{"id":292946,"date":"2026-06-08T00:25:39","date_gmt":"2026-06-07T23:25:39","guid":{"rendered":"https:\/\/theprisma.co.uk\/?p=292946"},"modified":"2026-06-07T10:47:13","modified_gmt":"2026-06-07T09:47:13","slug":"hablando-de-cine-hoy","status":"publish","type":"post","link":"https:\/\/theprisma.co.uk\/es\/2026\/06\/08\/hablando-de-cine-hoy\/","title":{"rendered":"Hablando de cine hoy"},"content":{"rendered":"<p><em>La cr\u00edtica cinematogr\u00e1fica dominante, una mezcla poco apetecible de superficialidad e impresi\u00f3n, atraviesa momentos dif\u00edciles. Una excepci\u00f3n honorable es A. S. Hamrah y la \u00faltima colecci\u00f3n de sus rese\u00f1as, \u201cAlgorithm of the night: Film writing, 2019-2025\u201d, que es recibida con entusiasmo.<\/em><\/p>\n<p><span style=\"color: #003366;\">\u00a0<\/span><\/p>\n<figure id=\"attachment_292963\" aria-describedby=\"caption-attachment-292963\" style=\"width: 437px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-292963\" src=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2026\/06\/Cine-Photo-Agbalagba-Wikimedia-Commons.-Creative-Commons-License.jpg\" alt=\"\" width=\"437\" height=\"338\" srcset=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2026\/06\/Cine-Photo-Agbalagba-Wikimedia-Commons.-Creative-Commons-License.jpg 1074w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2026\/06\/Cine-Photo-Agbalagba-Wikimedia-Commons.-Creative-Commons-License-259x200.jpg 259w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2026\/06\/Cine-Photo-Agbalagba-Wikimedia-Commons.-Creative-Commons-License-1024x791.jpg 1024w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2026\/06\/Cine-Photo-Agbalagba-Wikimedia-Commons.-Creative-Commons-License-431x333.jpg 431w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2026\/06\/Cine-Photo-Agbalagba-Wikimedia-Commons.-Creative-Commons-License-862x666.jpg 862w\" sizes=\"auto, (max-width: 437px) 100vw, 437px\" \/><figcaption id=\"caption-attachment-292963\" class=\"wp-caption-text\">Photo <a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:A_Cinematographer_filming_a_press_woman.jpg#filehistory\">Agbalagba \/Wikimedia Commons<\/a>. Creative <a href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/deed.en\">Commons License<\/a>.<\/figcaption><\/figure>\n<p><span style=\"color: #003366;\"><strong>Sean Sheehan<\/strong><\/span><\/p>\n<p>&nbsp;<\/p>\n<p>Parte del problema, por supuesto, es la escasez de pel\u00edculas sobre las que merezca la pena escribir y la situaci\u00f3n se vuelve a\u00fan m\u00e1s peligrosa a medida que el tsunami de pel\u00edculas televisivas mediocres y miniseries genera a\u00fan m\u00e1s comentarios cr\u00edticos empobrecidos; las rese\u00f1as de televisi\u00f3n en el peri\u00f3dico The Guardian, con su relaci\u00f3n inversa entre la calidad de la rese\u00f1a y su t\u00edtulo hiperb\u00f3lico de caza de clics, son particularmente deplorables en este sentido.<\/p>\n<p data-start=\"1713\" data-end=\"2728\">Hamrah critica con raz\u00f3n la mentalidad gregaria de Rotten Tomatoes y denuncia las pel\u00edculas que son un disparate evidente, pero lo hace con humor seco: Domino de Brian De Palma \u201ctranscurre en Copenhague, donde los detectives de polic\u00eda hablan ingl\u00e9s y sol\u00edan estar en Juego de Tronos\u201d.<\/p>\n<p data-start=\"1713\" data-end=\"2728\"><strong><em><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-292957 alignleft\" src=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2026\/06\/Algorithm-of-the-Night-cover.jpg\" alt=\"\" width=\"355\" height=\"533\" srcset=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2026\/06\/Algorithm-of-the-Night-cover.jpg 825w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2026\/06\/Algorithm-of-the-Night-cover-133x200.jpg 133w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2026\/06\/Algorithm-of-the-Night-cover-682x1024.jpg 682w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2026\/06\/Algorithm-of-the-Night-cover-431x647.jpg 431w\" sizes=\"auto, (max-width: 355px) 100vw, 355px\" \/><\/em><\/strong>Tambi\u00e9n puede ser muy acertado al elogiar pel\u00edculas destacadas, como en su elogio de <em>\u201cThe conversation\u201d<\/em> de Francis Ford Coppola como \u201cla pel\u00edcula de Hollywood m\u00e1s fr\u00eda y m\u00e1s alienada de la era posterior a los a\u00f1os 60 de sospecha y ansiedad, un tiempo en la vida estadounidense en el que comprendimos por primera vez que el discurso ordinario debe ser descifrado, que las fuerzas invisibles que controlan nuestras vidas eran siniestras y que el conocimiento era fragmentario\u201d.<\/p>\n<p data-start=\"1713\" data-end=\"2728\">Las pel\u00edculas no estadounidenses suelen ser las que reciben su elogio, como Io Capitano y <em>\u201cLa chimera\u201d<\/em>, y la escena del cumplea\u00f1os en Parasite de Bong Joon-ho es justamente declarada la mejor escena sobre matar a los ricos en el cine reciente.<\/p>\n<p data-start=\"2730\" data-end=\"3240\">Caracter\u00edsticos de la escritura de Hamrah son los comentarios discretos, insertados junto a res\u00famenes compactos de pel\u00edculas. Se\u00f1ala c\u00f3mo el personaje de Colin Farrell en <em>\u201cThe banshees of Inisherin\u201d<\/em> es llevado a la violencia y c\u00f3mo la repentina frialdad del personaje de Brendan Gleeson, causa de su malestar, es tambi\u00e9n una forma de violencia. Sin embargo, Hamrah no vincula la pel\u00edcula con la guerra civil irlandesa que, siendo mucho m\u00e1s que un simple tel\u00f3n de fondo, es la clave de lo que trata la pel\u00edcula.<\/p>\n<p data-start=\"3242\" data-end=\"4044\">Hamrah rese\u00f1a tres pel\u00edculas del entorno de Martin Scorsese, pero para los cin\u00e9filos el tratamiento completo de este autor se encuentra en el compendio <em>\u201cMartin Scorsese all the films\u201d<\/em>.<\/p>\n<p data-start=\"3242\" data-end=\"4044\"><em><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-292959\" src=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2026\/06\/Foron-over-maritn.png\" alt=\"\" width=\"355\" height=\"454\" srcset=\"https:\/\/theprisma.co.uk\/wp-content\/uploads\/2026\/06\/Foron-over-maritn.png 479w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2026\/06\/Foron-over-maritn-156x200.png 156w, https:\/\/theprisma.co.uk\/wp-content\/uploads\/2026\/06\/Foron-over-maritn-431x552.png 431w\" sizes=\"auto, (max-width: 355px) 100vw, 355px\" \/><\/em>Con casi 500 p\u00e1ginas y repleto de una gama enormemente atractiva de fotograf\u00edas e informaci\u00f3n de contexto, los lectores pueden sorprenderse al saber que solo una cuarta parte de las 26 pel\u00edculas de Scorsese est\u00e1n dedicadas al g\u00e9nero gangsteril; y esto sin contar los 17 documentales, siete cortometrajes y cuatro proyectos para televisi\u00f3n que tambi\u00e9n ha dirigido. El impresionante alcance de ensayos del libro sirve para confirmar que Scorsese, pese al sesgo masculino en los temas recurrentes de sus pel\u00edculas, es un genio del cine; contempor\u00e1neos como Steven Spielberg y George Lucas no se le parecen.<\/p>\n<p data-start=\"4046\" data-end=\"4281\"><em>\u201cAlgorithm of the night: Film writing, 2019-2025\u201d<\/em> de A. S. Hamrah es publicado por <a href=\"https:\/\/shop.nplusonemag.com\/products\/algorithm-of-the-night-by-a-s-hamrah\">n+1 Books<\/a>. <em>\u201cMartin Scorsese all the films\u201d<\/em>, de Oliver Bousquet, Arnaud Devillard y Nicholas Schaller, es publicado por <a href=\"https:\/\/www.hachettebookgroup.com\/titles\/olivier-bousquet\/martin-scorsese-all-the-films\/9798894140698\/?lens=black-dog-leventhal\">Black Dog &amp; Leventhal Publishers<\/a>.<\/p>\n<p data-start=\"4046\" data-end=\"4281\"><span style=\"color: #003366;\"><strong>(Traducido por Camila Marquez)<\/strong><\/span><\/p>\n<p data-start=\"4046\" data-end=\"4281\">\n<div class=\"twttr_buttons\"><div class=\"twttr_twitter\">\n\t\t\t\t\t<a href=\"http:\/\/twitter.com\/share?text=Hablando+de+cine+hoy\" class=\"twitter-share-button\" data-via=\"\" data-hashtags=\"\"  data-size=\"default\" data-url=\"https:\/\/theprisma.co.uk\/es\/2026\/06\/08\/hablando-de-cine-hoy\/\" data-dnt=\"true\" data-related=\"\" target=\"_blank\">Tweet<\/a>\n\t\t\t\t<\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>La cr\u00edtica cinematogr\u00e1fica dominante, una mezcla poco apetecible de superficialidad e impresi\u00f3n, atraviesa momentos dif\u00edciles. Una excepci\u00f3n honorable es A. S. Hamrah y la \u00faltima colecci\u00f3n de sus rese\u00f1as, \u201cAlgorithm of the night: Film writing, 2019-2025\u201d, que es recibida con entusiasmo. \u00a0 Sean Sheehan &nbsp; Parte del problema, por supuesto, [&hellip;]<\/p>\n","protected":false},"author":9,"featured_media":292966,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[24,14,7,26],"tags":[],"class_list":["post-292946","post","type-post","status-publish","format-standard","has-post-thumbnail","category-cultura","category-en-foco","category-opinion","category-paginas"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Hablando de cine hoy - ThePrisma.co.uk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/theprisma.co.uk\/2026\/06\/08\/talking-about-films-today\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hablando de cine hoy\" \/>\n<meta property=\"og:description\" content=\"La cr\u00edtica cinematogr\u00e1fica dominante, un guiso poco apetecible de superficialidad e impresi\u00f3n, atraviesa una situaci\u00f3n cr\u00edtica. Una excepci\u00f3n honorable es A. S. 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