Ignacio Sanchez Prado
@isanchezprado.bsky.social
Scholar of literature, cinema, gastronomy and Mexico. Post about that plus dogs.
Occasional Words: ignaciosanchezprado.substack.com
Occasional Words: ignaciosanchezprado.substack.com
Richard Linklater’s Blue Moon, a nostalgic piece of Americana full of nerdy references, with a perfect Ethan Hawke and an excellent Margaret Qualley, minor in good ways, though perhaps too enamored of its slice of the past. In Blu-Ray.
February 5, 2026 at 7:09 AM
Richard Linklater’s Blue Moon, a nostalgic piece of Americana full of nerdy references, with a perfect Ethan Hawke and an excellent Margaret Qualley, minor in good ways, though perhaps too enamored of its slice of the past. In Blu-Ray.
In the post-birthday melancholia I thought about my top 12 albums. The ones I really love and mean something. One from last year replacing one that means a bit less now. I guess they say something about my age and affects 1/3
February 3, 2026 at 4:59 PM
In the post-birthday melancholia I thought about my top 12 albums. The ones I really love and mean something. One from last year replacing one that means a bit less now. I guess they say something about my age and affects 1/3
Audrey Diwan’s Emmanuelle, a remake of the 1970s classic erotic film is a textbook case of a prudish aesthetic that is unable to understand the countercultures of the past rendering instead a hollow surface aestheticism (with echo of Wong Kar-Wai), unable to transgress or have any bite. In HBO Max.
February 3, 2026 at 6:08 AM
Audrey Diwan’s Emmanuelle, a remake of the 1970s classic erotic film is a textbook case of a prudish aesthetic that is unable to understand the countercultures of the past rendering instead a hollow surface aestheticism (with echo of Wong Kar-Wai), unable to transgress or have any bite. In HBO Max.
Today I’m 47. I like my 40s over my 30s and my 30s over my 20s so aging still feels good. Since I did precious Japanese dinner last night, I went full US neoliberalism today, at Ruth Chris following a Sam Raimi movie.
February 2, 2026 at 2:58 AM
Today I’m 47. I like my 40s over my 30s and my 30s over my 20s so aging still feels good. Since I did precious Japanese dinner last night, I went full US neoliberalism today, at Ruth Chris following a Sam Raimi movie.
Sam Raimi’s Send Help, the kind of excellent popcorn movie of which I wish there were more, impeccably made with great work in pacing and sound and a totally stellar Rachel McAdams delivering a role that would have suffer with a lesser actress. In theaters.
February 2, 2026 at 12:32 AM
Sam Raimi’s Send Help, the kind of excellent popcorn movie of which I wish there were more, impeccably made with great work in pacing and sound and a totally stellar Rachel McAdams delivering a role that would have suffer with a lesser actress. In theaters.
Chris Stuckmann’s Shelby Oaks, a solid horror film departing from the found footage genre and extending across other horror registers. In Blu-Ray disc.
February 1, 2026 at 5:45 AM
Chris Stuckmann’s Shelby Oaks, a solid horror film departing from the found footage genre and extending across other horror registers. In Blu-Ray disc.
I do not cease to be stunned that Dusapin, age 33, has written four brilliant novels with uncanny command of the narration of the unsaid and of the feelings that are palpable but cannot always land in language. Her style is growing in sophistication and depth.
January 31, 2026 at 5:18 PM
I do not cease to be stunned that Dusapin, age 33, has written four brilliant novels with uncanny command of the narration of the unsaid and of the feelings that are palpable but cannot always land in language. Her style is growing in sophistication and depth.
Radu Jude’s Dracula, a 3-hour, 14-films-in-1 marathonic romp on the cheapening on culture when it becomes content and IP, and the first major film to posit an aesthetic engagement with AI slop, laden with the usual ruthless satire and shameless vulgarity. In VOD.
January 30, 2026 at 7:27 AM
Radu Jude’s Dracula, a 3-hour, 14-films-in-1 marathonic romp on the cheapening on culture when it becomes content and IP, and the first major film to posit an aesthetic engagement with AI slop, laden with the usual ruthless satire and shameless vulgarity. In VOD.
Reposted by Ignacio Sanchez Prado
Author @isanchezprado.bsky.social challenged the definition of the taco in “Taco” in this @newbooksnetwork.bsky.social interview.
Listen here: https://bit.ly/4ae5EZD
📚💙 #FoodSky #LiteraryStudies @bloomsburylit.bsky.social
Listen here: https://bit.ly/4ae5EZD
📚💙 #FoodSky #LiteraryStudies @bloomsburylit.bsky.social
Ignacio M. Sánchez Prado, "Taco" (Bloomsbury, 2025) - New Books Network
bit.ly
January 29, 2026 at 7:00 PM
Author @isanchezprado.bsky.social challenged the definition of the taco in “Taco” in this @newbooksnetwork.bsky.social interview.
Listen here: https://bit.ly/4ae5EZD
📚💙 #FoodSky #LiteraryStudies @bloomsburylit.bsky.social
Listen here: https://bit.ly/4ae5EZD
📚💙 #FoodSky #LiteraryStudies @bloomsburylit.bsky.social
Ira Sachs’ Peter Hujar’s Day, a very good entry in the “recreating an interview” genre, shot and choreographed with great precision, and led by a brilliant Ben Wishaw and a perfect Rebecca Hall. In the Criterion Channel.
January 28, 2026 at 6:13 AM
Ira Sachs’ Peter Hujar’s Day, a very good entry in the “recreating an interview” genre, shot and choreographed with great precision, and led by a brilliant Ben Wishaw and a perfect Rebecca Hall. In the Criterion Channel.
Mona Fastvold’s The Testament of Anne Lee, a curious film about mystic religiosity with not much interest in its subject, hollow, a surface made of an overkill of brilliantly choreographed scenes of rhythmic worship and a linear, dull dramatic structure. In theaters.
January 28, 2026 at 4:41 AM
Mona Fastvold’s The Testament of Anne Lee, a curious film about mystic religiosity with not much interest in its subject, hollow, a surface made of an overkill of brilliantly choreographed scenes of rhythmic worship and a linear, dull dramatic structure. In theaters.
Quentin Dupieux’s The Piano Accident, a pitch-black absurdist comedy on the moral bankruptcy of influencer culture, minimalistic and theatrical, worth for the bravura performance of Adele Exarchopoulos, the boldest in her very bold career. In MUBI
January 27, 2026 at 6:14 AM
Quentin Dupieux’s The Piano Accident, a pitch-black absurdist comedy on the moral bankruptcy of influencer culture, minimalistic and theatrical, worth for the bravura performance of Adele Exarchopoulos, the boldest in her very bold career. In MUBI
Emilie Blichfeldt’s The Ugly Stepsister, a gory feminist body horror take on Cinderella, centering on the violence of the idea of beauty and the patriarchal standards set on women by the canon of Western stories, very well made and not for the faint of heart. In Hulu
January 26, 2026 at 6:32 AM
Emilie Blichfeldt’s The Ugly Stepsister, a gory feminist body horror take on Cinderella, centering on the violence of the idea of beauty and the patriarchal standards set on women by the canon of Western stories, very well made and not for the faint of heart. In Hulu
Noah Baumbach ‘s Jay Kelly,impeccable and uninteresting, with Clooney being Clooney and Adam Sandler killing it, a surprisingly earnest film by a cynical director, invested in a melancholic take on a lost Hollywood masculinity that feels as outdated in fiction as it is in reality. In Netflix.
January 26, 2026 at 4:18 AM
Noah Baumbach ‘s Jay Kelly,impeccable and uninteresting, with Clooney being Clooney and Adam Sandler killing it, a surprisingly earnest film by a cynical director, invested in a melancholic take on a lost Hollywood masculinity that feels as outdated in fiction as it is in reality. In Netflix.
Eva Victor’s Sorry Baby, a brilliant, thoughtful movie about dealing with assault, pitch perfect in all of its narrative and aesthetic decisions, masterful in depth and deadpan. Victor’s direction, screenplay and performance are exceptionally good. A must-watch. In HBO Max.
January 26, 2026 at 1:35 AM
Eva Victor’s Sorry Baby, a brilliant, thoughtful movie about dealing with assault, pitch perfect in all of its narrative and aesthetic decisions, masterful in depth and deadpan. Victor’s direction, screenplay and performance are exceptionally good. A must-watch. In HBO Max.
Essentially a 2:30 infomercial for the streaming of races, Joseph Kosinski’s F1 is, like Top Gun, a nostalgic take on a boring form of masculinity at the level of protagonist and form, a boatload of cinematic resources at the service of chest thumping and flatness. In Apple TV+
January 25, 2026 at 1:36 AM
Essentially a 2:30 infomercial for the streaming of races, Joseph Kosinski’s F1 is, like Top Gun, a nostalgic take on a boring form of masculinity at the level of protagonist and form, a boatload of cinematic resources at the service of chest thumping and flatness. In Apple TV+
Park Chan-wook’s No Other Choice, perhaps the first great movie about the dehumanization surrounding the AI stage of labor precarization, the second adaptation of Donald Westlake’s The Axe, building on Costa-Gavras’s 2005 version, not Park’s best but at the top of 2025 cinema. In theaters.
January 19, 2026 at 11:08 PM
Park Chan-wook’s No Other Choice, perhaps the first great movie about the dehumanization surrounding the AI stage of labor precarization, the second adaptation of Donald Westlake’s The Axe, building on Costa-Gavras’s 2005 version, not Park’s best but at the top of 2025 cinema. In theaters.
Today in the New Books Network! In this link or in your favorite podcast app! newbooksnetwork.com/taco
January 19, 2026 at 5:26 PM
Today in the New Books Network! In this link or in your favorite podcast app! newbooksnetwork.com/taco
Matthew Rankin’s Universal Language, a deadpan absurdist jewel imagining a Winnipeg in which Farsi is the first language, an homage to Kiarostami in dialogue with Guy Maddin, Roy Anderson and Tati. Amazing cinematography. In Blu-Ray.
January 19, 2026 at 6:19 AM
Matthew Rankin’s Universal Language, a deadpan absurdist jewel imagining a Winnipeg in which Farsi is the first language, an homage to Kiarostami in dialogue with Guy Maddin, Roy Anderson and Tati. Amazing cinematography. In Blu-Ray.
Nia DaCosta’s The Bone Temple is a reflective, observed film somewhat dissonant from a kinetic franchise, an enjoyable transition film that is better directed than scripted, announcing a potentially good sequel to come. In theaters
January 19, 2026 at 12:54 AM
Nia DaCosta’s The Bone Temple is a reflective, observed film somewhat dissonant from a kinetic franchise, an enjoyable transition film that is better directed than scripted, announcing a potentially good sequel to come. In theaters
Hippocampus Magazine published this interview with me on the writing methods and craft behind my book Taco. Thank you to Hillary Moses Mohaupt for reaching out and conducting it. Link in threaded post
January 18, 2026 at 6:15 PM
Hippocampus Magazine published this interview with me on the writing methods and craft behind my book Taco. Thank you to Hillary Moses Mohaupt for reaching out and conducting it. Link in threaded post
Incredible novel about the road and the desert that is also an incredible novel about the translation of the first novel, full of illuminating images and pinnacles of prose. Loved it.
January 18, 2026 at 8:27 AM
Incredible novel about the road and the desert that is also an incredible novel about the translation of the first novel, full of illuminating images and pinnacles of prose. Loved it.
4K double feature, Bernard Rose’s 1992 Candyman, circling around urban segregation and racial difference, and Nia DaCosta’s 2021 version, a sequel, on gentrification and the BLM moment.
January 18, 2026 at 6:38 AM
4K double feature, Bernard Rose’s 1992 Candyman, circling around urban segregation and racial difference, and Nia DaCosta’s 2021 version, a sequel, on gentrification and the BLM moment.