The Bosnian 'Quo vadis, Aida?' triumphs at the European Film Awards

• Nominations 'Sentimental', by Cesc Gay, the only Spanish option at the European Film Awards

• Venice Film Festival The impossible translation of the horror of Srebrenica

With the coronavirus incidence rate at a new peak, the European Film Awards returned to zoom for yet another year. Just a month ago and with the festival cycle already completed in person, there was talk of the reunion in Berlin. Gone was the chaotic and '

' ceremony of last year that crowned

Well, new wave and, with it, new connections in peak and mute (there were not so many, the truth). And so the gala 34th of EFA managed to pass with the agility and discretion due to honor this time against all odds of

of

Let's say that the Bosnian director's film went unnoticed on the billboard in an inversely proportional relationship to the cry of rage that it proposes. Zbanic dwells on one of the most brutal chapters in the recent history of infamy:

of July 1995. The director, who received the Golden Bear in 2006 for '

', adopts in this work the point of view of a UN translator, who is also the mother of two children. The idea and strategy is to stop looking at the center of all horrors. The protagonist, a powerful and immense

it is right in the middle. Speechless. Unable to translate so much horror. From his position, however, he gives everyone a voice: the executioners, the victims and those who came to mediate there. He hears everything, sees everything, silences everything. To finally scream it all out.

Well, it was this exercise in nude cinema that theoretically prevailed over the favorites. The academics preferred the frontality of the Bosnian to the baroque and provocative carnality of

in principle the one that appeared at the top of the forecasts for her Palme d'Or in Cannes: '

'. Nor were voters (or not entirely) impressed by the clarity and success

of

"

For the latter, yes, they were the awards for

. To

It was not worth, in fact, to win the Oscar, it was also his turn. It sounded strange, yes. The rare dance of premiere dates that have condemned all Spanish cinema this year (neither Almodóvar nor León de Aranoa nor Icíar Bollaín, for example, appeared on the eligible lists) means that the British interpreter continues to triumph, although some have Forgotten the movie and Hopkins himself or even remember what his role was about. In fact, he didn't even bother to say hello.

Soon, yes, it was known that the only Spanish option was nothing. '

', by Cesc Gay, gave the honor of being the European comedy of the year to

by the Norwegian Yngvild Sve Flikke. The film that could be seen at the last festival in Gijón is undoubtedly one of the productions of the year (it doesn't matter which one) due to its strange ability to mix animation, self-confidence, irony and catastrophe in, without a doubt, an exceptional comedy. And at this point there was the rest, the rest of Europe that is not Spain.

Finally, that

by Jonas Poher Rasmussen, won both the awards for best documentary and best animated film was, at this point, the best (or one of them) news of the entire gala. The film is set to be one of the flagship productions of the season. And it is good that it is recognized from the beginning, from now on. The way of mixing looks, genres and distinguishing voices in the story of a double flight (that of a man fleeing his country, Afghanistan, and the prejudices that force him to hide his homosexuality) is moving and even memorable. And that's how the European Film Awards understood it. Good.

Be that as it may, if last year's ceremony was primed in melancholy and bad connections due to the misfortune of the pandemic, this time the idea was to avoid any detour towards fatigue or carelessly turned off micro.

The honorary awards, so to speak, both to the Danish director

for her entire career, to the Hungarian filmmaker

for her

legacy, as well as to the British

for the innovation represented by the serial prodigy that is'

', they delivered as quickly as they were appropriately emotional.

And that was the guideline for everything else.

It seems that the epidemic is already part of us.

And the zoom too.

According to the criteria of The Trust Project

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