'Alcarràs', by Carla Simón, is left out of the race for the Oscar

• Berlin Festival The Berlinale surrenders to 'Alcarràs', the new and beautiful prodigy of Carla Simón, the director of 'Verano 1993'

• Mostra de Venecia Argentina and Cristina Kirchner take over the Mostra with a dry, sober and profound exercise in pain and memory

• Cannes Film Festival Park Chan-wook embroiders in 'Decision to leave' a romantic 'thriller' between exaltation and fever

• Close Lukas Dhont, the young prodigy of European cinema

It could not be.

'

', the film selected by the Spanish Film Academy to compete in the international film category at the next edition of the Oscars, has been left out in the first cut.

The other Academy, that of Hollywood, announced on Wednesday at 9 pm the first list of 15 films from which the nominees will come out and the film by Carla Simón that won the Golden Bear in Berlin did not appear there.

At first, it did not seem that there were many possibilities and the forecasts (or omens, better) have been fulfilled.

Basically, the problem is the difficulty of

a film that premiered in February of the previous year

The distance is great, memory is short and the list of rivals has only grown since then.

Be that as it may, the Spanish language will have representation.

And double.

Those that do appear are the Argentine and Mexican films.

Both, by the way, premiered at the Venice Mostra that took place in the much closer September.

Santiago Miter will compete with '

', the very visceral, faithful, emotional and, all told, routine reconstruction of the trial that condemned the military junta responsible for the brutal dictatorship.

In front, yes, a plethoric Ricardo Darín larger than life itself.

More debatable is the inclusion of the Netflix production '

in which Alejandro G. Iñárritu strips naked in an exercise in extreme vanity.

Be that as it may, the two-time Oscar for best director, resume obliges, could not be missing.

In the rest of a selection without a clear favourite, the Korean representative

, by Park Chan-wook, should be highlighted in first place.

The film that won the Best Director award at Cannes is, without a doubt, an exercise in surgical cinema that is as detailed as it is effective.

And next to him the French

by Alice Diop, who won the Grand Jury prize in Venice and who portrays with unusual precision and rigor the trial of a mother before the most nefarious of crimes: having killed her 15 month old daughter.

Two of the great movies of the year without a doubt.

There is more.

Few films are as wildly emotional as '

', by the Belgian Lukas Dhont.

Or as spectacular as the return to Erich Maria Remarque's novel

signed by the German Edward Berger.

Or as shady as

', by the Danish Ali Abbasi.

Or as clairvoyant and disruptive (whatever this means) like

, by Marie Kreutzer and with an imperial Vicky Krieps.

Or as emotional and lyrical as

, by the Irish Colm Bairéad.

Or as bestial, in the best and most stupid sense (the protagonist is a real donkey), like '

', by Jerzy Skolimowski.

Or so so... Rarely has the award seemed so competitive and open to everything.

Pity.

The complete list

Argentina, "Argentina, 1985"

Austria, "The Rebel Empress"

Belgium, "Close"

Cambodia, "Return to Seoul"

Denmark, "Holy Spider"

France, "Saint Omer"

Germany, "All Quiet on the Front"

India, " Last Film Show"

Ireland, "The Quiet Girl"

Mexico, "Bardo. False chronicle of a few truths"

Morocco, "The Blue Caftan"

Pakistan, "Joyland"

Poland, "EO"

South Korea, "Decision to Leave"

Sweden, "Cairo Conspiracy"

According to the criteria of The Trust Project

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