Wismichu and the empty sandwich
Since it was announced that “Bocadillo” , the supposed first film of the Spanish youtuber Ismael Prego, popularly known as Wismichu, was going to be screened at the Sitges Festival, many began to smoke in pipes. They were already critics to whom the millenial wave has taken them greater and skeptical, followers of the festival that accept better the zombie bacchanalia than to the “children of Internet”, or enemies of the own Wismichu in the Network, desirous of hiding some thousands of followers Appropriating his brand, the truth is that the screening of the film in the sanctuary of fantasy cinema seemed to have reached the category of heresy. Meanwhile, the tickets had been worn out for days, before what was expected one of those historical projections that in few festivals proliferate as much as in Sitges.
You could expect many things from “Bocadillo”, but probably not what ended up being the “movie”. In the frontal clash of the work with the ardent expectations of his followers (and his detractors) is where “Bocadillo” reaches its true identity: that of a rebellious gesture, that of a provocation. It’s like planting a urinal in an art exhibition, labeling it “La fuente” and selling it as a work. It’s like sending Rodolfo Chiquilicuatre to Eurovision. Or how to offer a mortadella sandwich on the El Bulli menu. It is the desecration of what for many is a temple.
YOU COULD EXPECT MANY THINGS OF “SANDWICH”, BUT NOT WHAT HAS BEEN FINISHED BEING THE “MOVIE”
“Bocadillo” comes to Filmin as if it were the remains of a wreck, to give testimony of a terrorist attack. The Festival of Sitges must be at this moment calming the spectators who demand the price of the entrance because they did not pay so that they were taken to the hair. Wismichu, meanwhile, has subjected his popularity to a crash test by testing the patience of his fans. The “no film” remains then a work passed by the Bansky crusher, remnant of one of the biggest scandals in the history of Sitges.