'As bestas' inaugurates a new cycle in Spanish cinema by the hand of Saura

• Goya Awards Gala moments

Don't say Goya Awards, say Saura Awards.

At least this year.

And maybe those who come.

After all, beyond the Aragonese coincidence, the two were united by a way of looking at the world.

When Carlos Saura was asked about what he shared with Goya -and incidentally with Buñuel for completing the pagan Baturra pictorial trilogy- he answered unfailingly and concisely that "imagination".

He didn't give any more clues because maybe it wasn't necessary or, simply, because he didn't feel like it, that everything could be.

But the truth is that, and without exaggeration,

for

or, indeed, ,

And, in the same way, the tormented blackness of the deaf man's villa has always cast its shadow above and within Los

or

And so.

From the first second, the 37th edition of the Goya was lived as a tribute to the director who died on Friday and the tribute was made flesh in each statement, each gesture, each slip, that there were, each all in a contained, insipid gala and so pending to look good that it didn't even look bad.

It would be said that it was not left.

by Rodrigo Sorogoyen, emerged as the winner.

He gave an account of this with his nine statuettes headed by the one that points to the best production of the year.

But his victory, and what is relevant here, was an achievement shared with

by Alberto Rodríguez, with

by Alauda Ruiz de Azúa, with

, by Carlota Pereda, with

by Carla Simón, with

by Pilar Palomero, and with an entire generation of filmmakers who delimit the shared space of a new time, of a new way of looking from the commitment to the truth, from the certainty that cinema is also women.

And there, again, the great director who brought modernity to Spanish cinema.

The 37th edition of the Goyas fulfilled the forecasts where there were and surprised where not, wherever the Academy decided what it decided had to be a surprise.

Here, the brilliant, as well as very funny, intervention on stage by Telmo Irureta as a revelation actor for his role in

by Fernando Franco.

Thus,

made his favorite character good.

He took the prizes that were clear and some more that were not so clear.

in the first place, completed a double on Sunday morning, let's say, dodgy.

Chungo was the character for which he won in 2019 thanks to

Also by Sorogoyen, and even more dodgy is the role that crowns him as the most brilliant supporting actor of the year, which is not dodgy.

And one more, for surprising.

For powerful.

By simply grade.

It is not clear that it entered the category of foreseeable or surprise.

The fact is that the colossus, in the broadest sense of the word, of the interpretation that is

took the first Spanish Goya to be awarded to a Frenchman.

Or, in another way, to a non-Spanish for playing a role for the most part not spoken in Spanish.

Or, hastening and purist, the second if we include the recognition as a revelation that Nourou took, for his work in Adú, by Salvador Calvo, in 2020. It is labyrinthine, but it is.

Some time ago, Benicio del Toro, who is Puerto Rican, but spoke Spanish, won.

Ménochet, who

And there, in the much, in the excess, an actor who simply does not fit is found whole.

And another one because yes.

The direction for Rodrigo Sorogoyen, winner for the second time, points him out, distinguishes him and even marks him.

Him and his movie.

Somehow,

completes a virtuous circle both in the director's filmography and, in a more general sense, in this new change underway in Spanish cinema.

As energetic as

as transparent as

.

It is an aesthetic manifesto and also, in its way of narrating and understanding revenge in a rural drama that is a

, ethical.

This in regard to the first of the circles.

Regarding the second, we are looking at a production selected in Cannes that has both the author's gesture and the vocation towards the public.

It is a film that has been seen abroad, in France, and in Spain.

In short, consciously or not, it has become the gold standard from which to measure everything else, the example to follow.

Nine Goya awards in total.

Next to him,

by Alberto Rodríguez, which started with 16 nominations, did a good job of monopolizing all the prizes considered technical (costumes, makeup and hairdressing, special effects, production direction and artistic direction).

He competed in his craftsmanship with, for example, The crooked lines of God... and he had no rival.

And upon arriving here, a regret that can also be considered a formal complaint.

It is misunderstood that at a gala where the role of women was so insisted far and wide, and it was insisted because it really has been, the two thousand academics did not take it for granted at the moment of truth.

The fact that Carla Simón's

leaves empty is as significant as the fact that Albert Serra's

does not appear anywhere.

Bad, very bad even.

Despite not winning anything, Carla Simón remains responsible for the film that has returned Spanish cinema to the list of winners at international festivals and that has made the irruption of women visible and clear.

This is the true change underway and at the same time pending.

The film was left without an award, but, due to its relevance, it remains as a flag.

Behind her,

elected new director of the year, made

For her, there were also the awards for the actresses: Susi Sánchez in the cast and Laia Costa as the protagonist.

And then,

, by Carlota Pereda, who entered the list of winners thanks to Laura Galán crowned as revelation actress.

And then,

, whose script was adapted for three hands by Fran Araujo, the director Isaki Lacuesta and (hence the inclusion in this paragraph) Isa Campo.

Again: Carla Simón, Alauda Ruiz de Azúa, Pilar Palomero, Carlota Pereda, Isabel Peña, Isa Campo... Never seen.

Never seen.

Thus, a new era begins.

Don't say Goya Awards, say Saura Awards.

According to the criteria of The Trust Project

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