‘La Bola Negra’s’ Creatives Faced a Ticking Clock to Finish the Film for Cannes, But Waiting for Snow Almost Kept the Ending From Being Shot

‘La Bola Negra’s’ Creatives Faced a Ticking Clock to Finish the Film for Cannes, But Waiting for Snow Almost Kept the Ending From Being Shot hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Nov 12, 2026 2:17pm PT ‘La Bola Negra’s’ Creatives Faced a Ticking Clock to Finish the Film for Cannes, But Waiting for Snow Almost Kept the Ending From Being Shot By Jazz Tangcay Plus Icon Jazz Tangcay Artisans Editor @jazzt Latest Gkids Acquires U.S. Rights to Cartoon Saloon’s Animated Film ‘Julián,’ Directed by Louise Bagnall and Executive Produced by Zoe Saldaña (EXCLUSIVE) 5 hours ago International Cinematographers Guild Celebrates 100 Years of Solidarity and Storytelling 7 hours ago ‘La Bola Negra’ Exhibit Coming to Hollywood in December (EXCLUSIVE) 1 day ago See All Add us as a Google Preferred Source Comments “ La Bola Negra ” editor Alberto Gutiérrez knew he was up against time — the plan was that they wanted to take the film to the Cannes Film Festival, and the deadline was March.

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Filming began in November, and Gutiérrez was editing the movie. But there was one problem.

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The film didn’t have its ending, and it was a pivotal scene. Directed by Javier Calvo and Javier Ambrossi (known as Los Javis ), the film, now playing in theaters, is based on an unfinished play of the same name written by Spanish playwright Federico García Lorca in 1936.

Tragically, Lorca never got the chance to finish the play. He was shot dead by nationalist forces after being imprisoned at the beginning of the Spanish Civil War.

Related Stories Prime Video, Scanbox Entertainment Team on New ‘Hamilton’ Films and TV Series Based on Bestselling Swedish Spy Franchise (EXCLUSIVE) AFM: First Look at Highland Film Group Thriller ‘The Black Demon: Atlantis’ Starring Jack Kesy (EXCLUSIVE) The film navigates three timelines. In one, Carlos (Milo Quifes) is a young man trying to join a casino group in Granada, Spain.

His membership is decided by a vote using white balls for acceptance and black balls for rejection. He is rejected because he is gay.

At the heart of his story is conflict, as he has to make choices in life and deal with his family. When he goes to the casino to plead his case, he denies he’s gay.

He wakes up covered in snow. As is thematic with Lorca’s poems, snow means death.

He hears his grieving mother and asks her for a second chance after realizing that he’s dead. The snow is a metaphor about the cycle of life.

That key part with snow had yet to be shot. The filmmakers were hoping it would snow in Madrid in December.

Gutiérrez says, “We went into January thinking it would snow.” Again, it didn’t. But they were determined to include the snow sequence and not fake it because snow was integral to Lorca’s plays.

The clock was ticking on whether they would meet the deadline to finish the film and submit it to Cannes. It still hadn’t snowed in Madrid.

But it did snow in Granada, the southern region of the country. They decided they would go there to shoot it.

“But it was February and we had one month before the Cannes deadline,” Gutiérrez says. Gutiérrez explains, “We couldn’t do screenings of the movie because we couldn’t get people to see two hours of a movie and then tell them to watch the ending in theaters.” The team had one month to work together to pull it off.

“We said, ‘We have to trust each other and our instincts because if we start listening to everybody’s opinion on the film, we won’t make it to Cannes.’” They worked around the clock in that last month to finish the film. One person they did trust was Penélope Cruz.

In the film, she plays Nené Romero, a cabaret singer, and they brought her into the equation. But Gutiérrez felt imme

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