The worst thing that can happen to defeat is to run out of excuses or without, at least, a hard stoned to blame. So, everything is loss. The Spanish cinema, of him we speak, has gone to sink in the worst moment, which is none other than (for others) the best. We explain ourselves. When Netflix and the new times gave up the habit of going to the movies, the recently closed year presents figures (published Thursday by Comscore) between enviable and very bright. It was just with the start of the decade that ended a few days ago when the attendance at the halls began to resent new habits or old piracies. In 2010, cinemas in Spain raised 662.3 million euros. Then everything was dropped. And so until in 2015 there was a slight recovery that has lived its prime time in the year that has just ended. Last year's 624.1 million equals the third best record of the year after the aforementioned 2010 and the following. Let's say things return to their place.

And what happens with Spanish cinema? Well, at best it has given him to behave in the worst way. With a market share (the percentage within the total) of 15% and a figure of 93.6 million, it goes to poor records that make it go back to the 2013 numbers, when 70 million were collected for just 14% of share. His worst moment. That is to say, it is placed below all the barriers that the industry has always determined as minimum: it does not reach the round figure of 100 million and goes back with respect to the old aspiration of a quota of 20% that has been touched or it has been exceeded (in 2014 with 25.43%) only three times in the decade.

But with the two previous paragraphs being sad, everything is likely to get worse. If you look closely at the titles of the movies that have taken people to the movies, it is discovered with some stupor that six of the 10 highest grossing productions respond to the description of more or less television comedies , which is the cinema that the current current law with private chains as producers, and despite the latest modifications, protects. The two that top the list of Spanish blockbusters, 'Father there is only one' (14.2 million), by Santiago Segura, and 'I leave it whenever I want ' (11.3), by Carlos Theron, are ' remakes'. Solvents, but copies at the end of successes previously tested outside. Of the disputing tapes to the Goya, for example, only 'While the war lasts ' (11), by Alejandro Amenábar, and ' Pain and glory ' (5,7), by Pedro Almodóvar, resist at the top next to Another exception as 'Who Kills Iron' by Paco Plaza. From 'What burns', by Oliver Laxe', or 'The infinite trench', by Jon Garaño, Aitor Arregi and José Mari Goenaga, no sign.

The old aspiration that the box office of Spanish cinema is distributed equally among all possible productions (not comedies) is again laminated by the facts. Always stubborn. In the absence of a title like 'Champions', by Javier Fesser, which in 2018 broke all records (or part of them) with 19 million, the picture is falling apart. Again, and except with the exception of 2017, where the more or less signed cinema had a considerable presence with Isabel Coixet's 'The bookstore' at the head, the large numbers still depend too much on a great title to be plowed. And that, as seen, is bad.

It is increasingly clear that the cinema is not strictly commercial without the name of a great and well-known director behind as Amenábar or Almodóvar, is unable to find his place in an exhibition landscape increasingly monopolized by the great Hollywood films. And here the other figures. The most watched film throughout the year has been 'The Lion King' (37.2 million), which sets the tone for the almost monopoly of Disney. Seven of the ten highest ticket offices come from the mouse house . Only the relative surprise of 'Joker' , which is from Warner; the Spanish already cited 'Father there is only one' , which sneaks into the eighth position, and 'Spider-man: away from home', Sony, sneaks into the absolute domain of the owners of Marvel, Pixar and the 'Star Wars' saga .

Otherwise, the general upward picture is clouded, and bent, by an evident tendency towards concentration and monoculture. And that applies to both cinema in general and Spanish in particular. Bad.

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