Controversy. Academics protest against the telematic Goyas: "If culture is safe, why suspend the gala?"
Nominees Adú, by Salvador Calvo, favorite against the odds of the Goya Awards with 13 nominations
Billy Wilder said that the only way to tell the truth without being stoned (he used the most drastic verb to kill) is to do it in comedy format.
And
Ángela Molina
decided on Monday to agree with him and follow his teachings.
The brand new
Goya Honor Award
confessed to the press at the Academy headquarters that it was the only time in her career that she had suffered harassment.
"The truth is that I have never experienced such a situation. Rather the other way around, with all the men I have worked with I have had a relationship of trust and learning," he said just before retracting slightly and going on to describe the exception .
"Just once. But it was more of
a comic or joke situation.
I was very young and a producer jumped at me in his office.
To get to me he had to jump over an armchair and he couldn't.
It ended up on the ground and I ran away ... The truth is that it looked like a scene from Billy Wilder, "he concluded.
Her comment was related to the MeToo in general and the recent statements of several harassed women in a particular media outlet.
"I fully understand women
who report because they need to," he said to clearly draw the line of separation.
Yes, it was a joke, but damn the grace.
Until we got here, the actress, National Cinematography Prize winner and collaborator (before only reference or, much worse, muse) of Buñuel, Gutiérrez Aragón, Almodóvar or Marco Bellocchio, complied with a quick review of her ideology.
First he made clear his little affiliation with a past that, as his own name indicates, already was.
"Actually, it is you (through the press and surroundings) who remind me.
I live everything that I have lived so far in the present.
I am clear that we are what we have lived to the same extent that we are what we have left for live, "he confessed in a beautiful timeless tongue twister and fully aware of both his last name and everything else.
Manuel Gutiérrez Aragón said in his book
'To the actors'
that few interpreters with whom he has worked possess and radiate a fascination comparable to hers.
And he places it next to, for example, Fernando Fernán-Gómez.
In four films he was with her.
"Angela's body beat was felt among chestnut trees and cornfields. A body that attracted us all as if the future of the species depended on it," writes the director in reference to the filming of '
In the heart of the forest'
.
And he adds: "In this film there are no nudes, among other things because
Angela's body has such a presence
that a nude would seem redundant."
Angela yesterday, from a distance, responded on Monday in her own way with the second of her commandments (the first, it has already been said, is her faith in the present): her life has no challenges.
"It doesn't work like that.
I'm just aware of the work I do at the time I do it.
Now I'm on the series '
A Private Affair,
'" he said.
And without a solution of continuity and faced with a question that linked Buñuel with Almodóvar, he perhaps found the key that, despite his more than 152 credits since he debuted in 1975, he seeks and even finds:
"The two are pure as children
and are or were in love with their craft. "
It was that.
Reviewing, in fact, his filmography is above all an act of love.
It contains the history of European cinema from the height of its best names.
At the age of 28, he fell into the hands of Calanda and probably stayed there.
Forever.
He likes to say that the director met him at the Torre de Madrid building.
It was raining.
He entered the room with his raincoat still soaked.
"Buñuel came over, took off my hood and said: 'Poor'. At that moment it's as if he had known me all his life."
She and Carole Bouquet were Conchita in '
That Dark Object of Desire',
the Aragonese's last film.
It was the first meeting with him.
Later would come more, many more.
"I spent years talking to his cinema.
Meeting and fighting with him. Some of his films dislodged me."
And among all the memories, that first moment of rain and recognition is still intact.
Forever.
On Monday he insisted that he still has a long way to go and among all that excites him nothing like the possibility of returning to Lorca.
And do it in the theater.
"There are too many affinities I have with him and I haven't done theater for a long time," he commented and again his comment led him to Buñuel.
Whenever she has occasion, the actress recalls the moment in which, in a tribute to the filmmaker, Buñuel himself went to Angela's womb, then pregnant with Olivia, to whisper: "Your mother and I have
'Bernarda Alba's house'
pending.
".
From Buñuel to Lorca and from Lorca to Buñuel.
She said on Monday that she is grateful to the profession and that she does not care that the gala in which she will be awarded is telematic.
"It's about everything remaining as it really is," he
said cryptically and heartily.
Maybe resigned.
He also stopped to reflect on the need for cinema and, even more so, for the image to tell stories.
Despite everything, despite pandemics, despite series and despite platforms.
"The cinema will never die and then surely neither."
It is clear.
Not for nothing, he knows what he's talking about.
His works with Gutiérrez Aragón (
'Demons in the garden'
or
'Half of the sky'
) or Jaime Chávarri ('
Bearn or the doll house'
) or Ricardo Franco (
'The remains of the shipwreck'
) or José Luis Borau (
' La sabina '
) or Bigas Luna ('
Lola
') or Pedro Almodóvar (
' Trembling meat '
) make up not only the perfect filmography of an actress but the emotional geography of an entire country.
That inside.
Outside, and beyond Buñuel, her performances alongside Luigi Comencini ('The great jam'), Marco Bellocchio ('Gli occhi, la bocca') or Alain Tanner ('The man who lost the shadow') make her a must-see reference.
The cinema that never ends.
And then neither.
According to the criteria of The Trust Project
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