La 'no' crítica de 'Scream 7', la tragicomedia sobre el trauma de Eva Victor y la vuelta al cine de Ana Belén

February 27, 2026·47 min·3 clips

Raúl Peck's documentary uses Orwell's 1984 to reveal how today's authoritarians like Trump and Putin operate with the same mechanisms.

1. El Cine en la SER, hosted by Pepa Blanes with critics Elio Castro, José Manuel Romero and Dani Garran, covers theatrical releases, streaming and the aftermath of the Goya Awards. 2. Pepa Blanes opens by addressing the Goya season with a defence of Spanish cinema against disinformation about subsidies, citing CIMA statistics showing women win fewer than half of major awards after 40 years of the ceremony. 3. The episode's central argument is that cinema can and should engage politically — a position reinforced across multiple reviews, from the Orwell documentary to La Buena Hija parallels. 4. Scream 7 is reviewed as a 'non-review' because the studio only provided a press screening the night before release, which the hosts describe as preventing journalists from doing their jobs. 5. The documentary Orwell: 2+2=5, directed by Raúl Peck and narrated by Damien Lewis, premiered at Cannes and uses Orwell's diaries and 1984 to map totalitarian mechanisms onto Trump, Milei, Putin and the war in Ukraine. 6. Critics describe Orwell's concept of 'newspeak' as directly anticipating social media fake news, and note the documentary is 'artistically extraordinary' while leaving audiences with 'a very pessimistic view of the world.' 7. The Spanish Civil War, which Orwell documented in Homage to Catalonia, is discussed as a pivotal moment for international left politics; the documentary is praised for including Ken Loach's Land and Freedom. 8. Sorry Baby, the debut feature of a director-writer-actress presented at Cannes and praised by Julia Roberts at the Golden Globes, portrays a university rape survivor's recovery over multiple years with tragicomic tone. 9. The director describes wanting to avoid depicting the act of violence and instead focus on 'the sequels' — the years when the victim is trapped in trauma while the world moves on — and says the character doesn't seek imprisonment for her aggressor, only that he stops. 10. Critics compare Sorry Baby to Michaela Coel's series, Emerald Fennell's work, and Querer (a Spanish series), noting each takes a different angle on sexual assault — Sorry Baby's is restorative justice and a healing arc. 11. Filming the photographer Peter Ujar: Ira Satch's film, starring Ben Whishaw and Rebecca Hall, reconstructs a 1974 recorded conversation between photographer Peter Ujar and writer Anna Linda Rosenkrantz about the New York art world, sourced from a library transcript after the original tape was lost. 12. Ana Belén returns to cinema as lead in Islas, directed by Marina Seresesky, after 20 years without a lead role, playing an ageing diva in a decaying hotel whose story parallels her own career arc. 13. Critics note Islas contrasts Ana Belén's character's self-absorption with the survival struggles of immigrant hotel workers, and that Ana Belén discusses how celebrity 'halos' have been eroded by social media. 14. Bridgerton season 3, the most viral Netflix franchise produced by Shonda Rhimes, adapts Julia Quinn's novels and this season focuses on Benedict, the bisexual second brother, and Sophie (played by Yerin Ha, an Australian actress of South Korean descent). 15. The season is the first to portray domestic servants and class consciousness, with Sophie as an illegitimate daughter kept as a maid by her stepmother — an updated Cinderella framing — who confronts class barriers to love. 16. Luke Thompson explains that Benedict's bisexuality is portrayed without fear or identity crisis, contrasting with usual TV depictions of 'repression and anguish' in male characters. 17. Critics praise the racial and sexual diversity but note a double standard: heterosexual scenes receive extended, uncensored treatment while same-sex encounters are cut short and filmed more modestly. 18. Norwegian series Un Hombre Mejor depicts an incel who harasses women anonymously online, then ends up disguised as a woman — described as addressing the manosphere, digital harassment and cancel culture. 19. Film enthusiasts who follow Spanish and international film criticism, Goya politics and streaming series premieres will find the most value in this episode. 20. Viewers seeking English-only content, single-genre coverage or episodes without political commentary on cinema funding and gender parity may find this less suited to their taste.

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