The 37th edition of the Goya should serve to bring to a close the new era of Spanish cinema, represented by a formidable generation of young creators who have known how to remove the mold and dampness of the past through perspectives that are as innovative as they are bold. And from this great celebration of the new and the vibrant, the one that started as a favorite in the forecasts emerged as a great winner, even if it was only because of the intimidation of its 17 nominations: ‘As bestas’, the ferocious, taut as a wire, rural thriller by Rodrigo Sorogoyen won nine Goyasamong them the best film, direction and original screenplay.
His was such an overwhelming success that he did not leave even the crumbs to the prodigious phenomenon of ‘Alcarràs’, by Carla Simón, which despite its delicate grandeur had to leave emptywhich left a trace of sadness, because a year as fertile and plural as 2022 did not deserve that a single film monopolized all the spotlights.It hurt my eyes not to see Alcarràs in the list of winners.
As happened just a month ago with the Gaudí family, on the eve of which Agustí Villaronga died, leaving a painful sensation of loss and sorrow at the gala, the great festival of Spanish cinema was marked by the disappearance, on Friday, of the totemic Carlos Saura, who had to receive the Goya of Honor. And that award was, precisely, the first of the night: Carmen Maura, who worked with him on the stupendous ‘¡Ay, Carmela!’ (1990), she presented the award, after an overwhelming ovation that lasted several minutes, to his partner, the actress Eulàlia Ramon, and two of his children, Anna and Antonio. It was possibly one of the most exciting moments in the history of the Goyas; heart in a fist Ramon read a brief thank-you letter written by the director of La caza y Cría cuervos, in which he assured “I am happy if my cinema has contributed something to the current generation of young filmmakers.”
In that contrast, or in that connection, between the classic and the new, between the old master and the outstanding students, the great festival of Spanish cinema meandered, presented without excesses (although with marked social and protest accent) by Clara Lago and Antonio de la Torre. It has been said, and rightly so, that the 2022 vintage is exceptional and, except for the painful and absurd absence of ‘Pacifiction’, by Albert Serra, this year’s nominations responded to the greatness of a perhaps unrepeatable vintage. In total, and by way of balance, they were nine Goyas for ‘As bestas’, five for ‘Modelo 77’ and three for ‘Cinco lobitos’, including a first-time director for Alauda Ruiz de Azúa.best performances
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The awards for the best performances had discussion, despite the fact that the level of all the nominations was huge. The Goya for best supporting actor for Luis Zahera and his work in ‘As bestas’ was more than sung, the same as that of Susi Sánchez in Cinco lobitos. Nothing to say about the well-deserved award for Laura Galán and her fabulous performance in ‘Cerdita’. And very emotional, due to his relevance, he was awarded the best new actor award, for Telmo Irureta, affected by cerebral palsy, for his exceptional role in ‘The Rite of Spring’, by Fernando Franco. The main prizes would end up falling to the great Denis Ménochet, Goya for Best Actor for ‘As bestas’; and in Laia Costa, best actress for her role as mother (and daughter) in ‘Cinco lobitos’.
The gala, in which there was a notable institutional representation headed by the President of the Government, Pedro Sánchez, took place at a certain good pace, beyond the inevitable format easements, backstitched by musical performances, among which stood out the initial of Manuel Carrasco interpreting ‘Cantares’, by Joan Manuel Serrat; and that of Lolita throwing her mother’s “Oh pity, pity, pity” on her back, Lola Floreswhose centenary of his birth was commemorated.