The Brazilian drama of the director, and the Colombian series One hundred years of loneliness, Produced by Netflix, the great winning productions that award the best of the Ibero -American audiovisual and that the members of the 23 copyright management entities of the producers of the Latin American countries vote last night.
I’m still here It means the return to the cinema of Walter Salles, the filmmaker of Brazil Central Station, Motorcycle newspapers o On the way, And it is based on the memories of Marcelo Rubens Paiva, in which she remembers how her mother was pushed into political activism when her husband, the leftist deputy Rubens Paiva, was captured by the military dictatorship of Brazil, in 1971. I’m still here He came from winning the Oscar Award for Best International Film, and its protagonist, Fernanda Torres, who was also a candidate for the Hollywood award, took the platinum for best leading actress in cinema. In addition, Salles obtained the statuette for best direction.
Almost all the rest of the Platinum awards in Cinema, which this time were held in Madrid, went to Spanish cinematography: he won the awards for the best script (Echevarría and Amèlia Mora) and assembly (Victoria Lammers), which added to the prizes of the public for best male interpretation (Luis Tosar) and feminine (Carolina Yuste). The platinum won the best protagonist for Marco, work for which I had already won the Goya. The next room, Pedro Almodóvar triumphed in the direction of photography, and original music, so that he accumulates six statuettes of the platinum. He was the best secondary actress as in the Goya for his role in 47. An immersion in the world of the Los Planetas Group won the best sound award; Black butterflies, by David Baute, was the best animation production (another award that repeated from the Goya), and Looking for Coque, De Teresa Bellón and César F. Calvillo, won in better Ibero -American comedy.
The other film awards were for the late Argentine actor as best secondary for The jockey; for the Mexican in best documentary; For the Mexican also Pedro Páramo in art direction; and the Bolivian The dog thief, From Vinko Tomicic, Platinum achieved Best Prima Opera.
In series, the adaptation of Gabriel García Márquez’s masterpiece produced by Netflix, won the platinum for best miniseries or teleserie, and the two awards for the best male interpretation: protagonist for Claudio Cataño and secondary for Jairo Camargo. In the female interpretation section the awards were for the Spanish Candela Peña, (which repeated the public award in this section) in the protagonist, and as a secondary school in Women’s land.
Interestingly, the protagonist of this series, he collected this year’s honor platinum last night for his work as an interpreter and producer “and her valuable visibility work of the Latin community” after some presentation videos of colleagues such as Jessica Alba and Melanie Giffith, who congratulated her. Her friend Sofía Vergara honored her on stage “because she has done so many things for Latinas and women” together with the honorary president of the Platinum and Egeda, Enrique Cerezo. The honoree recalled the pride he has when he gives life to Latin women. “Hispanics are always more: more human, more workers, more cults. I feel honored to belong to this community and receive this award.”
Finally, the Cinema and Education Award was for Costa Rican Memories of a body that burns, of Antonella Sudasassi. And the creator of miniseries fell to those responsible for Senna.
The Platinum Gala – Promovidos by Egeda, the entity for the management of the rights of audiovisual producers, and by FIPCA, the Ibero -American Federation of Cinematographic and Audiovisual Producers – was presented by Aislinn Derbez and Asier Etxeandía, and had the musical performances of Pablo Alborán and Prince Royce. The couple of presenters and the spectacular scenery worked; Not so that each film and candidate series were presented by someone from her creative team, which extended the gala up to 165 minutes.
