{"id":1219064,"date":"2025-12-19T04:30:01","date_gmt":"2025-12-19T01:30:01","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1219064"},"modified":"2025-12-19T04:30:01","modified_gmt":"2025-12-19T01:30:01","slug":"punales-por-la-espalda-de-entre-los-muertos-la-tentacion-de-matar-en-el-universo-maga","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1219064","title":{"rendered":"\u2018Pu\u00f1ales por la espalda: de entre los muertos\u2019: la tentaci\u00f3n de matar en el universo MAGA"},"content":{"rendered":"
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Cr\u00edtica de cine<\/a><\/p>\n
Cr\u00edtica<\/span><\/p>\n
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G\u00e9nero de opini\u00f3n que describe, elogia o censura, en todo o en parte, una obra cultural o de entretenimiento. Siempre debe escribirla un experto en la materia<\/div>\n<\/div>\n<\/div>\n<\/div>\n

\u2018Pu\u00f1ales por la espalda: de entre los muertos\u2019: la tentaci\u00f3n de matar en el universo MAGA<\/h1>\n

No hay quien se crea una sola situaci\u00f3n m\u00e1s all\u00e1 del juego de adivinaci\u00f3n en s\u00ed mismo, y de las pinceladas ideol\u00f3gicas que el director esconde en su desarrollo<\/p>\n<\/div>\n

Tr\u00e1iler de ‘Pu\u00f1ales por la espalda: de entre los muertos’<\/div>\n

n “}},”video_agency”:false,”alt_image”:”Tr\u00e1iler de ‘Pu\u00f1ales por la espalda: de entre los muertos'”},”url”:”https:\/\/cloudfront-eu-central-1.images.arcpublishing.com\/prisa\/427VSJ6V5BDX7OWNS5QKQQLLUQ.jpg”,”alt”:”Tr\u00e1iler de ‘Pu\u00f1ales por la espalda: de entre los muertos'”,”ogWidth”:16,”ogHeight”:9,”floating”:false,”preset”:{“crops”:{“414w”:{“width”:414,”height”:233},”640w”:{“width”:828,”height”:466},”1000w”:{“width”:980,”height”:551},”1200w”:{“width”:1200,”height”:675}},”sizes”:”(min-width:1199px) 661px, (min-width: 1001px) calc((100vw – 385px)\/12*7 + 186px), (min-width:767px) 767px, 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02:10<\/div>\n
Tr\u00e1iler de ‘Pu\u00f1ales por la espalda: de entre los muertos’<\/div>\n<\/div>\n<\/div>\n

<\/a><\/div>\n<\/div>\n<\/div>

Josh O’Connor y Daniel Craig, en ‘Pu\u00f1ales por la espalda: de entre los muertos’.<\/figcaption><\/header>\n
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Javier Oca\u00f1a<\/a><\/div>\n
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Por muchos muertos que hubiese alrededor, las novelas de Agatha Christie<\/a> siempre fueron un juego, y no precisamente macabro. De hecho, con el tiempo, sus historias se fueron convirtiendo en recreos culturales y de ocio m\u00e1s o menos expl\u00edcitos. Acudir en Londres a su obra teatral La ratonera<\/i> \u2014la pieza que, desde 1952, ha tenido una m\u00e1s larga pervivencia en la cartelera mundial\u2014 tiene m\u00e1s de pasatiempo autoconsciente que de descubrimiento de un enredo criminal. Cuatro a\u00f1os antes, en 1948, hab\u00eda nacido en EE UU el Cluedo, <\/i>un fabuloso juego de mesa que, generaci\u00f3n tras generaci\u00f3n, mostr\u00f3 al mundo el esparcimiento mental de querer descubrir la identidad de un asesino en torno a un pu\u00f1ado de engolados personajes. Y las pel\u00edculas que adaptaban su f\u00f3rmula de whodunit<\/i> \u2014el t\u00e9rmino ingl\u00e9s que define el subg\u00e9nero, con su contracci\u00f3n en una sola palabra de la frase \u201cqui\u00e9n lo ha hecho\u201d\u2014 se fueron haciendo cada vez m\u00e1s consecuentes con ese car\u00e1cter puramente l\u00fadico. C\u00f3mo no, hasta llegar a la parodia.<\/p>\n