In the plaza de la Cebada in Madrid a huge poster cover works. “In 1478 they burnt witches in this square,” says the announcement that Netflix uses to promote The chilling adventures of Sabrina. A few kilometres away, next to the statue of Columbus (what chance?), one canvas reads: “Goodbye hijueputas, hello sons of hell”. The platform will let your dollars for you to strike with Narcos: Mexico. And this is not the first time that colonizes the city. What they did with Elite, The Crown, The girls of the cable, Glow… The tarps are already accustomed to moving of skin. Goal: that every mortal is aware of that there are their series, but what about his movies, what?

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At the beginning of October, at the same time that Netflix was launching to fanfare sexuality puber Elite in all the world, the company she came up with night and treachery 22 July, film about the terrorist attack in 2011 in Norway, directed by Paul Greengrass. Yes, the leader of three successful deliveries of Bourne, Captain Phillips and the taquicárdica United 93 premiered without penalty or glory, tapadillo between “series of the week”. Had to make an effort to learn, even if you wanted to see. But it is not the only one. While Narcos, are approaching to mexican lands, beyond the border, the Coen brothers dared with a wéstern by issues called The ballad of Buster Scruggs. Not even with Liam Neeson and James Franco in the cast is saved from the fires of contents of the company. Nor one nor the other are the best works of their Betgram brilliant managers, it is true, and, even so, they deserved more respect than to be a mere parade, fill in the list of recommendations.

As I would say that: that is the market, friend. So does the frying of the few of the streaming maximum sizzle. A movie of Christmas before relegated to Saturday afternoons rainy Telecinco will have the same relevance that the latest releases of the great directors. It is the graveyard of elephants where they come to die films that, despite being applauded by critics as the horror movie Cam, not found their space in the rooms. Few will know that there are.

For they are simply A original film from Netflix. There is no prize that they put on top of that. It is a pleasure to be able to view them in any way, of course, but it hurts ahogarlas into irrelevance, to be a part of a machinery of use and throw which can produce in a day more than what we can see in months. Eye, nor do they get rid of the series, which sometimes last as long in the imagination, the duration of their advertising poster on the wall. Although bahis sitesi we are not forgetting the lights. With phenomena such as The curse of Hill House sometimes prevails word of mouth in front of the void in advocacy campaigns. Blessed.

In the coming months we will see on Netflix the latest from Cuarón (Rome fortunately is launched on the campaign of Oscar, so that will benefit you in terms of visibility and will pass in cinemas), what next for Scorsese and work of Ava Duvernay, J. c. Chandor, Isabel Coixet or Andy Serkis. It may not be posted on a wall chart or leave you in your account of Instagram. Or yes. Perhaps someone re-rethink that hiring the best is also a big business, and not only postureo. Some works have value because they persist beyond the end of opening week.

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