Spanish cinema disappears.
And it is not so much a diagnosis (not even a suggestion) as a fact.
At least, with regard to its place in European cinema.
On Tuesday, the Seville Festival welcomed the traditional reading of candidates for the EFA European cinema awards and, with the heavy names of the Postpandémico Hispanic year discarded by the late dates of premiere (neither Almodóvar nor Lion of Aranoa or Ilíar Bollaín, for example
, they were on the list of eligible), the most undergrees were met.
It was logical if it is also taken into account that if for something the 2021 that is ended is because of the quality of the premieres throughout Europe.
Thus, only ‘sentimental’, from Cesc Gay, opts for better comedy in front of the Norway ‘Ninjababy’, Ynvil Sve Flikke, and ‘Belle Fille’, French success signed by Méliane Markaggi.
The rest, whatever the category that looks, the desert.
For the rest, ‘Titane’, by Julia Ducournau, seems determined to become one of the movies of the year after winning the golden palm in Cannes. Her is the nominations for best film, direction, actress (Agathe Rousselle) and actor (
Vincent Lindon).
That is to say, only the script is out of its hoarding eagerness in a production that reflects cruelly and very brutal about identity accidents and that stands out for their hunger for provocation.
By his side, with the same number of options, but with enough less noise around him, they include the English ‘El Father’, from Florian Zeller;
The Bosnia ‘Quo Vadis, Aida?’, by Jasmila Zbanic, and the Finnish ‘Compartment No. 6’, by Juho Kuosmanen.
With a nomination less would be ‘was the hand of God’, the production of Netflix of the Napolitan Paolo Sorrentino.
One of them will undoubtedly be the European film of the year.
The candidates thus comply with the script marked by the most important festivals of the year.
The very radical Golden Bear of Berlin, ‘An unfortunate powder or crazy porn’, from Romanian Radu Jude, appears in the category of filmmakers with options.
Actress Renate Reinsve, of ‘the worst person in the world’, of Norwegian Joaquim Trier, aims for winner in the category of it.
Franz Rogowski, for the work of him in the Austrian ‘Great Freedom’, of Sebastian Meise, seems the only one capable of threatening the most likely triumph of Anthony Hopkins for the ‘Oscaricized’ work in ‘El Father’.
And so.
Surprising the absence of ‘the event’, the French film by Audrey Diwan winner with all the meons in Venice, but the rest follows the guideline and the script of what is cook into the contest.
And, at the moment, no trace of nor one of the Spanish films.
