Oscar

Spain has not won any Oscar but it has won a beef between Oliver Laxe and Sorogoyen

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Spain arrived at the 2026 Oscars with two nominations for ‘Sirāt’, Óliver Laxe’s film about a father looking for his daughter at a rave in the Moroccan desert: Best International Film and Best Sound (which it did not win, by the way, in either case). It was, on paper, a milestone with all that milestones entail in terms of headlines and coverage. But the story that ended up circulating on social networks and in newsrooms around the world was none of those. It was that of an early morning fight at a karaoke bar. The anger. The New York Times published days before the ceremony an extensive report that used that incident as a common thread to explain the state of Spanish cinema. One night in September, Laxe confronted Rodrigo Sorogoyen (previously nominated for an Oscar) in a karaoke bar in northern Spain because he had learned that the latter had criticized ‘Sirāt’ at a private dinner. Sorogoyen admitted it bluntly: the film did not convince him, Laxe did not pay enough attention to his characters and he had made a wrong technical decision in a crucial scene. Laxe responded by calling these criticisms “the stupidest thing I have ever heard in my life” and jokingly said that his interlocutor was not a good director, or as has been said in other apocryphal versions of the anecdote, that he was “a great director.” Sorogoyen’s reply, brimming with venom: “Thank God I am sure of myself. Because if not, I would kill myself.” Gossip with subtitles. What’s notable is not the exchange itself, which both directors later downplayed as an informal disagreement. Sorogoyen laughed off rumors that they had come to blows, and Laxe said the two had joked about staging a fight. The artistic difference was “healthy,” said Laxe, because “the ecosystem of Spanish cinema is diverse,” he said in the ‘New York Times’, which curiously considered it the best possible hook to talk about the film industry. The two Spains. The report used the karaoke anecdote as a symptom of a theoretical division in Spanish cinema: Laxe defends a transcendental and sensorial cinema, and Sorogoyen, a more realistic drama. Their artistic differences, according to the directors and experts consulted for the article, are the sign of a sophisticated and mature Spanish cinema. How we got here. The article makes an interesting review of the trajectory of Spanish cinema in recent decades. For many years we have lived the legacy of the dictatorship, first as a visceral rupture, then as a processing of historical memory. When a new generation of filmmakers emerged twenty years ago with less debt to that part of our history, there was no industry to support them. In recent years, several currents have converged that have made things change: subsidies that have incorporated female or minority perspectives into the sector, European co-productions and streaming platforms that have financed more and more risky projects (like Movistar+ has done with Sorogoyen’s)… Names like those of Laxe or Sorogoyen themselves, Carla Simón (Golden Bear in Berlin in 2022) or Alauda Ruiz de Azúa (Golden Shell in San Sebastián in 2025) are some of its many representatives. In any case, the funny thing about the anecdote is not only that ‘The New York Times’ interprets it as a thermometer of the good industrial health of Spanish cinema, but that from Spain we have stayed with that part of the article. Because yes, Spanish cinema is very Spanish and a lot of Spanish, but not as much as a fight at dawn in a karaoke bar on the outskirts. In Xataka | The two faces of cinema: the director of ‘Sirat’ criticizes Netflix, but 40% of European directors do not make it to their second film

The Oscar gala has been completely unrelated to the conflicts in Iran and Palestine except for one person: Javier Bardem

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Javier Bardem took the stage at the Oscars with a red badge with large letters hanging on his lapel. “No to war.” The same one he wore 23 years ago at the now legendary Goya gala that opposed another war, that one in Iraq. Before announcing the Oscar for Best International Film, he waited for the accompanying music to end and said: “No to war. Free Palestine.” The public applauded the actor’s bravery, unconsciously making clear the cultural abyss between Hollywood and Spain. An apolitical gala, except for a few things. The Academy had already warned that this gala would be exempt from political proclamations, but there were a couple of exceptions. One was a devastating Conan O’Brien, who He congratulated the British because they do stop their pedophilespointing to the Epstein files and the recent arrest of Prince Andrew. Jimmy Kimmel dedicated a little dig at ‘Melania’not nominated for Best Documentary. Javier Bardem, however, had no problems naming wars, countries and leaders. Why the pin. On the red carpet, Bardem explained to the press that the “No to War” pin was the same one he wore in the Goya of 2003 while protesting against what he described as what he has later described as the “illegal war in Iraq”. This time he wore the badge to protest against the US and Israeli attacks on Iran. “We are here 23 years later, again with another illegal war created by Trump and Netanyahu, causing a lot of damage and killing many innocent people,” declared. In addition to that badge, he wore the Handala, a figure of a child with his back turned that the cartoonist Naji al-Ali created in 1969 and which has become a symbol of Palestinian resistance. Legal ironies. A detail completed the portrait of wars and conflicts against which Bardem protested: the Palestinian actor Motaz Malhees, one of the protagonists of ‘The Voice of Hind Rajab’, nominated for Best International Film, could not attend the ceremony because the new regulations of the Trump administration prevented him from traveling to the United States with his Palestinian Authority passport. The film chronicles the attempts to rescue a five-year-old Gazan girl killed by an Israeli bombing. No to war: Origins. We recommend the podcast still in progress ‘Delusions of Spain‘ dedicated to the 2003 Goya gala, to understand all the implications of the protests of that year. The invasion of Iraq was imminent and Aznar had publicly shown his support for Bush. Willy Toledo, Alberto San Juan and the Animalario theater group took over TVE to protest against the government itself: there was no official plan but the vast majority of guests and candidates put on the stickers. Bardem himself was the first to start the protests that night with a “Never again” against the Prestige disaster, which was taking place in those same days. Different industries. The gap that separates the political culture of Spanish cinema from that of American cinema is neither new nor accidental. In Spain, the sector has a documented tradition of public positioning: the white hands of the president of the Academy José Luis Borau against ETA in 1998, the violet tide of recent years, the speeches on historical memory, Bardem himself in 2003. The industry understands that the gala is a loudspeaker and that using it makes sense, even if it has costs. Susan Sarandon, upon receiving the international Goya during her visit to Spain, declared that she was “very surprised” by the atmosphere of political protest that was breathed there, in contrast to what he described as “censorship” in the United States. Because Hollywood works differently. Explicit political activism from the stage is usually the exception, not the norm. Bardem has verbalized it with little contemplation: at the 2025 Emmyswearing a Palestinian kufiya, said he “would not work” with any company that supported Israel, joining protests from other Hollywood actors. He added that not getting jobs was “absolutely irrelevant” compared to what is happening in Gaza. National protest. It is curious that this has happened in a year like this, the triumph of a highly politicized film like ‘One Battle After Another’. However, although there were different proclamations in favor of peace and well-intentioned desires to improve the world (starting with those of the film’s own director, Paul Thomas Anderson), no one expressed the demands as forcefully as Bardem. That thus demonstrated that “I am Spanish, Spanish, Spanish” goes beyond winning at tennis from time to time. In Xataka | Two Oscars with the same serial number: how the biggest and most confusing silent fraud of the Academy was created

Marlon Brando rejected an Oscar in 1973. His authentic story is worthy of the best thriller film

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On March 27, 1973, Marlon Brando rejected the Oscar for Best Actor for ‘The Godfather’ as a protest against the treatment of Native Americans. What no one knew then is that the statuette would not disappear, but would tour through some very famous hands in Hollywood, among others Roger Moore and Charlie Chaplin. This is the story of a prize that never existed and, even so, was doubled The rejection. On March 27, 1973, before an audience of 85 million viewers, Sacheen Littlefeather took the stage at the 45th Oscars ceremony and rejected the Best Actor award for ‘The Godfather’ on behalf of Marlon Brando. The gesture was historic: it was the first live political speech at the gala, although not the first time that someone rejected the statuette (Brando was preceded by screenwriter Dudley Nichols in 1936 – out of solidarity with the Writers Guild – and actor George C. Scott in 1971 – who called the ceremony “a two-hour meat parade” -). But what happened to the statuette after that night was a mystery that lasted decades. What no one saw. Sacheen Littlefeather never touched the statuette. Roger Moore (a few months away from debuting as James Bond, but already famous for his television role as The Saint) supported her throughout the speech. When Littlefeather left the stage, Moore followed her with the trophy in her hand and verified that no one had devised any protocol for collecting a rejected Oscar. So he took it with him. The 1616. As reconstructed by Bruce Davis, former executive director of the Academy, the statuette (serial number 1616, not 1601 as was believed for years, a failure whose explanation we will now see and which still contaminates multiple chronicles of the journey of this award) accompanied Moore to several parties after the gala. In this way, he presided over tables full of food and drink and received “almost Bondian attention from a good number of women” before stopping for two weeks at the mansion of producer Albert Broccoli. Eventually, Moore’s publicist, Jerry Pam, returned her to the Academy. Jump to 1995. The story seemed closed until, in 1995, the actor turned agent Marty Ingels called a press conference with an explosive statement: a client of his owned the Oscar rejected by Brando and was willing to auction it to benefit a charitable cause. The Academy responded bluntly: that Oscar did not exist. And technically, the Academy was right. Or not at all. Two 1601s. Ingels revealed the trophy’s serial number: 1601. Academy records indicated that number corresponded to a statuette on loan at an exhibition in New York, and a phone call confirmed that it was still there. But then Ingels sent a photograph of the trophy in his possession and indeed, it could be seen that the engraved number was 1601: there were two statuettes with the same number. Something that had never happened since the Academy began recording serials on the trophies in 1950. The explanation for the mess appeared in a record book prior to the computerization of the archives. Above the entry indicating the loan of the 1601 statuette was another line erased with white concealer. Viewed against the light, the page revealed the original text: “1601 — missing during the 45th Oscar ceremony.” The most likely hypothesis, according to Davis, is that the person responsible for the inventory of figurines that night had a duplicate made of the number 1601 and quietly returned it to the archives. But… why? What else happened in that ceremony that led to a duplicate being made? First robbery. The 1601 that Ingels had was not Brando’s Oscar. It was the duplicate of another trophy stolen that same night: video images of the ceremony show that one of the statuettes for the best documentary award, ‘Marjoe’, was left forgotten on the podium when the lights went out for an advertising break. It is, according to Academy records, the only theft of an Oscar directly from the stage in its entire history. Now, Chaplin. While the riddle of the 1601 was being solved, the fate of Brando’s authentic Oscar (the 1616 returned by Moore) took another turn. Charlie Chaplin had won his first Oscar that same year for the soundtrack of ‘Footlights’, a 1952 film that, due to a regulatory loophole already resolved the following year, was eligible twenty years after it was filmed. The Chaplin figurine was mailed to Europe and arrived damaged. Chaplin’s family returned it to the Academy asking for a replacement, and the Academy engraved Chaplin’s name on Brando’s Oscar and sent it to London. Fifty years later. In August 2022, Academy President David Rubin issued a formal apology to Littlefeather in which he called the treatment received for his statements on Brando’s behalf (boos and stamping from the Academy’s leading men) “disproportionate and unjustified” and acknowledged that the damage to his career was “irreparable.” Littlefeather replied wryly.: “It’s only been 50 years. We have to keep our sense of humor; it’s our survival method.” He died on October 2 of that same year, a few weeks after the tribute ceremony that the Academy held in his honor. The trophy marked 1601(A), the duplicate manufactured to cover the theft, never appeared in public again. In Xataka | The 30 best gangster movies: gangsters, triads, camorra and yakuza show the guts of organized crime

Óscar Puente wants to connect Madrid and Barcelona in less than two hours. The fastest solution goes through China

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Last month we learned that the Ministry of Transport tendered for 2.3 million euros two studies that analyzed the possibility of increasing the speed in the Madrid-Barcelona corridor to 350 km/h. Minister Óscar Puente’s promise was to reduce the travel time between both cities to less than two hours. However, to achieve this it is not enough to improve the infrastructure. Rolling stock capable of running at those speeds is needed, and that is where the capacity of China’s trains comes into play. The problem is in the deadlines and prices. In Spain and Europe we have a large railway industry, although delivery times are reducing the local choice compared to other alternatives such as China. Deliveries are around 60 months and the prices offered by European manufacturers are higher. “Chinese manufacturers deliver trains at half the price within six months to two years,” counted Bridge to the SER Chain. Renfe urgently needs to renew its fleet, especially after the Avlo disaster in the Madrid-Barcelona corridor, and China seems the only viable alternative according to the searched criteria. China dominates global high speed. With 48,000 kilometers of high-speed roads compared to 4,000 in Spain, the Asian country leads the sector by far. Its star manufacturer, CRRC Changchun Railway Vehicles, produces the Fuxing platform and has developed the CR450 prototype, capable of reaching 400 km/h. These trains already circulate in China at 450 km/h, although they would need adaptations to operate on the Spanish network. The minister and the president of Renfe, Álvaro Fernández Heredia, recently made a visit to the facilities of the Chinese giant to learn first-hand about its production capabilities. Europe looks askance the entry of china. The European Commission investigate CRRC for alleged state subsidies that would allow it to compete with artificially low prices, a case similar to that of Chinese electric vehicles. Bulgaria already tried to buy 20 trains from the Asian company for more than 600 million euros, but the investigation by the European organization forced the manufacturer to withdraw from the contest. Spain, however, is pressing to facilitate the entry of these trains or, failing that, to create an “Airbus model” that improves the competitiveness of the European railway industry. European alternatives are on the table. In addition to CRRC, Renfe is considering options such as Siemens’ Velaro Novo trains, which can reach 400 km/h but have yet to demonstrate mass production. There is also Hitachiwhose ETR-1000 is used by Iryo in Spain, although underused because the network does not allow speeds to exceed 300 km/h. Alstom, CAF and Talgo complete the list of candidates for the tenders that the public operator will launch at the beginning of 2026. It is estimated that each unit will cost around 27 million euros and that Spain will go to the European Investment Bank to finance the purchase. The infrastructure also needs changes. The studies They include new variants of access to Madrid and Barcelona, ​​a high-speed station in Parla with connection to Cercanías, another in El Prat de Llobregat linked to Rodalies, and a direct Lleida-Barcelona section that avoids passing through Camp de Tarragona. The current route is already designed to withstand 350 km/h, according to the Ministry, and Spanish Aerotraviesa technology will be used to allow these speeds without increasing maintenance costs. The renewal of the line will begin when the Madrid-Seville line ends. It remains to be seen whether Europe will allow it. Puente’s institutional trip to China has served to strengthen commercial ties and explore cooperation with the manufacturer. The Ministry of Transport defend that the country is “at a time of enormous expansion” of its railway network and needs quick solutions. And right now China is possibly the only country that can offer the material in the desired times. Cover image | Miguel In Xataka | In the race for autonomous driving, China is ready to literally take the next leap: L3

The Oscar idyll with independent cinema is not a mirage, and ‘anora’ razing this year is the best test

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The whims and trends of Hollywood go through Rachas and now (and for a few years) it is the turn of independent cinema: ‘Anora’ has made a full of five Oscars and confirms a trend that had been seen for years: the blockbusters are no longer the beautiful girl of the industry, which prefers to reward the small, emotional and remote tapes of the Blackbides of the blockbusters. Five Oscar, five. Be Baker He has taken with ‘Anora’ five Oscarfour of them for Baker on a personal capacity: Best film, best address (Baker), Best Screenplay (Baker), Best Assembly (Baker) and best cast actress (Mikey Madison). It is especially striking that Baker has collected four of these five awards (including best movie, since he produces it), marking a total record in the history of the Oscars: never before one person had won so many awards in the same gala. It is an unusual recognition. Triumph for independent. With this success of ‘Anora’, this edition of the Oscar completely reveals a type of cinema that is made with six million dollars (and raises more than 40), which makes Sean Baker the movie one of the cheapest to win the Grand Prix of the Night. And there is a second winner: the indie neon -only distributor that two years ago It was A24 With ‘everything at once everywhere, which already has experience in these lides, since it was the one that took the Korean’ parasites’ to the United States, facilitating its victory in 2019. The indie sweeps. As We have commented previouslythe Oscars have been rewarding independent or, at least, at least, regardless of the great proposals of the Majors: ‘All at once everywhere‘In 2022,’Coda‘In 2021,’Nomadland‘(2020) or’Parasites‘(2019) have been the most recent. The only exception on this streak took place last year, with ‘Oppenheimer‘, But in this edition we return to the fold, in what is confirmed that it is more than a coincidence: next year we will have to be very attentive to the proposals in the margins, because in view it is that they start more likely to success. A convulsed year. The sweep of ‘Anora’ has left almost without prizes to the rest of the favorites, who have had to settle for secondary and very distributed awards. ‘Emilia Pérez’ has been punished for Karla Sofía Gascón’s tweetsand he has only taken cast actress for Zoe Saldaña; ‘The Brutalist’, maybe also affected by the use of AI In the movie, he stays with photography, music and actor for Adrien Brody; ‘The substance‘, another that could have put up the gala, does not wear an actress or director, and is made up of makeup and hairdressing. Of secondary actor, in short, the favorite Kieran Culkin wins. Below the blockbusters. That ‘Dune 2‘ and ‘WICKED‘They have gone home only with technical awards (sound and visual effects one; costume and production design another) makes the Oscar turn very clear. Above all, taking into account how good it went to ‘Oppenheimer’ last year; And no, it is not useful that in reality, that is an author film: the same can be said of ‘Dune 2’, which also belongs to a genre very dear to Nolan. Small movies is what he likes now, and Majors Like Disney, Warner or Universal will do well in taking note of it. All Oscar 2025 winners Best movie Anora (winner) The Brutalist A Complete Unknown Conclave Dune: Part 2 Emilia Pérez I’m still here Nickel Boys The substance WICKED Best leading actor WELL PROTECTIVE ACTRESS Best address Sean Baker (Anora) (Winner) Brady Corbet (The Brutalist) James Mangold (A Complete Unknown) Jacques Audiard (Emilia Pérez) Coralie Fargeat (the substance) Best cast actor Yura Borisov (Anora) Kiera Culkin (To Real Pain) (Winner) Edward Norton (A Complete Unknown) Guy Pearce (The Brutalist) Jeremy Strong (The Amprentice) Best cast actress Monica Barbaro (A Complete Unknown) Ariana Grande (Wicked) Felicity Jones (The Brutalist) Isabella Rossellini (conclave) Zoe Saldaña (Emilia Pérez) (winner) Best animated film Best animated short film Beautiful Men In the Shadow of the Cypress (winner) Magic Candies Wander to Wonder Yuck! Best photography The Brutalist (winner) Dune: Part 2 Emilia Pérez Maria Callas Nosferatu Best costume design A Complete Unknown Conclave Gladiator II Nosferatu WICKED (Winner) Best documentary feature film Black Box Diaries NO OTHER LAND (Winner) Porcelain Ware Soundtrack Oh a Coup d’Etat Sugarcane Best documentary short film Death by Numbers I am ready queen Incident Instruments of a Beating Heart The Only Girl in the Orchestra (Winner) Better assembly Anora (winner) The Brutalist Conclave Emilia Pérez WICKED Best International Film Best makeup and hairdresser To Different Man Emilia Pérez Nosferatu The substance (winner) WICKED Best music The Brutalist (winner) Conclave Emilia Pérez WICKED Wild robot Best original song The evil (Emilia Pérez) (winner) The Journey (Six Triple Eight) Like a Bird (the lives of Sing Sing Sing) My path (Emilia Pérez) Never Too Late (Elton John: Never Too Late) Best Production Design The Brutalist Conclave Dune: Part 2 Nosferatu WICKED (Winner) Best Short Film in Real Action To Lien Anuja I’M not a robot (winner) The Last Ranger The Man Who Could Not Remain Silent Best sound A Complete Unknown Dune Part 2 (winner) Emilia Pérez WICKED Wild robot Better visual effects Best adapted script A Complete Unknown Conclave (winner) Emilia Pérez Nickel Boys The lives of sing sing Best original script Anora (winner) The Brutalist To Real Pain SEPTEMBER 5 The substance Header | Gtres In Xataka | There is a “ghost” category of the Oscar that is not spoken: it is so demanding that there have never been films that opt ​​for it

The three hidden jewels among the Nominated of the 2025 Oscar that we recommend seeing yes or yes this year

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The Oscars are very far every year from doing justice with Your nomineesif what you want is to make sure you watch the best movies of the year. There are capital absences (let’s not say if your menu is not exclusively composed of Hollywood) that are sometimes given by issues as absurd as the premiere dates (in this edition it has happened to ‘rivals’). But let’s recognize it, the Oscars also serve to peck nominations and find hidden jewels among the nominees. We recommend these three. The boys from Nickel Finally it reaches our screens (specifically through Prime Video) the movie Maybe visually more daring and unique of all the nominees for best film. It takes us to Florida, in the sixties, where a young African -American is transferred by error to a reformatory where others like him are segregated with the aim of indoctrinating them. The peculiar of this proposal is that it is shot in the first person, and the perspective of the camera is that of its protagonist. A radical exercise, of a rabidly anti -racist message, and that makes a series of visual bets that have made it one of the most deservedly acclaimed tapes of the year. Nominated A: Best film, best adapted script Where to see it: In Prime video Flow, a world to save If they ask us, we are of the opinion that the category of best animation film hides many more essential films than the best film to dry. The very curious ‘Memoirs of a snail’, the trchantery new adventure of Wallace & Gromit, the almost safe winner ‘Wild Robot’ and our favorite, ‘Flow’, an incredible silent adventure, winner of a Golden Globe and that portrays the dumb trip of a group of animals commanded by a cat. Evocator, visually spectacular and very suggestive, without a doubt one of this year’s films. Nominated A: Best International Film, Best Animation Film Where to see it: Cinemas The needle girl You still cannot see it because, against usual, it will reach our screens after the ceremony, on March 21, but we recommend that you notice in your cinephile agenda this drama based on real events and that it grabs aesthetics of horror cinema to tell a story slightly inspired by that of a Danish serial killer of the beginning of the century. In the film, a pregnant and unemployed young woman helps to direct an old woman a clandestine adoption agency, all wrapped in a disturbing black and white photograph that converts the heartbreaking period of scoring an authentic nightmare. Nominated A: Best International Film Where to see it: Premiere date: March 21 In Xataka | ‘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

Whatever happens in the gala, ‘The Brutalist’ is already the great Oscar winner

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It is one of this year’s undisputed favorites to Win the Oscar for Best Film. True, it has firm competition between ‘Anora‘,’ Conclave ‘and even the Debajuste by ‘Emilia Pérez‘. But it is one of the preferred of this year’s cinephile population. Your raptor bets aesthetic and her mastodontic duration They have given her a reputation that makes her one of the films of the year … Want the Oscar or not. Savings example. ‘The Brutalist‘It is an example of savings in a apparently mastodontic project. 9 million dollars of cost that pale films that in some cases look worse like ‘A complete stranger‘(50-70 million),’Conclave‘, (20 thousand),’Dune: Part two‘(190),’Emilia Pérez‘(25),’ Nickel Boys ‘(23,2),’The substance‘(17.5) or’WICKED‘(150). At their level there are only ‘anora’ (6 million) and ‘I’m still here’ (1,8), but they have an infinitely more indie and modest visual finish. ‘The Brutalist‘It looks like a blockbuster. How have you done it? There is no secret of the General Staff, but quite common sense. For example, control expenses. Its director Brady Cobert counted In Slate that to be able to roll in the format of your choice (Vistvision, which It had not been used in Hollywood since the sixties), decided to do without three days of filming and invest the money saved. How is that done? Knowing how much everything costs: “I encourage young people to investigate on their own how much things cost. Because it is very useful to know the price per meter of movie. How much does it cost to rent a crane? What is the daily rate? What is the weekly rate? I have reached a point where if someone tells me: ‘We cannot afford it’, I am able to answer: ‘Yes, we can give this. The collection. All this has translated into 37.3 million dollars collected throughout the world, an amount that Warner does not use to cover the ‘Dune 2’ catering. Of the more than 22 million dollars that ‘The Brutalist’ has raised out of the USit is striking that Spain appears as the second country with more collection, with more than three million dollars. It is only below the United Kingdom and almost folding the amount of the next country on the list, Germany. It may have to do with the excellent conditions in which it has been seen in some Spanish cities, Like Zaragoza. The role of the Oscars. It is clear that the Oscar effect has helped increase that collection: the film premiered in the United States at the end of January, a month before the nominations were known, but by then the film was one of the beautiful girls in the early prizes: it had been acclaimed in Venice in September 2024. On January 5 it was one of the great winners of The Golden Globeswith three awards that included best dramatic film. At the end of the month he won four blows and premiered throughout Europe the same week that the Oscar nominations were known. A Timing Perfect, unattainable for Majors that have to attend dozens of agendas and commitments. Are we going to see more? About ‘Anora’ we talked a few days ago about how, with the exception of ‘Oppenheimer‘Last year, the Oscars have a long ristra of years rewarding independent cinema or with anti-mainstream makers with more joy than in the previous decade:’All at once everywhere‘(2022),’Coda‘(2021),’Nomadland‘(2020) or’Parasites‘(2019). This year, with two favorites like ‘Anora’ and ‘The Brutalist’ on the lists (not exactly the same type of independent cinema, but of course, both very foreign to mass taste), we may see more movies like this in the future. If the night from Sunday to Monday, Hollywood decides to pay tribute to those who invest more time, effort and ingenuity when making the movies that check in white. In Xataka | The great triumph of “high terror”: how fantastic cinema has invaded the main nominations of the 2025 Oscar

‘Anora’ is the big favorite to take the Oscar for the best film. The problem is that it has the voting system against

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‘Anora’ starts in the pools as a great favorite to take the main Oscar of the night, the best film. However, The Oscars They are much more than a mere vote that chooses the film of the year: they come into play not only the millionaire advertising campaigns that are talked about so much (which also), but models of mathematical probability and the same voting system, which do not always favor the favorite of the simple majority of academics. The pretty girl. ‘Anora‘It is Sean Baker’s film, an old acquaintance of fans of the independent cinema zone. Some of its previous proposals, such as ‘The Florida Project’ and ‘Red Rocket’they raised praise among the specialized press, but with this story of a young Brooklyn prostitute who lives his own history Cinderella when he knows and marries the son of a Russian oligarch who intends to end romance, has revolutionized the awards season. The film won the gold palm in Cannes and Dos Bafta, was nominated for five Gold balloons And now she is nominated for six Oscar, including best film, director, actress and original script. ‘Anora’, the independent tradition. ‘Anora ‘continues Oscar’s tradition to reward small and modest movies, looking for a quality patina indie that Hollywood industry is excited since the time of The infamous Miramaxand that has made films like ‘in recent yearsAll at once everywhere‘(2022),’Coda‘(2021),’Nomadland‘(2020) or’Parasites‘(2019). The winner of 2018, ‘Green Book’, was only indie in aesthetic terms, but still, is a streak of victories outside the industry that only broke ‘Oppenheimer‘ last year. The numbers speak. In addition to the recent trend of the Oscars, dyed of a certain condescension, to reward independent films, we have the purest mathematics: The Hollywood Reporter used the probability laws To make the calculation and ‘Anora’ was well above its competitors: 52% possibilities, overwhelming the second in the list, ‘Conclave‘, which was left with 15.2%. The reason? The ‘Anora’ awards streak in the Critics Choice, Producers Guild and director’s Guild. Less colorful than the Golden Globes, but according to statistics, infallible when opening via for the Oscar (let’s not forget that on many occasions the voters coincide). Percentages against competitors. These statistics in favor of ‘Anora’ are increased when those same numbers play against their competitors. For example, only seven films have won an Oscar for the best film without having the direction nomination, as happens to ‘Conclave’. ‘The Brutalist‘It is one of the favorites, but never a movie without the SAG prize or An Eddie (The US editors awards) has won the main Oscar. ‘Emilia Pérez’ had everything in favor with the Golden Globes, but Reality has passed over. Already ‘A Complete Unknown‘It has not gone wrong with other awards, but in any other gala the best film has been taken, something that greatly reduces its possibilities. But if everything is in his favor … Ya: Why are the real probabilities of ‘anara’ are smaller than, for example, those of ‘conclave’? The voting system for best film is called “Preferred System”, and with it the voters are asked to classify the nominated films from the greatest to less preference. If a film gets more than 50% of the votes (something very unlikely), automatically wins the prize. But if not, the following process is carried out: the film with less votes redistributes its ballots among the second most voted film of the members who had placed it in number one. It is done with all, until a film exceeds 50%. The terrible consensus. The idea with this system is to reward the favorite film by consensus, one that most of the members of the academy would consider their favorite. The result is that the films that go to the extremes are less likely: ‘Anara’ will be the favorite of many, but because of their theme and indies modes, it will also be among the least favorite of many others. This system rewards, in effect, the consensus, which is another way of saying that it rewards the middle ground. In that sense, it is ‘conclave’ that will benefit: a very little annoying movie, which many will have liked, but few have liked very little. The danger of controversy. Something similar to ‘Anora’ will happen to films such as ‘Emilia Pérez’, one of the favorites before the successive bombings of Karla Sofía Gascón. EITHER ‘WICKED‘, which belongs to a genre with as many defenders as detractors. Or, of course, ‘Dune 2‘ either ‘The substance‘, which only to belong to the categories of horror and science fiction will receive very low scores of the less daring faction of academics. In that sense, and except for exceptions (it is clear that ‘anora’ has possibilities, despite everything) the Oscars almost always reward the low risk. Nothing new under the sun. In Xataka | The great triumph of “high terror”: how fantastic cinema has invaded the main nominations of the 2025 Oscar

How fantastic cinema has invaded the main nominations of the 2025 Oscar

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For a few years, fantastic cinema is living a kind of face washing thanks to prestigious successes and labels such as “high terror“. The cotton test is always in the Oscars: as a maximum representation of Hollywood’s respectability and the show industry, when gender movies appear in the main categories, we live a new era of acceptance of the fantastic. Like this year. The circle of life. It is not a new phenomenon, but it has not always existed either. For decades all genres outside the drama, comedy and its variants (musical, western) were none by the Oscars. Until the international success of ‘arrivedStar Wars‘At the end of the seventies, and the technical categories of effects began to acquire relevance. The next spicy of the horror genre in the Oscars arrived in the nineties, with films without traces of series B in its DNA as ‘the silence of the lambs’ or ‘misery’. Since then, and by streaks, there have always been periodic claims of the fantastic in the Oscars (‘Let me out’, ‘The form of water’, ‘The Lord of the Rings‘), And this year he plays again. A significant precedent. Although last year there was almost almost the presence of fantastic cinema among the Nominated for Best Film (‘Barbie‘, of course, but above all’Poor creatures‘-Two films that never had the slightest opportunity-), the most interesting nominations in this regard took place in 2023. Not only was it nominated’Avatar: The sense of water‘, but ‘All at once everywhere‘He won seven awards, including the best film. A pure fantastic movie that also put on the table a producer who had been talking for years, A24. The legacy of A24. The great winner of the 2023 Oscar were neither her directors, the Daniels, nor her squad of actors (all awarded), but As we said at the timeproducer A24. Although it is not a specialized producer, it is responsible, distributing and producing the cinema of directors such as Robert Eggers (‘La Bruja’, ‘El Faro’) or Ari Aster (‘Hereditary’, ‘Midsommar’) that the fantastic cinema live A new era of respectability. Which includes, as a consequence, a renewed presence in the Oscars. 2025, Fantastic Oscars. This year we have several gender films among the nominees. On the one hand, the inevitable blockbuster, the equivalent of the ‘avatar’ of 2023: ‘Dune: Part two‘. On the other, ‘WICKED‘, which is a musical and therefore is more in the Hollywood tradition than in the rupture of norms, but let’s not forget that it is a prequel to’ The Wizard of Oz ‘, a classic absolute of the genre. Yeah ‘Emilia Pérez“It is fantastic or not would be something to sit down to discuss it (or better not), but it is clear that the radical point puts it. ‘The substance‘, a film that drinks from the troma and series B, of the Body Horror and the Gore, of Cronenberg and the latex feasts of the eighties. A true surprise whose only presence in nominations is already an indisputable award. And this year there are possibilities? First of all, it should be said that it was not planned that ‘everything at once everywhere’ razed in 2023, so there are always possibilities. But in principle, no: this year the thing is between ‘The Brutalist‘,’ Conclave ‘and’ Wicked ‘, and even’ Anora ‘and’ Emilia Pérez ‘, but neither’ Dune: part two ‘(which possibly takes a good amount of technical awards) nor, of course,’ the substance ” (Too Molona for Hollywood, it could be said, although Demi Moore should not lose hope) they are among the favorites. In any case, having reached nominations is a triumph: it is still clear that the fantastic is renewing Hollywood. In Xataka | Karla Sofía Gascón has achieved more than endangering her own Oscar: jumping all Netflix alarms

The best teles and sound bars for the movies you ride. This is the new Samsung campaign for the Oscar 2025

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There are very few days left for the celebration of the Oscar Gala 2025. On March 2 we can know the winners in the different categories, and for that Samsung wanted to take advantage of a film campaign. Under the slogan “The best TVS for the movies you rise”, we can find From TV to sound bars With quite interesting prices. Samsung Qe1D by 659 eurosa 65 -inch QLED panel television that comes with film director. Samsung Qnx1d by 799 eurosa 55 -inch Neo Qled Smart TV with film director and Dolby Atmos. Samsung S93D by 1,199 eurosa 55 -inch OLED TV with film director, Dolby Atmos and 60W RMS audio power. Samsung HW-S700D/ZF by 299 eurosan Ultra Slim sound bar with Dolby Atmos. Samsung HW-Q930D/ZF by 649 eurosa sound bar with Dolby Atmos and two rear speakers. Thus samsung money earns: the secret is on the iPhone Samsung Qe1D Samsung’s cheapest television that we can find during the Oscar 2025 campaign is the Samsung Qe1Dand is available with screen 50 inches by 499 euros and with screen 65 inches by 659 euros. It is a good TV that rides a screen with QLED technology that offers a 4K resolution. Is compatible with the format HDR10+comes with film director and integrates the voice assistant Alexa. Samsung Qe1D (QLED, 65 inches) * Some price may have changed from the last review Samsung Qnx1d A step above we have a TV that starts from a much more expensive price (1,599 euros), but that with the offer does not remain well above the previous model. By 799 euros We have a good television that comes with a NEO QLED screen Of 55 inches that offers a 4K resolution and a 100 Hz soda rate. It is compatible with HDR10+, it comes with film director, its speakers offer a 40W power and are compatible with Dolby Atmos. In addition, the Alexa voice assistant integrates and is compatible with VRR For gaming. Samsung qnx1d (neo qled, 55 inches) * Some price may have changed from the last review Samsung S93D And another step above we have one of the best televisions of the brand, the Samsung S93D. We can find it for 1,199 euros instead of 2,099 euros and comes with a 55 -inch OLED anti -reflex screen which offers a 4K resolution and a 100 Hz soda rate, is compatible with HDR10+ and the film director, its speakers offer a 60W RMS Power And they are compatible with Dolby Atmos, integrates the Alexa voice assistant and is compatible with VRR. The same 65 -inch screen television is also available by 1,499 euros. Samsung S93D (OLED, 55 inches) * Some price may have changed from the last review Samsung HW-S700D/ZF Not everything is offers on televisions; Samsung has saved some discounts for some sound bars. The most economical is the Samsung HW-S700D/ZFsince it has gone from costing 599 euros to 299 euros. What stands out is its ultra -thin design, but it is also worth mentioning that it is a very complete model, especially at this price. It comes with its own wireless subwoofer, integrates seven speakers to 3.1 channels, it is compatible with Dolby Atmos And it has Wifi, Bluetooth and connectivity HDMI EARC. * Some price may have changed from the last review Samsung HW-Q930D/ZF On the other hand, if what we are looking for is a more powerful sound bar, we can also find the model offer Samsung HW-Q930D/ZFby 649 euros instead of 1,149 euros. This sound bar is equipped with 17 speakers offered 9.1.4 channelsIt is accompanied by a wireless subwoofer and two rear speakers, is compatible with Dolby Atmos and in its connectivity it has Wi -Fi, Bluetooth and HDMI EARC. * Some price may have changed from the last review Some of the links of this article are affiliated and can report a benefit to Xataka. In case of non -availability, offers may vary. Images | Gkikas hands in Unspash, Stockiu in FreepikSamsung In Xataka | Better televisions in quality Price: which to buy and seven recommended 4K 4K 4K In Xataka | Best sound bars in quality price. Which to buy and seven recommended models from 140 euros

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