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Carlos González discusses how he built his character Alberto in LA BOLA NEGRA. Now playing in theaters nationwide. Get tickets now at labolanegrafilm.com.
eduard retweeted
I am in a long line of antizionist Jews who political opponents try to make people hate.
But I wont be quiet, not on criticism of Israel, nor on tackling the extreme wealth and poverty pay that both the Tories and now Labour have overseen in office.
🇬🇧 “Is it now the Labour position that a genocide is not racist?”
Green Party leader Zack Polanski confronted Conservative and Labour politicians at the London Assembly on Thursday after Conservative Susan Hall introduced a motion condemning the Greens’ decision to define Zionism as racism.
Hall called the Green Party’s position “abhorrent” and argued it threatened Jewish Londoners.
Polanski, who is Jewish, accused Hall of weaponizing antisemitism and challenged Labour members over their government’s continued military support for Israel amid the genocide in Gaza.
The Assembly passed Hall’s motion 19–3, with just the three Green members voting against it.
eduard retweeted
Jo que se trie alcalde musulmà Jair quina merda de dilema és aquest
eduard retweeted
She’s a perfect reflection of British society, a miserable cold narcissistic dry gleeful and hateful babe😭
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Historical events are very complex. Lorca took refuge in the home of a Falangist friend, attempting to avoid being captured. My great-grandfather, who held leftist views, was performing his military service when the coup succeeded. His superiors sided with Franco, and he +
Harry Styles had talks with execs about playing the next James Bond.
(Source: variety.com/2026/film/news/j…)
eduard retweeted
El @ppcv lleva (sin avisar a medios) a Ayuso al mercado del Cabanyal en Valencia y los vecinos la abuchean. La respuesta del PP…poner el himno de España a toda leche.
eduard retweeted
Guide for interacting with German Twitter:
🇩🇪 Racist
🇩🇪🌐 Racist
🇩🇪🇪🇺 Racist
🇩🇪🇺🇦🇮🇱 Racist
🇩🇪🇮🇱 Adolf Hitler
Replying to @alandete
@la_septima_tv es un canal de fascistas de extrema izquierda que incita a la división y a la polarización de los españoles.
eduard retweeted
I THINK americans are taught to see wars simply as hero (themselves) vs villain (countries they invade) that’s why the concept of civilians having to do whatever it takes to survive in an actual war is so incomprehensible to them💀
Replying to @magg1e00xrxta
people that think sebastián’s part of the story is pinkwashing fascism IRK me so bad like yall can’t be that dumb….
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Bowen Yang and Matt Rogers dive into LA BOLA NEGRA on the latest Las Culturistas podcast episode – hear their favorite moments.
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Saying la bola negra insists upon its own monumentality
HAVE YOU MET THE SPANISH????????
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The Times gives LA BOLA NEGRA a five-star review ⭐⭐⭐⭐⭐, saying that:
“The accolades are deserved.”
“It feels like a Gabriel García Márquez novel on rocket fuel.”
thetimes.com/culture/film/ar…
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La Bola Negra has risen from a 4.4 to a 4.5 on Letterboxd following its UK release and nationwide US expansion 🌎
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between this and recent discourse on miasma being "too masturbatory," i think an odd resistant to evolution aftertaste is left in these critic's mouths whenever a film depicting queer experiences not just takes itself seriously, but allows itself to take up space to be grand
“La Bola Negra,” a new film by Javier Ambrossi and Javier Calvo, dramatizes gay repression and liberation across three interconnected stories. At first, the year is 1937 and viewers are thrust deep into the Spanish Civil War, where a Nationalist soldier and a wounded Republican freedom fighter exchange furtive glances. By the end, it’s 2017, and a Madrid-based historian need only look to Grindr to satisfy an urge. The movie “wants to be a sweeping historical epic of gay longing—a film about what it means to be a man who desires other men in times of war and peace,” Justin Chang writes. Instead, the directors have produced “a film that insists, arrogantly and aggressively, on its own monumentality”. Even compelling performances from Glenn Close, Penélope Cruz, and Lola Dueñas fail to rescue the extravagantly overwrought film. Read Chang's full review: newyorker.com/culture/the-cu…











































