Every year Renfe dedicates millions and millions of euros to something that has little to do with transportation: cleaning graffiti

In March 2023 Renfe did something very rare in the world of communication: he sent a press release full of graffiti to newsrooms across the country. Literally. The text was so smudged that you could barely read its content, beyond the headline, in which the operator lamented that “the graffiti vandalism” that occurs on trains generated a cost of 25 million of euros, in addition to affecting the flow of traffic with delays and cancellations of services. That marketing campaign served to arouse curiosity and raise awareness about the issue, but it does not seem to have solved the problem. In fact, the bill for graffiti removal just came a considerable jumpjoining others related to vandalism, such as wiring theft. What has happened? That despite all your attempts to tackle the problem, the campaigns awareness, the control of the authorities and the complaints launched by the workers, Renfe has not managed to free itself from a very special type of vandalism: that which is perpetrated with sprays and that attacks its wagons and locomotives. The operator already had warned in several occasions that graffiti on trains cost him 25 million euros annually, but the bill seems to have increased in recent years. at least like this has advanced it elEconomista.eswhich ensures that in 2025 spending will skyrocket to exceed 32.2 million euros. Has it increased that much? The economic newspaper assures that the railway operator has had to increase the efforts it dedicates to keeping its trains clean, going from around 25 million annually invested in recent years (the sum includes direct and indirect costs) to just over 32 million in 2025. The largest expense would be located in Catalonia, where recently The socialists presented a bill to increase fines for acts of vandalism that affect public transportation. According to The NewspaperIn 2023, cleaning trains in the region cost 11.6 million, about 32,000 euros per day. Is it something new? No. And that is precisely one of the keys to the problem. Three years ago, in his famous statement defaced, Renfe already denounced that “graffiti vandalism” on the trains was generating a cost of more than 25 million euros per year, a bill that, it warned, falls directly on citizens. It may seem like an exorbitant figure, but Renfe recalled that graffiti not only requires cleaning machinery, it also has less visible consequences that are equally (or even more) burdensome. “This figure includes, in addition to the cleaning itself, the indirect expenses derived from this scourge, such as investment in security, both for personnel and other technological systems,” scored Renfe in 2024. Graffiti also affects railway operations, so passengers suffer directly. Click on the image to go to the tweet. Does it affect that much? Yes. In her day the operator already warned that sometimes graffiti directly affects the service they provide, causing delays and leaving trains unusable. The reason? The company spoke of “lack of visibility or graffiti on safety elements that impede circulation”, in addition to “emergency braking to paint in the middle of a journey” or even the smell generated by aerosol paints. “It is very annoying to travelers.” The truth is that Renfe has not been the only one to report the problem. He has also done it by example the Government in Catalonia or the CGT union in Galicia, which in February regretted in X that the graffiti on a train was preventing Renfe from using it to resolve the saturation of the service between Vigo and A Coruña. How much is vandalized? Renfe calculates that if the entire area of ​​vandalized wagons and locomotives is added, in 2023 there will be around 80,000 m2. And not because that was a particularly bad year. It is an estimate very similar to that of 2022 and theEconomist points out that one year the 90,000 m2. To give a clearer idea of ​​what these levels of vandalism mean, in 2023 the operator I remembered that cleaning such a quantity of paint had required 15,000 hours of work and that the railway network had also been affected to the same extent. “The trains were stopped for 15,000 hours unscheduled due to graffiti removal,” insisted the company, which reminds that the damage could be even greater if surveillance were relaxed: in 2023 alone its security personnel thwarted almost 1,200 incursions by vandals to create graffiti. Is there no way to avoid it? If there is, in Spain we have not yet managed to find the key. And not for lack of efforts. In addition to toughen sanctions and carry out controls that not long ago allowed ‘hunting’ in Catalonia about a dozen of those involved in 115 graffiti on FGC, Renfe and Barcelona Metro machinery, Renfe has resorted to new forms of surveillance. Renfe already employs for example, drones to hunt down vandals who paint wagons or break into their facilities, which has led to a notable investment. Images | Renfe 1, 2 and Alvaro Galve (Flickr) Via | elEconomista.es In Xataka | Japan has a secret weapon to end vandalism in its streets that only affects teenagers: “The Mosquito”

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

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

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