The awards ceremony started in the best way, or in the fairest way possible, because ‘Three’ it is a film about a sound engineer who loses the ability to synchronize noises, effects and voices, and things happen for her aurally seconds or minutes after they actually happen, so winning the Goya for best sound was almost irrefutable. A strictly cinematographic award. It did not seem so irrefutable what was happening as the gala progressed. Because 100 minutes after the start, the big favorite with 20 nominations, ‘The good boss’had only won one award, for best music, and the ‘Parallel mothers’ Almodóvar had not yet received any good news. And he didn’t have it in the end.
There were very emotional moments without anyone forcing that emotion (because there were too many forced speeches), such as the reception of the award for best documentary by the team of ‘Quien lo imposible’ or when Belén Funes and Pilar Palomero, winners of the Goya for best new direction in 2019 and 2020 for ‘The daughter of a thief’ and ‘The girls’, they came out to give the same award to Clara Roquet for ‘Libertad’. It is not a question of parity, which is also, but above all, a question of talent. And some of the best Spanish films of recent years have a female director behind the camera.
Related news
Also moments that could perhaps have disconcerted: three supporting actors nominated for ‘The Good Boss’, but the one who took it, in all fairness, was Urko Olazabal, whose two or three sequences in jail, talking with fellow ETA prisoners or with Maixabel , is one of the best parts of Icíar Bollaín’s film. He seemed a Solomonic decision so that none of the interpreters of ‘The good boss’ would be badly injured, but it was another very fair award.
Starting as a favorite, and that everyone gives you as the winner or the winner, has its risks. The race -the gala- began at a slow pace for the film by Fernando León de Aranoa, while it ran at full speed for ‘The Border Laws’, which patiently, without raising their voices, accumulated big heads: costumes, artistic direction, makeup and hairdressing, revelation actor and adapted script. Although, as if it were a diesel engine, Aranoa’s patron saint was gradually being sung: editing, script, Javier Bardem as the main performer, direction and, in the final climax, face to face with ‘Maixabel’, the Goya to the best movie. It was the only moment of doubt, because Bardem and Blanca Portillo seemed clearer than water and almost everything else was either fair or too predictable.