyte‘. The success of parallel projects with a certain radical component such as ‘Andor‘ do not seem to encourage the company to pursue alternative paths for the franchise, knowing that it has to invest a disproportionate amount of budget and marketing in selling new films in the series, and that is the reason why in recent years we have seen more cancellations than ideas coming to fruition. Maybe things will change with the (for now) film starring Ryan Gosling that seems well underway. Although until the time comes, we may see a few corpses along the way like this ‘The Hunt for Ben Solo’ In Xataka | One thousand euros for the Star Wars Death Star: the most expensive Lego set to date does not make all fans happy ​

The most watched film in history on television is not a Hollywood success, but a classic from the most carpet-loving Spain

by

You will have heard on more than one occasion that every time ‘Pretty Woman’ is broadcast on television, audiences skyrocket. Nowadays it is no longer so true: Telecinco broadcast it a couple of days ago and the result It wasn’t spectacular.. In any case, not even the film by Richard Gere and Julia Roberts has come to live up to what is the greatest milestone in television cinema: the most viewed film in history in Spain has nothing Hollywood about it. Neither cathete nor cathete. On January 14, 1992 (that is, with the private ones already at full capacity, but still unable to stand up to depending on the customs of the Spanish viewer), the broadcast on La 1 of ‘Cateto a port’ had an average audience of 10,078,000 viewers and a stratospheric share 60.5% (for comparison, the final of the last Copa del Rey, the most watched in years, it didn’t reach 50%and the daily program that exceeds 15% is rare). Tremendous landism. ‘Cateto a port’ is a 1970 Spanish comedy starring Alfredo Landa. In it, a simple young man, after multiple attempts to avoid military service in order to take care of his little brother, ends up joining the Navy, having to face multiple difficulties due to his lack of experience. The film uses simple humor for all audiences, contrasting the naive protagonist (the recruit Cañete, whose name will soon become iconic) and the highly regulated environment of the Navy. All seasoned, of course, with its mild military propaganda, showing the modernity and friendliness of the institutions. Why do you like ‘Cateto a port’? His conciliatory tone, so typical of the last years of the Franco dictatorship, guaranteed him notable box office success, and above all, as with other stars of the time such as Paco Martínez Soria, the favor of the public. Its comedy of manners with a very friendly tone makes ‘Cateto a port’ very digestible by audiences of all ages, just what brought ten million people to the television screen. The most aggressive landismo was yet to come, full of plots with Spanish boys chasing Swedish women among images of medium intensity eroticism. It would be inaugurated, precisely, that same 1970 with a film by the same director, ‘You will not desire the neighbor on the fifth floor’. Relative milestone. Of course, we are talking about an absolute record… since there have been measurements, something that started in Spain in 1986. In 1992, audiences had already atomized due to private ones, so it is possible to think that in the seventies and eighties, when the population’s primary entertainment was television, the audiences for other films (or even this one) could have been much larger. Before measuring with audiometers, The audience was measured through the General Media Study (EGM) since 1968, which used interviews to estimate consumption. Other successes. There are only four feature films registered that have exceeded 9 million on average: the humorous western by Clint Eastwood and Shirley McLaine ‘Two Mules and a Woman’, with 9,598,000; the tremendous ‘The Priest’s Son’ by Fernando Esteso, with 9,287,000 spectators; We were talking about ‘Pretty Woman’ and there it is, with 9,223,000 viewers; and finally, ‘Dirty Dancing’ with 9,110,000 viewers. Be careful, because they are all broadcasts from 1992 (with the exception of ‘Pretty Woman’, from 1994), which suggests that, despite the arrival of private broadcasts, there was a general increase in people watching television in the early nineties.

If a film created by AI will convince us to go to the cinema

by

The AI ​​begins to seize Hollywood. Although there prefer not to say it in voice too high. And who is willing to achieve this is Openai, whose generative model will be used to create an animated film that will be called ‘Critterz’ and will be released in 2026. ‘Critterz’. In OpenAi They have yielded Both his tools and his computer resources to achieve something that had to arrive sooner rather than later: an animation feature created almost entirely with AI. ‘Critterz’ is a film that deals with how some creatures of the forest end up living an adventure when a strange disturbs its village. Premiere in Cannes in 2026. The film is the work of Chad Nelson, creative of OpenAi, who began to outline the characters three years ago while trying to create an animation short with Dall-E. The short, by the way, is available on the Openai channel on YouTube. This expert will work with producers in London (Vertigo Films) and Los Angeles (Native Foreign, specializing in combining AI with traditional production tools) in a film that hopes to be released at the Cannes Festival in May 2026. With everything it is faster … James Richardson, co -founder of Vertigo Films, stood out In The Wall Street Journal As the team is trying to complete the film in nine months, when normally a production of this type usually takes three years. … and cheap. In addition, the ‘Critterz’ budget is 30 million dollars, much less than animation films usually cost. Production teams, yes, plan to hire human bending for the voices of the characters, and also want to hire artists to draw the sketches that then use with OpenAi tools such as GPT-5 and their models of generative image generative. How long and money do Pixar cost? Pixar employees themselves They explained How one of his films takes about four years to complete. The first two focus on specifying both the story and the characters, and the other two to cheer and render the film. The budget of the setback ‘ was Of 175 million dollars, and subsequent productions have also been around 200 million dollars. A delicate project. Although companies such as Disney or Netflix have been experiencing with the use of AI in different phases of production, the film industry walks on swampy terrain. This technology and their threat to the workers caused the strike that He had the entire segment in check and in which they were victorious. How to avoid problems. The script has been written by the scriptwriters of ‘Paddington in Peru‘, and the selection of the voices of the characters is already being carried out. The project is funded by the Matrix of Vertigo, Federation Studios, which has already devised a way to avoid possible problems with industry workers. Thus, a compensation model has been developed that allows the nearly 30 people who are working in ‘Critterz’ to have a participation in the benefits. A risky bet. Although for years the possibility that anyone can make a film – animated or not – with AI tools, this production aims to be the clear demonstration of that option has been profiled. To succeed, however, you will need to convince the audience of two things. The first, which is good enough to pay for her in theaters. The second, more importantly, that human beings accept that machines make films. In Xataka | The greatest fear was that AI took our work. The reality is that they are replacing those who are learning to work

Call of Duty announces a film, with which he will make a leap to the void, going beyond the children’s audience of other adaptations

by

It was clear: after the successes of ‘A Minecraft movie‘ either ‘Super Mario Bros.: The movie‘We were going to see new video game adaptations. AND ‘Call of Duty‘It was one of the undisputed franchises to receive a version on the big screen. Although his announcement also involves a distancing from other projects: a more adult series, with more serious themes, and that opens new ways for what could be the next great Hollywood reef. Paramount points. The renewed Paramount, now under Skydance’s wings, is the one that will be responsible for producing this adaptation of the Activision saga, which will appear in the movie’s credits as an advisor to everything that comes out on the screen. It is a turn that is not surprising coming from the producer: one of her last great hits in cinema was’Top Gun: Maverick‘, so it has all the meaning that wants to continue exploiting the war aesthetics with a franchise settled in the past. It is not the first time that Paramount tries, however: in 2018 he already tried to put an adaptation of ‘Call of Duty’ standing with the director of ‘Sicario 2’, Stefano Sollina, on board. A lifelong fan. On this adaptation, David Ellison, CEO of Paramount, said in statements that Deadline collects “As a fan of ‘Call of Duty’ of a lifetime, this is a dream come true. From the first allied campaigns in the original ‘Call of Duty’, going through ‘Modern Warfare’ and ‘Black Ops’, I have spent countless hours playing this franchise.” And makes the inevitable comparison: “We are addressing this film with the same discipline and the same unwavering commitment to excellence that guided our work in ‘Top Gun: Maverick’, making sure that it meets the exceptionally high standards that this franchise and its fans deserve.” Good new times. Today the times in which adapting a video game were almost synonymous with guaranteed failure (at least artistic) seem. The huge software sales promoted adaptations, but gave rise to fiascos such as ‘Super Mario Bros.’ or ‘Street Fighter’ (today claimed as cult films, and both with new versions that – at least in the case of Mario – have cleaned the image of the franchises). Recall that for a while, the one who was considered a nefarious director, Uwe Boll, insisted on adapting a video game after another. Not everything is terrible. Despite the bad reputation of adaptations, we have had good films from the beginning: the first ‘Mortal Kombat’ is a great version and The ‘Resident Evil’ sagawith its ups and downs, it is full of humor, imagination and springs (and The despised 2021 adaptation It was great). ‘Silent Hill’ is remembered for its powerful macabra imagery and Lara Croft’s versions … well, they have not aged at all well but they are esteemed adventure films, and the 2018 version was very defensible. But none of that prepared us for the dump at the box office that would hit films such as those mentioned, to which successes such as ‘Sonic The Hedgehog’, ‘Uncharted’ or Pokémon movies, which we forget about them and although there is an anime through them are added, video games are part of their DNA. Adult cinema. All of them, however, have something in common: they are films oriented to children or, at most, to the family member. ‘Call of Duty’ is, therefore, a risk to which the sequelae of ‘Sonic’ are alien, for example. Paradoxically, franchise players are young and even There is an important group that is between 11 and 20. Paramount, however, may not want to escape the possibility of attracting spectators in a broader range of ages, with a more serious and violent film. If you get even more the arch of the spectators, you can have a real triumph on your hands. Header | Activision In Xataka | An urbanization was deserted in Valencia after the real estate bubble. Some geniuses have made it ‘Call of Duty’

The most cool film producer of the moment faces a dilemma: either Milmillonaria or reject the AI

by

A24, the producer who has turned the artistic horror (which for a time has been called detailed ‘high terror‘) and the experimental drama in box office phenomena is found in a Existential crossroads. Or accept the millions of risk capital companies or stay faithful to the principles that have made it a rarity within Hollywood: A producer with ethical and aesthetic principles. Humble origins. Daniel Katz, David Fenkel and John Hodges founded A24 in 2012 with just 20 million dollars. Twelve years later, they were Hollywood envy: they had a brand valued at 3.5 billion dollarsthat transcended production work to become almost a cultural movement. While Hollywood embarked on an exploitation of repetitive franchises, they opted for authors such as Ari Aster, the Sadfie or Barry Jenkins brothers, who gave them their first successes: ‘Hereditary’ and ‘Midsommar’, ‘Uncut Gems’ or ‘Moonlight’. The total turnaround. His first films made A24 prestige and money win, but the real bombing came with ‘All at once everywhere‘, an existential tragicomedy with time trips of 2022, with a modest budget of 15 million dollars and that raised 140 worldwide, and He took seven Oscarsmany of them of the main ones. A24 was in the spotlight, with a cult of the brand that was not born in a marketing agency, but completely organic. In Xataka A face washing for the academy: how A24 has made Aura cinema "Indi triumphs in the Oscars But with success (we talk about an ambitious multimedia plan that has led A24 to organize immersive experiences OA Relauncar classic exhibition rooms), the problems also arrived: those 3.5 billion value demand constant growth, international expansion, and of course, processes optimization. Money calls money (already problems). A24 did not want to become a Lionsgate, acquired by Warner. Or worse: a blumhouse, an indie terror icon that since it was acquired by Universal was immersed in The same dynamics of Majors of billing a franchise after another. It is inevitable: no matter how much production conglomerates guarantee creative independence to their studies, decisions go to the committees, obsessed with process optimization. And that is where capital funds enter and, hand in hand, the threat of AI. Enter Thrive Capital. Specifically, who appeared was Joshua Kushner with his Thrive Capital Fundoffering offering 75 million dollars without the creative limitations that the money from corporations usually brings. There would be no pressures to make franchises or any other obligation, and his history corroborated it: Thrive had financed Instagram before purchase of Facebook, for example. The small print, yes, is unnegotiable: Thrive Capital is One of the largest investors in OpenAIhundreds of millions have been left in chatgpt. And in that sense, Thrive does not hide their letters: they are an openly pro-one background and believe that this technology will transform the content of the coming years. And although Thrive at the moment does not press to A24, it seems clear that he will do so in the future if the producer resists incorporating the AI ​​into her processes. {“Videid”: “X86AO51”, “Autoplay”: True, “Title”: “‘Everything Everywhere All At Once’, Trailer”, “Tag”: “Eventhing Everywhere All at Once”, “Duration”: “162”} The controversy of ‘everything at once everywhere’. The arrival of tools that use artificial intelligence to Hollywood is absolutely unstoppable. And in fact, a pair of background within A24 raised flirting with AI who found themselves with some rejection of a sector of their audience. On the one hand, ‘everything at once everywhere’ He used Runway AI To create special effects: the use was minimal, but it caught the attention for the usually “artisanal” character of A24 cinema. The controversy was accentuated when it was learned that some ‘Civil War’ posters had been designed with AI. An essential dilemma. Before A24 several routes are now opened, which will undoubtedly determine something even more important than their income: Your identity. You can try to normalize the use of AI and gradually incorporate it into your processes as already do Majors that delegate issues as part of marketing, advances and others to AI. Or they can become the last resistance to AI if their investors allow it: they would align with some of the most prestigious directors of their team, such as Robert Eggers or Ari Aster, whose long and traditional documentation processes and creation of films such as ‘La Witch’ or ‘The Lighthouse’ become essential identity elements for A24. He Growth between unexpected and uncontrolled A24 She has turned the producer into a balancer between the indie, the traditional, and the hug to the latest Hollywood production trends. Perhaps the story you have left to live at A24 is the last bastion of a way of understanding cinema that is increasingly part of the past. In Xataka | An AI has created the script of a film that precisely speaks of creativity in the cinema. A room refuses to release it (Function () {Window._js_modules = Window._js_modules || {}; var headelement = document.getelegsbytagname (‘head’) (0); if (_js_modules.instagram) {var instagramscript = Document.Createlement (‘script’); }}) (); – The news The most cool film producer of the moment faces a dilemma: either Milmillonaria or reject the AI It was originally posted in Xataka by John Tones .

The failure of this science fiction film ended the career of a classic director and closed a study in a week

by

The arrival of computer animated cinema is not only cemented in great successes such as’Toy Story‘ and The advent of Pixar. They also came into play, at the time, box office failures such as ‘Titan AE’, an ambitious animated science fiction film whose resounding failure ended the race of the great Don Bluth, closed Fox’s animation department forever and meant one of the last nails in the coffin of traditional animation. From actors to drawings. 25 years ago recent Space Opera With real actors. The script had circulated through Hollywood for years without finding financing, until Fox Animation Studios decided to turn it into an animated film in 1997. Don Bluth and Gary Goldman were responsible for the commission, after successes such as ‘In search of the enchanted valley’ or ‘Anastasia’. What was I going. The film combined quite daring concepts of science fiction, especially within the animated cinema of the time, but with a more familiar style: in the year 3028, Drej aliens destroy the earth, forcing humanity to wander through space as refugees. Cale Tucker, separated from his father during evacuation, grows aimlessly until he discovers that he carries the map to find the Titan ship, capable of leading them to a new planet. Cale starts a search pursued by the Drej. Money hole. To start, Fox gave them 55 million dollars, but 30 vanished before startingin preproduction. Fox executives did not want in any case the film to pass 80 million dollars of budget, so they had to make the rest of the film with 50 million (which finally became 60). These budgetary restrictions He prevented them from capturing his initial vision of the film and 300 people from the Fox animation department were stalls on the street. Lower the quality. These mass layoffs forced Bluth and Goldman to take part in the animation to external studies, such as Povde Group, reality studios and Blue Sky. This led to one of the big problems of the film: the own identity fdalta to which they brought the multiple hands and studies involved, the mixture of traditional animation and CGI and the tone of the film, very adult sometimes, very childish on other occasions. The promotion of the film, somewhat erratic, participated in this doubtful tone, and finished certifying the failure. Batacazo at the box office. The film raised only 36.7 million worldwide, and According to an executivelosses 100 million for Fox. The disaster was such that only ten days after the premiere, Fox Animation definitely closed its doors, and the then executive director of Fox, Bill Mechanic, left his position a few weeks later. Goodbye, Don Bluth. Undoubtedly, the great loss for the cinema was the definitive folder to Don Bluth’s career, which as Goldman has not re -directed a film. He tried in the new century, especially, by way of Crowdfundingpretending to stand a movie based on the video game ‘Dragon’s Lair’ that never sets. But above all, ‘Titan AE’ was one of the last failures that condemned the traditional animation: the successes of Pixar and DreamWorks and the progressive collection of the Disney films precipitated a change of paradigm towards the CGI. Time has turned ‘Titan AE’ into a cult film, but in its day it literally supposed the end of an era. In Xataka | The figures suggest that the domain of blockbusters in Hollywood is not over. In fact, it will go worse

The best apps and services to discover which series or film, and help you discover new titles

by

We bring you a small collection of services to find new series and movies to seebecause sometimes apps suggestions are quite far from being effective. Therefore, there are other external and third -party alternatives that you can use for this. We will have everything from pages and apps that serve to vote or keep the content of the content you see and have sections of recommendations, to other services that have been specially designed to recommend what to see depending on what you like. And as we always say in Xataka Basics, these are our suggestions, but maybe you know others. Therefore, we invite you to miss any service on the list, tell us in the comments section so that all readers can benefit from the knowledge of our xatakers. Chatgpt, Gemini and the like Conventional artificial intelligence chats are the first to can help you with recommendationsboth in their payment and free versions. All you have to tell you is that you want to find free series and movies, and make recommendations. Here, it is also important give examples of titles that you likeeither generic or better that they are related to the type of series or film you want to find. Thus, they can take these tastes into account to recommend. You can also tell you the genres that you like the most. Justwatch Justwatch is a fairly popular service because you can configure what streaming services you have, and then when looking for series and movies it tells you which one is available. But it also has A system of recommendations and discoveries where to find something to see. In this section you will see recommendations based on the virality of the moment, on the searches that users do. It also has a section of novelties and another for searches many filters which includes rotating or IMDB, genres, languages, countries of origin or premiere years. So you can find the best of the best. IMDB This is one of the main series rating portals worldwide, and hundreds of thousands of users use it to put notes to series and movies. Precisely because of that, it is a place to go to know which are the best and worse ones you can see. In addition to lists with the best series and films in history according to the note of the spectators, it also has A section called What to seewhere you can meet several lists of suggestions. These can be for streaming services, at the favor of others, and even the most popular of the moment. Rotten Tomatoes It has positioned itself as the great successor of IMDB, and stands out because in its notes those of critical experts of film and the rest of the people differ, sometimes having great differences. The web also has its list of news and more viewed series or filmsas well as a page with several articles with recommendations. Taste.io This is a page in which you can calculate your cinematographic taste, and then use this calculation to Make custom recommendations. For that, the web will show you a series of films, and you will have to value them. When various values, a taste profile will be created and will show you the recommendations, also based on other data such as the streaming platforms you have. The premise of this service is that the people who will make best recommendations are those that have your same personal tastes. Therefore, once your taste profile is created, compared to other users With similar tastes to make the recommendations. Tasdive This is a fairly simple service, in which you simply write a series or movie that you like, and then I recommend similar things. In addition, in each of the product sheets you will see how many users like or do not like, as well as reviews. In addition to films and series, this service It also serves other types of entertainmentsuch as music, books, games, and even places and brands. It is not the most complete, but it is easy to use. Likewise pix Since at first we have mentioned artificial intelligence systems, there are specialized pages such as likewise that have also created your own AI to make recommendations of content You just have to enter your website and ask what type of series or movie you want to see. Viewing tracking pages There are many apps to follow and control the series and movies you seewhere you are marking and valuing each chapter or film. Among them you have Time Time, Trakt, Letterboxd either Justwatch among many others. These are services that you can use both on its websites and in mobile applications. These services offer several ways to discover content. On the one hand, You can look what your mutuals are seeing and other people you see that they have tastes related to you. In addition, apps They usually have suggestions sections where you will also find recommendations based on your tastes. Reddit Reddit is the greatest metacomunity in the world, A Community of Communities. On this website, you have many subbredits dedicated to films and series where you can find recommendations of all kinds. There are even omunities such as R/TelevisionSuggestions made exactly for this. It is worth taking a look. Use specialized pages And finally, you can also turn to The analysis and recommendations of specialized pagessuch as our partners of ESPINOF either Sensacine. From this page is where I get many suggestions from new series and films, and as it is also recommended that can also help you. In Xataka Basics | 14 apps and services to discover new music in Spotify, Apple Music and other streaming services

Internet has been trying to locate Granada places that come out in a prohibited film starring a Nazi

by

“A film full of humanity without any trend.” With that overprinting phrase on the screen it starts ‘Solange du Lebst’. A “neither right -wing” manual “that, however, hides a Nazi propaganda film that did not come to be seen in Spain but, surprisingly, in Germans after World War II, where he unleashed a considerable scandal. Today is completely missing. ‘Solange du Lebst’ (in Spanish it could be translated by ‘While you live’) is the closest thing to a cursed film mixture and, at the same time, purely, propaganda. We are facing una movie comparable to which both sides of the war rolled In large quantities, each favoring yours. Those of the allied side are better known, since Hollywood He launched all his machinery so that even non -war movies such as the Westerns or the suspense cinema would insufferate the ideology that the allies were interested in propagating. On the Nazi side the Fiction and propaganda films They are less popular, however much documentaries such as ‘The triumph of the will’ have gone down in the history of cinema for the power of the propaganda imagery of Goebbels, which produced 1200 films, Many of them prohibited for decades. But films like ‘El Arrow Quex’, ‘I wait for you’, ‘President Krüger’ or ‘Kolberg’ were not as well known as their American counterparts due to their low film quality. In Spain, in fact, the laughible ‘race’, the milestone of Franco’s fiction code, than any of these. That is why it is not strange that it has not been heard about ‘Solange du Lebst’, that did not premiere in Spain and was barely seen in Germany. The producer, Eva Films (we are not going to get Nazi connotations in every detail, but well, there is the name of the producer, which she shares with that of Hitler’s couple) premiered it thanks to subterfuges as the aforementioned initial message. However, the daring to reach German screens After the Nazi defeatwhen the nation faced global ignonymy and a feeling of guilt, the country ranked, it resulted in a considerable box office failure that ruined the producer. The film disappeared from the rooms and never broadcast on television. Occasionally it has reappeared in very limited circuits, such as when it was published inadvertently in a collection of DVDs in Spain, ‘jewels of the history of cinema’. FTW Condor Legion In ‘Solange du Lebst’, a heroic and handsome pilot of the Condor Legion, the Air Force that Hitler sent to Spain to help Franco in the Civil warshe crashes into the fictional Andalusian town of Torralbán. There he will live a caste and sincere relationship with his caregiver while he remains injured and hidden in a cave, facing the fearsome international brigades who want to invade Spain and the wild Republicans who patrol the area. The film (which you can see complete, yes, in German, in the video on these lines), despite appearances, it is not a series B shot under co -production. There is a considerable media slack where, in addition, several names that would later be known internationally. The director and screenwriter Harald Reinl has an extensive filmography that arrives until 1982 and where there are from war dramas to family comedies, through ufological documentaries or literary adaptations of the classic mystery writer Edgar Wallace. The leading actress, Marianne Koch, would reach some international fame with Westerns as ‘for a handful of dollars’. The scarce scope of the film has not even given margin as to become a cult film, but its atmosphere in Spain has raised the curiosity of experts … and the locals. As The ideal newspaper accounttwo scholars carry Three years trying to unravel the mysteries of ‘Solange du Lebst’: They are Julio Grosso, professor of audiovisual communication at the University of Granada and Ralf Junkerjürgen, researcher at the University of Ratisbona. Together they decided to try which areas belonged to the locations of the film. To do this, they have been publishing in social networks photograms of the lost film and thanks to the collaboration of Internet users have located areas of Granada such as Los Arenales del Trevenque where the pilot, the old clinical hospital in San Cecilio, the Armilla Air Base, the Tablate bridge, the old road of Güéjar Sierra and El Castillo de Lácha. Purely Spanish areas that, however, did not prevent the film from being released in Spain. Why that unusual destiny? Although his argument left no doubt about his political orientation, neither this nor its atmosphere helped the film to be released in Spain. A possible reason, despite the fact that the Franco dictatorship was completely settled, is that In 1955 the regime was not interested in digging up old ghosts. The pacts of Madrid between Spain and the United States They had just signed in 1953and he was ending the international isolation to which he had submitted to the country. The last thing that interested Franco was his little Nazi propaganda. No matter how well photographed that Granada was. In Xataka | In anemic times for the box office, Spanish cinema has a hope on the horizon: the new ‘torrent’

Log In

Forgot password?

Forgot password?

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

Your password reset link appears to be invalid or expired.

Log in

Privacy Policy

Add to Collection

No Collections

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