Controversy. Victoria Abril insists after the controversy: "Today's health dictatorship is much worse than Franco's"
Victoria Abril.
Moment of tension.
What would the actress be capable of now that she denies so much and so stubbornly?
The
Feroz Awards 2021
edition
started as if it were a 'thriller'.
All awaiting the abysses that the Feroz de Honor Prize opens in its wake.
The blood did not reach the stalls where the Minister of Culture was.
The fact that he got on stage without going through the red carpet, all things being said, helped a lot.
And completed the viral 'suspense', the other one arrived, the real one, to confirm
'The girls' as the movie of the season.
For the work of Pilar Palomero or, better still, for her almost exclusively, were the highest awards: film, direction and script.
All yours.
The film that was presented at the Berlinale last year thus completes, waiting for what happens this weekend at the Goya, a journey that is more than just brilliant.
He also won at the Malaga Festival and in the last Forqué.
At the Coliseum Theater in Madrid, and with due
anti-Covid and anti-April
precautions
, the awards distributed by the
Association of Cinematographic Informants of Spain (AICE)
changed on Tuesday the traditional setting of tables with wine (a lot) for that of the audience with masks (all).
And in that way a fun show was accomplished, but without the healthy fury of other years, and intelligent without angering anyone.
Not fools.
The actress Pilar Castro
in the role of master of ceremonies was discovered as a stand-up stand free from rivals and an interpreter capable of adapting to any muddy terrain that arises.
Something more than just brilliant.
In the series chapter, the one chosen was '
Anti-riot
'.
Rodrigo Sorogoyen was
thus able to revalidate the award he already received for '
The kingdom'
in 2019, but on the other side, that of television.
His, in addition, were the mentions of
Hovik Keuchkerian
as best actor shared 'ex aequo' with
Eduard Fernández,
for
'30 coins',
by
Álex de la Iglesia
, and that of best secondary for
Patrick Criado
.
It is still curious that the one who is really well in the series, the actress
Vicky Luengo,
was the one who was left without reward.
In his defense, it must be said that he snatched the statuette
Elena Irureta
, the unforgettable and irreplaceable Bittori from '
Patria
'.
Aitor Gabilondo's
series
on
Fernando Aramburu's
novel
also won the supporting actress award:
Loreto Monleón.
The rest of the film prizes were distributed like stones in a good (or bad, depending on how you look at it) lottery.
The best comedy of the year was in all fairness
'Rosa's Wedding', by Icíar Bollaín.
And the rest, all variety.
Not a single one of the awards from the script to below was repeated in the same film.
The one chosen in the category of best actress, how could it be otherwise, was
Patricia López Arnáiz
for her work at the limit of all strength and all vertigo in '
Anne
', by David Pérez Sañudo.
The actor pointed out for the third time in the Feroz (which he already is) as the most dedicated of the year was
Mario Casas
for his work in '
You will not kill'
, by David Victori.
The secondary ones went to
Juan Diego Botto
for his own in
'Los Europenos
', by Víctor García León, and for
Verónica Echegui
for the one who plays in
'Exploits Exploits
', by Nacho Álvarez but not by Carrà.
'
Baby
', by
Juanma Bajo Ulloa
, was distinguished as the music of the season;
'Rifkin's Festival', by
Woody Allen
(which, as in the HBO documentary, did not attend either), as the poster of the year, and '
Lamentable Stories
', by
Javier Fesser
, the journalists kept the trailer.
For the rest, and without offending anyone, the most interesting of the entire gala was in the unfairly inconspicuous, not invisible categories.
'The year of discovery', by Luis López Carrasco,
was named the documentary of 2020 and, probably, the title falls short.
The documentary of the decade suits him better.
And even more.
For the first time, a non-fiction film also chose to be the best film without more and without surnames, and that gives an idea of the relevance of a production that wants to be and is the best possible reading of the present from the past.
The special mention, that received by the films that the jury decides would have deserved more, was for
'My Mexican Bretzel', by Nuria Giménez.
And again, the mention falls short.
This amazing artifact is so unheard of that it has left the watermark in 2020.
As it is, the heartfelt reflection made by
'The girls'
of the B side of that surprising year 1992 that changed everything remains to be remembered.
And Victoria Abril's denial, no matter how much it weighs, too.
According to the criteria of The Trust Project
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