Film fans and die-hard Alfred Hitchcock admirers will find on Movistar+ a documentary that connects with the universe of Hollywood and one of the great films by the king of suspense: Vertigo. Alexandre Philippe, the director of the documentary, defines it as a session of cinematic spiritualism over which Hitchcock's spirit hovers. The protagonist is the actress Kim Novak. At ninety-three years old, she feels she is in the final stretch of her life. As soon as it begins, the camera moves gently through a garden where the last ray of sun of the day arrives. We hear her with a thin voice and difficulty breathing. Novak explains: “I doubt if I'm doing the right thing by recording this, because I don't know what will come out of what I say, of what I want to say. What do I want to say exactly? Is it about this? About what I want to say? About what I think? About what I feel? I don't know what I'm expected to feel or think. [...] I have suffered a lot. Recently I had a bad fall and I'm short of breath. It's hard for me to keep breathing. Maybe I'm wrong. Maybe I'll live to be a hundred! Who knows! But right now I feel like I'm very close to the end”. The camera moves closer to the door of a house and penetrates inside. The image stops on the wooden volute of an armchair that reminds us of Novak's bun in Vertigo. Then, finally, we see her, painting a picture.

The Good Daughter, by director Júlia de Paz (Sant Cugat del Vallès, 1995), can now be seen in cinemas. It shows the consequences of vicarious violence and sexist violence on children, who are often unrecognized victims. And it does so through Carmela, a 12-year-old girl, who must periodically go to a meeting point to see her father, whom she idolizes. Little by little, however, the girl – and with her, the viewer – will discover who he really is and his way of exercising psychological violence.

What do localities like Tossa de Mar, Cardona, Bielsa, or Aýna have in common? Well, among other things, their undeniable tourist appeal, but also the fact that they have been the setting for landmark films such as Pandora and the Flying Dutchman, Chimes at Midnight, Palmeras en la nieve, or Amanece, que no es poco. These are four examples of locations that fit perfectly into what is known as screen tourism, a type of cultural tourism that drives visits to destinations, landscapes, or cities that have appeared in or are related to films, television series, or audiovisual productions of all kinds, such as documentaries, video games, or commercials, as well as events linked to the audiovisual world, such as festivals or themed gatherings. It is an upward trend that has been experiencing significant growth since the advent of streaming platforms and leads viewers to visit the settings where their favorite stories were filmed.

We know Enric Sòria, one of the most valuable authors in contemporary Catalan literature, for his work as a poet, diarist, and essayist. Now he is releasing, at last, a singular work, which is also a major contribution to our culture: Et tornaré a veure(Apunts sobre cinema 1910-1945), which has just appeared in a superb two-volume edition by the Valencian Film Archive and the Alfons el Magnànim Institution. I write “at last” because I have had the good fortune to be one of the happy few who have followed the writing process of this book over the —many— years it has taken, and that authorizes me to say it: it is an important work.I'll See You Again brings together comments by Enric Sòria on films belonging to the period mentioned in the title, that is, from the beginnings of cinema as an artistic language until the end of the Second World War, with the transition from silent to sound cinema and the development of one of the most powerful cultural industries. The work offers a selection of these texts, but, even so, it is of somewhat overwhelming dimensions: twelve hundred pages divided into two volumes, with nearly nine hundred films commented on, ordered chronologically. There is cinema from everywhere, with a profusion of North American, British, French, German, Spanish, Italian, Russian, and Japanese films, not necessarily in that order. The display of knowledge that the author pours into it on the subject he deals with is as spectacular as it is fascinating, and his writing, without a gram of pedantry or false erudition, has —as is its hallmark— the virtues of elegance, clarity, mastery of the language, and an irony that, fortunately, is frequent and achieves what is so difficult: to instruct and entertain the reader at the same time. They are texts of irresistible reading: it is difficult to stop at one and not want to continue with the next.In the illuminating prologue, Enric Sòria explains his personal —and familial— connection with cinema, emphasizes that it is an art that tends to abolish chance and, therefore, exactness, and stresses that it has been (often through the most unexpected means) a form of protest against the dictatorships and authoritarians that ravaged the first half of the 20th century, as they are also doing, for now, with the first third of the 21st. He also presents it thus: “From its origins, cinema is close to spectacles like illusionism, variety shows, and, above all, the circus: clowns, sword-swallowers, bearded ladies, acrobats, and lion tamers, but also other shows [...] like concerts, dance, theatre, and opera. Cinema did not just move between these two realms: it could encompass them, and that is what it has done.” Catalan culture counts and has counted, fortunately, with excellent film critics and scholars, but until now it did not have a work like I will see you again, the fruit of knowledge and literature, but also of pure passion, love, and fascination. A great party.

In the midst of the streaming era and omnipresent screens, a growing segment of youth is looking back. Vinyl records, cassettes, film cameras, or VHS tapes, formats that just a few years ago seemed doomed to disappear, are circulating again among young people as objects of cultural consumption and symbols of identity. Far from being a fleeting trend, the phenomenon reflects an increasingly complex relationship between the digital generation and the technology that dominates their daily lives.

While the rest of the morning magazines discussed the harsh disagreements within Vox, Espejo público echoed an apparently anecdotal event. Susanna Griso stopped her conversation with Albert Rivera, who is a political analyst for the program, to ask him if he had already seen Santiago Segura's film. The former leader of Citizens replied that he had it pending. The presenter explained that Santiago Abascal had indeed gone, and had been caught leaving the cinema. "Ok Diario surprises Abascal watching Torrente, president", said the headline on screen. But that exclusive from Eduardo Inda's digital media seemed anything but a surprise. It was clearly a staged event: it reeked of a pact between Vox and Inda. A reporter with Ok Diario's microphone at the entrance of the room reported: "In a few moments, Santiago Abascal will leave the cinema after watching Torrente, president and we didn't want to miss his reaction". Immediately, Abascal appeared accompanied by a large group of men cut from the same cloth: the beard, the haircut, the clothes and the body rigidity that characterize them. The henchmen surrounded the leader of Vox, suspiciously controlling the area, and Abascal quickly approached the reporter's microphone. The supposed humor of that situation is that Santiago Segura's film parodies Vox with Torrente at the helm.

Four years after its finale, Peaky Blinders, the fiction about a group of Birmingham gangsters, returns to the screens. Now, however, it does so not in series format but as a feature film. Peaky Blinders: The Immortal Man premieres on Friday on Netflix with much of the original cast, led by Cillian Murphy, an Oscar winner for Oppenheimer. The Irish actor once again takes on the role of Thomas Shelby, the charismatic mobster whom viewers accompanied as he managed illegal betting, arms trafficking, and horse racing, and fought against other mafias. The series ended with Shelby imposing exile on himself, and this is precisely the starting point of the film written by Steven Knight, creator of the original fiction.

How does the son of Mallorcan farmers manage to walk the runway at New York Fashion Week and be considered John Galliano's successor? Why does this protégé of the fashion press end up thrown to the wolves? We asked ourselves these same questions in this very newspaper exactly eleven years ago in the wake of Call it a balance in the unbalance (2011). An epic story with a dramatic ending in which Regine Lettner delves, through the experiences of designer Miguel Adrover, into an industry capable of destroying myths as quickly as it builds them. This documentary was part of the first edition of Moritz Feed Doc, Barcelona's international film and fashion festival, which celebrates its tenth anniversary this year by, coincidentally, revisiting the fascinating and enigmatic figure of Adrover. On this occasion, it does so through The designer is dead (2025), a documentary by Gonzalo Hergueta focusing on the life and artistic trajectory of one of the most consistent and radical personalities in contemporary fashion. This Adrover is the same Adrover who, more than two decades ago, was already speaking about sustainability and multiculturalism, when these concepts were not yet widely understood. mainstreamThis is similar to how, a few months ago, he refused to dress Rosalía de Lux because the singer wasn't using her platform to denounce the Palestinian genocide. For Adrover, fashion should be understood not only as a cultural artifact but also as a political one.

The 98th Academy Awards have crowned One battle after another like the big winner of the nightThe film directed by Paul Thomas Anderson gradually gained prominence throughout the ceremony, becoming the dominant name of the awards, which were marked by its overall success. The gala also featured musical numbers and some moments of protest, despite being rather tame and lacking in activism.

Pere Garcia (Girona, 1946) knows the secret to enduring 42 years in a job as a payroll specialist, a job he absolutely hated and which he readily describes as odious. He handled payroll and employment contracts. His was a particularly unpleasant department because "I always had to side with the company owner," and if an employee ever came to me, "I also had to agree with them and navigate any conflicts." He acknowledges that his loyalty to the company, which began at age 16 after finishing secondary school, was also largely due to the fact that the company, the prestigious Cànovas consultancy in Girona, "was excellent, as were the owners, department heads, and colleagues." However, the determining factor in his long tenure was his great passion for his leisure time: musicals.

It made a lot of sense for the guest of honor at the Barcelona Restoration Guild's party to be actor Alberto San Juan, who has just been nominated for a Goya for his performance in La cena. And it was precisely this film – which humorously recreates a fictional dinner of Franco two weeks after winning the Civil War – that led the Madrid-born actor to use the podium of the mythical La Paloma venue in the Catalan capital to launch a forceful "no to war." San Juan received a standing ovation from the five hundred attendees at the meeting, including actors, politicians, and restaurateurs, with his call "against this new world order where those with the greatest capacity to impose violence now lead." He reviewed the bombings in Iran and the "genocide of Gaza," among other things, and delivered a harsh criticism of the European Union and its "renunciation of defending the Universal Declaration of Human Rights."

The actress and comedian Sílvia Abril has become a target of the far-right after making statements in which she criticized the Catholic Church. During her appearance on the red carpet at the Goya Awards, held this Saturday in Barcelona, Abril was interviewed by the magazine Cinemanía, which asked her about her favorite film of this edition of the awards. The actress opted for Sorda, but also spoke aboutLos domingos, the drama about a teenager who wants to become a cloistered nun. "I feel sorry that young people need to believe in something and cling to the Christian faith. I'm sorry for the Church, but what a kiosk you have set up. It's over, get out," said Abril, who argued that she preferred Sorda because she found it more "necessary" than Alauda Ruiz de Azúa's film.

27 feature films and 11 series. This is the record number of fiction productions that 3Cat will participate in this 2026, as detailed this Wednesday by the Corporation in a meeting with the press. Rosa Romà, president of the entity; Sigfrid Gras, director of TV3, and Oriol Sala-Patau, head of the fiction department, boasted about the public television's commitment to the creation of fiction in Catalan and assured that the birth of the online platform has led to more support being given to it. "Fiction is the most consumed on 3Cat," remarked Gras. According to the Corporation, series accumulate more than a third of the platform's total views and are the genre that attracts young audiences.

Last weekend, three of the five highest-grossing films were literary adaptations: the one by Wuthering Heights (which has raised 1.82 million euros in the State), the one of Hamnet (565,000 euros) and that ofThe assistant (€467,000). On Netflix, the streaming platform with the most subscribers, the list of most-watched English-language series globally during the week of February 9-15 also includes various book adaptations: The Bridgertons, Lincoln's lawyer and He and sheThis week, two of the standout premieres are, in fact, literary adaptations: the thriller erotic 56 days and the last season of Like Water for ChocolateThis is a version of the novel by Mexican author Laura Esquivel, which was also adapted for the big screen. Literary adaptations are nothing new in film or television, but rarely have they been so ubiquitous, to the point of wondering where all the new or original ideas have gone.

Balandrau, wild wind It takes us back to the foot of the famous Ripollès mountain where, on December 30, 2000, a sudden and unprecedentedly violent meteorological phenomenon, a blizzard, left a tragic toll of 10 dead due to the cold, snow, and wind. Fernando Trullols' film recreates this episode, highlighting the power of nature and the strength of humanity: it focuses on the nightmare experienced by a group of five young people who had gone ski touring—played by Álvaro Cervantes, Bruna Cusí, Edu Lloveras, Pep Ambrós, and Anna Moliner. Between the Gaudí Award and a Goya Award nomination for DeafCervantes premieres a film in which he plays the sole survivor of that group, Josep Maria Vilà, a scientist who was 27 years old at the time and about to marry the woman who would die beside him on the mountain, along with three other friends.

Marc Martínez has just turned sixty and is premiering a new film. Balandrauabout the tragic events of December 2000 in the Pyrenees. He plays Siscu, the volunteer firefighter from Camprodon who led the rescue efforts. He looks back on his career, his beginnings, his profession, the thrill of acting, theater as an essential school, and his memories of Land and freedom and Waiting for Godot...the precariousness... and the legacy in his son León, also an actor.

Canadian actress Catherine O'Hara, known for playing the mother of Home AloneShe died today at the age of 71 after a brief illness, her representative confirmed. Known for her comedic work, the actress passed away at her home in Los Angeles. Among her most recent works was the series The StudioEmmy winner for best comedy, and the sequel to Beetlejuice

This year, one of the research projects I served on as a panel for reached a fascinating conclusion, which I'll reveal at the end of this article. The project analyzed the range of leisure activities in Catalan aimed at young people. There was something for all tastes and ages. For the youngest children, there were musical and theatrical activities. These, of course, were chosen by their parents.

The door to the room at the Bowery Hotel in New York, where our interview will take place, is only a crack open, wedged shut by the glaring omen. While we wait our turn, a cacophony of laughter and the flashes of the camera escape through the tiny hole. Los Angeles Times who has kidnapped Kate Hudson and Hugh Jackman for a photo shoot. When the door finally opens, the couple, still laughing, come to meet us, genuinely curious about our arrival and eager to learn all the details.

Actor, director, and producer Rob Reiner (78) and his wife, Michele Singer (68), were found dead Sunday afternoon—early Monday morning in Catalonia—in their Brentwood, California home. The cause of death was stab wounds. There were no signs of forced entry, and the case is being investigated as a homicide by the Brentwood Police Department. One of the couple's sons, Nick, was arrested hours later by police—Sunday afternoon, shortly after 9 p.m. in California—in connection with the double homicide, according to US media. The 32-year-old's bail was set at $4 million. Nick, who had struggled with drug addiction and had been in rehab several times, was one of Reiner's three children with Michele Singer, his second wife, whom he married in 1989. Another daughter, Romy, discovered her parents and called emergency services.