hollywood

Cameron’s ‘Titanic’ was going to be a flop. Until a trailer that broke several Hollywood rules changed the narrative

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In a few weeks the posthumous memoirs of Jon Landau, producer of ‘Titanic‘ and ‘Avatar‘, and frequent collaborator of James Cameron. Media as Variety have been able to access its content, and they tell of a masterful marketing maneuver: how a film that seemed doomed to failure, ‘Titanic’, was saved thanks to an intelligent trailer. It was sinking. Before the release of ‘Titanic’ In 1997, there was a certain pessimism in Hollywood and in the press about the film’s chances of success. With a then-record budget of $200 million, constant delays during filming, and negative rumors about the development of the production, many experts and media assumed that the film would be a financial disaster. Landau says that he was famous an article from ‘Time’ magazine in which the possible future of the film was compared to the real fate of the ship with the onomatopoeia “Glub, Glub, Glub…” Too much noise. But as he says in his memoirs, titled ‘The Bigger Picture’, Landau knew that “perception becomes reality”, even though expectations were not good: the jump from 100 to 200 million dollars brought to mind another major failure (and with a very marked aquatic component as well): ‘Waterworld’ by Kevin Costner. Paramount’s marketing team proposed a conventional trailer. Landau described it as a “John Woo-style trailer”, meaning “quick cuts and booming music, gunshots and screams. It made the movie look like an action movie that just happened to take place on the Titanic.” Cameron and Landau knew this wasn’t their movie. Four minutes or so. The decision they made was seemingly counterintuitive: an exceptionally long trailer, four minutes and two seconds. Before, they had to fight for a long time with Paramount executives, who initially wanted a shorter trailer oriented solely towards action. Landay and Cameron argued that a longer trailer was necessary to convey the magnitude and complex narrative of Titanic. They presented it at the ShoWest event in Las Vegas, a key convention for theater owners. Kurt likes it. The trailer had an immediate and favorable effect among attendees, decisive for the good distribution of the film. It also had a positive impact on stars like Kurt Russell, who helped spread the word that they were watching a great film. The actor, sitting at the Paramount table, stood up and shouted, “I’d pay ten dollars just to see that trailer again.” Since then, even the initially skeptical press began to reconsider the film, marking a turning point in public perception and hopes for commercial success. Change in narrative. The trailer not only showed what no one had seen and how the film worked (the memories, the romance, the action, the gigantic scale), but it also redefined the conversation from rumors of failure to raising the possibility of it being a success. The film was released in December 1997, became the highest-grossing film of all time and won 11 Oscars. Another victory for Cameron, although with this one he didn’t have it with him all the time. In Xataka | The “ghost” category of the Oscars: it exists but it is so demanding that there have never been films that compete for it

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

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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.

Spaniards who make special effects for Hollywood tell us about AI

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We already had clear that Spain has become indisputable superpower of the comic mainstream United States. It is not only there that ours are triumphing internationally. By the Comic-with Malaga Many of those responsible for the VFX study were passed The ranch To break down its spectacular curriculum, and we had the opportunity to talk to two of its members, Isaac de la Pompa and Sofia Balestrini. With your help We take the pulse of the state of the special effects in Spain and review its trajectory: The Ranchito was founded in 2004 by Félix Bergés and since then has become a European and global leader in VFX, with more than 200 employees. Among the films and series in which they have participated are ‘The Snow Society’, ‘A monster comes to see me’, ‘Jurassic World: the fallen kingdom’, ‘Game of Thrones’, ‘Stranger Things’, ‘The Mandalorian’ or ‘Westworld’. All success races have a turning point, and in the case of El Ranchito, it was ‘the impossible’ of Juan Antonio Bayona. We ask how your meeting was with the director of ‘The snow society‘: “Bayonne had already worked with Félix Bergés in’ The orphanage ‘and had him again. The effects became very Old School, With real water, and the result was so good that they came to call us no less than ilm (George Lucas’s effect company) to make a projection of the film. “ What impressed so much to the geniuses of the effects of Industrial Light & Magic? “It was shot in a Valencia pool. We bought a computer specialized in making water, waves and that type of fluids, but there is not a pixel on the screen. The only thing we retouched was the foam of the top of the waves, which is a mixture of real image and effects generated by computer.” When the film opens, it sweeps at the box office worldwide. “And above all, the Best Supporting Effects prize of the visual Effects Society in 2013 wins.” And from there, El Ranchito’s phone does not stop sounding. It is a before and after: “Before that, Felix had tried by all means to enter the American market, without getting it. An occasional interview, and nothing more. But the prize made the difference.” The prize and the price recognize: “Here we were more cheaper than those of Los Angeles. It was still a time when in Los Angeles there was labor (now everything is already democalized around the world), and it was much cheaper to take things to us.” For example, ‘Game of Thrones‘. “Chapter eight of season five, which we were not sure how to dobut we accepted because Felix had a lot of value, he accepted everything. I would not have dared. “Before, from HBO they made sure:” They made us a previous exam, they sent us a plan of season 4 in which some skeletons came out and told us ‘take, animated, compose it and others’ “. They had courage, but HBO too: “Suddenly they had to get out of their comfort zone, put aside all the American, Canadian and English companies, and have a Spanish company that had not done a project of that size.” When Ranchito had a good coil of international projects, important orders followed. ‘The Mandalorian’, without going any further: “There were effects that ILM did not give time to finish, and they called us. Above all we made ships of ships.” And he gave them chance to meet an idol: “And of course, we had call with John Knoll (Creative Director of ILM, responsible for the effects of innumerable films with the company since 1989), which is a very rare feeling, being in a videoconference with such a reference. “ The future of special effects The next question is inevitable: How do you see the future of the sector, especially with the arrival of artificial intelligence tools? “At the moment there is no total change, but tools have appeared that facilitate the work, in microtheses that simply make the artist’s life a little simpler. For example, making a mask is a laborious task that before had to make frame by frame, and now there are models that do it automatically.” Nor is the panacea at the moment, they warn: “Then you have to retouch, you have to refine, but the progress is there” “But in general,” they tell us, “there will be a paradigm shift, it is the absolute future. Some professions such as 3D modelers are going to die and they will have to convert to other things.” And yet, “there are limitations.” What kind of limitations? Techniques (“In some aspects that seem unimportant details when generating images, AI is still very green”), but above all legal and use: “Lionsgate has reached an agreement with Runway to feed with a 20,000 films of which they have rights and be able to generate new ‘legal’ productions with AI. It is insufficient, they need many more references to create something with meaning.” That is to say, The current IAS are so sophisticated because they “cheat” in that sense: “Google and other IAS are based on millions and millions of references that take without permission, and that is why the videos are so sophisticated. We cannot do that, and legally we are now in anyone’s land.” Technology exists, the intention exists, but the logical legal maze of power or not being able to use images without permission is such a caliber that we may take years to see how this tangle is faded. In Xataka | What is the work of an artist of visual effects, in the words of Carolina Jiménez (‘Marvel’, ‘El Hobbit’, ‘Cosmos’ …)

Between franchises, action and superheroes Hollywood has found a surprising gold mine: horror movies

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14.4% of the American box office already belongs to horror movies. It is its historical maximum and a great leap from 9.8% of last year confirming what we already suspected: the damn genre has become an unexpected hero of Hollywood. ‘Weapons‘, the last success of director Zach Cregger, has debuted with $ 42.5 million collected and 100% critical approval in Rotten Tomatoes. The pattern is confirmed. Why is it important. The era of streaming has created the perfect conditions for this genre: Cheap productions, between 5 and 30 million compared to 200 of a Blockbuster. Viral by its very nature. Consumed in the intimacy of the home, where no one judges you for shouting (when they reach the platforms). Simple equation: Less investment, greater return. The contrast. In 2021, the best previous year for the genre, dominated the sequelae. ‘Halloween’, ‘A Quiet Place’. Now the original stories, new scares. Six horror films have exceeded 50 million worldwide this year. There are 29 horror launches scheduled for 2025. The average budget is a tenth of a Blockbuster traditional. Yes, but. The industry fears an early saturation. Variety I already talked in April of ‘Horror Glut’ (‘Terror Empacho’). The risk is to turn fear into routine and end up tireding the viewer too early. In perspective. Historically, terror is the Hollywood refuge genre in times of crisis. In the great depression it was when the classic monsters of Universal were born. In the seventies (Vietnam, Watergate), they arrived ‘The exorcist‘ and ‘The Matanza de Texas‘. There were also rebounds in Pandemia. Today, with the industry staggering between The strike hangoverthe change of model towards the streaming And the threat of AI, terror is the answer again. Cheap to produce, easy to sell, impossible to ignore. And now what. The generative AI can be the following revolution of the genre. Special effects at balance price, scripts generated by trained algorithms in our deepest fears. Terror, which has always been the most honest genre about the human condition, could be the first to hug the AI without complexes. Fear sells. He has always done it. But now, also saves balances. In Xataka | More ads for less money: the equation of success that Netflix has deciphered big Outstanding image | Warner Bros. Pictures

This is what Hollywood saturation model seeks

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We know that feeling: Pedro Pascal seems to be appearing in all the films of the world. In all important, at least: you just saw it in ‘The Last of Us‘And you already have it in’The fantastic 4‘. And within nothing, in the movie of ‘The Mandalorian‘. And the worst thing is not that it comes out in movies and series, it is that it continually jumps on the Internet: microvideos, spots, interviews, viral. And paradoxically, guilt is not yours, but how Hollywood works today. An busy man. Let us recognize that Pascal is an authentic stove of acting, and since he rose in ‘Narcos’, he has not stopped chaining important roles: from 2019, ‘The Mandalorian’ (although he did not see his face), three series in 2021, ‘The last of us’ since 2023. And in cinema, three films in 2022, five in 2024 ‘Gladiator II‘), three in 2025 (the new of Ari Aster, the commented – Spain arrives in August -‘ materialistic ‘and the aforementioned’ the fantastic 4). And for at least 2026, he plans his interventions in the Star Wars and Marvel franchises. Why everywhere. Pascal’s career lives a “global star” effect thanks to being present in those three great franchises of the moment (Marvel, ‘Star Wars’ and ‘The Last of Us’). Thus it has become one of the most recognizable and popular faces of the industry, and it is not the result of chance, but a combination of indisputable talent and a natural charism that makes him connect with the audience both on screen and outside it (that’s why we are also seeing it in ads such as Apple’s directed by Spike Jonze). His sense of humor It has generated genuine empathy, contributing to a nearby image. Franchise world. Hollywood lives immersed in a production model that tries to reduce financial risks by force of Set off any glimpse of experimentation. The huge production costs force great studies to focus on established franchises, something that the box office supports with results as clear as last year, where The ten higher films were all sequelsremakes and derivatives. And therefore, actors like Pedro Pascal They become omnipresent: They embody characters in these universes and acquire enormous visibility by becoming key pieces. Saturation logic. The promotion of these franchises has evolved towards a model of Constant presence in all channels. Studies use aggressive strategies (Fragmented interviewsstaggered content launches, incessant activity in social networks like Tiktok, Instagram and YouTube) … what makes The public can perceive that they are receiving without stop stimuli related to franchises. The great injured are actors like Pedro Pascal, giving the feeling of appearing everywhere but unable to control that cadence. Lack of relief. Parallel to this logic of maximizing the exposure of the IP to keep it alive we have another phenomenon: there are no generational relays among the interpreters. Of course, there are new young actors, but many young actors They leave the industry due to lack of opportunities. The Post-pandemic austerity policy It prevents us from living phenomena such as those of the 80s, the 90s or the first two thousands, when they walked from young actors led each generation. As a producer affirms in This article The Hollywood Reporter, “Hollywood has spent too much time making franchises the star instead of building the next talent generation. We have not encouraged writers to create vehicles that generate stars.” The lack of risk on the part of the producers also affects this issue: they want the delivery to be full of safe values, without space for doubts. Always the same, always Pedro Pascal. Header | Disney In Xataka | The figures suggest that the domain of blockbusters in Hollywood is not over. In fact, it will go worse

The figures suggest that the domain of blockbusters in Hollywood is not over. In fact, it will go worse

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In the post-pandemic Hollywood that we live, of completely consolidated cycles and trends, commercial cinema reigns at its expression: sequelae, remakes, reboots and blockbusters that do not leave space to medium and small movies. And although one might think that it is a passing situation with a visos to change, the truth is that such a panorama (at first glance, a transition state) does not stop consolidating. The figures. Let’s look at a few figures, which Pau Brunet gives in Your Newsletter Box Office Alchemy: During the first semester of 2025, the five highest grossing films in the United States have concentrated 82% of income. It is a rise in that domain if we compare it, for example, with 2019, when those five films generated 75%. At first glance the figures do not seem to indicate excessive growth, but let’s look at the rest of the movies. Top 6-10 represents 11.7% of the box office, a 35% drop compared to 2019. And beyond Top 10, the figures are abysmal: they represent 6.3% of the income, a 53% drop. That without counting the general fall of income (which shows that this domination of a few films is not the panacea): in these first six months, those first five films have generated 22% less income than in 2019. And what does it mean. That as much as we rabiem and kick because last year The ten most viewed films were all sequelsremakes, reboots and several fritas (not even ‘WICKED‘He escaped, being how is the adaptation of a musical inspired by a book that, in turn, is based on’ The Wizard of Oz ‘), is what works and is what the public demands. A few months ago We contemplated stunned How Disney Barría at the box office with ‘Lilo & Stitch’, and this week we have The premiere of ‘Superman’to which the first box office figures (at the time of writing these lines, the presale of Thursday) predict a great result. We can celebrate the success of unusual bets as ‘sinners’ (which Apparently it will not become franchise), But it is still a drop in the ocean, an absolute rarity in the current context. Problems for indies. Of course, this points to severe problems for the indie sector of cinematographic production, and that is increasingly cornering in the billboards. Brunet himself spoke In a previous newsletter of the aid that in Hollywood are taking place, by producers’ coalitions, to the cinema that does not have the support of the great studies. And this is going to be the only way for independent cinema, authentic basic oxygen for industry, continues to exist, because the dynamics of distribution have it marginalized. The rooms: horror, horror … The figures are clear, but you just have to go to any room to check the absolute domination of the cinema mainstreamto which the brutal is added Shortage of exhibition windowsin search of rapid benefits: after a few weeks in rooms the films go to PPV, and from there to streaming. And start again in a dynamic that not only burns products at infernal speeds, but also admits anything that is not blockbusters. The Terabusters. Brunet puts a name to this phenomenon: Terabusters. A step beyond the blockbusters, like Kaijus of cinema, the movies already They are not blockbusters, but events that bring together all the efforts of a producer for months … and hopefully return that effort in the form of dividends that allow them to finance the following monster. But you have to take care of the cinema base fabric, or the industry is in danger of devouring itself, or working only based on movies that we saw ten years ago (or less). Header | Warner In Xataka | There are many people who hate Santiago Segura movies. The problem is that they “save” Spanish cinema every year

Hollywood is using AI in absolutely all aspects of films production. And it is fatal to hide it

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Each new news about the advances of AI in Hollywood is received with a mixture of expectation and fear. How many jobs will it cost? How much work will you save? Is it the result of a sensible analysis of the needs of the U industry Another form of producers to chain cuts In all the links of the chain? What we know is that this arrival is inevitable. What perhaps we did not know is that it has long come, and Hollywood is trying to keep the secret as long as possible. Studies for AI. Currently, According to Vulturethere are a hundred studies in Hollywood that work exclusively with AI. He has especially called the attention of the press, for having a popular name on board, Asteria Film, co -founded by actress and producer Natasha Lyonne, protagonist of ‘Poker Face’. which will direct a first film generated entirely by Ia. Der time, their backs are covering: They assure that they are an “ethical” study and that all the material with which they train their artificial intelligences is licensed. That is, they are working on tools that through a Prompt They generate images, but to feed only on material for which the corresponding rights have been paid. The authors. Little by little, Hollywood is turning to these tools. Darren Aronodsky He reached an agreement with Deepmindfrom Google. James Cameron, with Stability ai. And that is the following point that Hollywood has to reach: convincing the public and the ecstptics that AI can also be a tool for authors, and not just the industry. In Vulture, Lyonne said that “I am a filmmaker who does not want technicians to decide the future of the environment. We need a kind of 95 dogma for the AI ​​era”, referring to the movement led by Lars von Trier in the nineties, who talked about undressing the cinema of every artifice. Lyonne states that he wants to delve into the “idea that the artist is the first, before he becomes an industry rule not to do so.” The clash between artists and studies can be monumental, but it is clear that we will attend something that will determine the future of entertainment. How much money is saved? This is one of Hollywood’s most important issues, in the end we are talking about production and limiting expenses. According to Industry experts like Abe Rose or as has been spoken in Tables of specialists in the subject in CannesHollywood could save between 20% and 50% in traditional productions, and up to 90% on projects very supported by AI, especially in visual effects. The potential savings for the film and TV industry in the US is estimated at 15,000 million dollars between 2024 and 2026, only in terms of production and post-production. James Cameron himself He talked about a 50% cut of budgets in the blockbusters. The beginnings of AI. Already in the last decade, AI began to be used as a tool that attended very specific aspects of production: optimization of the planning of filming schedules, allocation of resources and equipment management … in general, it helped reduce dead times and improve efficiency. At the same time, in the editing department It was used To select Tomas automatically and for simple but very laborious tasks such as synchronizing audio and video. The preambles. In the last five years, the use of AI has increased exponentially, especially in the technical section and in all phases of production. For example, in preproduction: There is a long list of tools that attend or directly replace humans. LTX Studio It is able to make a complete pre -production combining very different tools on a platform. But there are also specialized ones: Filmustage Plan the movie, Boards does the Storyboards and Long.ai Analyze the possible impact of the film, which facilitates production tasks. Filming In this phase are the ingredients that are most known: control of cameras and drones, intelligent lighting and, above all, virtual sets with Tools such as StageCraft that generate real -time scenarios, integrating real actors and digital funds, often projecting the scenarios and their modifications for the interpreters to react. It is where the most colorful revolutions are taking place and what the media dedicates the most, but they are only the tip of the iceberg. After Effects. Also in postproduction AI is replacing many tasks that were previously routine or repetitive. There is much talk about how tools such as Deepmotion or Ziva Dynamics are entering the effects and animation section as an elephant in a pot, but there is much more: audio and video synchronization, color correction with tools such as tools such as Colourlab.Aidubbing (even in his first steps, but with tools such as Deepdub and his Imperceptible Lip synchronization work steps are being taken in directions that are not precisely free of controversy) and, of course, the soundtracks that Platforms As amper Music they cover in more modest budget productions. Legal issues. But … we hadn’t remained that Much of the strikes In Hollywood they had been convened to combat these types of uses that put the work of creators and jobs at risk? Yes and no. Between 2023 and 2024, Hollywood lived one of the greatest labor crises in its recent history due to the advance of AI. The main unions (WGA, of screenwriters, and SAG-AFTRA, of actors) collided against the Alliance of Film and Television Producers (AMPTP). The WGA began its strike in May 2023, to which The actors joined in Julyparalyzing Hollywood For six months. The agreement that was reached significantly restricted the use of AI, especially taking into account the claims of the producers: with it the generative AI is prohibited so that the producers generate a script without the contest of a screenwriter, or replicate the image of an actor without permission, but its use is allowed as tools that assist the technicians. To put it otherwise: as long as there is a human union, the tools can … Read more

China has just launched another blow to the United States in full tariff war and this time points directly to Hollywood

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“China wants to reach an agreement. The problem is that they are not clear how to do it,” Trump declared Wednesday to the press. He did it shortly after announcing the temporary suspension of “reciprocal” tariffs to dozens of countriesalthough not before hardening its pulse with Beijing: the White House raised the levies to Chinese imports up to 145%. At first, there was 125%, Although Washington clarified that this figure joined 20% already in force. But with the commercial tension on the rise, China does not give signs of giving in, as the American president is probably waiting. Beijing has raised the tone and made its position clear. “If the United States insists on following its own path, China will fight until the end,” A spokesman for the Ministry of Commerce said this week. And as if they wanted to underline it with facts, this Thursday they have announced a reprisal measure that points against the American film industry. Less Hollywood, more local cinema. As Global Times collectsthe China National Cinema Administration has announced that it will reduce the number of imports from American films. The agency ensures that the measure responds to the “market law” and the election of the public, although it shows a political background by ensuring that tariffs imposed by Washington will end up deteriorating the perception of the Chinese public on US films. From now on, the number of premieres from the United States will be limited in the country’s rooms. A trend that comes from afar. The decision occurs in a context where Hollywood had already begun to lose presence. According to April box office dataonly two of the ten American films released so far from 2025, ‘Captain America: A New World‘ and ‘A Minecraft movie‘, have exceeded 100 million yuan (about 13.6 million dollars). The rest has barely generated impact. Far from being an isolated reaction, the measure fits with a broader transformation. For years, Hollywood productions enjoyed great acceptance in China, but that panorama has changed. According to data collected by the Xinhua agencyin 2012, seven of the ten higher films in the country were Americans. Today, however, Hollywood titles barely manage to sneak among the most seen. China has followed a usual strategy: learn from global referents and replicate them with their own seal. In the last decade he has developed an industry capable of producing local blockbusters with great reception. Recent examples such as’Wolf Warrior‘,’Hi, mom‘,’NE ZHA II‘ either ‘The Wandering Earth II‘They demonstrate that turn. These last two, in fact, currently lead the national box office. The commercial war continues. After the rise in tariffs to 145% to Chinese imports announced by the United States, it remains to be seen what the next Beijing reaction will be. For now, the answer has been a moderate adjustment in the cultural field, but nothing prevents them from opting for more forceful measures. Currently, Chinese tariffs on American products are at 84%. Images | Freepik | ZHE ZHANG In Xataka | Apple and Trump’s dance is taking shape: threat, panic … and an imminent exemption

China probes revenge from the United States closing its doors to Hollywood. And Europe could be the great beneficiary

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China is valuing to prohibit the distribution of American films In response to Donald Trump’s threat to impose additional 50% tariffs About Chinese products. Or that follows, since the original source is a Chinese journalist linked to the Communist Party. A Insider that releases the probe balloons. This measure is part of a retaliation package that would also include blockages to the importation of agricultural and poultry products in the United States. Why is it important. The Chinese government has described Trump’s strategy as “blackmail” and He said that “will fight until the end,” according to the Ministry of Commerce in an official statement. “The Chinese do not look for problems, but they don’t fear them,” added the spokesman of the Ministry of Foreign Affairs, Lin Jian. In figures. American films generated 585 million dollars in China for 2024approximately 3.5% of the 17,710 million dollars of total collection in the Chinese film market. If the veto materializes, next blockbusters like ‘Jurassic World: Rebirth‘,’The accountant 2‘And the next installment of’Impossible mission‘They could leave a lot of money at the box office. The threat. The confrontation has intensified after Trump’s announcement of an additional 50% tariff if China did not withdraw the 34% of US products. If this dynamic is maintained, total tariffs on Chinese products could reach 104%: Current tariffs: 20% (previous taxes). New tariffs: 34% (announced last week). Extra threat: 50% (if China does not withdraw its measures). Between bambalins. Dan Wang, a specialist in China in Eurasia Group, points out that when tariffs exceed 35%, Chinese exporters lose all profitability in the US market. “After that point, China should not export to the United States at all. Europe is and will be the most profitable market for China now,” Wang explains in statements collected by Daily Mail. To a scrambled river … Outstanding image | Jurassic World, Xataka with Mockuuuups Studio In Xataka | The highest blockbuster movie in history does not come from Hollywood, but from China, and now you can see it in Prime Video

‘Dune 2’ is designed to sweep in the Oscars. That finally is not going to do it is the best radiography of the current Hollywood

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Josh Brolin already caught attention to the subject When the 2025 Oscar nominations: Denis Villeneuve, director of the mastodontic ‘Dune: Part 2‘He had not been nominated. Brolin knew what he was talking about: it is no longer just a displacement to the Canadian director. It is also the sign that the Oscars are ninging the Warner Blockbuster, because without the support of that nomination, it would be very strange that the film takes the Oscar to the best film or goes beyond a few technical recognition. A good Oscar’s pan … minors. ‘Dune: Part 2 ‘can be taken, however, a good amount of Oscar important technicians. It is nominated in five categories: best sound, better photography, best production design, better visual effects and, of course, best film. Denis Villeneuve is not only missing in the category of Director, but also, as a coguionist with Jon Spaihts, in a better adapted script, where the first installment of the saga of adaptations of Frank Herbert’s novels was nominated. One year for small movies. We have already commented so much about ‘Anora‘like’The Brutalist‘That the 2025 Oscar seem among their favorites to the smallest films:’ Anora ‘is pure indie cinema, and’ The Brutalist ‘has been shot with an absolutely tiny budget for what is stilate in Hollywood. They are not the only ones: ‘Nickel Boys’,’The substance‘And’ I’m still here ‘have very limited budgets, and even medium movies like’A complete stranger‘ either ‘Conclave‘They seem to make a certain visual modesty and approach their flag. It is stipulated indie. It is not an isolated phenomenon this year, you just have to check most of the winning films of the last editions: ‘All at once everywhere‘(2022),’Coda‘(2021),’Nomadland‘(2020) or’Parasites‘(2019). All of open indie style or, at least, regardless of mainstream Hollywood. The only exception took place last year, with ‘Oppenheimer‘, which we can consider a clearly isolated case when coming from Christopher Nolan, one of the few blockbusters that are considered to have an author’s stamp. This year, only ‘Dune: part two’ and ‘Wicked’ follow their wake. New times for the blockbuster. If we go back to previous years we will see how more Hollywood blockbusters (large distributions, large budgets) were combined with more independent cut films, but there were no such clear gusts. The year hinged in that sense was 2003 with ‘The Lord of the Rings: The Return of the King‘, with his eleven nominations … that he won entirely. An absolute hatching of the blockbuster model that left a certain sense of satiety. Behind her, as we say, films such as’ Million Dollar Baby ‘(2004),’ Slumdog Millionaire ‘(2008),’ The artist ‘(2011), ’12 years of slavery’ (2013) or ‘Moonlight’ (2016) have occurred. The Syndrome ‘The Return of the King’. Our partner Pedro Gallego points, very reasonablythat the possible none of ‘Dune 2’ is due to the fact that the syndrome of the aforementioned ‘The Return of the King’ has suffered and its total sweep in the Oscars of 2003. It may, why it is ‘Dune: Part 2’, the academy prefers to wait for Villeneuve to put an end point to his trilogy (let’s not forget that this second part ends in a ‘continues’ will continue to give him the recognition. If this year ‘Dune’ sweeps, what do we leave for the third? Not everything is Blockbusters. In Xataka we have spoken on numerous occasions how sequelae, franchises and blockbusters seem to have flooded the box office, without leaving space for other options. The Oscars seem to be replicating that fganthasma at the box office, proposing alternatives, which undoubtedly receive a pushing of fame and income thanks to the advertising of the awards. Undoubtedly, an interesting dilemma, just that Marvel seems to have definitely abandoned his absolute prereminence at the box office and that films like ‘The Brutalist or’ The substance ‘manages to raise much more than expected. Normality and diversity has returned to cartekleras, and the Oscars are the reflection. Header | Warner In Xataka | Karla Sofía Gascón has achieved more than endangering her own Oscar: jumping all Netflix alarms

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