I see and listen unusually the ceremony in which Spanish cinema is reaffirmed publicly and ancestrally as a great family celebrating that party in which everyone loves Mogollón, including the leaders of the political thing, also drunk with culture. That is, I do not follow it live in real time but applying the finger in that television command that allows you to advance or delay the images. That is, I jumped as far as possible the chance of thanks and the alleged conviction of the winners that the work of their competitors was extraordinary. It usually be tiring and predictable. So I am quickly with the march of pomp and circumstances. I find that the fact that Granada begets the mythological Federico García Lorca is going to give a lot of play. Also the massive and excited memory of all art and social awareness according to the moving tribute to him. Likewise, the terrified testimony of almost all the honoree that the world is fatal and that it can still go worse, given the sinister nature of those who have taken power. Something I agree with. But that sometimes sounds like a learned and declamatory.
And who has taken the part of the lion? Well, together and for the first time, two films that have mobilized the general public and have satisfied him. I ignore if they have pretensions of great art, but it is evident that their multiple spectators have followed them with entertainment and emotion, that no one has claimed the price of the entrance. Million and a half in the case of The infiltrated. And I don’t know how many people saw in the rooms 47, But it must have been very large. And in addition, this audience had lived with anguish the story of that police who slipped into ETA, and had overflowed the emotion against the citizen and claiming of that charnego and bus as stubborn as dignified, determined to change things, in Improve the existence of eternal losers.
They both seem very correct to me even if they do not make me vibrate, but I understand their success and celebrate it. The old habit of going to movie theaters, instead of waiting for movies to be screened on the platforms, is very fragile of health, but commercial success is essential for their survival. It is very rational that the members of the academy have recognized it. The triumph in the rooms is essential for the survival of the guild, including those who ensure that all they like is that abstract thing of author’s cinema.
And I don’t know if it’s author cinema just impresses me and moves me The flashes, That I believe everything in her, that she speaks of life and death with a language as intelligent as subtle, that she is sad and cheerful and that in addition to beautiful is really. But I must be the only spectator caused by those unpayable sensations, since they have absolutely gone from it in the Goya. Also of the transparent art, personality, credibility, nuances that prints an actress I have nothing against Carolina Yuste, a vitalist and magnetic actress to which I believe in any character, but that they have forgotten Mrs. Arnaiz seems unfortunate. And, of course, I think Eduard Fernández does in the very disturbing Marco. It is also fighting and emotional in 47 And the exaltation is more to gly Become with its eternal trolley into the symbol of those who suffered the Nazi extermination fields.
It causes you very disturbing and mysterious sensations. Some even tragicomic. You even get to pity him. Marco It is an attractive and strange film. Not recognizing Eduard Fernández’s work in her would have been embarrassing. For my part, I would settle for me to appear in Spanish cinema a film with the quality, feeling, complexity and truth of The flashes.
