ElPais
‘La Bola Negra’ Enters The Oscar Race With The Biggest Awards Campaign Ever Mounted For A Spanish Film
Published
2 days agoon
Never has a Spanish film entered international awards season from such a position of strength as La Bola Negra (The Black Ball), which Spain’s Film Academy announced on Wednesday will represent the country in the Oscar race for Best International Feature. Only Juan Antonio Bayona’s Society of the Snow and Oliver Laxe’s Sirât, which earned two Oscar nominations earlier this year, have come close to generating this kind of momentum.
Festival audiences have embraced it, critics have overwhelmingly praised it, and in North America it will have the financial backing of streaming giant Netflix for its release. If Laxe spent weeks in the United States campaigning for his film, Javier Calvo and Javier Ambrossi, the directing duo behind La bola negra, appear ready to do the same. “We’ll do everything we can,” they told Spanish reporters on Wednesday.
Since the Cannes Film Festival, both specialist publications and mainstream outlets, including The New York Times, have embraced the movie. According to Variety’s Oscar forecasts midway through the Toronto International Film Festival screenings, La Bola Negra could land as many as seven Oscar nominations, including Best Picture, International Feature and Adapted Screenplay. Toronto is not, strictly speaking, a festival but a showcase and marketplace, as there is no jury awarding prizes in official competition. The Hollywood Reporter goes even further, suggesting the film could earn up to 14 nominations, with Calvo and Abrossi — popularly known in Spain as the Javis — breaking into the directing race, Penélope Cruz contending for supporting actress and the film performing strongly across many of the technical categories.
Both publications, however, sound a note of caution. Cannes, Venice and Telluride have already unveiled most of their major contenders, but some heavyweight titles have yet to enter the conversation: Alejandro González Iñárritu’s Digger, starring Tom Cruise; Denis Villeneuve’s Dune: Part Three; I Play Rocky, about the making of the film that launched Sylvester Stallone to stardom; The Further Mis-Adventures of Cliff Booth, directed by David Fincher, written by Quentin Tarantino and starring Brad Pitt; Luca Guadagnino’s Artificial; and Aaron Sorkin’s The Social Reckoning, both focused on tech oligarchs.
That pack includes several serious contenders. Moreover, some recent Best Picture winners, including Oppenheimer and One Battle After Another, did not rely on launches at major European festivals. Awards season still has a long way to go, and the campaign trail is likely to deliver plenty of surprises.
Facing all of them, Netflix has a key asset for the awards season, which will run until the Oscars are handed out on March 14, 2027: Lisa Taback, the streaming giant’s vice president for Talent Relations and Awards. Taback learned the trade at Miramax under the Weinstein brothers, helping steer the awards campaigns of films such as The King’s Speech and The Artist. She is known for her ability to navigate even the most difficult situations, as she did when Netflix’s U.S. awards push for Jacques Audiard’s Emilia Pérez appeared to be unraveling after controversy erupted over past social media posts by its star, Karla Sofía Gascón.
“Lisa asked us whether we were willing to give this everything we had, and we said yes, that we would leave nothing on the table,” the Javis said via video call from Toronto after Wednesday’s announcement. “We know it’s going to be tough. We’ll be living out of a suitcase for months. But we’re excited to do it, not just because of the possibility of nominations, but because we want the film and its message to reach as many people as possible.”
Ambrossi added: “Until today, I hadn’t allowed myself to think about categories beyond international feature. Today, I’m allowing myself the luxury of believing it’s possible. The message we’ve received from Netflix is that the film’s greatest strength is that it’s the future.”
To which Calvo chimed in, “despite being about the past.”

They will be joined by producer Jorge Pezzi, who was head of Fiction and Partnerships at Movistar Plus+, La Bola Negra’s lead producer, when the project first got off the ground. “I had the privilege of reading the script when I joined Movistar and immediately saw its potential. The film has gone even further than I imagined,” he said.
A year later, Pezzi left Movistar to become CEO of Suma Content, the production company founded by the Javis. “Naturally, we’ve kept the other producers informed every step of the way, but the campaign effort is really a team undertaking led by Netflix U.S. and Suma. The Javis are ready to do whatever is required. They’re all in.”
Pezzi was also part of Oliver Laxe’s Oscar campaign for Sirât last year. “We need to be cautious,” said Pezzi. “People are already taking nominations for granted, and you never know. With Sirât, some predictions had us getting as many as eight nominations, and in the end we got two. That said, La Bola Negra will benefit from a team that lives and works in the United States. To succeed at the Oscars, you need people who understand the process from the inside because it’s a highly sophisticated machine.”
The Javis cite The English Patient and Titanic as touchstones. Calvo notes that “a lot of people praise the film’s classical sensibility.” “We’re told it’s the kind of film they don’t make anymore,” he added.
For Sirât, as many as 40 publicists were involved in the awards campaign. For La Bola Negra, the number is expected to be significantly higher.

The Javis learned two weeks ago that their drama had made Spain’s three-film Oscar shortlist, while they were in Los Angeles, where The New York Times published a major feature on them, boosting their visibility in North America. Since then, they have attended the Telluride and Toronto film festivals.
The film will be released in Spain on September 25. Then it is back on the road, with stops at the Rome, New York, London and Morelia film festivals, as well as a Paris premiere, all while keeping an eye on the film’s U.S. theatrical release on October 16 and its streaming debut on December 2.
“I get dizzy just looking at the schedule,” Pezzi laughs. “It includes Asia. But there’s a clear strategy behind the dates, despite an extremely packed calendar.”
To understand how much Netflix may be willing to spend on an Oscar campaign for a non-American film, industry estimates put the company’s awards push for Emilia Pérez at between $30 million and $40 million. Although the campaign was damaged by the resurfacing of old social media posts by its star, Karla Sofía Gascón, the film still won two Oscars: Supporting Actress for Zoe Saldaña and Best Original Song for El mal.
“We can’t discuss figures,” Pezzi says, “but it will be a significant amount. And yes, every bit of that money is necessary.”
Industry insiders expect Netflix’s investment in La Bola Negra to be on a similar scale to its Emilia Pérez campaign, despite the Spanish film’s production budget of €15 million ($17 million).

On the horizon lie several more key dates. The Governors Awards, where the Academy’s honorary Oscars are presented, will take place on November 15, an occasion publicists often use to rally support and court voters. It could prove especially valuable for La Bola Negra, as one of this year’s honorees is Glenn Close, who plays a Hispanist scholar in the movie.
The first round of Oscar voting, which determines the shortlists in roughly a dozen categories, will run from December 7 to 11, with the results announced on December 15. Voting on the nominations themselves will take place from January 11 to 15, ahead of their announcement on January 21. The Oscars ceremony is scheduled for March 14.
Film producer Agustín Almodóvar often says that, for Sony Pictures Classics, Spain’s selection of a Pedro Almodóvar film as its official Oscar entry was invaluable. The choice effectively served as a seal of approval from the Spanish film industry, strengthening the film’s profile in the U.S. market and providing a powerful boost to its awards campaign. Sony Classics has long been one of the industry’s most effective awards-season players, but when it comes to financial firepower in 2026, no company rivals Netflix.
Even so, securing Spain’s official endorsement remained a crucial hurdle for the streaming giant, one that was successfully cleared on Wednesday. What comes next is the most ambitious awards campaign ever mounted for a Spanish film.
Sign up for our weekly newsletter to get more English-language news coverage from EL PAÍS USA Edition
You may like
-
From Uma Thurman And Ethan Hawke To Naomi Watts And Billy Crudup: 31 Hollywood Couples Who Fell In Love On Set
-
Alexia Putellas: ‘I Would Have Loved For Previous Generations, The Real Pioneers, To Have Experienced What I’ve Experienced’
-
Michelle Pfeiffer And David E. Kelley Break A 30-Year Rule: Never Mixing Love And Work
-
Chris Rock Carga Contra El Mundo “retorcido” De Hollywood: “La Gente Es Capaz De Cualquier Cosa Para Hacer Realidad Sus Sueños”
-
Hollywood Royalty Descends On Spain: Brad Pitt And Penelope Cruz Lead A-List Line-Up At This Month’s San Sebastian Film Festival
Claudia Sheinbaum
The Azcatitlan Codex Returns To Mexico From Europe After Nearly Two Centuries
Published
16 hours agoon
September 18, 2026By
Sonia Corona
The Azcatitlan Codex, a 50‑folio summary of the Aztec empire’s history, has temporarily returned to Mexico on loan from France to mark the 200th anniversary of diplomatic relations between the two countries. The document left Mexico in 1840 and has come back nearly two centuries later to be exhibited for three months at the National Museum of Anthropology and History in Mexico City. Mexican president Claudia Sheinbaum and French president Emmanuel Macron agreed in November 2025 to exchange this codex and the Boturini Codex to mark the relaunch of Franco‑Mexican relations.
The manuscript recounts the departure of pre‑Hispanic peoples from Aztlán in search of the place where they later founded Tenochtitlan, the Aztec empire’s capital and the site of present‑day Mexico City. It also narrates the most significant episodes in the reigns of several of its tlatoani (rulers) up to the arrival of the Spanish conquistadors in 1519, led by Hernán Cortés, and the establishment of the caste system in New Spain. The Azcatitlan Codex dates to the late 17th century, and historians estimate its first owner was Fernando de Alva Ixtlilxóchitl, a politician descended from Nezahualcóyotl, one of Texcoco’s greatest rulers.




The codex is considered a late work because it was produced several years after the establishment of the colonial government of New Spain, and because it was drawn in color on European paper and bound like a book. “In that sense, I believe the codex is very important, because although it may be a somewhat late version, it is one that provides various relevant insights into the history of the Aztec people,” explains Baltazar Brito Guadarrama, director of the National Library of Anthropology and History. The illustrations, for example, already contain some Spanish words, which have made it possible to confirm the location of some of the sites on which the account of the founding of Tenochtitlan is based.
The Azcatitlan Codex’s journey from its origin has been an eventful one. After the death of its first owner, the document passed to the scholar Carlos de Sigüenza y Góngora, who bequeathed it to the library of the Society of Jesus. Part of the Jesuit order’s holdings was acquired by the Italian historian Lorenzo Boturini in 1737. His collection was ultimately confiscated by the viceroyalty and kept at the university. Finally, in 1830, the French historian Joseph Aubin acquired the codex and took it by ship to Paris, where he sold it to the Franco‑Mexican collector Eugène Goupil. After Goupil’s death, his family donated it in 1896 to the Bibliothèque Nationale de France, where it has remained under the custody of the French government.
The codex is on display in a small temporary gallery at the National Museum of Anthropology and History. In the center of the room, protected by glass and under dim lighting, sits the original book opened to pages four and five, which show eight Indigenous peoples (Matlatzincas, Tepanecs, Chichimecas, Malinalcas, Cuitlauacas, Xochimilcas, Chalcas and Huejotzincas) organizing the search for the place where Huitzilopochtli (the god of the Sun and war) instructs them to found Tenochtitlan. Brito Guadarrama says those pages were chosen because they show the Aztecs’ multicultural origins and their foundational myth. “They allowed many other peoples to identify themselves, not just the Aztec people but seven other peoples as well. And in that sense I think it’s more appropriate that people come and identify with their historical heritage,” he says. The remaining folios can be seen in photographs on a museum wall. “Some of its pages were lost over time, but its content remains open to interpretation,” said Culture Secretary Claudia Curiel de Icaza.

While Mexico receives the Azcatitlan Codex, the Bibliothèque Nationale de France in Paris will, beginning next week, exhibit the Boturini Codex, also known as the Tale of the Mexica Migration, produced in the 16th century and recounting the Aztecs’ journey from Aztlán to their arrival in Tenochtitlan. That document has also been sent on loan — something that had not happened in nearly two centuries — because it belongs to the holdings of the National Museum of Anthropology and History. In December, the Azcatitlan and Boturini codices will return, respectively, to the countries that are hosting them. The Mexican government has no intention of reclaiming the Azcatitlan Codex from France. “Codices do not belong to institutions; they belong to the people and to the generations who recognize themselves in them,” said Roberto Velasco, secretary of foreign affairs, at the exhibition opening.
Sign up for our weekly newsletter to get more English-language news coverage from EL PAÍS USA Edition
Coinbase
Crypto Giants Flood The Republican Party With Money Despite Failure Of The Clarity Act
Published
17 hours agoon
September 18, 2026
In July 2024, during a crypto conference held in Nashville, Donald Trump vowed that if he returned to the White House he would turn the U.S. into the crypto capital of the world. Two years later, the largest market for digital assets still lacks a law to regulate the industry, while Europe has had one since December 2024. On Tuesday, the Senate blocked the progress of the Clarity Act yet again, citing insufficient safeguards to prevent public officials — including the president himself — from benefiting from their crypto businesses. Despite the legislative setback for a bill that includes many of the industry’s proposals, the sector has not lost faith: crypto firms and entrepreneurs continue to pour money into Republicans and pro-crypto candidates ahead of the November midterm elections.
The bill, stalled in the Capitol, seeks to clarify that business and to split oversight between two federal agencies: the Securities and Exchange Commission (SEC) and the Commodity Futures Trading Commission (CFTC). The law also promises to provide investor protections and define companies’ obligations.
After clearing the House last summer, only the Senate vote remained for the Clarity Act to become law. Just as the bill’s path seemed clear, the release of Trump’s financial disclosure — which revealed $1.4 billion in revenue from his crypto businesses during the first year of his second term — set off alarm bells among opponents. Democrats regard the ethical provisions in the bill as insufficient because they might not apply to Trump, who launched his crypto ventures before his reelection. After months of negotiations, Tuesday’s vote ended in defeat for Republicans, with 49 votes in favor of advancing the bill and 50 against. No Democrat backed the bill’s advancement, and four Republicans joined them, thwarting the goal of reaching the 60 votes needed to clear the procedural hurdle.
This latest failure is a setback for an industry that hailed Trump as a savior after years of frustrated hopes under a skeptical administration and regulators. The president himself has since become one of the biggest obstacles to regulating the sector, but the industry has doubled down on its bet. In the current campaign cycle, the sector has spent $206 million to support candidates from both parties, both through direct candidate donations and through political action committees (PACs) such as Fairshake, Stand with Crypto Alliance, and Digital Freedom Fund. No other economic sector, including the artificial intelligence industry, spends as much on campaign contributions, according to a Public Citizen analysis based on data from OpenSecrets and the Federal Election Commission.
The main crypto super PAC is Fairshake, founded in 2023 with funding from Coinbase and Ripple. It spent $133 million in 2024, according to OpenSecrets. In this election cycle, which will take voters to the polls on November 3, it has been seeding millions into contests across the country. In Alabama it spent $9.8 million to support Republican candidate Barry Moore, according to AdImpact, a website that monitors how political “dark money” is spent on campaign ads, and how much of it. In Iowa, the beneficiary was Zach Nunn, also a Republican and pro-digital-currency, for whom it paid to run an AI-generated ad defending family values.
But they were not alone. A recent Financial Times article revealed that a handful of U.S. billionaires have mobilized to fund the Republican electoral push. Beyond Coinbase and Ripple, companies such as Crypto.com, venture capital firm Andreessen Horowitz, and brothers Tyler and Cameron Winklevoss, founders of the Gemini crypto exchange, also appear on the list.
Elon Musk, also a staunch supporter of digital currencies and who set records in the 2024 presidential cycle by contributing about $290 million to Trump’s campaign, is expected to spend roughly $100 million this time. The billionaire’s shell entity, America PAC, injected funds into key Senate races in August — including Ohio, Michigan, Iowa, Maine, New Hampshire, Texas and Alaska — as well as into critical House of Representatives contests, according to a report filed with the Federal Election Commission on September 2.
In the background is the controversial Supreme Court ruling Citizens United, which in 2013 allowed companies to pay politicians so those officials would later conveniently represent their interests in the Capitol. Emerging industries like digital assets and artificial intelligence have in recent years been occupying a space traditionally dominated by Wall Street.
‘Cryptobros’ flaunt their influence
The path of the Clarity Act had already exposed the growing political weight of the cryptocurrency industry. Earlier this year, a battle erupted between big banks and the crypto sector: the flashpoint was the possibility that stablecoins (cryptocurrencies pegged to the dollar) could offer yields to their users. While banks saw unfair competition with their traditional deposit business and risks of capital flight, part of the crypto industry viewed it as a matter of survival. In an unusual show of force, Coinbase walked away from negotiations and the Republican Party responded by revising the proposal.
Now it is Trump himself who has again complicated the bill’s prospects, putting its future in doubt and making the chance of winning approval before the November elections — in which Republicans could lose control of the Senate — seem increasingly remote. “The Clarity Act would have shielded the industry from political swings and changes in administration,” analysts at Bernstein say.
As a result, the industry is already looking for shortcuts: “We can’t wait on Congress anymore. The SEC and CFTC have the tools they need to create clear rules under existing authority, and I expect will begin working on this in earnest,” Brian Armstrong, Coinbase’s chief executive, said on X. Since Trump’s return to the White House, both agencies have dismissed or shelved dozens of lawsuits against crypto companies alleging market-law violations.
Sign up for our weekly newsletter to get more English-language news coverage from EL PAÍS USA Edition
Ceuta
Chaotic Scenes As Spanish Police Clear Ceuta Migrants From Beaches
Published
18 hours agoon
September 18, 2026
Around 150 police officers began the process of moving migrants encamped on two beaches in Ceuta on Friday to facilities set up at the port in the Spanish exclave city, after the National High Court allowed their temporary use on Thursday following repeated judicial and political disputes. The start of the operation was marked by an initial stampede that led officers to fire warning shots into the air and left several people injured. Once that initial phase had passed, police organized the migrants into groups along the entire promenade, from Benítez beach to the start of the industrial area of the port, occupying a distance of just under 1,000 meters.
The operation was launched in response to growing public concern over the presence of thousands of migrants in Ceuta, an autonomous Spanish city on the coast of North Africa, after a mass breach of the border in late July during which an estimated 80,000 people crossed into the territory. The majority of the migrants returned to Morocco but thousands remain seeking to file asylum claims while living in makeshift camps on the city’s beaches, leading authorities in Madrid to order the temporary opening of more facilities to house them.
Through a megaphone the authorities called for calm, and the migrants waited for their transfer behind a heavy police cordon. For now, those being moved belong to the Benítez beach settlement, adjacent to the larger El Trampolín settlement. The operation began shortly before 7.00 a.m. Migrants on El Trampolín beach were cordoned off but there was no tension as they already knew they will not be moved today and returned to their usual routine.
Before the police operation began, hundreds of migrants were already waiting on the beaches. When only a few Civil Guard units were in the area, migrants began to run toward the port, causing a crowd surge along Ceuta’s seafront promenade. At around 7 a.m., when police units arrived, the stampede was brought under control and the migrants were organized for the transfer to commence.
Just as the streetlights were going out, the transfer operation to the Port of Ceuta facilities officially began. After the first chaotic hour, police units started the foot transfer toward the temporary reception center. The operation was carried out jointly with military units and the Civil Guard. The migrants, mostly men, greeted the start of the march with applause after a sleepless night spent waiting, prepared to leave with their belongings. The new facilities have capacity for about 1,700 people.
The operation to transport migrants to the port experienced several tense moments. The migrants crowded around the riot police, and as they tried to cross along the designated route, a stampede broke out. The police fired shots into the air and struck several of the migrants, who had been holding their ground for nearly an hour against the pressure of the hundreds of people crowding behind them.























Removal of minors
Officers involved in the transfer located several children who were waiting to be relocated to the port facilities. They were removed from the group, which had been sitting on the ground following officers’ instructions. The temporary reception center is intended for adult males, and unlike a previous operation to move migrants to a facility at Loma Colmenar, where unaccompanied minors were initially admitted, on this occasion authorities are preventing them from blending in with the others. For now, there are no new facilities designated for minors in Ceuta.
Sign up for our weekly newsletter to get more English-language news coverage from EL PAÍS USA Edition
Delcy Rodríguez Se Reunirá Con Trump En Nueva York En Un Gesto Inédito De Acercamiento
Jan Martínez Ahrens: “El Periodismo Solo Puede Vivir En Condiciones Democráticas”
Spanish airline Vueling named Europe’s best low-cost carrier for 2026
One Critically Injured And Nine Others Hurt After Carbon Monoxide Leak Aboard Ship Docked In Barcelona Port
Max Verstappen works with new race engineer at Italian Grand Prix
EXPLAINER: Inside The Row Over The Right-Wing Mayor Of Madrid’s €6m Penthouse – And Why It Could Offer A Lifeline To Pedro Sanchez
Tags
Trending
-
Barcelona2 weeks agoOne Critically Injured And Nine Others Hurt After Carbon Monoxide Leak Aboard Ship Docked In Barcelona Port
-
Uncategorized2 weeks agoMax Verstappen works with new race engineer at Italian Grand Prix
-
Chamberi2 weeks agoEXPLAINER: Inside The Row Over The Right-Wing Mayor Of Madrid’s €6m Penthouse – And Why It Could Offer A Lifeline To Pedro Sanchez
-
New Developments2 weeks agoLuxury Villas For Sale, Estepona – ProjectL1
-
bravery2 weeks ago
10-year-old jumps from burning French farmhouse, saves two dogs and teddy
-
Holiday rentals1 week ago
Ibiza council hits illegal tourist rental with €793,000 fine – but will the owner pay that much?
-
Central European Time2 weeks ago
Spain’s 2026 plan to end clock changes has failed, and the next change is already locked in
-
Uncategorized2 weeks agoMax Verstappen hails



