The year born Carla Simón, 1985, had three that the last Spanish director had been made with the Golden Bear of the Berlinale.
That is a whole life.
Carla’s.
The question is not how I could spend so much time, so many generations of filmmakers and so many berlinals.
And so many Goya.
That also.
The question is perhaps how it is possible that it is alcarrass precisely, a film without professional actors and of unpronounceable name for virtually the entire courtyard of Berlinale Palast and tells the story of Farmers of Lleida who, in addition, speak a Catalan accent so
peculiar as for force hidden;
How is it possible, we said, that this miracle has been in charge of ending this terrible streak.
We will not say curse because it does not deserve so much.
And it is precisely that, its dedicated particularity, its devotion in detail, its unconditional love to the truth and its simple and hard beauty, which gives this award no more value perhaps, but yes sense.
It is the conviction with which Carla Simon is planted in front of reality and even cinema to demand from her and from him the same life, which undoubtedly places Alcarràs at the right time and with the timely gold bear.
It is not so much about making history (thus with uppercase) as history, much more tiny but it leaves more stain.
In times of algorithms, welcome be the peaches.
Because in effect, that’s why the second film of the 1993 Summer Director who now has five years ago and on the same scenario was crowned as the best debut, of peaches, of peaches (and Paraguayans, who of all there are) that smell and
They know peaches.
But they also smell and know more serious issues such as identity, memory and hope that is lost.
“I want to dedicate this award to the small families of farmers who cultivate the Earth every day so that this fruit reaches our dishes,” Simon said from the stage with the golden bear in his hand and just after remembering himself from his family of him
.
The dedication sounded something rustic, but, in reality, it gives the just measure of a film that is made of mud and hands.
The family’s life was told I sold.
And the moment of a summer is told in which the grandfather stopped talking.
What for decades have cultivated I used them without more agreement that the word from which it was owner is now lost.
The heirs claim what property titles say it is yours.
The old looks at the faces with the new;
Progress, they say, do not understand verbal times.
The future of solar plates is evil with fruit trees.
And with memory.
The clean energies suddenly mess up.
More than six years he had the director behind an interrupted project a thousand times and many other returned.
And all this to build a perfect universe where everything fits, where snails are braceled, the patron is danced, rabbits are hunted and the children play to imagine that they are children.
The fictitious family composed of Jordi Pujol Dolcet, Anna Otín, Xenia Roset, Albert Bosch, Ainet Jounou, Josep Abbot, Montse prayed, Carles Capó and Berta Pipó is the reality the most true of all the families imaginable.
It is fiction against fiction fiction.
The actress that actually is not that makes the teenager mariona and that from his eyes scared and at the same time challenging sew and discosses the wounds of everything that surrounds him seems to look at the director and, hurry, of either
the spectators.
Alcarrass runs effortlessly and elegance in a new territory of identification and fullness that we are all invited to take part.
Alcarràs is built only in front of the look and at the moment of being contemplated.
There is no separation or barrier.
The scede screen, falls, until completely eliminated the childish fabulation deception.
Alcarràs is a beauty that from Tense ends up for hurt.
Alcarràs.
They memorize the name.
Alcarràs is the brightest and righteous gold bear, but not a town in Lleida, not even Spain.
Alcarràs is a golden bear of all from the clarity of knowing a unique and unrepeatable film.
For the rest, the palmares complied as it could and somewhat arbitrarily with an essentially accidental and obliged official section to convert the pandemic scarcity into slightly ill. Febrile. Well, the second prize in importance, the jury Grand Prix, for The Novelist`s Film, from Hong Sangsoo, projected on the same day of the closing gala. Again, the Korean director builds a puzzle as delicate as ironic at ground and life where it is discussed about the very essence of cinema, Sangsooo’s cinema. Memorable one end near nude melancholy. Well, the second jury award for the Mexican Natalia López Gallardo by the enigmatic and sleepwalking of it at the bottom of the violence in GEMAS. Well, of course, for obvious, the Mention to Claire Denis as Director for the obsessive and cloudy work of her in Avec Amour et achanement ‘. And here the good news. The rest brushed the nonsense. Evil, or very bad, that Isaki’s film lactated a year, one night did not enter the prizes. Neither she nor Return to Dust, from Chinese Li Ruijun. And so.
Be that as it is, Alcarràs or the certainty of such an unlikely and scarce, so delicate and unique cinema, so simply universal, that before it there is only the possibility of enthusiasm or something more extravagant as, for example, a nice bear that roars and is
of gold.
Golden Bear to the Best Film: “Alcarràs”, by Carla Simón (Spain)
Silver Bear Grand Jury Prize: “The Novelist’s Film”, from Hong Sangsoo (South Korea)
Silver Bear Jury Prize: Mantle of Gems, from Natalia López-Gallardo (Mexico-Argentina)
Oso de Plata A MEJOR DIRECCIÓN: Claire Denis, Por “with love and fierceness” (Francia)
Silver Bear to the Best Interpretation: Meltem Kaptan, by “Rabiye Kurnaz vs. George W. Bush”, by Andreas Dresen
Silver Bear to the best interpretation of distribution to Laura Basuki, by “Nana” (Indonesia)
Silver Bear to the Best Script: Laila Stieler by “Rabiye Kurnaz vs. George W. Bush”, by Andreas Dreen
Silver Bear to the best artistic contribution: “Everything Will Be Ok” (France, Cambodia), by Rithy Panh.
Golden bear to the best short film: “Trap”, Anastasia Veber (Russia)
Silver Bear Jury Prize in short films: “Manha Domingo”, by Bruno Ribeiro (Brazil)
Award for the best opera Prima: “Sonne”, by Kurdwin Ayub (Austria)
Best documentary award: “Myanmar Diaries” (Netherlands, Norway)
Award of the Section Encounters: “Mutzenbacher”, Ruth Beckermann (Austria)
Award for the best direction of the Section Encounters: “UNREST”, from Cyril Schäublin (Switzerland)
Special Jury Prize of the Encounters Section: “à Vendredi, Robinson”, by Mitra Farahani (France, Switzerland, Iran)
Glass Bear Section Generation 14plus “Alis”, Clare Weiskopf and Nicols Van Hemelryck (Colombia)
