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Basada en la novela homónima de Laia Aguilar. © Universal Pictures

Universal Pictures ha lanzado el primer tráiler y póster de Wolfgang (Extraordinario), una feel good movie familiar basada en la novela homónima de Laia Aguilar y dirigida por Javier Ruiz Caldera a partir de un guion de la propia Laia Aguilar, Carmen Marfà, Yago Alonso y Valentina Viso.

Wolfgang, un niño de diez años con un coeficiente intelectual de 152 y trastorno del espectro autista se ve obligado a vivir con su padre Carles, al que nunca ha visto, tras la repentina muerte de su madre. Carles afronta el reto con ganas y voluntad, pero Wolfgang no soporta su desorden ni su desorganización y lo considera un “bajocien” por su falta de intelecto. Así que, a escondidas, Wolfgang planea conseguir su sueño: entrar en la academia de música Grimald de París, donde estudió su madre, y convertirse en el mejor pianista del mundo.

Conoce todos los detalles de la adaptación de la novela homónima de Laia Aguilar para Universal Pictures. © Universal Pictures

Comienza el rodaje de “Wolfgang (Extraordinario)”, una feel good movie familiar basada en la novela homónima de Laia Aguilar.

Wolfgang, un niño de diez años con un coeficiente intelectual de 152 y trastorno del espectro autista se ve obligado a vivir con su padre Carles, al que nunca ha visto, tras la repentina muerte de su madre. Carles afronta el reto con ganas y voluntad, pero Wolfgang no soporta su desorden ni su desorganización y lo considera un “bajocien” por su falta de intelecto. Así que, a escondidas, Wolfgang planea conseguir su sueño: entrar en la academia de música Grimald de París, donde estudió su madre, y convertirse en el mejor pianista del mundo. Cuando Carles lo descubre, debe decidir entre su gran oportunidad como actor o convertirse en el padre que un chico como Wolfgang necesita.

A myriad of sentiments converge when estranged siblings meet to unpack the weight of their father’s recent death in Spain’s Álex Montoya’s third feature “La Casa,” adapted from the Eisner-winning graphic novel by Paco Roca and sold by Latido Films.

The film, which bowed last night, figures in the official competition selection at this year’s Málaga Film Festival, his project “Lucas” having previously swept the fest’s Zonazine sidebar in 2020 – snagging best film, actor (Jorge Motos) and Audience Award plaudits.

Written by Montoya and Joana M. Ortueta, the project serves as a bittersweet rumination on regret, duty and the ties that bind us, proving a reflective journey through collective consciousness that’s held to task as the three work to rekindle a semblance of affection while sifting through hefty and lingering recollections.

“I’ve been a comic reader for as long as I can remember and,...

Stars: Pedro Casablanc, Víctor Clavijo, Ruth Díaz, Moisés Ruiz, Manuel Morón | Written and Directed by F. Javier Gutiérrez

Writer/director F. Javier Gutiérrez returned to his native Spain to make his third film La Espera, or, in English, The Wait. It’s a title that refers not just to the passage of time but to the ten hunting stands on the estate of Don Francisco. They are watched over by Eladio, who lives on the remote property with his wife Marcia, and their son, Floren (Moisés Ruiz).

At the start of the 1973 hunting season, he’s told by Don Carlos, Don Francisco’s right-hand man, to surreptitiously add three more. At first, he refuses, saying that would crowd the hunting parties and be unsafe due to the risk of crossfires. Eventually, he relents, a decision he soon regrets when Floren is killed in a freak accident leading to Marcia’s suicide.

Barcelona-based indie studio Filmax has nabbed international sales rights to Joaquín Mazón’s “The Night My Dad Saved Christmas,” starring Spain’s king of comedy Santiago Segura (”Father There Is Only One”) and Ernesto Sevilla (“I Can Quit Whenever I Want”).

A Spain-Mexico co-production, the film teams Spain’s tax incentive structure La Navidad en Sus Manos Aie with three of Spain’s most successful film production companies: Nadie Es Perfecto, Esto También Pasará Producciones and Bowfinger International Pictures.

The family comedy, scripted by Francisco Arnal and Daniel Monedero, is set in the days leading up to Christmas, when Santa – played by Segura – has an accident on his sleigh, right in the middle of Madrid, and ends up in hospital, where he will have to stay until after Christmas.

Fortunately, Salva, the guy he’s sharing a room with at the hospital, is willing to step in and take on his all important Christmas work.

Features the voices of: Matthew Mercer, Nicole Tompkins, Kevin Dorman, Stephanie Panisello, Erin Cahill, Salli Saffioti, Daman Mills, Lucien Dodge, Frank Todaro, Stephanie Panisello, Cristina Valenzuela | Written by Makoto Fukami | Directed by Eiichiro Hasumi

The latest entry in the animated franchise, Resident Evil: Death Island comes two years after the last entry, Resident Evil: Infinite Darkness, and is set in 2015, just after the events of Resident Evil: Vendetta but before Resident Evil 7. Got that?

Somewhere in San Fransisco Dso Agent Leon S. Kennedy is trying to recover kidnapped scientist Dr. Antonio Taylor (Frank Todaro) when a mysterious woman appears and, after a high-speed chase, causes him to crash. Claire Redfield is also in town, trying to find out what kind of creature can use Orcas as a food source. And whether or not the creature is a bioweapon.

Jill Valentine, Chris Redfield and Rebecca Chambers are also looking for answers.

Stars: Miki Esparbé, Aura Garrido, Luis Callejo, Álvaro Cervantes, Jesús Carroza, María Botto, Mouad Ghazouan, Sergio Torrico | Written by Jaime Marques, Cristian Conti | Directed by Javier Ruiz Caldera, Alberto de Toro

Netflix’s Spanish Civil War zombie movie Valley of the Dead (Malnazidos) is an entertaining stumble through familiar undead territory, courtesy of co-directors Javier Ruiz Caldera and Alberto de Toro. As such, it won’t surprise anyone who’s seen a zombie movie before, but it pushes all the right buttons, thanks to genre-savvy direction, likeable performances and a snappy script.

Valley of the Dead begins in 1938, in the middle of the Spanish Civil War, which has bitterly divided the losing Republican side and the Nazi-assisted Franco-led Nationalist side. In a chilling opening sequence, Nazi soldiers *** a wedding party and then spray the corpses with a blue gas, under the watchful eye of their Commandant (Francisco Reyes).

Meanwhile,...

Ahead of its much-anticipated Q2 Earnings reveal, Netflix debuted its Top 10 ranking for the week of July 11 to 17, with “Stranger Things 4” leading the pack. “Resident Evil” — based on the popular horror video game of the same name — snagged the No. 2 spot upon its premiere July 14. Also on the list and occupying spots 7 through 9, respectively, are “The Umbrella Academy” Season 3 (which released June 22), “Kung Fu Panda: The Dragon Knight” (which premiered July 14) and “Boo Bitch,” the limited series starring Lana Condor that debuted July 8.

In its eighth week, “Stranger Things 4” pulled in an additional 102.33 million hours viewed, making it the most viewed title of the week. In total, the zeitgeisty series has amassed 1.31 billion hours viewed on the Most Popular list. Previous seasons of the show made it onto this week’s Top 10 as well, occupying the middle spots at Nos. 4 through 6.

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Off the heels of a world premiere at the Karlovy Vary Film Festival, where he scooped the Proxima Special Jury Prize, writer-director Eduardo Casanova arrives in Montreal to screen his latest feature “La Piedad” (“La Pietà”) as part of the Queer Genre Cinema Spotlight at Fantasia. The screening marks its North American debut.

The film offers a delightfully bizarre peek into the lives of manic and obsessive Libertad (Ángela Molina), a mother with an insatiable desire to be needed, and her son, Mateo (Manel Llunell), who warily leans into her toxic trappings as the pair become increasingly entwined.

A personal story unfurls in tandem with a poignant subplot that likens their familial relationship to that of a populace and its dictator, showing that those in control of a mere few can use propaganda just as readily as a sadistic leader to manipulate their wards into submission.

“The syndrome I worked from was Munchausen By Proxy,...

Víctor Amilibia (The Night of the Virgin and TV Series Allí Abajo and Acacias 38), Emma Caballero, Leire Ucha and Christian Stamm are the protagonists of “Bad Weed (Maleza)”, written and directed by Rubén Arnaiz. It is a thriller (or social terror) about …

The post Trailer, poster, frames and Press note from Maleza (Bad Weed) appeared first on Horror News | Hnn.

London-based Kaleidoscope Film Distribution has scored a flurry of deals on Spaniard Daniel H. Torrado’s horror thriller “Covid 21: Lethal Virus,” which market premieres at the Malaga Festival’s Spanish Screenings online showcase.

Recent deals inked by Kaleidoscope, who manages “Covid 21” worldwide rights outside Spain, take in a pan-Asian agreement with The Walt Disney Company, a Scandinavian rights sale to Danish indie distributor Mis. Label, and a Korean deal with Nk Contents. Meanwhile, Vendetta Films has taken Australian and New Zealand rights.

Pacts for North American and Germany are currently under negotiations.

“Covid 21” is set in a broken world still struggling to recover from the Covid-19 pandemic, where a mutated new super virus threatens to destroy the remnants of mankind.

When civilization is hit with the outbreak of a new lethal virus, the results are swift, chaotic, and deadly, throwing the world into further crisis.

With the last hopes...

Despite even more outlets, thanks to the arrival of global streaming giants, Spanish sales agents and producers are caught in a current double-bind.

Sales to Netflix are diminishing, as it drives more into original production, but bullish theatrical distribution at home and abroad remains restricted to high-profile auteurs, big-budget productions or breakout titles.

In international, “a culture of fear has set in: independent distributors fear that smaller films don’t have a theatrical public,” says Antonio Saura of Spanish sales shingle Latido.

Both overseas and in Spain’s market, “average, mid-range movies no longer work,” says Mercedes Gamero of production house Atresmedia Cine. “Either you have real auteur-driven movies or big blockbusters.”

There’s an onus on originality. “It’s no longer about budgets but titles that impact, have something special,” whether that’s the cast or an novel concept or idea, says Iván Díaz at production and sales shingle Filmax.