{"version":"1.0","provider_name":"TAIPEI","provider_url":"https:\/\/taipeirevista.com","author_name":"Taipei \/ Cr\u00edtica de cine","author_url":"https:\/\/taipeirevista.com\/index.php\/author\/taipei\/","title":"Play-Doc 2025 - Competici\u00f3n internacional - TAIPEI","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"2zCbuQ7Mox\"><a href=\"https:\/\/taipeirevista.com\/index.php\/2025\/05\/12\/play-doc-2025-competicion-internacional\/\">Play-Doc 2025 &#8211; Competici\u00f3n internacional<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/taipeirevista.com\/index.php\/2025\/05\/12\/play-doc-2025-competicion-internacional\/embed\/#?secret=2zCbuQ7Mox\" width=\"600\" height=\"338\" title=\"&#8220;Play-Doc 2025 &#8211; Competici\u00f3n internacional&#8221; &#8212; TAIPEI\" data-secret=\"2zCbuQ7Mox\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script>\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/taipeirevista.com\/wp-includes\/js\/wp-embed.min.js\n<\/script>\n","thumbnail_url":"https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/05\/fogo-do-vento.1.jpg","thumbnail_width":1275,"thumbnail_height":765,"description":"El borramiento de los l\u00edmites entre documental y ficci\u00f3n ha sido uno de los procedimientos predilectos del cine de festivales en lo que va del siglo XXI. Es frecuente que uno observe una pel\u00edcula y no sepa si lo que ve es una puesta en escena o un registro no intervenido. Es la est\u00e9tica predominante (o una de ellas). Todo esto podr\u00eda suscitar, en ocasiones, una serie de consideraciones \u00e9ticas (y comerciales, esto es, del comercio propio no del mainstream sino del circuito arthouse) respecto de enga\u00f1os y manipulaciones(...)"}