{"id":7884,"date":"2026-09-12T22:39:54","date_gmt":"2026-09-12T22:39:54","guid":{"rendered":"https:\/\/www.tegustamuchoelcine.com\/?p=7884"},"modified":"2026-10-07T15:14:02","modified_gmt":"2026-10-07T15:14:02","slug":"venecia-2026-palmares-woman-unknown-gana-el-leon-de-oro","status":"publish","type":"post","link":"https:\/\/www.tegustamuchoelcine.com\/2026\/09\/venecia-2026-palmares-woman-unknown-gana-el-leon-de-oro.html","title":{"rendered":"VENECIA 2026. Palmares.  \u2018Woman Unknown\u2019 gana el Leon de Oro"},"content":{"rendered":"<p>&nbsp;<\/p>\n<div class=\"separator\" style=\"clear: both; text-align: center;\"><a href=\"https:\/\/blogger.googleusercontent.com\/img\/b\/R29vZ2xl\/AVvXsEjF1QHqvyOk43pqhzPHx3Ol9cPAxzDmEdpV9fVa2a2NM6BZW-_2YRHG1-QkdPItJaifm0U_6qGTS4wmtVypSDd1W9mLfQHNPYpdXH581BChgXR9fe0ugOgMV0nqT5GOPgnkVOLgLXsy25eLE97-eVTzg4BrINtTnz3lps0vCrOoAa4KOiXH1FR7nmWk8cA\/s2048\/HSCbhW4W0Agl7ic.jfif\" imageanchor=\"1\" style=\"margin-left: 1em; margin-right: 1em;\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" border=\"0\" data-original-height=\"1366\" data-original-width=\"2048\" height=\"426\" src=\"https:\/\/www.tegustamuchoelcine.com\/wp-content\/uploads\/2026\/09\/image-27522480ff6af131d53e722110b2342b.jpg\" width=\"640\" \/><\/a><\/div>\n<div class=\"separator\" style=\"clear: both; text-align: center;\"><span style=\"text-align: left;\"><span style=\"font-size: x-small;\">May el-Toukhy recibe el Le\u00f3n de Oro. Foto cortes\u00eda Biennale.<\/span><\/span><\/div>\n<div class=\"separator\" style=\"clear: both; text-align: center;\"><\/div>\n<\/p>\n<p><strong>La pel\u00edcula de May el-Toukhy, coproducci\u00f3n de Dinamarca, Suecia y Letonia, gana el Le\u00f3n de Oro en una edici\u00f3n en la que tambi\u00e9n triunfan Lee Chang-dong, Ilya Khrzhanovsky y el documental \u2018NAZA\u2019. Las secciones paralelas reconocen a cineastas de Argentina, Colombia, Brasil, Francia e Italia<span><\/span><\/strong><\/p>\n<p><!--more--><\/p>\n<p>La 83\u00aa edici\u00f3n del Festival de Cine de Venecia ha cerrado este s\u00e1bado 12 de septiembre con un palmar\u00e9s de fuerte presencia internacional y una notable atenci\u00f3n a las nuevas voces del cine. El Le\u00f3n de Oro ha sido para <strong><em>Woman Unknown<\/em><\/strong>, de la danesa <strong>May el-Toukhy<\/strong>, una producci\u00f3n de <strong>Dinamarca, Suecia y Letonia<\/strong>. Su protagonista, <strong>Mathilde Arcel<\/strong>, tambi\u00e9n ha recibido la Copa Volpi a la mejor actriz.<\/p>\n<p>El <strong>Gran Premio del Jurado<\/strong> ha reca\u00eddo en <strong><em>Possible Love<\/em><\/strong>, del surcoreano <strong>Lee Chang-dong<\/strong>, mientras que el Le\u00f3n de Plata a la mejor direcci\u00f3n ha distinguido a <strong>Ilya Khrzhanovsky por <em>DAU<\/em><\/strong>, producci\u00f3n de <strong>Alemania, Francia y Suecia<\/strong>. El Premio Especial del Jurado ha ido a <strong><em>NAZA<\/em><\/strong>, documental brit\u00e1nico dirigido por <strong>Yuval Abraham y Rachel Szor<\/strong>.<\/p>\n<p><\/p>\n<div class=\"separator\" style=\"clear: both; text-align: center;\"><a href=\"https:\/\/blogger.googleusercontent.com\/img\/b\/R29vZ2xl\/AVvXsEgMt1CX9l3cRCRmOP0SzA5Bud1EhdeGyWGNJiR5Efck55b3N83sQMRvY2cFB6rMiTvRi9vk5kM3zx7otQ_8rS71-SQmYhsnmf18N8Q1vQLkpvo94lfzkpyg-kru6SNO208ygQrxvoVSbPtwCUeXkfslP_xBgk1lILkKjl-3SPjhBQfuLEFhYiEuhUftWYE\/s662\/images%20(23).jfif\" imageanchor=\"1\" style=\"margin-left: 1em; margin-right: 1em;\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" border=\"0\" data-original-height=\"662\" data-original-width=\"463\" height=\"640\" src=\"https:\/\/www.tegustamuchoelcine.com\/wp-content\/uploads\/2026\/09\/image-a70e64e5a2114a9ab0288caaf8bffbd6.jpg\" width=\"448\" \/><\/a><\/div>\n<p><\/p>\n<p>La interpretaci\u00f3n masculina ha reconocido a <strong>John Malkovich<\/strong> por <em>Wild Horse Nine<\/em>, coproducci\u00f3n de <strong>Estados Unidos y Chile<\/strong>, mientras que el premio al mejor guion ha sido para <strong>St\u00e9phane Briz\u00e9, Coralie Amedeo y Olivier Gorce<\/strong> por <em>Un bon petit soldat<\/em>, de <strong>Francia<\/strong>. El Premio Marcello Mastroianni a una joven int\u00e9rprete ha distinguido a <strong>Malou Khebizi<\/strong> por <em>15\/18 (A Place To Heal)<\/em>, tambi\u00e9n francesa.<\/p>\n<h2>El palmar\u00e9s principal<\/h2>\n<ul>\n<li>\n<p><strong>Le\u00f3n de Oro a la mejor pel\u00edcula:<\/strong> <em>Woman Unknown<\/em>, May el-Toukhy \u2014 <strong>Dinamarca, Suecia y Letonia<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>Gran Premio del Jurado:<\/strong> <em>Possible Love<\/em>, Lee Chang-dong \u2014 <strong>Corea del Sur<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>Le\u00f3n de Plata a la mejor direcci\u00f3n:<\/strong> Ilya Khrzhanovsky, por <em>DAU<\/em> \u2014 <strong>Alemania, Francia y Suecia<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>Premio Especial del Jurado:<\/strong> <em>NAZA<\/em>, Yuval Abraham y Rachel Szor \u2014 <strong>Reino Unido<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>Copa Volpi a la mejor actriz:<\/strong> Mathilde Arcel, por <em>Woman Unknown<\/em> \u2014 <strong>Dinamarca, Suecia y Letonia<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>Copa Volpi al mejor actor:<\/strong> John Malkovich, por <em>Wild Horse Nine<\/em> \u2014 <strong>Estados Unidos y Chile<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>Mejor guion:<\/strong> <em>Un bon petit soldat<\/em>, St\u00e9phane Briz\u00e9, Coralie Amedeo y Olivier Gorce \u2014 <strong>Francia<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>Premio Marcello Mastroianni:<\/strong> Malou Khebizi, por <em>15\/18 (A Place To Heal)<\/em> \u2014 <strong>Francia<\/strong>.<\/p>\n<\/li>\n<\/ul>\n<h2>Orizzonti: el premio para el cine de frontera<\/h2>\n<p>En <strong>Orizzonti<\/strong>, dedicada a lenguajes cinematogr\u00e1ficos m\u00e1s innovadores, el premio a la mejor pel\u00edcula ha sido para <strong><em>Un d\u00e9tour par Diane<\/em><\/strong>, de <strong>Ann Sirot y Rapha\u00ebl Balboni<\/strong>, producci\u00f3n de <strong>B\u00e9lgica y Francia<\/strong>.<\/p>\n<p><\/p>\n<div class=\"separator\" style=\"clear: both; text-align: center;\"><a href=\"https:\/\/blogger.googleusercontent.com\/img\/b\/R29vZ2xl\/AVvXsEgNhTL3GbM9e8uozcG4vrXRY-mTidl6ZBpPgbya3emNxgRe376dfysQzKf0PtkxYhFt_Hkqn2tKvTLmzLQBr0wjMt9j4LxOxR0GYUCb7wXputS8EyrUYa_UYofiRoh6dvq-Lbx1W31uSxvAvj7W5TghXQNUpsaRED7gVl_FbnSONZvXQokUcoLjPNnbb00\/s2048\/HSCKdd7aYAA655f.jfif\" imageanchor=\"1\" style=\"margin-left: 1em; margin-right: 1em;\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" border=\"0\" data-original-height=\"1366\" data-original-width=\"2048\" height=\"426\" src=\"https:\/\/www.tegustamuchoelcine.com\/wp-content\/uploads\/2026\/09\/image-48fb669d15a2c7c3a9b891f34da6bd95.jpg\" width=\"640\" \/><\/a><\/div>\n<div class=\"separator\" style=\"clear: both; text-align: center;\"><span style=\"font-family: times; font-size: x-small;\"><span class=\"css-1jxf684 r-bcqeeo r-1ttztb7 r-qvutc0 r-poiln3\" style=\"background-color: white; border: 0px solid black; box-sizing: border-box; color: #0f1419; display: inline; font-feature-settings: inherit; font-kerning: inherit; font-language-override: inherit; font-optical-sizing: inherit; font-size-adjust: inherit; font-stretch: inherit; font-variant-alternates: inherit; font-variant-east-asian: inherit; font-variant-emoji: inherit; font-variant-numeric: inherit; font-variant-position: inherit; font-variation-settings: inherit; line-height: inherit; list-style: none; margin: 0px; min-width: 0px; overflow-wrap: break-word; padding: 0px; position: relative; text-align: start; white-space: pre-wrap;\">Premio Orizzonti al mejor film: UN D\u00c9TOUR PAR DIANE (DIANE IN THE LOOP) de los directores Anna Sirot  Rapha\u00ebl Baldoni. Foto cortes\u00eda Biennale<\/span><\/span><\/div>\n<p><\/p>\n<p>La mejor direcci\u00f3n ha correspondido a <strong>Jacqueline Lentzou<\/strong> por <em>A Day in the Life of Jo: Chapter Phaedra<\/em>, de <strong>Grecia, Alemania y Francia<\/strong>. El Premio Especial del Jurado ha distinguido <em>La maison du vent<\/em>, de <strong>Auguste Bernard Kouemo Yanghu<\/strong>, una coproducci\u00f3n de <strong>Camer\u00fan, Francia, B\u00e9lgica, Ben\u00edn, Arabia Saud\u00ed y Catar<\/strong>.<\/p>\n<p>En interpretaci\u00f3n, <strong>Laleh Marzban<\/strong> ha ganado por <em>Moragheb (Falling House)<\/em>, de <strong>Ir\u00e1n, Estados Unidos y Alemania<\/strong>, mientras que <strong>Riccardo Scamarcio<\/strong> ha sido elegido mejor actor por <em>I figli della scimmia<\/em>, de <strong>Italia<\/strong>.<\/p>\n<h2>El Le\u00f3n del Futuro tambi\u00e9n viaja a \u2018La maison du vent\u2019<\/h2>\n<p>El <strong>Premio Luigi De Laurentiis \u2014 Le\u00f3n del Futuro<\/strong>, reservado a una primera pel\u00edcula, ha reca\u00eddo asimismo en <strong><em>La maison du vent<\/em><\/strong>, de Auguste Bernard Kouemo Yanghu. El filme representa una producci\u00f3n internacional en la que participan <strong>Camer\u00fan, Francia, B\u00e9lgica, Ben\u00edn, Arabia Saud\u00ed y Catar<\/strong>.<\/p>\n<h2>Giornate degli Autori: triunfo argentino<\/h2>\n<p>Las <strong>Giornate degli Autori<\/strong>, una de las dos grandes secciones paralelas de Venecia, han otorgado su principal reconocimiento a <strong><em>A veces me entra tristeza, otras veces rebeli\u00f3n<\/em><\/strong>, de la argentina <strong>Mar\u00eda Aparicio<\/strong>, coproducci\u00f3n de <strong>Argentina y Espa\u00f1a<\/strong>.<\/p>\n<p>La pel\u00edcula se lleva el <strong>GdA Director&#8217;s Award<\/strong>, mientras que el <strong>Europa Cinemas Label<\/strong> ha sido para <em>Une femme aujourd&#8217;hui<\/em>, de <strong>Robert Gu\u00e9diguian<\/strong>, producci\u00f3n de <strong>Francia e Italia<\/strong>.<\/p>\n<p>El <strong>Premio del P\u00fablico<\/strong> ha reca\u00eddo en <em>Balcanica<\/em>, de <strong>Nicola Sorcinelli<\/strong>, de <strong>Italia<\/strong>.<\/p>\n<h2>La Semana de la Cr\u00edtica descubre a \u2018Prima della guerra\u2019<\/h2>\n<p>En la <strong>41\u00aa Settimana Internazionale della Critica<\/strong>, la gran vencedora ha sido <strong><em>Prima della guerra (Before the War)<\/em><\/strong>, de <strong>Tommaso Usberti<\/strong>, coproducci\u00f3n de <strong>Francia e Italia<\/strong>, que ha obtenido el Gran Premio IWONDERFULL y el Premio Luciano Sovena a la producci\u00f3n independiente.<\/p>\n<p>El <strong>Premio del P\u00fablico<\/strong> ha sido para <em>Our Share of Sand<\/em>, de <strong>Shalini Adnani<\/strong>, producci\u00f3n de <strong>India, Reino Unido y Grecia<\/strong>. El Premio Mario Serandrei a la mejor contribuci\u00f3n t\u00e9cnica ha distinguido <em>The End of Times<\/em>, de <strong>Bibiana Rojas G\u00f3mez y Juan David C\u00e1rdenas<\/strong>, de <strong>Colombia<\/strong>.<\/p>\n<p>En los cortometrajes de <strong>SIC@SIC<\/strong>, el premio principal ha sido para <em>E-I-E-I-O<\/em>, de <strong>Noemi Arfuso<\/strong>, de <strong>Italia<\/strong>; la mejor direcci\u00f3n ha correspondido a <em>Revolver<\/em>, de <strong>Paoli De Luca<\/strong>, tambi\u00e9n italiana.<\/p>\n<h2>FIPRESCI: \u2018Possible Love\u2019 conquista tambi\u00e9n a la cr\u00edtica<\/h2>\n<p>La <strong>Federaci\u00f3n Internacional de la Prensa Cinematogr\u00e1fica (FIPRESCI)<\/strong> ha concedido su premio a la mejor pel\u00edcula de la competici\u00f3n a <strong><em>Possible Love<\/em><\/strong>, de Lee Chang-dong, de <strong>Corea del Sur<\/strong>.<\/p>\n<p>La cr\u00edtica internacional tambi\u00e9n ha premiado en Orizzonti a <strong><em>The Color of the Sun<\/em><\/strong>, de <strong>Xavier Tera<\/strong>.<\/p>\n<p>El doble reconocimiento a <em>Possible Love<\/em> \u2014Gran Premio del Jurado y FIPRESCI\u2014 convierte a la pel\u00edcula surcoreana en una de las grandes triunfadoras de la edici\u00f3n.<\/p>\n<h2>Queer Lion: premio compartido para Reino Unido y Brasil<\/h2>\n<p>El <strong>Queer Lion<\/strong>, que este a\u00f1o ha celebrado su vig\u00e9sima edici\u00f3n, ha sido concedido <strong>ex aequo<\/strong> a dos pel\u00edculas.<\/p>\n<p>Por un lado, <strong><em>Queer Edward II<\/em><\/strong>, de <strong>Theo Rollason<\/strong>, producci\u00f3n del <strong>Reino Unido<\/strong>. Por otro, <strong><em>London<\/em><\/strong>, de <strong>Victor Di Marco y M\u00e1rcio Picoli<\/strong>, de <strong>Brasil<\/strong>.<\/p>\n<p>El jurado ha destacado en ambas pel\u00edculas una aproximaci\u00f3n al cuerpo, el deseo y la identidad queer desde posiciones radicalmente diferentes. <em>London<\/em>, adem\u00e1s, formaba parte de la competici\u00f3n de la Semana de la Cr\u00edtica.<\/p>\n<h2>Los otros premios de la cr\u00edtica y las asociaciones<\/h2>\n<p>El amplio palmar\u00e9s paralelo de Venecia ha repartido tambi\u00e9n reconocimientos entre pel\u00edculas de la competici\u00f3n, Orizzonti y las secciones independientes. Entre los m\u00e1s destacados:<\/p>\n<ul>\n<li>\n<p><strong>Premio ARCA CinemaGiovani:<\/strong> <em>Possible Love<\/em>, Lee Chang-dong \u2014 <strong>Corea del Sur<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>Mejor pel\u00edcula italiana ARCA:<\/strong> <em>L&#8217;estranea<\/em>, Paolo Strippoli \u2014 <strong>Italia<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>Premio Brian:<\/strong> <em>Makikira\u00e1n Po<\/em>, Lav Diaz \u2014 <strong>Filipinas<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>CICT-UNESCO Enrico Fulchignoni:<\/strong> <em>Dear Ajayi<\/em>, Damilola Orimogunje \u2014 <strong>Nigeria<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>Cinema &amp; Arts:<\/strong> ex aequo <em>Look Back<\/em>, Hirokazu Kore-eda \u2014 <strong>Jap\u00f3n<\/strong>, y <em>Shumei: The Living Legacy of Kabuki<\/em>, Takashi Miike \u2014 <strong>Jap\u00f3n<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>CinemaSar\u00e0:<\/strong> <em>Look Back<\/em>, Hirokazu Kore-eda \u2014 <strong>Jap\u00f3n<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>Croce Rossa Italiana:<\/strong> <em>15\/18<\/em>, C\u00e9dric Kahn \u2014 <strong>Francia<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>Edipo Re:<\/strong> <em>A Day in the Life of Jo: Chapter Phaedra<\/em>, Jacqueline Lentzou \u2014 <strong>Grecia, Alemania y Francia<\/strong>; premio de estudiantes para <em>NAZA<\/em> \u2014 <strong>Reino Unido<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>FEDIC:<\/strong> <em>Serpenti<\/em>, Roberto De Paolis Maino \u2014 <strong>Italia<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>Green Drop Award:<\/strong> ex aequo <em>NAZA<\/em> \u2014 <strong>Reino Unido<\/strong>, y <em>L&#8217;estranea<\/em> \u2014 <strong>Italia<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>Interfilm Award:<\/strong> <em>Un bon petit soldat<\/em> \u2014 <strong>Francia<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>Leoncino d&#8217;Oro:<\/strong> <em>Mr. Nelson, Did You Kill People?<\/em>, Shinya Tsukamoto \u2014 <strong>Jap\u00f3n<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>Carlo Lizzani:<\/strong> <em>Balcanica<\/em>, Nicola Sorcinelli \u2014 <strong>Italia<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>NETPAC:<\/strong> <em>Lovers in the Blue Night<\/em>, Anuparna Roy \u2014 <strong>India<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>Francesco Pasinetti:<\/strong> <em>Ritorno a Buenos Aires<\/em>, Marco Bechis \u2014 <strong>Argentina, Italia y Espa\u00f1a<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>SIGNIS:<\/strong> <em>Look Back<\/em>, Hirokazu Kore-eda \u2014 <strong>Jap\u00f3n<\/strong>.<\/p>\n<\/li>\n<li>\n<p><strong>UNIMED:<\/strong> <em>Look Back<\/em>, Hirokazu Kore-eda \u2014 <strong>Jap\u00f3n<\/strong>.<\/p>\n<\/li>\n<\/ul>\n<h2>Un palmar\u00e9s que mira al presente<\/h2>\n<p>M\u00e1s all\u00e1 del Le\u00f3n de Oro, el palmar\u00e9s de Venecia 2026 deja una fotograf\u00eda bastante definida de las preocupaciones del cine contempor\u00e1neo: memoria hist\u00f3rica, desigualdad, guerra, identidad, cuerpo y transformaci\u00f3n social.<\/p>\n<p>El triunfo de <strong><em>Woman Unknown<\/em><\/strong> sit\u00faa a May el-Toukhy en el centro de la conversaci\u00f3n, mientras que <em>Possible Love<\/em> confirma el peso internacional de Lee Chang-dong. El reconocimiento a <em>NAZA<\/em>, el doble premio de <em>Possible Love<\/em> y la presencia de pel\u00edculas latinoamericanas en las secciones paralelas completan un palmar\u00e9s menos dependiente del cine comercial y m\u00e1s atento a las distintas geograf\u00edas del cine de autor.<\/p>\n<p>Venecia cierra as\u00ed su 83\u00aa edici\u00f3n con una competici\u00f3n principal dominada por Europa y Asia, pero con las secciones paralelas ampliando considerablemente el mapa: de <strong>Argentina a Colombia, Brasil, India, Camer\u00fan, Nigeria y Filipinas<\/strong>, junto a las cinematograf\u00edas europeas que siguen teniendo una presencia decisiva en el Lido.<\/p>\n<div class=\"intersub-ai-chat\" style=\"-webkit-box-align: initial; -webkit-box-decoration-break: initial; -webkit-box-direction: initial; -webkit-box-flex: initial; -webkit-box-ordinal-group: initial; -webkit-box-orient: initial; -webkit-box-pack: initial; -webkit-box-reflect: initial; -webkit-font-smoothing: initial; -webkit-line-break: initial; 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Foto cortes\u00eda Biennale. La pel\u00edcula de May el-Toukhy, coproducci\u00f3n de Dinamarca, Suecia y Letonia, gana el Le\u00f3n de Oro en una edici\u00f3n en la que tambi\u00e9n triunfan Lee Chang-dong, Ilya Khrzhanovsky y el documental \u2018NAZA\u2019. Las secciones paralelas reconocen a cineastas de Argentina, Colombia, Brasil, Francia e &#8230; <a title=\"VENECIA 2026. Palmares.  \u2018Woman Unknown\u2019 gana el Leon de Oro\" class=\"read-more\" href=\"https:\/\/www.tegustamuchoelcine.com\/2026\/09\/venecia-2026-palmares-woman-unknown-gana-el-leon-de-oro.html\" aria-label=\"Leer m\u00e1s sobre VENECIA 2026. Palmares.  \u2018Woman Unknown\u2019 gana el Leon de Oro\">Leer m\u00e1s<\/a><\/p>\n","protected":false},"author":2,"featured_media":7885,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2],"tags":[21],"class_list":["post-7884","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-festivales","tag-cine"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.tegustamuchoelcine.com\/wp-json\/wp\/v2\/posts\/7884","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.tegustamuchoelcine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.tegustamuchoelcine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.tegustamuchoelcine.com\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.tegustamuchoelcine.com\/wp-json\/wp\/v2\/comments?post=7884"}],"version-history":[{"count":1,"href":"https:\/\/www.tegustamuchoelcine.com\/wp-json\/wp\/v2\/posts\/7884\/revisions"}],"predecessor-version":[{"id":7888,"href":"https:\/\/www.tegustamuchoelcine.com\/wp-json\/wp\/v2\/posts\/7884\/revisions\/7888"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.tegustamuchoelcine.com\/wp-json\/wp\/v2\/media\/7885"}],"wp:attachment":[{"href":"https:\/\/www.tegustamuchoelcine.com\/wp-json\/wp\/v2\/media?parent=7884"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.tegustamuchoelcine.com\/wp-json\/wp\/v2\/categories?post=7884"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.tegustamuchoelcine.com\/wp-json\/wp\/v2\/tags?post=7884"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}