On Wednesday, the creative team of the 98th Academy Awards held a press conference where exciting previews about the ceremony taking place next Sunday were shared. This presentation, led by executive producers Raj Kapoor and Katy Mullan, focused on a series of surprises aimed at capturing the attention of the audience and film fans. And the Oscar goes to… Among the most notable revelations, Kapoor and Mullan mentioned the possibility of “huge reunions” being prepared for the gala. Although no specific details were provided […]
On Wednesday, the creative team of the 98th edition of the Oscar Awards held a press conference where exciting previews about the ceremony to be held next Sunday were shared. This presentation, led by executive producers Raj Kapoor and Katy Mullan, focused on a series of surprises aimed at capturing the attention of the audience and film fans.
And the Oscar goes to…
Among the most notable revelations, Kapoor and Mullan mentioned the possibility of “huge reunions” that are being prepared for the gala. Although no specific details were given about the actors or movies involved, the producers assured that they have heard rumors about it and are very excited about what is to come. “There are rumors about what that reunion will be, and we are very excited to announce…” they indicated, leaving the audience intrigued and full of speculation.
Historically, the Oscars editions have been a showcase for memorable moments, and this year promises to be no exception. The inclusion of major reunions could bring together iconic actors and fan favorites once again, which would undoubtedly increase the conversation and interest surrounding the ceremony.
As the ceremony approaches, expectations are rising, and the audience is wondering what surprises are on the way. The Oscars not only celebrate achievements in the film industry but also create moments of connection between stars and their followers. With this in mind, the producers have left us all with the expectation of a show that could include significant reunions and may even unveil additional surprises during the event.
Yes, yes. I know. You have danced to Golden to the point of exhaustion, your sons, daughters, nephews, or nieces know it by heart and have even taught you the choreography of the moment: after all, it is the most-watched movie in Netflix history and, to everyone’s surprise, it doesn’t even belong to a franchise: The K-Pop Warriors has marked an era to the point where it is clearly on track to win the Oscar for Best Animated Feature without any problem. And yet, I am convinced that it is not good news. Up, up, up, is […]
Yes, yes. I know. You have danced to Golden to your heart’s content, your sons, daughters, nephews, or nieces know it by heart and have even taught you the latest choreography: after all, it is the most-watched movie in Netflix history and, surprisingly, it is not even part of a franchise: The K-Pop Warriors has made history to the point where it is clearly on track to win the Oscar for Best Animated Feature without any problem. And yet, I am convinced that this is not good news.
Up, up, up, is our moment!
Since 2021, none of the major American animation studios have won the Oscar in the category. At that time, it was Encanto that took the prize over better options like The Mitchells vs. the Machines or Luca. However, it was the film that broke a 10-year streak in which the winning films were invariably from Pixar, Disney or (in the case of Spider-man) from Sony. From one of the big players, at all times. With the change of voters in the Academy, changes came in all the awards, and animation was no exception.
In 2022, Netflix hit the jackpot with Pinocchio, an absolutely stunning stop-motion film that demonstrates how animation is much more than CGI and 3D puppets. In 2023, it was time to head to Japan to honor master Hayao Miyazaki and his latest masterpiece (so far), The Boy and the Heron, which underscored a constant in recent years: the world becomes much larger when you peek over the subtitle barrier. Last year, experimentation reached its peak with Flow, a Latvian film with no dialogue whatsoever that amazed audiences worldwide. And I can’t be the only one who thinks that if K-Pop Warriors wins, it will be a step backward.
An American production (upholstered, yes, with nods to South Korea, as if trying to give it an exotic touch but without getting too involved), from Sony and Netflix, with curious animation that still repeats some tics we have seen in the studio’s previous films. Against the mainstream (perhaps not sought after, but mainstream after all), two works of pure resistance that strive to move forward: the vibrant Arco and the unbeatable Little Amelie, which truly demonstrate how animation can be used to tell all kinds of stories that go beyond “good versus evil” and without anyone later announcing a sequel, a franchise, an amusement park, and a collaboration with a Chupa Chups brand.
I’m not against The K-Pop Warriors, mind you: it’s a movie that works, it’s constantly entertaining, and its songs stick like glue. But it’s undeniable that with the award, the Academy is going to fall into the obstacle it managed to evade years ago: awarding the most famous movie. It could be Zootopia 2, it could be this one, it doesn’t matter. It’s giving money to the millionaire and love to the beloved. It doesn’t need it at all, and it can tarnish the best animated feature category, leaving it adrift again and giving popular awards by default.
Was Toy Story 4 really better than Where Is My Body? or Klaus? Why Zootopia and not My Life as a Zucchini or The Red Turtle? Did Big Hero 6 deserve it more than The Tale of the Princess Kaguya? We cannot (and should not) allow ourselves to return to that dark era where animation was automatically given to the famous movie of the moment because from there to nominating Avatar for best picture by default is just one step.
Warner Bros has made history at the 98th edition of the Oscars by achieving an unprecedented record with 16 nominations for its film ‘The Sinners’, surpassing others like Titanic or All About Eve. It seems that this movie has not only pleased the general audience but also critics who are thrilled. Will it also become the most awarded? ‘The Sinners’ competes in multiple major categories, including Best Picture, one of the most coveted. Additionally, Michael B. Jordan has been nominated for Best Actor for his performance in the film, while […]
Warner Bros has made history at the 98th edition of the Oscars by achieving an unprecedented record with 16 nominations for its film ‘The Sinners’, surpassing others like Titanic or Eve Unveiled. And it seems that this movie has not only pleased the general audience but also critics who are delighted.
Will it also become the most awarded?
‘The Sinners’ competes in multiple highly relevant categories, including Best Picture, one of the most coveted. Additionally, Michael B. Jordan has been nominated for Best Actor for his performance in the film, while Wunmi Mosaku has received a nomination for Best Supporting Actress. Another highlight among the nominations is Delroy Lindo, who is vying for the Oscar for Best Supporting Actor, thus complementing an exceptional cast.
The quality of the direction and the script has also been recognized, as Ryan Coogler has received nominations in the categories of Direction and Original Screenplay. With his ability to tell deep and resonant stories, Coogler has made a prominent place for himself in contemporary cinematic narrative. Furthermore, the musical aspect of the film is not left behind, and the importance of music in building the atmosphere of ‘The Sinners’ has also been highlighted.
This remarkable number of nominations not only highlights the collaborative effort of a talented team but also reflects the Academy’s appreciation for narratives that address contemporary and complex themes. With its impressive number of nominations, Warner Bros and ‘Sinners’ will definitely be one of the focal points at the upcoming Oscar ceremony and a topic of conversation among critics and film enthusiasts.
Timothée Chalamet has reached a new milestone in his film career by receiving his third Oscar nomination for Best Actor. This time, the Academy has recognized his performance as Marty Mauser, a young talent in the world of ping pong, in the film Marty Supreme, directed by Josh Safdie. Chalamet’s performance has been acclaimed by both critics and audiences, solidifying his status as one of the most prominent actors of today. Youth, divine treasure At 30 years old, Chalamet becomes the youngest male actor to achieve three nominations in this prestigious […]
Timothée Chalamet has reached a new milestone in his film career by receiving his third Oscar nomination for Best Actor. This time, the Academy has recognized his performance as Marty Mauser, a young talent in the world of ping pong, in the film Marty Supreme, directed by Josh Safdie. Chalamet’s performance has been acclaimed by both critics and audiences, solidifying his status as one of the most prominent actors of today.
Youth, divine treasure
At 30 years old, Chalamet becomes the youngest male actor to achieve three nominations at this prestigious ceremony, a feat that highlights his remarkable career and the speed with which he has earned a place in the film industry. His first recognition came in 2018 for his role in Call Me by Your Name, followed by a second nomination in 2025 for A Complete Unknown. Each time Chalamet has been nominated, he has generated a great stir in the entertainment world, and this occasion is no exception.
Marty Supreme presents a blend of comedy and drama, exploring the journey of the protagonist from a young prodigy to the upper echelons of sports. This narrative approach has become an incentive for viewers, who have praised the way the film addresses the challenges and triumphs of an emerging athlete. The direction of renowned filmmaker Josh Safdie has also been a strong point, being known for his ability to tell complex and emotionally resonant stories.
The Oscar ceremony is approaching, and with it, the anticipation of whether Chalamet will take home the golden statue. With his record of nominations and the growing affection from the public, his future in the film industry seems even more promising. Fans and critics are eager to see what’s next in the career of this talented actor.
The animated film KPop Demon Hunters, produced by Sony Pictures Animation and distributed by Netflix, has generated quite a bit of attention in the entertainment industry, especially due to its recent consideration as a favorite for the Oscars. However, this projection is overshadowed by the news that it has been declared ineligible for the BAFTAs, the prestigious award from the British Academy of Film and Television Arts. The British academy does not want to know about kpop. Despite Netflix filing a formal appeal to contest this decision, the British Academy of Film and Television Arts maintained its […]
The animated film KPop Demon Hunters, produced by Sony Pictures Animation and distributed by Netflix, has generated quite a bit of attention in the entertainment industry, especially due to its recent consideration as a favorite for the Oscar Awards. However, this projection is overshadowed by the news that it has been declared ineligible for the BAFTAs, the prestigious award from the British Academy of Film and Television Arts.
The British Academy doesn’t want to know about K-pop
Despite Netflix filing a formal appeal against this decision, the British Academy of Film and Television Arts maintained its position, citing that the film did not meet the necessary eligibility requirements. According to sources from Variety, this outcome highlights a notable difference in the perceptions of the two awards, as KPop Demon Hunters is considered a strong contender for the Oscars, a distinction that its creators may not achieve in the British realm.
The collaboration between Netflix and Sony Pictures Animation has been fundamental in the development of this project, which promises to attract a wide audience thanks to its combination of K-Pop themes and action-adventure narratives. However, the fact that its participation in the BAFTAs has been disqualified raises questions about the selection process and the criteria imposed by the British Academy.
In a landscape where recognition at festivals and awards can seriously impact marketing and distribution strategies, the inequality faced by KPop Demon Hunters between the BAFTAs and the Oscars could be representative of the broader struggle in the industry for inclusion and the valuation of international production work.
The Iranian filmmaker Jafar Panahi, recognized worldwide for his cinematic work, has garnered multiple awards at the most prestigious film festivals, including the Golden Lion in Venice, the Golden Bear in Berlin, and the Palme d’Or in Cannes. However, his name has never been present in the running for the Oscars, an omission that raises curiosity and debate in the film industry. We want an Oscar! The reason behind this absence lies in the decisions of the Iranian government, which has not submitted any of Panahi’s films to the awards […]
The Iranian filmmaker Jafar Panahi, recognized worldwide for his cinematic work, has garnered multiple awards at the most prestigious film festivals, including the Golden Lion in Venice, the Golden Bear in Berlin, and the Palme d’Or in Cannes. However, his name has never been present in the race for the Oscars, an omission that raises curiosity and debate in the film industry.
We want an Oscar!
The reason behind this absence lies in the decisions of the Iranian government, which has not submitted any of Panahi’s films to the Academy Awards. This director is known for his dissenting approach, and his works often criticize aspects of Iranian society, an alignment that the country’s authorities do not want to associate with. Despite his stature as a filmmaker and his international recognition, censorship and cultural control continue to be significant barriers to his legacy.
Since the beginning of his career, Panahi has used his talent to address critical and often taboo subjects, becoming an emblematic figure both in Iran and in the global film arena. Although he has made a considerable impact in criticism and has received numerous awards, the lack of representation at the Oscars highlights a paradox: Panahi’s immense ability to captivate international audiences while being silenced in his own country.
In this narrative, the history of art, politics, and the struggle for freedom of expression intertwine, making Panahi’s journey not only fascinating but also a refuge for dialogue about censorship in cinema. His legacy could be even more remarkable if the barriers that limit him were torn down and his voice could resonate in every corner of the cinematic world.
The movie Anora emerged as the big winner of the 2025 Academy Awards; however, another title that stood out was Conclave. This religious thriller directed by Edward Berger managed to win the Oscar for Best Adapted Screenplay, awarded to Peter Straughan for his script based on the novel by Robert Harris. Despite being nominated in eight categories, Conclave only took home one statuette, reflecting the recognition of its valuable narrative in a year of strong competition. A film about the conspiracies following the death of a Pope The plot of Conclave unfolds in the Vatican […]
The movie Anora emerged as the big winner at the 2025 Academy Awards; however, another title that stood out was Conclave. This religious thriller directed by Edward Berger won the Oscar for Best Adapted Screenplay, awarded to Peter Straughan for his script based on the novel by Robert Harris. Despite being nominated in eight categories, Conclave only took home one statuette, reflecting the recognition of its valuable narrative in a year of strong competition.
A movie about the conspiracies following the death of a Pope
The plot of Conclave unfolds in the Vatican after the death of the Supreme Pontiff. In an environment marked by intrigue, Cardinal Lawrence is forced to initiate a conclave, where the leaders of the Church seek to elect the new Pope. Caught in a web of conspiracies, the protagonist must unravel secrets that could jeopardize the foundations of the institution. Ralph Fiennes, who plays the cardinal, has been praised for his performance, which captures the character’s emotional confusion through glances and subtleties, rather than through heavy dialogue.
Despite its success in the script category, the notable absence of Cónclave in other categories has been a topic of debate. Some critics suggest that errors in the Academy’s voting may have affected its chances. Edward Berger, who had already triumphed with All Quiet on the Western Front, has highlighted the depth of Fiennes’ performance, who manages to convey the complexity of the character without the need for grand speeches.
Those interested in watching Conclave can currently find it in theaters in 39 Spanish cities. The film will also be available soon on the Movistar Plus+ platform, with a subscription of 9.99 euros per month, allowing more viewers to experience this intriguing exploration of power and faith in the current context of the Catholic Church.
Director Sean Baker has reached the top of the podium at the 2025 Academy Awards by taking home five of the six statuettes he was nominated for with his film Anora. The work, which began its triumphant journey by winning the Palme d’Or at Cannes, was recognized in prestigious categories such as best picture, direction, lead actress, original screenplay, and editing. Anora or never Anora tells the story of a young prostitute from Brooklyn who falls in love with the son of a Russian oligarch, exploring the lights and shadows of her complex existence. It stars Mikey Madison, who impressed […]
Director Sean Baker has climbed to the top of the podium at the 2025 Academy Awards by taking home five of the six statuettes he was nominated for with his film Anora. The work, which began its triumphant journey by winning the Palme d’Or at Cannes, was recognized in prestigious categories such as Best Picture, Direction, Lead Actress, Original Screenplay, and Editing.
Anora tells the story of a young prostitute from Brooklyn who falls in love with the son of a Russian oligarch, exploring the lights and shadows of her complex existence. It stars Mikey Madison, who impressed Baker in her role in Once Upon a Time in… Hollywood, which led the director to entrust her with this leading role. Her performance has been acclaimed by both critics and audiences, highlighting her ability to convey her character’s emotions on screen in a striking way.
Sean Baker, known for his talent in directing, has already made his mark in cinema with other notable works such as The Florida Project, Red Rocket, and Four Letter Words. Anora presents itself as his most commercial and accessible film to date, while maintaining his distinctive realistic approach, contrasting the dreams and realities of his characters.
The movie is still available in theaters, but it can also be purchased on digital platforms such as Google Play, Rakuten TV, Apple TV+, and Prime Video, and it will arrive on Movistar Plus+ in the future. This variety of options ensures that the success of “Anora” continues, paving the way for other Baker films to be available to a wider audience in the coming weeks.
How long has it been since you opened the Netflix movie page thinking, “Oh, how exciting, I really wanted to see this”? Usually, it’s like going to the supermarket for tomatoes and ending up with a cucumber: it’s not what you wanted, but it’s the only thing left and it was on sale. I mean, you go to watch a prestigious film and end up watching an action movie with two moderately famous actors that’s entertaining but you’d never watch a sequel of. An entire industry based on barely passing grades. And that’s from 2019 to […]
How long has it been since you opened the Netflix movie page thinking “Oh, how exciting, I’ve been wanting to see this”? It’s usually like going to the supermarket for tomatoes and ending up with a cucumber: it’s not what you wanted, but it’s the only thing left and it was on sale. I mean, you go to watch a prestigious film and end up with an action movie with two moderately famous actors that is entertaining but you’d never watch a sequel of. An entire industry based on mediocrity. And to think that from 2019 to 2022 they were close to winning an Oscar on more than one occasion! But, simply, they’ve lost the desire, and right now… the effort isn’t worth it for them.
It’s hard to forget the campaign that Netflix launched to announce that they were aware their movies weren’t great, but now they were going to step up their game. It was at the end of the last decade, when they were already having success with series and winning Emmys (after crossing the usual barrier of raised eyebrows and sighs from a somewhat immobile industry). They got to work, and recruited a good handful of top-level directors to whom they gave absolute freedom.
Martin Scorsese, Alfonso Cuarón, Noah Baumbach, David Fincher, Adam McKay, Aaron Sorkin, Jane Campion, the Coen Brothers, Bradley Cooper, Fernando Meirelles, Maggie Gyllenhaal, Edward Berger, Ryan Johnson, Paolo Sorrentino, Guillermo del Toro, the Obamas, Alejandro G. Iñárritu, Ron Howard, Lin-Manuel Miranda, J.A. Bayona, George Clooney, Zack Snyder, Wes Anderson, Spike Lee… Not only are they names that have defined the history of modern cinema: they are all people who signed with Netflix to make the movie of their dreams, without restrictions. They got the pleasure of doing what they wanted. Streaming, prestige. Spoiler: it doesn’t turn out very well.
And the fact is that Netflix had to face, right from the start, an industry that didn’t understand that films not released in theaters could be considered cinema, whether they were directed by Scorsese or anyone else. For years, at the prestigious Cannes festival, there was an annual -we can say it openly- uproar of booing the Netflix logo when it appeared before the films in competition. It was inevitable that at awards like the Oscars there would also be people who felt this way: the film is very good, it deserves the award, but… How are we going to give it, if it’s shown on a smaller screen?
This is not a film
This is how The Power of the Dog ended up losing to an absolutely inferior film like CODA, and Roma had to watch as the award for Best Picture was taken by the pastiche that was Green Book. It was unfair, yes, but also a statement of principles by the rest of the industry: you can play with us, but you are not one of us. Not yet, at least. The problem is that if Netflix has shown anything over the years, it’s very little patience (if a series doesn’t get enough views in the first week, it gets canceled without hesitation). And after the experiment and feeling like it has burned money on absolutely nothing, it has cut its losses.
From having two films nominated for the Oscar in 2021 and 2022, we move to one in 2023 and 2024. And, predictably, none in 2025. Well, on paper and for much of the public, yes, of course, because the company’s new strategy is to buy films at festivals and pass them off as their own. Emilia Pérez, for example, is exclusive in the United States, but that doesn’t mean Netflix financed and developed it: they take the laurels, but none of the effort. And it’s not necessarily bad! Since the industry has decided to turn its back on them regardless of what they have in hand, they just need to use their wallet to achieve the prestige they can’t otherwise attain.
There was a time -short, indeed- when Netflix seemed to bet heavily on auteur cinema, not only with films but even with documentary or animated shorts. But, in the end, they seem to have understood their place in the market: it is not that of the quality cinema provider, but that of the churro shop that will give you new churros every day of the week. They taste the same as always, require no effort, cost more than they should, you are aware that there are much tastier foods, but they satisfy you enough to come back the following week for more. Occasionally, they manage to release a hit that transcends the barriers of streaming itself and becomes a social phenomenon instead of something disposable.
After the fiasco of movies like Maestro or Bardo, don’t you see it as normal, at least from a purely business perspective? Why make an effort if someone else is going to take the laurel crown? What sense does it make? The world of quality cinema may have lost, out of sheer pride, the last chance to remain relevant in an audiovisual landscape where, increasingly, the latest novelty in streaming, whatever it may be, takes precedence over an ambitious black-and-white film made by a prestigious filmmaker. Perhaps if they had taken better care of what they had instead of punishing it relentlessly, we would be talking about a new giant on par with Paramount or Columbia. However, neither cinema nor awards. Here, sadly, no one wins… And much less the viewer. It’s okay: by now, we are quite used to it.
A recognition to the best animated short that we could already suspect since the premiere of the piece last Christmas.
Apple has won its first Oscar for an animated short film with the piece called “The Boy, the Mole, the Fox, and the Horse”. A short animated story created by writer and artist Charlie Mackesy, which the Cupertino company has produced together with the BBC.
