The cinema by Pedro Almodóvar is considered as theatrical. As main reason, the continued use of theatre intertexts. The main goal of this article is study the modus operandi of the Spanish filmmaker in the adaptation of theatre plays in his cinema. We will analyze the mise-en-scene of the plays La Voix Humaine by Jean Cocteau, A Streetcar Named Desire by Tennessee Williams, and Bodas de Sangre and Yerma by Federico García Lorca in the films La ley del deseo, Mujeres al borde de un ataque de nervios and Todo sobre mi madre. According the classifications by Anxo Abuín and José Antonio Pérez Bowie, we conclude that the artifice of this cinema is inserted in a theatrum mundi vision, with an evident performativity.

The cinema by Pedro Almodóvar is considered as theatrical. As main reason, the continued use of theatre intertexts. The main goal of this article is study the modus operandi of the Spanish filmmaker in the adaptation of theatre plays in his cinema. We will analyze the mise-en-scene of the plays La Voix Humaine by Jean Cocteau, A Streetcar Named Desire by Tennessee Williams, and Bodas de Sangre and Yerma by Federico García Lorca in the films La ley del deseo, Mujeres al borde de un ataque de nervios and Todo sobre mi madre. According the classifications by Anxo Abuín and José Antonio Pérez Bowie, we conclude that the artifice of this cinema is inserted in a theatrum mundi vision, with an evident performativity.

In the contemporary context, where hybridisation predominates in media culture as a result of media convergence, new relationships are produced between certain actors in the audiovisual industry. This research aims to analyse the phenomenon of the platformization of film festivals in Spain in two ways. On the one hand, it examines the new model of distribution and online retransmission of these film events on streaming platforms and specifically on the national video-on-demand platform Filmin. On the other hand, this phenomenon is analysed from the outbreak of the COVID-19 pandemic until 2024, a disruptive context that consolidated the digitisation processes of these festivals. A hundred and thirty-two film festivals organised by Spanish entities that have screened their films online on the streaming service provider Filmin have been evaluated through a diachronic and comparative analysi...