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The autumn of cinema in Spain sails with the current | Babelia

In the game of the goose, in squares 6 and 12 or between 2 and 12, the rules make it clear: “From bridge to bridge and I shoot because the current carries me”. The mythical ditty is applicable to the fall film season in Spain, which starts on September 2, which opens Pacification, by Albert Serra, with a surf contest included on the beaches of Tahiti, the Polynesian island where the plot takes place, and it closes on December 16, which James Cameron finally presents Avatar: the sense of water. The liquid element unites both bets, with a meander to Water, by Elena López Riera (October 28), a prodigious investigation around three women from the same family —grandmother, mother and daughter—, connected to each other and to other women through the influence of water currents and the legends related to she. Let’s go with the flow.

A moment from 'Unicorn Wars', by Alberto Vázquez.
A moment from ‘Unicorn Wars’, by Alberto Vázquez.

Autumn is the season for Spanish cinema. The celebration of the festivals of San Sebastián, Sitges, the Seminci of Valladolid and Seville hosts some of the most powerful national releases. As the thriller prison Model 77, by Alberto Rodríguez (September 23); and the dramas Spring consecration, by Fernando Franco (September 23), The Maternal (November 18), by Pilar Palomero; wild sunflowers, by Jaime Rosales (October 14) and Suro, by Mikel Gurrea (December 2), with the versatile Vicky Luengo. They all start at the Zinemaldia.

Javier Gutiérrez and Miguel Herrán, in 'Model 77'.
Javier Gutiérrez and Miguel Herrán, in ‘Model 77’.

They are not alone, obviously. Alex de la Iglesia premieres the fourth passenger (October 28) and Santiago Segura will double in 2022: after the blockbuster of Father there is no more one 3 this summer, it will enter winter with Full steam ahead 2: now it’s them (December 2) in which the management baton passes to Inés de León. After inaugurating Sitges, Jaume Balagueró will launch his new foray into terror, Venus (December 2). Straight for the box office goes a great production, Irati, by Paul Urkijo (November 18), a trip to mythology in the Pyrenees of the 8th century. And after their great festival tour, they will hit Spanish screens on thriller little pig, by Carlota Pereda (October 14); as bestas (November 11), another lesson from thriller by Rodrigo Sorogoyen; the exceptional One year, one night by Isaki Lacuesta, on the emotional impact of the attack on the Bataclan theater in Paris; Unicorn Wars (October 21), which recovers the best animation of Alberto Vázquez, and the directorial debut of Juan Diego Botto, in the margins, drama about evictions with Penélope Cruz as the leading actress and producer. The new ensemble film by Cesc Gay is also launched stories not to tell (November 25). And the first of this season’s book adaptations by Juan José Millás lands (there are more on the way), whose From the shadows becomes don’t look in the eyes (November 4), directed by Félix Viscarret with Paco León.

Ana de Armas, in 'Blonde'.
Ana de Armas, in ‘Blonde’.

Two myths of the 20th century will become flesh on the screen: it finally premieres, on Netflix on September 28, Blonde, the biography of Marilyn Monroe based on the novel by Joyce Carol Oates and on which Andrew Dominik has been working for a decade. The other legend turned into cinema is David Bowie: the documentary Moonage Daydream (September 16), by Brett Morgen, delves into his music and his soul with unreleased material from his entire career.

A moment from the David Bowie documentary 'Moonage Daydream'
A moment from the David Bowie documentary ‘Moonage Daydream’

There will be two Pinocchios, and both on platforms: Robert Zemeckis’s, with Tom Hanks as Gepetto, comes out on Disney+ on September 8; Del Toro’s, created in stop-motion, It will be available in December on Netflix.

Guillermo del Toro, on the set of his 'Pinocchio'.
Guillermo del Toro, on the set of his ‘Pinocchio’.

There are still months for the Oscars (the gala will be held on March 12), and the favorite titles for the Hollywood awards are usually seen in the first quarter of the year, but some of the films that could obtain nominations already appear in the fall, such as The Fabelmans (November 25), Steven Spielberg’s portrait of his parents; At Discover (November 18), in which Zoe Kazan and Carey Mulligan embody the reporters of New York Times that brought to light in October 2017 decades of sexual abuse by the then all-powerful Harvey Weinstein; amsterdam (November 4), by David O. Russell; crimes of the future (September 23), in which David Cronenberg repeats with Viggo Mortensen in a dystopia about bodies in permanent transformation in which Léa Seydoux and Kristen Stewart also appear, and Do not worry dear (September 23), the launch of Harry Stiles as a movie star in a psychological horror film directed by Olivia Wilde.

Michelle Williams and Seth Rogen, on the set of 'The Fabelmans'.
Michelle Williams and Seth Rogen, on the set of ‘The Fabelmans’.

Among other great names in auteur cinema, the French François Ozon, who has already shot his next work, premieres Peter von Kant (October 14), his vision of Rainer Wener Fassbinder’s classic, in which the protagonist is now a man to build a parallel with the figure of the German filmmaker; Santiago Miter illustrates one of the most vibrant moments of Argentine democracy, the trial of those responsible for the civil-military dictatorship, in Argentina, 1985 (October 21, on Amazon Prime Video), and the Italian Pietro Marcello offers a beautiful tale of female emancipation and love at the beginning of the 20th century in l’envol (December 2).

Peter Lanzani and Ricardo Darín, in an image from 'Argentina, 1985', by Santiago Mitre.
Peter Lanzani and Ricardo Darín, in an image from ‘Argentina, 1985’, by Santiago Mitre.

There are no big screens without blockbusters. And this fall, in addition to Avatar 2, the public will rush to see the king woman (October 14), the story of Agojie, a women’s warrior unit that protected the African kingdom of Dahomey in the 19th century, starring Viola Davis; Y Wakanda Forever (Black Panther 2) (November 11), again directed by Ryan Coogler, although, obviously, without the protagonist of the first installment, the late Chadwick Boseman.

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