Cine Archive articles
Current pieces signed by the house: awards, releases, careers. Dated, sourced and opinionated.
Why A24 films take so long to arrive (and why some never do)
A24 releases its films in the United States, but outside it is not a distributor: it is a seller. Every country is negotiated separately, with a different buyer, and until somebody signs there is no date. This week it was visible in real time: Sony bought two of its titles for a long list of territories in which Spain does not appear.
Read the article → Article · Industry · 20 October 2026The window: how many days a film now spends before leaving cinemas
For half a century it was ninety days. The pandemic broke them, the studios cut them to barely a month, and Netflix, which built its case on not having one, has just given a film forty-six days of exclusive theatrical run. What the release window is and why it decides what you can watch and when.
Read the article → Article · Releases · 20 October 2026“Dune: Part Three” arrives in December, adapting the book that takes the hero apart
On 18 December, Denis Villeneuve closes the trilogy with “Dune Messiah”, the novel in which Frank Herbert set about demolishing what his readers had celebrated. It is the big film of the year’s end and, quite possibly, the most uncomfortable thing opening this Christmas.
Read the article → Article · Awards · 20 October 2026How the Oscar for Best International Feature really works
Hollywood voters do not pick it first: countries do, one film each. That rule —a single film per state— explains almost everything odd that happens in this category every year, including political vetoes and films left out for speaking English.
Read the article → Article · Rights · 20 October 2026What enters the public domain on 1 January 2027 (and why Spain works differently)
In the United States, copyright falls on everything published in 1931: “Dracula”, “Frankenstein”, “City Lights”. In Spain the clock is a different one, it runs by authors rather than by films, and this year it reaches Manuel de Falla. Explained without lawyers.
Read the article → Article · Anniversary · 20 October 2026“Rocky” turns fifty: the film an out-of-work actor refused to sell
It opened on 21 November 1976. It cost under a million dollars, took more than two hundred, won Best Picture and turned an actor nobody wanted into the biggest box-office draw of the eighties. The incredible part is not the script: it is how he got to shoot it.
Read the article → Article · Archive · 20 October 2026The cinema that no longer exists: why most silent film has been lost
Of American silent feature films, seven out of ten have vanished completely. No enemy burned them: they fell apart on their own, went up in warehouse fires, or were thrown out by their own owners once they stopped making money. And every now and then, one comes back.
Read the article → Article · Archive · 20 October 2026What a film archive actually does (and why restoring is not improving)
A bunker at constant temperature, cans that smell of vinegar, scanners that read frame by frame and one uncomfortable rule: the restored print should not look like what we would like, but like what was projected. How a film is saved, from the inside.
Read the article → Article · History · 20 October 2026Why Spain dubs: a 1941 decree and a married couple turned into siblings
The Spanish habit of watching dubbed films was not born of public taste: it was born of a decree by Franco’s regime banning the screening of films in any other language. Out of it came a huge industry, a school of voice actors admired abroad, and a form of censorship that today reads as a joke.
Read the article → Article · Industry · 20 October 2026What vanishes from platforms: when a film stops existing for tax reasons
In 2022 a studio cancelled a finished ninety-million-dollar film in order to write it off. Since then dozens of titles have left catalogues with no other copy anywhere. A film that lives only on a platform is not stored: it is rented.
Read the article → Article · Archive · 20 October 2026The director’s cut: from repairing damage to selling the same film twice
“Blade Runner” has seven versions. “Apocalypse Now”, three. “Brazil” had a happy ending cut behind its director’s back, and “Justice League” was remade entirely because the internet demanded it. What that label actually means, and when it stops meaning anything.
Read the article → Article · Festivals · 1 October 2026San Sebastián 2026: the jury rewards a farewell and the audience votes for Gaza and for Lorca
The Golden Shell went to “Tender Loving Care”, which at 83 Mike Leigh takes to be his last film and which he accepted by video call from New York. The audience, for its part, gave its two prizes to “La bola negra” and to “NAZA”, the documentary about the algorithms that pick who gets bombed in Gaza. A list of winners that makes more sense read whole.
Read the article → Article · Awards · 1 October 2026“La bola negra” will go to the Oscars for Spain: what Los Javis are taking to Hollywood, and what they still have to win
On 16 September the Spanish Film Academy chose the film by Javier Calvo and Javier Ambrossi as Spain's candidate for the Oscar for Best International Feature, ahead of “Los domingos” and “El ser querido”. Two weeks on it is no longer just a bet: it won the audience award in Toronto and in San Sebastián, opened here with the second-best Spanish start of the year and has Netflix pushing it in the United States. If there is a nomination, it will be known on 21 January.
Read the article → Article · Profile · 15 September 2026Robert Pattinson's year: four releases, a Homeric villain and the Batman shooting in between
A romantic comedy with Zendaya in April, the most hateful suitor in “The Odyssey” in July, a real television host in September and a “Dune” shapeshifter in December. With Matt Reeves's Batman shooting in London since June. No actor has had a 2026 calendar like his, and none has filled it with roles this different from one another.
Read the article → Article · Television · 15 September 2026Emmys 2026: Apple takes the night, comedy is no longer comedy and Colbert bows out with a prize
Fourteen statuettes for a horror series competing as a comedy, an actor winning two categories on the same night, a cancelled show going home with an award and the lowest audience in the history of the ceremony. The 78th Emmys, held on 14 September at the Peacock Theater in Los Angeles, drew a fairly clear map of where American television is heading: to the platforms, to new shows, and to a public that no longer watches award shows.
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