The Oscars bury old Hollywood and usher in a new generation

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Of the 100 million dollars that

has collected in movie theaters around the world since its premiere until now, the Spanish contribution is just over half a million.

It's not much.

In the year of its premiere, 2022, the Daniels (Daniel Kwan and Daniel Scheinert) film, which has just been crowned with all honors as the best production that Hollywood has been capable of, according to the expert opinion of Hollywood itself, ended ranked 88 in Spain.

It is not very high.

To get an idea: two cells below Kings against Santa.

Otherwise, what happens there has nothing to do with what happens here and the commotion that right now is spreading in the Los Angeles offices is not as alien as the possibility of seeing our fingers turned into sausages.

What is happening that we are not finding out?, would be the question.

When on Sunday night, already at the limit of the last bell,

defeated the favorite Cate Blanchett in the category of leading actress, what the film industry wants to be the new paradigm after the pandemic was definitely outlined.

Previously, at the beginning of the gala, it was

who had a snack on the other favorite: Angela Bassett.

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And, in between, the pair of directors ended up with nothing more and nothing less than the only one to be nominated continuously every decade since the 70s:

They ended up with him, and with Martin McDonagh, and with Todd Field, and with Ruben Östlund.

In other words, in order, at the feet of the comedy of the multiverses, let's call it that, fell: a) the most openly auteur cinema dressed in the clothing of prestige so beloved at festivals (that's

);

b) the only genre, that of superheroes, capable of bringing people under 30 years of age to the movies en masse (that is Wakanda forever and all of Marvel in general);

c) the most reputable representative of the most brilliant generation that Hollywood has given (that's Steven), and d) any European author who claims to be cultivated or original (those are McDonagh and Östlund).

In recent years, the inhabitants of Los Angeles and the surrounding area have lived with their hearts torn between what brought them money and power, and what has given them that other type of power that has to do with ideological and cultural relevance.

And every time the Oscars arrived they thanked Disney and Marvel, but the statuettes went to

or

, to name the last.

In a recent interview, the producer of All at Once Everywhere, Jonathan Wang, made this reflection in a voice loud enough to be picked up by the tape recorder: "They insist on seeing Top

like the movie that brought people to the movies after the pandemic.

And it is true.

But what Cruise did was to recover intact an old model that worked again as he had always done.

But things are not the same as before."

Pause.

.

I have a feeling that what we've done is created a new branch in the multiverse where independent film can continue to be very exciting."

And here, indeed, the key.

Somehow, the agenda set by the festivals (with an exception in the United States lately for Sundance) had nothing to do with that of the distributors.

Hollywood, if one can speak of it as an autonomous and homogeneous entity, is convinced that it has found the formula capable of squaring the circle: an imaginative cinema that does not renounce keeping intact the sacred principles of indie production (as soon as it look closely, the creation of the Daniels does not stop selling, behind its brainless fireworks, the usual: family reconciliation, inclusivity and the central points of the 2030 agenda that David Mamet dislikes so much) combined with the chauchau of the multiverses of superheroes seasoned with

It is not clear that a new paradigm has been born, but it does seem evident that this is the very poorly concealed desire of an industry that for the first time in a long time has managed to drown in Oscars a film that people have seen and that is not need to explain what it is about.

If you will, the solution is also a bit the problem.

who have gone from zero to infinity in one night, are still very particular types that if they run away from something, it's precisely rules.

A good part of the meeting with the press, just after winning the Oscar for best screenplay, went into explaining their chaotic work method that has little or nothing to do with the industry schemes that now entertain them.

Schneidert, a step further, explained how he and his team learned to run the program for special effects on the fly.

has worked, and not in a homogeneous way throughout the world, but his previous works did not go beyond being two great eccentricities to be consumed in sips.

On the other hand, the other interesting movement on Sunday was experienced in the recovered boom of the always beaten

, as the watchword of live platforms.

To date, every bill with a capital N had met with a veto.

Neither

nor

, nor

nor

achieved its purpose.

No news on the front, strictly speaking, either.

But its four statuettes have found a new key: that of relocation.

The German production by a newcomer like

also hides a hidden message: enough of establishment directors.

Be that as it may, and waiting for what happens, the solution right now seems to be in a new place.

Or everywhere.

Less in Spain, yes.

According to the criteria of The Trust Project

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