• Goya Awards: Spanish cinema brings the pain of Pedro Almodóvar to glory in the Goya 2020
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"... Cinema communicates beyond borders / Cinema does not understand races or flags / Cinema are stories that deserve to be told / If memory fails, remember them again / Cinema is narrative, it is art and emotion ... / It digs into your retina through the heart / The cinema unites us / The cinema sister us ... " Zas! The gala of the 34th edition of the Goya Awards could not start better. Channel them! Rayden , Ana Mena , the dance team, Silvia Abril and Andreu Buenafuente gave hope from the hand of Manu Guix (responsible for the number) with an opening performance that made it believed that the gala was going to be blessed glory. Neither glory - only for Almodóvar - nor blessed .

What started well ended badly - only the Goya could contradict the wise Spanish proverb. And no, no, it was neither Silvia Abril nor Andreu Buenafuente's fault that they tried in any way they had and for having held a gala that as the minutes went by (and the prizes) was becoming more and more tedious, more Heavy, more pain . It was a gala without dynamism, a gala where the laaaaaaaaargos speeches of the winners halted their journey. And that is movie people! It lengthened so much that the good, even being very good, was forgotten.

Nevertheless, Silvia Abril and Andreu Buenafuente continue to be part of the best presenters who have had the Goya Awards in their 34 years of history. They are lethal, but fair ; they are scathing and benevolent ; They are satirical and kind ; they are balanced and foolish ; They are perfect for this, and, no, they are not to blame. Not even showing their asses are guilty .

Silvia already warned April before the gala began, they were going to try it and they were going to give everything for everything. They tried, but they didn't . They wanted to go further, with more humor, more blows, more criticism and more meat, but not even the sin of the flesh saved them . The expectations were very high.

At last year's gala, Silvia Abril and Andreu Buenafuente returned the hope that a Goya gala could be good, very good. So much so that they achieved their best audience since 2010 - 26.3% -. Last night, they got it again and scored a more than decent 26% share (3,598.00 viewers). A total of 9,193,000 individuals saw at least one minute of the broadcast ; Last year, 9,287,000 spectators. It was predictable, same as next year ...

They are not to blame for the completion being a shame ; they are not to blame for the fact that indiscreet heads appeared across the screen throughout the gala; they are not to blame for the dozens of sound failures (that they tell Pepa Flores's daughter, Celia Flores , during her performance); they are not to blame for choosing a testicular microphone ; They were not to blame for the speeches to lengthen until they made you want to cut your veins; they are not to blame for the Goya gala to last more than a day without bread ; They are not guilty of yawning ; They are not guilty of wanting to turn off the TV on more than one occasion; They are not to blame for the boredom of the armchair . They are guilty of doing and letting go, they are guilty of trying and not having succeeded.

If after 5 minutes of starting the gala they had asked me what you expect, I would have responded without hesitation for a second, I expect something very big . If after 15 minutes they had asked me the same thing, I would have answered, 'I have little hope' . If at the time they had asked me again, I would have said, turn off and let's go .

But suddenly they both appeared or Pablo Alborán appeared, or Jamie Cullum , or Amaia - oh, Amaia - or Antonio Banderas himself dancing and singing, and he told me, 'Come on, it's worth it'. Because if something was worthwhile at the gala last night it was not the vindictive speeches, or the reproaches, or the criticisms, or the blows, that there were and for a while.

What was worth last night were some well-measured and calculated sketches -the one of the popcorn, better to forget it-, a fair and balanced comic scenes , a speech, that more than its content was worth in its form, some musical performances that have nothing to envy Grammy awards , and, above all, the emotion, humility and simplicity of some of the winners, who more than made up for the "thanks" to the powders of Mother Celestina and Father Cucharón.

Because whoever thinks they are going to see a Goya gala and think that it will not be the perfect platform to give some hosts is that they do not know what Goya are , it is that they do not know what Spanish cinema is. He crossed borders on #MeToo as if it were something extraordinary because Hollywood rose in arms against something. Well, look, Spanish cinema has been doing that for decades with the difference that everything Hollywood touches turns it into a spectacle and everything we play turns it into a pain . The Goya gala has always been the gala of reproaches, the gala of criticism, the gala of protest, the gala of complaint, the gala of vindication and the gala of necessity. I am like that, and so I will continue ... I will never change .

It is counted on and with it one enjoys or tries to enjoy the gala. The problem is that at the gala last night there were few speeches that made his message heard . Yes, they were heard, but they were not heard. And they were not heard because as much as one wants freedom in the time and form of thanks, the time has come for the Academy to begin to consider that if you want to keep up with a gala, the eternal empty speeches in the You don't say anything they have to end .

More than limiting time, content . Enough of thanking even the fish in your aquarium! If the stage of a Goya Awards is the best platform for your message to be heard, make us listen to it and let yourself be thankful that the only thing they did was what happened last night: turn the gala into a real firecracker.

It is impossible, however good a presenter you are, to maintain the intensity, rhythm and dynamism in a gala in which each speech lasted an eternity , in a gala in which the armchair looked like a funeral , read, yes It was as if they had been shrouded! In an armchair that he did not want or did not know that they are the protagonists, that they are the reason for the Goya Awards . They did not enter the game of anything Silvia Abril and Andreu Buenafuente had prepared, they transmitted absolutely nothing, they were like giant super zings -thanks Nacho Díaz- motionless and lost in their inner world.

They had trouble finding out about things, reacting, participating ... Hosts, it was your night! It seemed that they were there because they had no other; It seemed that nothing that was said or what Silvia Abril or Andreu Buenafuente had prepared for them generated any kind of reaction. How are you going to transmit then to the one at home if the one who is there is as if he were not there? A few counted with the fingers are saved.

Enric Auquer , Goya for best revelation actor, that beyond whether he agrees or not with his speech, was one of the few that made something come. Brief, concise, exciting ... Irene Moray , Goya for Best Short Film, and her "raped women have the right to cum . " There are not enough hands to applaud her ... Pedro Almodóvar is saved, who although the whole gala was kept in his seat as a figure of the Wax Museum, made at least listen to what he came to say. And, of course, Antonio Banderas . His thing was blessed glory. He did not need to shout to be heard, he did not need to fall into the usual to get excited with his speech. It's what the tables have, it's what one of the greats has to be.

Few are saved because little is what can be saved from the gala . It is that even the attempts of S ilvia Abril and Andreu Buenafuente to participate in the gala to the protagonists of the gala served a lot. It was difficult after the success achieved in the previous gala that the gala was better. When you have achieved what you had been claiming for so long and after so many disasters, the challenge of Silvia Abril and Andreu Buenafuente was more than complicated. And they succeeded in some moments and screwed up in as many .

There was a sketch that could well be Oscar Awards. The one of Super Silvia, with the presenter claiming the woman, the woman over 40, the woman who multiplies, who divides, who endures, who stands, who falls, who stands up ... It was not necessary to read between the lines, but neither did they read between them. They did not laugh at those who were funny and those who did not (either there were more than one) either. Firecrackers, you are firecrackers .

Silvia Abril said it loud and clear, and it was heard, of course it was heard, another thing is that the armchair was removing the litters from her eyes. There were jokes with grace and others not so much. There were blows thrown with all the force, but also with all the elegance. Because letting go of the speech that the two presenters released and doing with such subtlety, with delicacy, with grace, with style, but with all the bad drool , it can only be done by the one who knows what he is doing, the one who controls this like nobody else, He who measures and measures us.

"The left became entangled in a maze of passions because of the Loving passengers , until the hugs were broken in the budgets. Meanwhile, the others wanted to return to a Spain in darkness because, for them, their country is The skin that I inhabit , using Bad Education and, perhaps, without any thesis . Putting Women on the brink of a nervous breakdown and social rights. Inland . After many attempts at regression, much Pain and Glory , the law of desire Conclusion: While the war lasts, all Spaniards will think: What have I done to deserve this? " And it is that the tribute that Andreu Buenafuente and Silvia Abril made to the cinema was not only to boast what the cinema offers or what the cinema has done; the tribute of Silvia Abril and Andreu Buenafuente was to show that cinema is part of all of us. That entertains, that excites, that unites, that disunits, that seeks, that finds, but that serves for everything, even to give blows with the open hand, to give blows, especially, to Vox. And there were few who gave them and those who gave them were gentle, but no one was going to save them, and no one saved them .

But there was also for President Sánchez , the first president to attend a Goya gala for 15 years, which is said soon. For him they also had, soft, very soft, but it was not going to go rositas, it would not be that they then accused the Spanish cinema of reds of ... And here I can read. "I don't know how to address you tonight, because the president is Barroso, Pedro is Almodóvar and the handsome one is Banderas," Andreu Buenafuente to the president of the Government. "He will be the co-author of the script of all of us, of the Spanish citizens. I hope that in the next four years he will do very well because we will do well for all of us," Almodóvar to his Sánchez . And that's it. Final point, the president would not be angry.

Little more can be said about the gala of boredom, the gala of laziness and the gala that some tried to save, but that it was like fighting Goliath. If things are not done well, the result will not be good. And they did not do well. The realization was dismal, the regrettable rhythm, the bench or lie ... And only a few heroes, a few fools tried the deed, but the deed could not be. And it is hard to understand why the Spanish cinema gala, the gala of those who know about this, their gala and for them it was the gala of disaster . The Goya became a firecracker again and the fault is ... whose fault is it?

According to the criteria of The Trust Project

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