Coronavirus. The film moves from the rooms to their homes


Another nail in the coffin of the cinema with black humor, well-defined, Woody Allen’s the year that we are in danger. This same column is asked for the four seasons, how much time is left in the cinema as mass entertainment. “Once the epicenter of modern art, the film shares a destiny with the literature: the novels or films, because it does not reflect the problems of their time,” he said. Then, the concern has been the long repetition of every superhero movie and archivillanos (“another sharp, very expensive, and desperate little thing that flits noisy and anxious in the background of digital life, hoping that might distract you for a little bit of Twitter or Snapchat or Spotify,” wrote the magazine


), and the slow but inexorable extinction of the director as the author. With the unprecedented confinement of almost a third of humanity in their houses, about two billion people have been invited to pay a ticket to see a big debut. in the tv.

What we lose when we see a movie on the internet instead of going to the cinema? The image of a sitting German, with the seats are well spaced from one another, is a postcard of the new normal, and proposed an inversion of morals: with so much free space, then the cinema will be like in the living room even when before you have tried to the front (of home cinema, it was the promise the reverse: a living room that looks like a film). The terrible forecast the death of the room that we met, and his replacement with the former habits, such as the drive-in, or modern:


. “The prophets of inclinations grim believe that history is bending in this direction,” wrote critic Anthony Lane, in the magazine

The New Yorker

: “That the conference rooms are destined to fall into disuse, with the bales rolling down the aisles, and that the future of cinema, will be the new Spielberg or the new Bong Joon-ho, should hold against scenes of


video of cats that use a hat. The pandemic accelerated what was going to happen: the majesty of the big screen, the surround sound and the darkness, shared with strangers (in short, the cinema as an aesthetic experience, the ecstasy and the collective), will be a thing of the past.

Designed for cinema,

Troll 2: world tour

it was the first film that has been discharged on the salt and premiered directly to homes. Not even the ability to pause an infinite number of times, or to watch, eat what you want, and not only the pochoclo of the

candy bar

you saved her from bankruptcy: recovered two million years ninety and that it costs. As I would say an old director, a nail.


The five tanks that could not be released in the cinema

  1. Troll 2:

    world tour. The animated comedy with the voices of Justin Timberlake and Anna Kendrick was the first big failure of the “new normal” of the film.
  2. The true History of the Kelly Gang.

    A historical epic that was going to be released at the end of April and the past for streaming on the small screen, not noticeable on the epic.
  3. Arkansas.

    With Liam Hemsworth and John Malkovich, had premiere digital, but the critics are not accompanied: “it is Not for viewing on a computer,” they said.
  4. There Is No Time To Die.

    Advertised for months, the latest James Bond movie was going to be released in the month of April, but the Aston Martin was kept under seven keys.
  5. Mulan.

    The version with actors of the classic animated Disney is postponed and will be among the first releases, when you reopen the cinema.


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