Five titles compete to win the Goya 2022 for the best film. The experts from EL PERIÓDICO (Quim Casas, Eduardo de Vicente, Beatriz Martínez and Nando Salvà) launch their arguments for and against the films, in an edition in which ‘The Good Boss’, by Fernando León de Aranoa, seems predestined to devastate, if only for its intimidating number of nominations: a total of 20, a historical record in the Spanish film awards.
‘The good boss’, by Fernando León de Aranoa
In favour: the seductive power of meanness
The patron that León de Aranoa’s best film in a long time puts at its very center is not a good man but a despicable one, and even then it is almost inevitable to be fascinated by him and even to be on his side during most of his journey. . Achieving something like this deserves an award. Nando Salva
Against: forcing the balance
Despite the fact that academics have made an effort to establish it as the great Spanish film of the year with those historic 20 nominations, ‘The Good Boss’ passed through San Sebastián and also at the box office without pain or glory. Has the balance been pushed too far in your favor by contravening the rules of balance? Beatrice Martinez
‘Liberty’, by Clara Roquet
In favor: absolute freedom
On paper, a story of ‘coming of age’ and a characteristic account of a family’s vacation period. But newcomer Clara Roquet –co-writer of ‘10,000 KM’– gives it a different and transparent emotional scope by showing what the title announces, absolute freedom. Quim Casas
Against: the most modest of the five
It is the surprise of the season and the most modest of the five. For many it is the best of the year, but this initiatory and social story lacks the name and impact of the rest. To appear among the finalists is a prize for this meritorious debut feature which, yes, has the Goya for Best New Director almost in its pocket. Edward de Vicente
‘Parallel Mothers’, by Pedro Almodóvar
In favor: stories that repeat themselves
It is the Spanish film that has achieved the greatest international impact this season, including awards at Venice and Oscar nominations. Pedro Almodóvar has made history abroad again, but it seems that not only her mothers are parallel, also 2002 and 2022 and the memory of that unequal struggle between ‘Talk to her’ and ‘Mondays in the Sun’ that now repeat. Beatrice Martinez
Against: an unbalanced film
Despite the Oscar nomination for Penélope Cruz, which seems to be the usual effect of having won the Volpi Cup for best actress in Venice, the latest Almódovar is a rather unbalanced film between two stories, as parallel as the mothers of the title, which they never truly marry. QC
‘Maixabel’, by Iciar Bollain
In favor: the sensitivity scale
Another real case solved with the necessary sensitivity. Bollaín has known how to use the scale as a good patron to find the right measure to expose the trauma of ETA from both sides. Shocking, exciting, balanced and with a measured script, with people with Maixabel peace is possible. E. of V.
Against: the message as an artistic value
Respecting and admiring his motives and intentions -the will to help close wounds, the vindication of empathy, the defense of dialogue and social concord- should not be incompatible with pointing out his didacticism, his narrative underlining and his lack of ideas in terms staging. NS
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‘Mediterranean’, by Marcel Barrena
In favor: the movie they deserved
The refugee crisis and the praiseworthy initiative of Òscar Camps and his colleagues deserved a film like this so that the problem would reach the entire planet. Sober, lacking in sensationalism, human and tremendously sincere. The portrait of flesh and blood superheroes that deserves all possible recognition. E. of V.
Cons: Lack of tension
Typical film of good intentions that narrates, without real internal conflicts, the gestation of the Open Arms NGO, when its founders coincide on the Greek island of Lesbos, as first responders, to help in a conflict that would become much greater. Well interpreted, but somewhat reductionist. QC