horror

A Chinese billionaire bought the most expensive house in London. What happened next is a real estate horror movie

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In 2021, the Evergrande collapse It erased more than $300 billion in liabilities and triggered a real estate crisis that shook all of China. Among his most extravagant assets was a record mansion in London that today remains trapped in lawsuits, divorces and frozen accounts: a financial ruin turned into an empty monument. The perfect purchase that went wrong. Year 2020, a Chinese billionaire buys for 210 million pounds number 2-8A Rutland Gate, then the most expensive home ever sold in the United Kingdom. On paper it was the definitive investment: a palace with 45 rooms, four elevators, an indoor pool, 24 marble bathrooms and privileged views of Hyde Park. But what seemed like a prestige move ended up leading to a chain of misfortunes so strange that it seems written like a thriller. Since then no one has lived inside, the real owner was caught in a financial collapse and the building became an empty shell with only one “tenant”. Palace with a cursed past. The history of the building was already coming loaded with symbolism. For decades it was the London palace of Rafik Haririwho transformed it by joining together several Victorian houses and decorating it with almost obscene luxury, from gold-plated trash cans to bathrooms encrusted with semi-precious stones. Hariri was assassinated in Beirut in 2005 and, after passing through the hands of the Saudi royal family, the interior was auctioned piece by piece in 2015. That left the mansion empty, as if it had been dismantled before its next owner arrived. The Evergrande turn. The official buyer of 2020 appeared to be the Hong Kong tycoon Cheung Chung-kiubut later was discovered that the real owner was Hui Ka Yanfounder from Evergrande and for years the richest man in China. And there the descent began. Just a year later, Evergrande began with non-payment of debtsbecame a symbol of the Chinese real estate collapse and ended up collapsing in 2024. Hui ended up declaring guilty of fraud and other financial crimes, while the mansion was trapped in a legal tangle: registered in the name of his ex-wife, with frozen assets and no possibility of sale. The most expensive house in the United Kingdom lost in limbo and a symbol of the real estate gap. Fernstedt at the entrance to the house The empty house and the Swede on the porch. And it is at this point in history where the image appears that changes everything to this day. While inside the mansion there are dozens of empty rooms and millions of pounds tied up, outside, on the same porch, lives Anders Fernstedta homeless Swede who has been living at the entrance for three years. Your “camp” It is made of umbrellas, flowers, broken bicycles and stuffed animals. The paradox could not be starker, because he sleeps inches from one of the most crazy expensive shelters in Europe, but separated by a door that never opens. Ironically, the only stable inhabitant of the house does not have access to it. The fall of Anders. As to the history of man Swedish, is almost as chaotic as the architecture on which it rests. Andres was a technology journalist, then he worked in horticulture, collaborated with people from the Silicon Valley environment and even worked for The Economist as a freelance fact-checker. However, a chain of failed jobs, evictions, attacks and personal losses dragged him onto the streets. He ended up landing in front of the palace purely by chance: He was looking for a covered shelter and found an empty porch. He has since converted that space into a kind of makeshift garden and permanent bedroom. The symbol of a broken city. It had an extensive Guardian report that the story of Rutland Gate sums up a huge contradiction in London. While more than 300,000 homes remain empty in England and hundreds of thousands are waiting for a house, one of the most luxurious properties in the country has been closed for years because it is, in reality, a frozen financial asset. From that perspective, it is no longer a home, it is a figure trapped in offshore companies, lawsuits and bankruptcies. And in front of that door, every night, a man sleeps what represents just the other end of the system: someone with nothing, living in the shadow of a palace that no one can use. Image | Gareth E. Kegg In Xataka | Now that the Pope is in Spain, he should visit this surgeon’s castle. Inside is the smallest church on the planet In Xataka | In 1972 Italy wanted to put an entire city in a one kilometer building. Half a century later he is still paying the consequences

The horror movie of the summer is ‘Backrooms’, and its origin is so surprising that there is a rumor that its director is not real

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‘Backrooms’ premieres today in the United States (it arrives in Spain on June 5). The film, produced by the unstoppable indie A24is expected to be the horror bomb of the summer (hand in hand with the already tremendous ‘Obsession’, which is putting its hand in the face of ‘The Mandalorian and Grogu‘). It has 87% positive reviews on Rotten Tomatoes and is expected to open between $45 and $50 million, which would be the biggest debut in the studio’s history. Of course, it faces an unexpected controversy: there are those who say that its director, the very young Kane Parsons, has not really directed the film. What has happened? Days before the premiere, this unexpected rumor has circulated online: a more experienced director would have been working from the shadows. Osgood Perkins, producer of the project and director of the great ‘Longlegs‘. Mark Duplass, who stars in the film alongside Chiwetel Ejiofor, Renate Reinsve and Finn Bennett, responded in X: “I don’t remember seeing you on set. When I was there, Kane was 100% in control. More than many directors three times his age.” The origin of ‘Backrooms’. As we already explained in detailon May 12, 2019, an anonymous user posted on /x/, the paranormal board on 4chan, a photograph without a signature or context. It looked like a kind of abandoned office: yellowish carpet and walls, fluorescent lighting… It was ridiculously disturbing. The next day someone added a description that spoke of “not clipping out of reality” (a term taken from a glitch of video games in which the player falls into a geometric void beyond the mapping), and ending up trapped in a space that extends infinitely. The backrooms They are an extreme version of what the internet calls liminal spaces: hotel hallways at three in the morning, empty waiting rooms, closed shopping centers, underground parking lots without cars… Recognizable places but stripped of their function and of the people who normally inhabit them. Just like has been explainedthese types of environments activate the same response as the phenomenon of uncanny valleybut applied to physical places. The brain identifies these spaces as known and at the same time does not know how to read them logically. Jump to the cinema. Kane Parsons was 16 years old when he posted his The Backrooms (Found Footage): nine minutes in first person with a VHS filter, in which someone was chased by a strange presence in one of these spaces. The series that followed this first video, full of secret research institutes and dimensional experiments in the eighties, exceeded 197 million views. A24 bought the rights a year later. Youth, divine treasure. One of the apparent hooks of the A24 film, the extreme youth of its director, has worked against it. The press has underlined Parsons’ youthand some conspiracy theorists consider it to be a marketing strategy. In reality, what this talks about is the current situation in Hollywood, which has produced franchised cinema for two decades in which the director is, fundamentally, a technical executor under the creative supervision of the studio. The system of great sagas has normalized the idea that a good film cannot come from the criteria of a single person, a young person without credentials. We viewers are distrustful because that is what the industrial cinema of recent years has taught us. The explanation. Parsons was born in 2005, the year YouTube launched. “YouTube, more than a cultural reference for me, has been the way I know how to do everything I know how to do,” declared. Parsons doesn’t have the kind of resume that the traditional production circuit demands, but rather his only credential is a massive audience of followers who have been reacting to his work in real time for three years. And that is capable of arousing the suspicions of anyone who is buried by the industrial machine logic of modern Hollywood. In Xataka | When a town found a dead whale on its beaches, it decided to dynamite it. 55 years later they still celebrate it

Today the latest from a master of horror arrives on Disney+, a survival show that was about to end up in a drawer

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The last time before this year that Sam Raimi directed a horror film was in 2009, with ‘Drag Me to Hell’, a return to his roots after the ‘Spider-Man’ trilogy and which remains, perhaps, his best film along with ‘Darkman’ and the ‘Evil Dead’ trilogy. After extensive work in the ‘Oz’ franchises and Marvel, he returns to the humor, suspense and violence of that marvel with this fantastic ‘Send Help‘you just landed on Disney+. In it we will meet a shy and lonely woman (Rachel McAdams) who travels with her arrogant and insufferable boss on a flight that ends up having an accident and leaving them on a desert island in the Pacific. What begins as a survival story becomes an inversion of the work hierarchy: the person who knows how to survive in nature is not the same person who rules in the office. From there, a strange and hilarious mix of ‘Cast Away’ and ‘Misery’ that doesn’t cut corners either in the intensity of its most violent scenes or in the grotesque humor with which it portrays its protagonists. The original idea for the film dates back to before the pandemic, when Raimi came across this script from the authors of ‘Freddy vs. Jason’. When COVID happened, cuts came to the industry, and the studio tried convince the director to reduce the budget and release it on platforms. Raimi wanted the production to reach theaters, so the project was presented to the former Fox, now owned by Disney. In an especially profitable year for traditional horror films like ‘Sinners’ or ‘Weapons’, and for thrillers with a twist like the hit ‘The assistant‘, ‘Send Help’ is placed, as is usual for Raimi, in an intermediate and unclassifiable terrain. Extremely dark humor, a description of characters between social caricature and classic horror comics and a load of impossible plot twists for the enjoyment of those who think that plot coherence is for the weak when there is emotion and narrative pulse. In Xataka | Netflix premieres today the dystopian series that has risen to the throne of the best in history in six seasons

The best horror movie of this winter has been released. And the protagonists are the owners of a home in Spain

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The abrupt rise of the garbage rate that has exploded throughout Spain is not the result of a improvised decision of each town hall, but rather of the rush to have arrived at the last minute. Namely: of the obligatory application of Law 7/2022 (transposition of European directives) which orders that the waste service should no longer be partially financed by general taxes and be paid 100% by a specific rate based on the “polluter pays” principle, eliminating the structural deficit that many municipalities had been carrying. What has happened? That the “garbage” is more noticeable in some places than others. The normative origin. The norm established a maximum period until April to incorporate it into ordinances, which has meant that municipalities that delayed its application have communicated the charge practically at once, with increases that in some cases double or triple previous receipts and are already reflected in the CPI with an increase 30% year-on-year in the cost of the service, despite the fact that not all municipalities have implemented it yet, which anticipates additional increases when the deployment is full. In other words, curves are coming. Cangas de Morrazo as epicenter. As it is, the first public implosion has happened in Cangasin Pontevedra, where neighborhood anger became an episode of public order with councilors escorted by the Civil Guard and throwing objects after approving an ordinance that in bars went from 107 to 1,236 euros and in homes it practically doubled receipts, accumulating more than 8,000 signatures against an increase perceived as abrupt, without a transitional phase or prior dialogue. Hoteliers allege unviability when passing bills from 1,400 to more than 3,000 euroswhile regretting that the process was carried out without calling affected actors before approval, which has turned a legal requirement into a political trigger, in a framework where the service had 17 years without updating rates and was deficient in more than two million per year, compensated via general taxes that can no longer be used for this purpose. The inequalities. The law requires a rate, but does not dictate how to calculate itwhich has generated a mosaic of municipal models with disparate criteria: cadastral value, water consumption, number of registereduse of the premises, area or even flat rate per home. This diversity implies that citizens of adjacent municipalities pay very different amounts for an equivalent service, something already warned by the FEMP and by Treasury inspectors as a sure source of massive litigation. The recent annulment by the TSJ of Castilla y León, an ordinance from León opens a path that businesses, schools and sectors especially hit with receipts are already exploring up to 30,000 euros. Experts warn that the reference to the cadastral value may constitute a vice of illegality by disconnecting from the actual generation of waste and functioning de facto as an improper surcharge of the IBIwhich could reproduce a similar scenario to the municipal capital gains: imposed instrument, politically supported, challenged in a cascade and finally revoked, with an obligation to return it to whoever has resorted to it within the deadline. Europe: obligation and margin. Political tension is fueled by a deliberate misunderstanding: Brussels demands compliance with recycling, reuse and circular economy goals, but it does not force that the instrument is a rate nor does it mark the calculation formula. In fact, it was the Spanish legislator who chose this path and transferred the technical and political responsibility for executing it to the city councils, without defining a uniform standard cost methodology or setting national equity criteria. The result is a double cross reproach: The city councils accuse the Government of imposing an obligation without an application manual and the Government points to Europe to cover a decision of internal design with inevitability, while the citizen perceives that they are beginning to pay directly for a service that already existed and whose cost structure is not explained precisely, which erodes the social acceptance of the tax. Economic effect. The rate not only makes household and business bills more expensive, but reorder incentives: If the deficit can no longer be covered by taxes and must appear on the invoice, the system penalizes waste volumetrics and rewards separation and reduction practices where ordinances have introduced bonuses linked to the use of brown containers, composting, door-to-door or clean points. However, and very importantly, in large cities many current models do not reward individual behavior, proxy rules apply (cadastral, surface, neighborhood) and generate equal payment for neighbors with radically different behaviors, something criticized from environmentalism for diluting the environmental purpose of the norm. Meanwhile, the jump 30% in CPI and business cases with receipts multiplied by three have produced not only social irritation but fear of a massive wave of resources, in a context in which city councils acknowledge that they are already preparing legal defense anticipating that the rate could become a new fiscal front with a path to court. Conclusion: a sinvivir. The crisis of the “garbage” It is not born in the amount but in the combination of inexcusable legal obligation, abrupt transfer to the taxpayer without cushioning, disparate heterogeneity between municipalities, poor communication, absence of national guidance and a highly fragile legal system that opens the door to serial litigation. Cangas has been the first burst visible of a phenomenon that is structural: Spain has made it a norm to finance waste with taxes pass them on in full as a rateand this simultaneous redesign without homogeneity or pedagogy has coincided with inflationary cycles, accumulated business burdens and distrust of administrations, producing a perfect storm that mixes environmental compliance, fiscal shock and perceived legitimacy. Image | Daniel Capilla In Xataka | If you own a house, chances are you have a new problem on the horizon: the garbage rate. In Xataka | “Garbage tourism” arrives in Spain: when the next town is your landfill

A free horror of cleaning demonic mold

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Do you remember the times when video games also served as promotional artifacts? From ‘Cool spot’ a ‘Pepsiman’, it is a subgenre that has given us games that were decent to the directly horrendous, although possibly none has been as daring as ‘Silent Cleaning’, a free video game of the company of Cleaning products Japanese Kao Corporation, who introduces his brands … a Survival Horror. To rub demons. The game takes us to an old Japanese house that the player must clean, facing difficult stains (and a quite terrifying thing in itself, we must see how the toilets are). And then to a green creature that is neither more nor less than the mold, which has acquired awareness and is willing to end the cleaning brigades that want to disinfect it (As Arias demolition said). CLEAN CALLADITO. This viscous demon reacts to the sound, so you will have no choice but to do the cleaning in complete silence, moving with caution and using cooking alarms and other objects that make noise to distract it or take it out of rooms where you intend to clean. Because you are not going to leave there until that house stays like the gold jets: you will have a map that will tell you which rooms of the house are about to clean. Yes, it is advertising. The game is freeso in your adventure you have to be willing to consume a good amount of advertising. Luckily, it is Japanese advertising, so you can take it as a hyperrealist touch: all cleaning products are real, of the Kao Corporation brand. Luckily, those of the Kao Marketing Department decided to do their job well and embed us a very decent title with quite intriguing puzzles: Metroidvania mechanics (that flusflús that you just took clean an impossible spot of the first room) and a few puzzles of closed locks and cabinets. Resident Evil, at his feet. ‘Silent Cleaning’ also provides some surprises for the devotees of the classics par excellence of the genre, the ‘Resident Evil’. Thus, as if it were conventional weapons, it will have to combine different limited products to make them effective against certain rebel spots. For example, tying a rag to a mop to reach inaccessible corners. A wink to the origins of the genre that gives an unexpected depth to a game that as they say, had no right to be so good. A long tradition of games-ancium. As we said, ‘Silent Cleaning’ is not the first of its species: in the much more unvergonzones eighties and ninety we live a good amount of games that were actually camouflaged ads. ‘Cool spot’ of 7up, ‘Chester Cheetah: Too Cool to Fool’ of Cheetos, ‘Me! Noid ‘for Domino’s Pizza,’ McKids ‘for McDonalds, even the Spanish’ Whopper Chase ‘for Burger King … The list is endless, although we stay with two oddities:’America’s Army‘, a recruitment tool of the American army and the very cool’Pepsiman‘In PlayStation, only launched in Japan, but turned into a piece of absolute cult. In Xataka | ‘Silksong’ not only wants to surprise with its quality. Its price is a right to the industry with more chicha than it seems

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

Cantabria feared to become “La Ibiza del Norte”. For his horror, he already has “the Magaluf del Norte”

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There are slogans that pass without penalty or glory and others that capture such an idea that end up rooting or even (in networks) viral. It happened little over a yearwhen Thousands of Cantabrians They went out to protest against the Tourist From his community to the shout of “We do not want to be the Northern Ibiza!” Now the controversy returns to the same region before another threat that has been summarized in an equally powerful phrase: there are those who warn that one of its most famous sand, the strut, runs the risk of becoming “The Magaluf del Norte”. The debate is served. A place: El Puntal Beach. Cantabria has 284 kilometers of coast, but few places in that large coastal strip are as emblematic as the beach of The Puntalin Somo (Ribomontán to the sea), in the middle of Santander Bay. The space is included in the Natura 2000 Network Within the dunes of El Puntal and the Estario of Miera, which stands out for its 49 plant formations. Twenty of them are also priority and the area of special interest is distributed in the area. A word: Megabotellón. Despite that environmental value and being a Protected spacethe sand becomes sometimes a great Botellodrome. People are in the area and the beach becomes an outdoor parties space. It is nothing new. It has happened relatively frequently during the summer months of recent years. In July 2020in full pandemic, the Civil Guard imposed dozens of complaints after evicting a bottle With hundreds of young people. And in August last year it happened Something similarwith a Macrobotellón that brought together thousands of young people who left in their path a lot of garbage. And what happened? That the story It has been repeated again. A few weeks ago the sand was filled with thousands of young people who crowded the beach and left long tails to move by boat from Santander. It is not necessary to imagine it. The local press and The networks They spread images of a strut to the flag, a massive party that the mayor of Ribamontán to the sea, Francisco Asón, watched with impotence. “We are in contact with the Civil Guard because they have already warned us that this is the hecatombe,” I recognized To the EFE agency. Party … And something else. The problem is not just saturation. Much of the controversy causes it what leaves behind: bags, cans, bottles … a large amount of garbage scattered on the sand, as a Cantabrist denunciation, which the next day visited the same beach to show in A video dirt. The recording speaks for itself. “The bottles in the strut begins to be unsustainable. We cannot look elsewhere while deteriorating one of the most beautiful and fragile environments of the bay,” Crows Daniel Fernández, socialist spokesman in Santander. Click on the image to go to Tweet. “Bottle, noise and dirt”. In recent days the controversy has been climbing with reproaches of political parties, institutions and environmentalists. At the end of July several counselors of the Government of Cantabria and the mayor of Ribamontán to the sea sent A letter To the Government delegate to claim that it ends the “mass and illegal” concentrations, parties that, “fill with bottles, noise and dirt a protected space.” The situation seemed relax Last weekend, but that has not prevented more and more voices from asking for solutions. One of the most overwhelming is that of Ecologists in Action, which warns of the situation of El Puntal, its “irreparable footprints” and the “risk” that the bottles represent. “A natural space turned into a shitwith bottles, plastics, food remains and butts dispersed by the sand “, emphasize The organization before crossing out “inadmissible” that the authorities allow the beach to become “a landfill.” “It is not a recreational space without norms, it is a public good of high environmental value whose conservation is a collective duty. It is not enough to send a cleaning team the next day. That does not repair the damage,” he remarks. The northern Magaluf? Just like a year ago Voices were heard rejecting that Cantabria becomes “the North Ibiza”, in recent days those that compare the situation of El Puntal with MagalufMallorca beach wrapped in controversy for the videos that show The excesses with drugs or sex in public spaces. “They have turned a protected area into the Magaluf del Norte”, complaint Cantabrist “Hundreds of tourists come to our natural environments to use them as their private club and turn them into landfills.” They are not the only ones that point in that direction. The PSOE He has claimed Measures to protect the coast “Ante Avalachas” such as El Puntal and speaks of “more than 4,000 people from Botón”. United Left too He has demanded that all administrations meet to “put an end to lack of control” in the Arenal, a measure that proposes to extend to other natural spaces in the region. “Cantabria is fashionable”. Not all institutions share the tone or focus the focus on the same point. The regional president, María José Sáenz de Buruaga, considers “a serious irresponsibility to alert tourism phobia” and asks not to transmit “a distorted image” of what happens in the community. “Cantabria is fashionable and lives a splendid and excellent moment. We are not the Northern Ibiza. Much less Magaluf,” the leader emphasizes in statements collected by eldiario.es. His executive claims to the Government Delegation that reinforces the controls. “It must act when there is a security problem.” Images | Cantabrist 1 and 2 and Federico Jordá (Flickr) In Xataka | The north of Spain has been complaining about mass tourism for years. Asturias has discovered the bitter consequences of losing it

It is one of the most chilling horror films in recent years, almost nobody has seen it and you have it in prime video

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There are countless horror cinema subgenres, as of any other variant of the fantastic. There are more trotted and frantic films, there are those that are betting on a more murky and rested atmosphere. There are films that derive from previous successes, others that dare to go into unpleling territory. Not all are for all tastes, and clearly ‘Ritual from beyond‘(Depressant Spanish title for the much more lyrical’ to Dark Song ‘), than You can see in Prime Videoit is of that last species. ‘Ritual of the beyond’ has a rhythm and development that will not possibly interest all fans. But if the occult, dark atmospheres, low intensity horror and uncommon messages interest you, ‘ritual of beyond’ is for you. He writes and directs Liam Gavin, who has not signed anything else apart from a couple of chapters of ‘The curse of Bly Manor’ in Netflix In ‘Ritual from beyond’ we will meet a woman who rent a house isolated from everything. His only company in an increasingly suffocating and strange series of days will be a occultist who must help her make a long, dangerous and strenuous ritual to be able to contact her deceased son. But both have secrets that can endanger the purpose of that isolation. It is a classic plot structure (a couple of characters locked in a space that will oppress them more and more until they put their integrity and sanity at risk) that, however, takes a series of unexpected paths. With a meticulous and almost documentary description of the ritual that awaits boththe film builds an atmosphere of threat and an increasingly demential rhythm that turns this film into a hidden jewel of the genre. That everyone will not like, without a doubt, but that will obsess those who connect with their brave proposal. In Xataka | In 2024 Nicolas Cage, in 2025 Stephen King. The revolutionary horror cinema returns with a new epic of humor and gore

The director of an MCU classic and some modern horror successes signs the best premiere in the history of Apple TV+

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We have spoken on more than one occasion of the Bandazos that has been giving Apple in his purpose of becoming a Major Hollywood. Great failures with high pretensions, such as ‘Napoleon’, ‘Argylle’ or ‘The Moon Killer’ have ended up making the company reduce their claims. Strategy that will be possible redoubled when they check that a much more effective film than all those but less ambitious, such as’The secret abyss‘(terrible Spanish title for’ The Gorge ‘) has beaten Records on the platform. Indeed, this film about a couple of confrontated sides snipers that have the mission of monitoring the two ends of a kilometer pit whose dangerous content is unaware It has been number 1 in 99 of the countries to which the Apple platform reachesand it is not difficult to understand why. The always powerful visual finish of Apple’s films (even those destined to go directly to streaming) It is perfect for a movie with star cast (Miles Teller, Anya Taylor-Joy and Sigourney Weaver), who join a director with their own vision. This is Scott Derrickson, who was associated with Marvel with ‘Doctor Strange’ and that signed some very interesting successful horror films, such as ‘The exorcism of Emily Rose’, ‘Sinister’, ‘Líbolos del Evil’ or ‘Black Phone’. To him is due to the turn of how sinister the film visually gives in its second half, a break that has been discussed by the flying with respect to the most suggestive start of this proposal. Because there, without a doubt, is where the best of this Apple production is: when the two protagonists get to know (dance to the sound of the ramones included) and how intimacy is emerging between them, something that is very well told and that ends up being the most memorable of the set, above the inevitable festival of fireworks of the second half. In any case, a sinister and action epic to which it is worth approaching to corroborate that it is not necessary not to look at the whole of Apple’s proposals. Header | Apple TV+ In Xataka | Back ‘separation’ to Apple TV+. His tortuous production for three years predicts bad times for author series

If ‘the substance’ captivated you, look at this visceral French horror piece in Netflix

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‘The substance’ finally did not take the deserved Oscar to those who was nominatedbut his single presence in the ceremony is poison for everything that is hollow in Hollywood with his radical proposal. In fact, his messages about the demands that the entertainment industry requires the female body anticipated, in fact, which ended up being the award for best actress (a mature Demi Moore defeated by a version of itself that was much better in front of the cameras). But We can celebrate his moral triumph with a good dose of marrano horror filmbloody and with a radical message thanks to this French gore classic of the nineties that dialogues perfectly with the movie of Coralie Fargeat. It’s about ‘Baby Blood‘, that He has just arrived in Netflix And that proposes a cheap, rude and direct festival of wild humor, dribs of blood at discretion and a message that touches the antisocial. Everything starts when a strange creature is introduced into a woman’s uterus. The brand new pregnant has no choice but to become a murderer to feed the being that lives in its bosom. Like life itself. The result drinks both of the fantastic cinema of the fifties but in a key completely out of mother (with forgiveness) and of the Frank Henenlotter ‘Basket Case’ and ‘Brain Damage’ classics, but in gala version, that is, even more scarf and dirty. Such an influences blender is The ideal bridge between the gore cinema more serve as eighties and what was to come both in the most extreme horror cinema and, years later, in ‘The substance’. Because if it is important for something capital ‘Baby Blood’ is to understand horror cinema from France that would arrive a few years later. Films like ‘Inside’, ‘Martyrs’ or ‘High Voltage’ find their visionary and very precedent in ‘Baby Blood’, as overflowing with violence, and with a corrosive message about motherhood. Not for all palates, but if the extreme is yours, you have an appointment with sandungueros babies who feed on blood. In Xataka | On his way to the Oscars, ‘The substance’ has added another milestone: the most watched premiere in the whole story of Filmin

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