Day Zero 2027
Courtesy of Day Zero
Even with all her fame and riches, Cardi B is still loyal to shopping at Old Navy. She became the face of Old Navy’s fall 2026 denim campaign, and the Grammy-winning rapper called the partnership a “full-circle” moment while recalling the days of shoplifting at the store as a kid.
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“Thank you Old Navy for holding me down. In high school, I used to steal from you guys all the time. So it’s just a full-circle moment that I’m an ambassador for Old Navy,” she said during an Instagram Live on Wednesday (Aug. 12). “I used to steal all the time and I never got caught. If it wasn’t for you guys, I probably wasn’t the freshest bi–h in school.”
Cardi complimented Old Navy’s fit and denim cut, as the shape of the company’s jeans is BBL-friendly, unlike many denim brands she’s tried over the years.
“BBL bi–hes, it is so hard for us to find jeans. Chanel and the stuff like that, we can’t wear those types of jeans. The only big brand that kind of fit our bodies are Acme Studios,” Cardi explained. “This is the type of body I have, I’m 5’3″ and I’m skinny, I got no waist, but my ass and hips is the size of Uganda. They don’t make jeans for a bi–h like me.”
As the face of the fall campaign, Cardi starred in a Western-themed The Most Wanted ad alongside Wisdom Kaye and Quen Blackwell, which arrived Aug. 4. The high-waisted cuffed jeans Cardi’s sporting in the campaign are available in seven colorways onOld Navy’s website for $49.99.
“When you have a BBL it’s hard to find jeans… but Old Navy got everything for everybody,” she wrote on X in support of becoming an Old Navy ambassador.
Cardi returned to release her first single of 2026 with “Ah Ha,” which debuted at No. 25 on the Billboard Hot 100. The 33-year-old Bronx native earned her fourth diamond song after the RIAA certified the Billboard Hot 100-topping “WAP” earlier in August.
Losing a child in a jam-packed music festival will strike fear in any parent, and director Jeremy Garelick brings that fear to life with the movie Rolling Loud.
Based on the Rolling Loud hip-hop festival, the upcoming comedy released a trailer for the flick on Thursday (Aug. 13) starring Travis Scott, Owen Wilson, Sexyy Red, Matt Rife, Christine Ko, Ski Mask the Slump God, Ty Dolla $ign and more.
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The festival-themed movie, helmed by Rolling Loud and Live Nation, is set to hit U.S. theaters on Oct. 2. The trailer kicks off with Wilson’s 13-year-old son, played by Christian Convery, pleading with Wilson to take him to Rolling Loud.
In an attempt to play the “cool dad,” the Wedding Crashers actor gives in, and the chaos begins when Wilson loses his son in a sea of 60,000 sweaty rap fans on a bathroom trip at the Miami festival. All hell breaks loose in the search party, and Wilson ends up backstage explaining the situation to Sexyy Red and La Flame.
Amid the panic, Wilson ends up onstage during Scott’s headlining set (this scene was taped during Scott’s set at Rolling Loud Miami in December 2024) while he’s performing his rambunctious “FE!N” anthem.
“You’re the guy on the big screen that all the security’s looking for,” Sexyy says. “You jumped off a Ferris wheel, right?” To which Wilson clarifies, “No, I threw someone off a Ferris wheel.”
Garelick’s idea for the film was loosely based on true events when he briefly lost track of his son at a Rolling Loud festival in the past.
“The fact that we had this experience together, it bonded us and it really brought us together,” the film’s director told People. “It gave us those inside jokes, those secrets that we can’t tell anybody. And then to put it into a movie that’s coming out all over the world, it’s just incredible. I think parents should take their kids and enjoy it.”
Rolling Loud’s only 2026 U.S. festival took place in Orlando in May, which was headlined by Don Toliver, Ken Carson and Playboi Carti.
Watch the Rolling Loud trailer below.
Lionel Richie had something to say to the next generation of R&B stars during a recent show: They may think they’re breaking new ground, but the legends were doing it first. Moreover, according to Richie, they managed to stay out of jail while doing it.
During a stop on his Sing a Song All Night Long Tour with Earth, Wind & Fire, Richie brought up Usher and Chris Brown’s massive 2026 co-headlining stadium tour while speaking to the crowd. In a clip circulating online, the “All Night Long” singer jokingly compared the pair’s tour to his own partnership.
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“Usher and Chris Brown… See, they try to do something new,” Richie said. “The Commodores with Earth, Wind & Fire, we were doing that back 40 years ago! Only difference is, between then and now, we didn’t go to jail.”
Richie laughed after delivering the punchline and continued to acknowledge the severity of the joke.
Brown clearly took the joke in stride, commenting on an Instagram clip of the concert with four laugh-cry emojis: “damn unk. We love ya paw paw.”
Brown and Usher are in the midst of The R&B Tour, a 2026 co-headlining stadium trek that began in June and is scheduled to continue through December. The run includes multiple stadium dates in major cities, including upcoming shows at Levi’s Stadium in Santa Clara, Calif., and SoFi Stadium in Los Angeles.
Richie’s joke was clearly aimed at Brown’s well-documented legal history, including his 2009 guilty plea to felony assault following his attack on then-girlfriend Rihanna. More recently, Brown pleaded guilty in July stemming from a 2023 altercation at a London nightclub. He is scheduled to be sentenced in the U.K. on Oct. 26.
This unexpected dispute between the artists comes as Richie and Earth, Wind & Fire are on their own high-profile tour together. Their Sing a Song All Night Long Tour pairs Richie’s decades-spanning pop and R&B catalog with Earth, Wind & Fire’s funk and soul classics, a combination Richie himself invoked while making the comparison. The tour’s North American leg is scheduled to wrap Friday in Austin, Texas.
Watch the clip below.
LOS40 Primavera Pop, one of Spain’s longest-running multi-artist pop events, will expand into Latin America for the first time with an Oct. 28 edition at Buenos Aires’ Teatro Gran Rex.
The Argentine debut follows a three-year partnership between Spanish radio brand LOS40 and EB Producciones, led by promoter Eduardo Basagaña. The agreement makes Argentina the festival’s first destination outside Spain, where Primavera Pop has become a fixture of the live music calendar. The event marked its 60th anniversary this year with showcases at Madrid’s Movistar Arena and Barcelona’s Olímpic Arena.
The Buenos Aires lineup will feature Luis Fonsi, whose Billboard Hot 100 No. 1 hit “Despacito” starring Daddy Yankee helped make Fonsi one of Latin music’s most recognizable international stars. Argentine artists Abel Pintos, Luck Ra, Ángela Torres, Emanero and Coti are also set to perform, alongside emerging acts Olivia Wald, Roze, TULI and Juli Obregon.
The festival’s arrival is significant for both LOS40 and Argentina’s live entertainment market. For LOS40, the partnership represents the brand’s first international expansion of Primavera Pop beyond Spain, creating a new platform for its pop-focused concert model in one of Latin America’s most established music markets. For EB Producciones, the deal strengthens its position as an independent regional promoter with ambitions beyond its Argentine base. The company launched operations in Costa Rica and Guatemala in 2023.
Basagaña has also confirmed in a press release that the 2027 edition will move to Buenos Aires’ Movistar Arena, a venue with a capacity of approximately 14,000 people. The larger site signals plans to scale the event beyond its inaugural Teatro Gran Rex presentation and establish Primavera Pop as a recurring fixture in Argentina.
Latin superstar Romeo Santos is suing his longtime accounting and business management firm, claiming its “gross negligence” left him with unpaid tax bills and ultimately cost him millions of dollars in damages.
In a lawsuit obtained and first reported by Billboard, Santos (Anthony Santos) claims that BDO USA botched his financial affairs so badly that it amounted to professional malpractice — and that the company has since “rebuffed every overture” to find an “amicable solution” to the problem.
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“For nearly seven years, Santos … entrusted his financial affairs to an accounting and business-management practice that sold itself as a dedicated entertainment-industry specialist,” writes his attorney, James Sammataro of the firm Pryor Cashman. “What [BDO] delivered instead was gross negligence, year after year.”
Santos isn’t the first music star to complain about BDO. Back in 2022, Fat Joe filed a lawsuit claiming the firm and two of its employees stole millions of dollars in “brazen” fraud that has the “hallmarks of a Ponzi scheme.” The case later settled in 2024 on confidential terms.
Santos broke out in the early 2000s as the lead singer of Aventura, a bachata group that’s put 13 songs in the top 10 of Billboard’s Hot Latin Songs chart. After launching a solo career in 2011, Santos has released seven hits that have topped the Hot Latin Songs chart, including 2014’s “Odio” collab with Drake and 2011’s “Promise” featuring Usher.
According to Wednesday’s (Aug. 12) lawsuit, Santos initially hired the firm Morrison Brown Argiz & Farra LLP in 2016; the company was later acquired by BDO in 2021. He says he did so because the firm sold itself as an “entertainment-industry specialist” that could effectively manage the business affairs of “a global touring and recording artist and the multistate and international tax exposure that comes with it.”
But he says BDO’s subsequent failures “spanned nearly every function it was retained to perform,” including basic functions like properly paying his taxes and filing returns. He also says the firm botched his New York state taxes, filing an “incoherent” return that sparked a costly audit, and also failed to file for credits on foreign taxes already withheld from his royalties.
“The withholding was no secret: it appeared on the face of the royalty statements in BDO’s files,” his lawyers write. “Yet year after year, the credits went unclaimed.”
When he finally fired the company in 2023, Santos says BDO quickly withdrew money from his own account without authorization to pay its own fees. “The episode is a fitting coda to the engagement: the firm that could not manage to remit Santos’ taxes on time remitted its own fee without delay — after it was fired from his account, without asking,” the suit reads. “To this day, BDO has not returned the money.”
All told, the lawsuit claims that Santos is owed at least $2.3 million in damages, stemming from tax penalties and interest, the unapproved withdrawal, the cost of hiring new accountants to fix the problems and “lost value” from other professional missteps.
“Two years of demands, documentation, and patience had produced BDO’s acknowledgment of ‘specific errors,’ its silence on the core failures, and nothing else — leaving plaintiffs with no choice but to initiate legal action,” Santos’ attorneys write.
A spokesperson for BDO did not immediately return a request for comment on Thursday (Aug. 13).
Dance music download store Beatport has added an AI detection tool to ensure that fully AI-generated music does not appear in the platform’s catalog.
Music fraud detection tool Beatdapp will now be employed for AI-generated music identification across the Beatport catalogue. Music identified as being fully made by AI will be withheld at ingestion to the site, with rights holders notified directly, the company says.
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The implementation of the tool expands on the company’s AI policy announced in January 2025, which states that fully AI-generated music is not permitted in its catalog, while AI-assisted tracks that remain majority human-created are tagged as such.
The AI detection tool expands on a previously existing Beatport partnership with Beatdapp that uses another offering from the company to address fraudulent streaming activity.
“Beatport exists to serve DJs and empower artists & labels,” the company’s CEO Matt Gralen said in a statement. “This means partnering with our community and providing confidence in what our platform offers. While new production techniques have driven electronic music forward since the beginning, there is a difference between a tool that assists human creation and a system that replaces it entirely. Beatport is built on the former.”
Beatport reports that a recent survey the company conducted found that 60% of Beatport users would not play AI-generated tracks in their sets, with 77% citing a strong preference for playing music made fully by humans. The survey also found that just 8% of Beatport users are currently open to playing AI music, with 13% saying they’d consider it if associated artists and labels are fairly compensated.
“The music industry has always embraced new technology,” said Beatdapp co-founder and CEO Andrew Batey. “What’s needed now is the infrastructure to bring transparency to the age of generative AI. By combining AI Music Detection with our existing fraud detection capabilities, we’re helping Beatport strengthen the integrity of its platform while protecting human creativity and giving artists, labels, DJs, and fans confidence in the music they discover and support.”
“Beatport’s approach aligns with AFEM’s AI Principles by keeping human creativity at the centre while recognizing that not all uses of AI are the same,” added Jay Ahern, chief strategy officer at the Association for Electronic Music. “Human intent and creative control must sit alongside consent, licensing, transparency, attribution and remuneration.”
The lineup for Damian Lazarus’ annual turn-of-the-year party in Tulum, Day Zero, was announced Thursday (Aug. 13).
The bill features scene mainstays including Tiga, Victor Calderone, Vintage Culture, LP Giobbi, Chloé Caillet and Mita Gami, along with a flurry of buzzy rising artists like Brunello and Midnight Generation in addition to Lazarus himself. Organizers also promise one “very special guest” whose identity is yet to be announced. See the complete lineup below.
Lazarus, who’s been putting on Day Zero in the jungle near Tulum since 2012, posted the lineup to his Instagram with a caption noting that “Another chapter of cosmic celebration is upon us for a night under the stars where mysticism and music converge. The curation is uncompromising. 30 artists spanning the full spectrum of underground electronic sound across 3 stages. Boundary-pushing performances from the most visionary minds carefully selected for this singular gathering. And one very special guest still emerging from the shadows. If you felt the magic last year, this edition raises it further.”
Day Zero Tulum 2027 happens in the Mexican resort town on January 9 and is the thirteenth edition of the party, which embraces the traditions of the local Mayan culture and goes from sunset until Lazarus’ traditional sunrise set. Tickets go on sale Aug. 25.
Day Zero hosted its debut Bali edition this past April, with the first edition in Brazil taking place this past January. An Israel edition of Day Zero happened near the Dead Sea in 2019.
For YEONJUN, breaking free from expectations has become more than a theme. It’s the core of his latest solo albums.
The K-pop star brought that spirit to an exclusive Billboard Live event at West Hollywood’s Troubadour, where he sat down for an intimate Q&A with Billboard News’ Tetris Kelly before taking the stage for an electrifying performance featuring songs from his solo work. Amidst the conversation, YEONJUN shared the creative process behind NO LABELS Pt. 1 and NO LABELS Pt. 2, the pressure he’s learned to let go of, and how he continues to discover new sides of himself as an artist.
“NO LABELS is all about showing the different sides of me,” YEONJUN explained during the conversation, describing the second project as more “natural and unfiltered” than its predecessor. While NO LABELS Pt. 1 introduced fans to a new dimension of YEONJUN outside of TOMORROW X TOGETHER, he said the two albums represent different sounds and visuals while remaining equally true to who he is.
This meant challenging his perfectionism, however. YEONJUN admitted that he puts pressure on himself to do everything perfectly, but is now trying to approach his music with a lighter mind-set, which is a perspective that carried into the making of NO LABELS Pt. 2. The shift seems to be paying off: After the first album’s top 10 debut on the Billboard 200, Yeonjun said he actually felt more comfortable preparing his follow-up because he had learned to enjoy the creative process.
The event also offered a select group of fans the chance to experience YEONJUN’s solo work in an intimate setting. Chosen through a lottery to attend the exclusive Billboard gathering, fans filled the room with cheers throughout the Q&A, showing their support as YEONJUN talked about everything from his music and fashion to his creative transformation. Their energy only amplified once he took the stage, turning the room into a celebration of his solo achievements.
During the Q&A, YEONJUN also discussed the inspiration behind “Ice Cream,” the deeply personal “Long Way Long Ride,” his work with fellow creative Petra Collins for Vogue, and his TXT groupmates’ reactions to his solo album. He also hinted that the NO LABELS journey may not be fully over just yet, telling the ecstatic crowd that he was “excited for what’s ahead” while keeping details about a potential next installment under wraps.
He brought the conversation’s themes of self-expression to the stage, performing “Vanilla,” “Ice Cream,” “Baby Wassup?,” “Long Way Long Ride,” “Fxxking Star” and “GGUM.”
Scroll through the gallery to relive highlights from YEONJUN’s Billboard-exclusive event, from the fan-filled room to his special performance.
“No hay que politizar una tragedia como esta”, dicen algunos internautas en redes sociales, refiriéndose al terremoto de magnitud 7,4 con epicentro en San José del Palmar, Chocó, que sacudió a Colombia este 10 de agosto. La afirmación es utilizada principalmente por usuarios afines al entrante gobierno de Abelardo de la Espriella en respuesta a quienes aseguran que el presidente colombiano estaría priorizando las ayudas humanitarias de países cuyos gobiernos son afines a su ideología por encima de las provenientes de otros países. Lo cierto es que, aunque fuerte, esta afirmación surge de algunos hechos que han generado dudas. Pese a eso, hay varios matices que se deben tener en cuenta a la hora de abordar este tema.
Lo mejor es comenzar por el principio. Horas después del sismo, ya con información sobre la magnitud de los daños y un primer registro de fallecidos, desaparecidos y estructuras afectadas, comenzaron a llegar los primeros anuncios de ayuda humanitaria internacional. Estados Unidos anunció un aporte de 15,5 millones de dólares, mientras la ONU y distintas organizaciones internacionales también activaron mecanismos de asistencia para atender la emergencia, entre ellas agencias como la OMS, el Programa Mundial de Alimentos y la Organización Internacional para las Migraciones. A su vez, al país norteamericano se sumaron México, Ecuador, El Salvador, Chile, Perú, Panamá, Argentina, Brasil, Venezuela, Israel, España, Italia, Cuba, Bolivia, Guatemala y Ucrania, entre otros. Los ofrecimientos fueron diversos: desde equipos especializados de búsqueda y rescate, como los 47 rescatistas que Ecuador puso a disposición de Colombia, hasta personal médico, asistencia técnica e insumos humanitarios.
Mientras algunos países comenzaron a movilizar recursos y equipos hacia Colombia, otros encontraron obstáculos para hacer efectiva su oferta. Es precisamente en este punto donde comienzan los cuestionamientos sobre una posible selección de la ayuda internacional por parte del nuevo Gobierno.
Algunos de los ofrecimientos que avanzaron con rapidez fueron los de El Salvador, que anunció el envío de dos aviones con 100 toneladas de ayuda humanitaria preparadas según las necesidades transmitidas por las autoridades colombianas, mientras que Emiratos Árabes Unidos confirmó el envío de un puente aéreo con insumos para los damnificados. Israel, por su parte, ofreció asistencia especializada y fue incluido posteriormente entre los países cuyos equipos de rescate serían recibidos por Colombia, junto con Estados Unidos, Ecuador y El Salvador.
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En contraste, hubo ayudas que no tuvieron el mismo desenlace. El caso más evidente es el del Gobierno mexicano, que tenía preparadas toneladas de insumos y un contingente de 255 militares para apoyar las labores de búsqueda y rescate, pero aseguró que su despliegue dependía de una solicitud oficial del Gobierno colombiano, que hasta entonces no había llegado. Una situación similar fue expuesta por Naciones Unidas, que señaló que tampoco había recibido una petición de ayuda por parte de las autoridades colombianas, pese a que el sistema humanitario estaba preparado para prestar asistencia. China, por su parte, llegó a pedir públicamente que Colombia estableciera un canal oficial para coordinar la ayuda internacional. Su embajador en el país, Zhu Jingyang, solicitó al Gobierno que diera a conocer al funcionario encargado de gestionar esa asistencia.
Esperamos que el gobierno colombiano dé a conocer de inmediato el nombre del funcionario y su enlace oficial para coordinar la asistencia internacional, a favor de los damnificados del terremoto.
Ayudennos a transmitir este mensaje, por favor, ¡es urgente!— Zhu Jingyang (@zhu_jingyang) August 11, 2026
La explicación que comenzó a conocerse en las horas siguientes apuntaba, sin embargo, a un criterio más específico: el Gobierno no estaría cerrando la puerta a la ayuda internacional en general, sino a la llegada de determinados equipos extranjeros de búsqueda y rescate. Según El País, el entonces director de la Unidad Nacional para la Gestión del Riesgo de Desastres (UNGRD), Javier Pava, consideraba que el país tenía capacidad suficiente para atender estas labores, con 23 equipos de búsqueda y rescate urbano (USAR) disponibles. Por eso, su recomendación habría sido priorizar otro tipo de asistencia, como hospitales de campaña, alimentos y tecnología para la gestión de desastres.
Pero la decisión no fue definitiva. En las horas siguientes, Colombia terminó solicitando equipos de búsqueda y rescate de Estados Unidos, Israel, Ecuador y El Salvador, mientras que otros ofrecimientos quedaron por fuera. El cambio se produjo después de la salida de Pava de la dirección de la UNGRD y la llegada de David Tamayo al cargo. De acuerdo con El País, entre los factores considerados para aceptar o descartar algunos equipos estaban sus certificaciones y las capacidades que ya tenía Colombia para responder a la emergencia.
Ante los cuestionamientos, el canciller Omar Bula salió a defender la actuación del Gobierno y negó que Colombia haya rechazado ayuda internacional por razones políticas. Según explicó, el país ha trabajado con los gobiernos y organismos que han ofrecido asistencia y las decisiones sobre qué tipo de apoyo recibir responden a las necesidades identificadas durante la emergencia. “Trabajamos sin ninguna consideración ideológica ni política”, aseguró Bula, quien también señaló que Colombia ha recibido cooperación de distintos países, independientemente de sus posiciones políticas.
Sin embargo, mientras el Gobierno sostiene que no ha rechazado asistencia y que las decisiones responden únicamente a criterios técnicos, el caso mexicano volvió a poner en discusión los requisitos para que los equipos extranjeros puedan ingresar al país. La presidenta Claudia Sheinbaum aseguró este 13 de agosto que una brigada de rescatistas de la Secretaría de la Defensa Nacional de México permanece a la espera de autorización para entrar a Colombia. Según explicó, el equipo está certificado internacionalmente y se encuentra listo desde el 10 de agosto, pero las autoridades colombianas habrían solicitado una acreditación adicional para permitir su ingreso. “Están certificados, pero piden otra certificación”, afirmó Sheinbaum al referirse a la situación. La presidenta mexicana cuestionó la exigencia colombiana y reiteró que su Gobierno mantiene disponible el contingente para apoyar las labores de búsqueda y rescate.
El episodio vuelve a dejar sobre la mesa una pregunta que atraviesa la respuesta internacional al terremoto: ¿qué criterios está utilizando Colombia para determinar qué equipos extranjeros pueden ingresar y cuáles deben permanecer a la espera?
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Antes de hablar de Pressure, conviene dejar algo claro. Quien espere una película sobre Dwight D. Eisenhower probablemente salga decepcionado. El general aparece, toma la decisión más importante de la Segunda Guerra Mundial y carga sobre sus hombros el peso del desembarco en Normandía. Sin embargo, esta no es su historia. Tampoco pretende construir un retrato psicológico del hombre que cambió el rumbo de la guerra. Su verdadero protagonista es alguien a quien la historia suele relegar a un segundo plano: El meteorólogo James Stagg.
Basada en la obra de teatro de David Haig, Pressure recupera las 72 horas previas al Día D, esa invasión infernal registrada con absoluto realismo en el clásico del cine de guerra Saving Private Ryan. Mientras toda la cúpula militar presiona para lanzar la invasión cuanto antes, Stagg sostiene una posición difícil, ya que el clima puede convertir la operación en un desastre. Frente a él está el meteorólogo estadounidense Irving Krick (Chris Messina), cercano a Eisenhower y convencido de que las condiciones serán favorables. Lo que sigue no es una batalla de egos, sino un choque entre dos formas de entender la ciencia y la toma de decisiones.
Anthony Maras, el director de esa otra estupenda recreación histórica conocida como Hotel Mumbai, entiende que el suspenso no siempre nace de las explosiones. Aquí surge de mapas, informes meteorológicos y discusiones donde cada palabra puede significar la vida o la muerte de miles de soldados. Sabemos cómo termina la historia, pero eso no reduce la tensión. Al contrario, la incrementa porque conocemos la magnitud de lo que está en juego.
Andrew Scott vuelve a demostrar por qué es uno de los actores más extraordinarios de la actualidad. El actor asume a James Stagg como un hombre reservado, que ama a su esposa a la que deja sola y embarazada para cumplir con su encargo, poco dado a los grandes discursos, pero inquebrantable cuando la evidencia respalda sus argumentos. Scott consigue que un meteorólogo resulte más apasionante que muchos héroes de guerra. Brendan Fraser cumple como Eisenhower, aunque el personaje está deliberadamente construido como el hombre que escucha, sopesa y finalmente decide, no como el centro emocional del relato.
Aunque el peso dramático recae sobre Andrew Scott, Damian Lewis y Kerry Condon aportan matices importantes al relato. Lewis interpreta a Bernard Montgomery como el militar impaciente que ve cualquier retraso como una amenaza para toda la operación, encarnando la presión constante que rodea a Eisenhower. Condon, por su parte, evita que Kay Summersby sea una simple secretaria. Su personaje funciona como el puente entre los hombres que discuten estrategias y el líder que debe tomar la decisión final, aportando serenidad, inteligencia y un oportuno contrapunto en un entorno dominado por el ego y la autoridad masculina. Ninguno roba protagonismo, pero ambos enriquecen un conflicto que, de otro modo, correría el riesgo de sentirse demasiado hermético.
Lo más interesante de Pressure es que recupera una forma de hacer cine que parecía olvidada. Su origen teatral nunca desaparece y eso juega a su favor. La película recuerda esos dramas clásicos como 12 angry Men, donde el conflicto nace de las ideas y no de la acción. Aquí también hay un hombre dispuesto a sostener una verdad mientras todos los demás quieren escuchar una respuesta distinta.
Seguramente habrá quien la etiquete como una película “para viejos” porque carece del vértigo visual del cine bélico contemporáneo. Pero las películas no tienen edad. Tienen curiosidad. Y Pressure invita precisamente a eso, a descubrir un episodio poco conocido de la Segunda Guerra Mundial para recordarnos que las decisiones verdaderamente importantes no se toman desde el entusiasmo ni desde la presión del momento. Se toman con evidencia, con argumentos y con el coraje de aceptar que, incluso cuando todos exigen certezas, la honestidad consiste en reconocer lo que todavía no se sabe.
The post Crítica: <i>Día D: Bajo presión (Pressure)</i> appeared first on Rolling Stone en Español.