{"version":"1.0","provider_name":"TAIPEI","provider_url":"https:\/\/taipeirevista.com","author_name":"\u00c1lvaro Bretal","author_url":"https:\/\/taipeirevista.com\/index.php\/author\/gdg85cx6lz\/","title":"Encerrados en el agujero interior - TAIPEI","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"XSoQRoiXUK\"><a href=\"https:\/\/taipeirevista.com\/index.php\/2025\/06\/20\/encerrados-en-el-agujero-interior\/\">Encerrados en el agujero interior<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/taipeirevista.com\/index.php\/2025\/06\/20\/encerrados-en-el-agujero-interior\/embed\/#?secret=XSoQRoiXUK\" width=\"600\" height=\"338\" title=\"&#8220;Encerrados en el agujero interior&#8221; &#8212; TAIPEI\" data-secret=\"XSoQRoiXUK\" 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\/06\/Kindergarten-Jorge-Polaco-1989.mkv_snapshot_00.14.50_2025.06.17_15.05.23.png","thumbnail_width":682,"thumbnail_height":518,"description":"Tal vez valga la pena distinguir entre dos tipos de fe\u00edsmo: el que aprovecha una tendencia o una moda, y entonces ofrece pinceladas gruesas, detalles de monstruosidad, abordajes t\u00edmidos que apenas ocultan la verg\u00fcenza \u2014cineastas que, sospechamos, filmar\u00edan algo diferente si el viento soplara en otra direcci\u00f3n\u2014, y, por otra parte, el que le da forma a un cuerpo de obra, el que gracias al empecinamiento y una visi\u00f3n del mundo desarrolla un estilo distinguible. Esa es la distancia fundamental entre \"Los insomnes\" (1986), de\u00a0Carlos Orgambide, y \"Kindergarten\" (1989), de Jorge Polaco(...)"}