Marcel Barrena has arrived at the Gaudí dressed to win. From a distance, his Antoni Miró suit and recent haircut hid the nerves that, up close, he radiated: “Last year I knew that I had nothing to do, I was nominated with a documentary that was not in the pools, but the thing is that “I always come here with the feeling that it won’t be the day.” Barrena, director of , the film about the Barcelona neighborhood struggle that became the miracle of more than half a million spectators, was the man of the night at the Barcelona Forum Auditorium. He didn’t have it all with him when he arrived. He was not convinced by it being the most recognized film in the history of the Catalan Film Academy Awards. “Unlike the Goya, which we already have the clue of having been awarded with the Forqué, I don’t see it clearly because I don’t know if here it is the Catalan that is awarded, even if it is the same as in ”. He was wrong.
In which a night was marked by his film and that of , the two films that have grossed the most this year in cinemas, it was his that was crowned with seven Gaudí awards: best film, best leading actor (Eduard Fernández) , supporting actress (Clara Segura, who could not attend for work reasons), production direction (Carlos Apolinario), costumes (Olga Rodal and Irantzu Ortiz), visual effects (Laura Canales and Iván López), makeup and hairdressing (Karol Tornaria), as well as the audience award for best film.
“I’m surprised that Marcel says this, maybe it’s because I’m from Charnego, but it’s more defining of what Catalonia is than The 47 It can’t be. That film explains Catalonia better than House in flames“, he stated, before knowing that he would collect the statuette for that tragicomedy about Catalan bourgeois decadence and offer one of the most applauded speeches of the night. The director Carla Simón, who came pregnant to present an award while facing the editing of Pilgrimagehis last film filmed in Galicia, he defended on the red carpet the good harvest of a year in which “Catalan-language cinema has been seen a lot in cinemas and has returned the love for theaters.” Judith Colell, president of the Catalan Film Academy, also expressed herself along those lines during her speech at the ceremony: “This year yes. This year we have filled the cinema halls with films in Catalan,” he said, and warned “not to let our guard down” to “be up to par now that the public loves us.”
The second most awarded film of the night was not the story of a family in crisis in Cadaqués, but where, through the musical with choreographies by La Veronal, it explores assisted suicide between couples with the story of an actress with a brain tumor ( Angela Molina) who decides to go to a clinic in Switzerland to leave this world with her husband, a man who is not sick but who decides to take his life with her. In addition to best film in a non-Catalan language, Dust will be It has won the best art direction for Laia Ateca, editing (Chiara Dainese) and original music for María Arnal.
Quique García (EFE)
One of the surprises of the night, for breaking the binarism in the pools that posed House in flames y The 47was the award for best direction, which went to Isaki Lacuesta and Pablo Rodríguez, directors of , the film that will represent Spain at the Oscars and which won three statuettes, equaling those of House in flames. The film about friendship and the recording of A week in the engine of a busone of the most legendary albums by the Granada band Los Planetas, also had better photography and better sound. House in flames Finally, he was left with three: the original script for Sola (which he also signed for the series To want and the movie The red virgin) and two for acting: the expected Gaudí for Emma Vilarasau as best actress and supporting actor for Enric Auquer. The adapted script went to Mar Coll and Valentina Viso for , a film about the terrors of motherhood and the detachment of a new mother from which Laura Weissmahr also emerged victorious, best new performance.
At a gala hosted by Marc Clotet, Paula Malia and Judit Martín, one that went off script to remember the struggles for decent rent and against evictions or the genocide in Gaza, Paco Poch was the first producer to receive the Goya of Honor. Miguel Porter, Diary of my sextortion It won the best documentary and the best new direction went to Ceria Giraldo for .
