In the Plaza de La Cebada in Madrid a huge poster covers some works. "In 1478 witches were burned in this square," says the announcement that Netflix used to promote The chilling adventures of Sabrina. A few kilometers away, next to the statue of Columbus (coincidentally?), A canvas reads: "Goodbye, you son of a bitch, hello, sons of the shit." The platform you leave your dollars so that you bite with Narcos: Mexico. And it is not the first time that it colonizes the city. They did it with Elite, The Crown, The cable girls, Glow... Canvases are already used to shedding their skin. Objective: let every mortal know that his series exist, but what about his films?
At the beginning of October, at the same time that Netflix launched to hype and saucer the puber sexuality of Elite around the world, the company went up with nocturnality and treachery July 22, film about the terrorist attack of 2011 in Norway directed by Paul Greengrass. Yes, responsible for three blockbuster deliveries of Bourne, Captain Phillips and the tachycardic United 93 premiered without grief or glory, of tapadillo between "the series of the week". You had to make an effort to find out, even if you wanted to see her. But it is not the only one. While Narcos was approaching Mexican lands, beyond the border the Coen brothers dared with a western by fascicles called The ballad of Buster Scruggs. Not even with Liam Neeson and James Franco in their cast were they saved from the company's content bonfires. Neither one nor the other are the best works of their brilliant directors, true, and, even so, they deserved more respect than being mere comparsas, filled in the list of recommendations.
As that would say: that's the market, friend. This is how the furo del churrería del frio works streaming at maximum sizzle. A Christmas movie previously relegated to Telecinco rainy Saturday afternoons will have the same relevance as the latest releases of great directors. It is the cemetery of elephants where movies come to die that, despite being applauded by the critics as the horror film Cam, they did not find their space in the rooms. Few will know that they exist.
For them they are simply An original Netflix movie. There is no prize that puts you above that. It is a pleasure to be able to see them in any way, of course, but it hurts to drown them in irrelevancy, to be part of a throwaway machinery that produces more daily than we can see in months. Eye, the series are not free either, that sometimes last so much in the imaginary what lasts its publicity poster in the wall. Although we do not forget the lights either. With phenomena as The Curse of Hill House sometimes the mouth ear prevails against the null promotion campaigns. Blessed
In the next few months we will see on Netflix the latest from Cuarón (Rome luckily it is launched in the Oscar campaign, so it will benefit you in terms of visibility and will have a pass in theaters), what next from Scorsese and works of Ava Duvernay, J.C. Chandor, Isabel Coixet or Andy Serkis. They may not be posted on a poster or appear on your Instagram account. Or if. Maybe someone will rethink that hiring the best is also a big business, and not just posture. Some works have value because they last beyond the premiere weekend.