Eva Peydró

Filóloga, traductora, crítica de cine, periodista cultural y escritora. Miembro de FIPRESCI (Federación Internacional de Prensa Cinematográfica) y de FEDEORA (Asociación de críticos de cine de Europa y Mediterráneo) y en representación de ambas organizaciones ha participado como jurado en festivales internacionales de cine, como Cannes, Venecia, Karlovy Vary o San Sebastián. En 2014 fundó la revista cultural online El Hype, de la que es directora, y a la que contribuye con artículos sobre cultura, críticas cinematográficas y crónicas de festivales de cine. Programadora del Festival Cinema Heritage. Co-autora de "Ficciones, las justas. La nueva moral en el cine, la música y la pornografía" y "El universo de Marlon Brando".

Author's Articles

74th Festival de Cannes: Wes Anderson, nostalgia for the yearbook

Film & Series
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16 March, 2021

“The French Dispatch is Wes Anderson’s new foray into cultural mythomania, with a cast that includes more stars than the firmament.

74th Cannes Film Festival: Fantastic Lamb, The Innocents and Titane

Film & Series
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15 March, 2021

The Festival de Cannes has selected three outstanding fantastic films for this year’s edition: Lamb, The Innocents and Titane.

‘The Dig’, from the tomb to the stars

Director's Cut Film & Series
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24 February, 2021

Time and space, the reason for all this and the meaning of life are threaded together in The Excavation, showing with this absent funeral ship – whose rotting frames the centuries have replaced with a primer – the trace of the past, visible and invisible at the same time, the lesson of the shadows of Hiroshima that we have forgotten.

“I May Destroy You”: Let’s talk about consent

Serial Watcher Film & Series
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1 September, 2020

I could destroy you, a series that has already acquired the status of a benchmark, addresses as its main theme the reflection on consent and its limits, but it does so by rabidly contextualising its nature in a chorally conjugated present.

Closeness, an outstanding debut

Film & Series
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21 December, 2017

Closeness (Tesnota, 2017) is an outstanding film, especially considering this director is a young man of only 25, and this is his first feature following three previous shorts. There is no doubt that Kantemir Balagov is a disciple of Alexander Sokurov (the Nalchik Film School director), and a good one indeed; his debut confirms his […]