The ‘mecca’ of cinema has all alarms going off in response to the ongoing erosion of jobs tied to film and television production, as well as its surrounding economic ecosystem.

Paramount has begun revealing several of its movements, and the one raising the most suspicion among producers, distributors, and exhibitors is its “promise” to release 30 titles per year.

The studios and the financial components of this ‘financialization’ of our ‘beloved industry’ have little magic left in them and are, instead, essentially mechanisms of extraction.

Good morning,

To no one’s surprise, the ideological war has continued to dominate headlines.

The new economy of the image challenges us to create time and silence so that cinema can recover its affective power beyond the constant overthinking that postmodernity has pushed us into.

The films arriving now, and yet to come, are infused with a deeper, almost visceral residue: death and mourning, an emotional echo rooted in something far more profound.

In the United States, a scenario like this would not only force Trump to confront his own internal contradictions, but would also compel the federal government to define what cinema actually is.