From Berlin to the sky, to the sky over Berlin and, on Saturday, to the sky over Madrid. This seems to be the journey of directorial debut Estíbaliz Urresola which not only won last night the award for best film (in addition to Education in Values) at the Forqué Awards that the producers deliver but that it did well with the 15 nominations that put it in first place for the Goya. It is doubtful that the awards given by those who finance the films are a prelude to anything, but, without a doubt, they encourage the audience who are still voting.
Well looked at, the option of ‘20,000 species of bees’ This is what passes for a consensus option in the metaphysics of juries. Or a tiebreaker, at least. If you look at who are the candidates for best film of the year according to the Film Academy, among people with a long (or very long) career like Víctor Erice, Isabel Coixet, Juan Antonio Bayona and David Trueba, Urresola is the candidate who does not It hurts no one, it doesn’t force you to choose. She chooses herself.
It is not clear that this way of reasoning and voting was responsible for the triumph early Saturday morning of the story in transition of a trans girl and her family, which is the one that is really going through. But it should be taken into account. That the producers have opted for a debut feature rather than for the return to the feature film (not to the cinema that, in truth, has never abandoned) of the most idolized of the directors or for the most expensive production in Spanish cinema (that is ‘The Snow Society’) leaves at least some indications about the real possibilities of a film that already surprised at the Berlinale at the beginning of the year to the point of making its protagonist, Sofía Otero, worthy of the Silver Bear for best performance. Let’s say that your options were already many and now they are more.
Thus, and with the surprise of the winning film at the top (yes, it is very surprising), the Forqué Awards made it clear in case anyone had not yet found out that all the doubts that exist regarding cinema are refers, there are none in the series. The year that ends is already sentenced and even condemned (sweet sentence) to be the ‘The Messiah‘. The series of Javier Calvo and Javier Ambrossi Not only did she emerge as the best of the year, but she also received the well-deserved best actor awards, Roger Casamajor, and actress, Lola Dueñas. It is a historical production because it is excessive, anomalous and ambitious, and no other seems in a position to argue with it about excessiveness, ambition and risk. Not even history.
In the film acting sections, those highlighted were Malena Alterio for his indisputable work in ‘Let no one sleepby Antonio Méndez Esparza, and David Verdaguer for his almost mesmeric approach to the comedian Eugenio in ‘they know that, by David Trueba. Little to object to. Both of them confirm and culminate with these latest works careers that have been too long in the shadows. It’s good that there is light. Although, the truth is, and always with the Goya as a great aspiration, rarely have the interpretation sections seemed as disputed and uncertain as this year that is ending.