From the speech of Roures to the pique of Agustín Almodóvar





Mondays in the sun achievement five Goya awards on February 1, 2003, prevailing over Talk to herby Pedro Almodovar. It was at the ‘No to war’ gala. Albert Saint John Y William Toledo presented a ceremony held in the context of an imminent invasion of Iraq supported by the Government of José María Aznar. The unanimous criticism of the military intervention marks for many the beginning of a schism in society towards Spanish cinema. James Rouresmanaging partner of Mediapro, took the stage that year with the legendary Elías Querejeta, also the film’s producer.

“Elías has taught me how little I am learning. The film talks about love, melancholy, tenderness, dignity and solidarity”, Goya enumerated in hand. “Santa (Javier Bardem in Mondays in the sun) explains the story of the Siamese twins: if one falls, we all fall. It is a time to remember that if one falls, we all fall. We have to move more because otherwise the 21st century will be a terrible century for everyone”.

The century has already passed two decades, but the Goya stage was living a deja vu. The photo was enlarged yesterday. In addition to Roures, they took the stage Fernando Leon de Aranoa and the nominated actors, among which were two repeated: Javier Bardemprotagonists of both, and Celso Bugallofetish actor for Aranoa and winner of the Goya for out to sea.

“We have taken I don’t know how many years to reach the second. We are a de facto couple”, Roures resumed, closing a cycle of 19 years. “More than talking about the film, I would like to talk about the culture. It is as strategic as the electric car and you have to give it all kinds of attention. Culture is not just movies, books, dancers or singers: is the nerve of society. It is what makes us more human and distances us from machismo and Talibanism. It keeps us away from violence now that there are drums of war. I feel that we go with patches and they are not enough. Culture unites us more and we need that nerve to have what it takes to push forward”, he claimed.

‘The good boss’ wins the Goya for best film

Yesterday’s gala was experiencing a situation of institutional normality, like the one that the PP governments had with Spanish cinema before the 2003 gala. Pedro Sanchez went back to some Goyas in which the films nominated for best film touched, directly or tangentially, on political issues: prison policy (maixabel), migration crises (Mediterranean), labor reform (the good boss), historical memory (parallel mothers). Interviewed by Carlos del Amor, Sánchez confessed to having seen the first two, having precisely those of Aranoa and Almodóvar pending.

Jaume Roures, the good tycoon?

Roures has always shown his political inclinations: he defines himself as a Marxist and is in favor of the self-determination of Catalonia, although he would not vote for independence. The presence of the famous businessman surprised the spectators at the end of the gala, who are unaware of his facet as a producer. And the social networks woke up with attacks from the right by his political opposition, but also from some left-wing journalists for his role in the ERE, which meant the disappearance of the printed version of the newspaper Public.

The thesis is that if you are a son of a bitch, you end up paying for it”, explained Roures to RTVE.es -before the premiere of the film in San Sebastian- about the end of The good pattern. “The pattern of the film is harmful because it does not respond to a working relationship between equals or collaboration. I remember a joke from years ago that said: the boss makes me raise the factory shutter at 6 in the morning, I can leave at ten at night and he doesn’t even come because he has a lot of confidence in me. The film is a snapshot of that.”

And he has no problem answering those who think, as if interests and principles were the same thing, that it is contradictory for an important businessman to denounce exploitation. “Fernando and I have a fairly consistent line in cinema and in the content we have been producing for 25 years. The back of the world, Mondays in the sun, Princesses, Amador, the Podemos documentary. We have never parted ways. It is an option that we believe is necessary, that will work more or less, but we think it needs to be addressed. It seems to us a good photo of reality”.

Agustin Almodovar vs. the film academy

the ghost of Mondays in the sun also appeared to Agustin Almodovar. León de Aranoa’s film not only won the Goya in 2003, but was selected as the Spanish candidate for the Oscars ahead of Talk to her. However, it did not achieve a nomination in Hollywood, while Almodóvar’s film won the Oscar for best screenplay and was nominated for best direction. That is, more than likely, it would have won the Oscar for best international film.

In October of last year history repeated itself and the good boss was chosen to fight for the Oscar ahead of parallel mothers. And this week, following the Oscar nominations for Penélope Cruz and Alberto Iglesias for parallel mothersand the absence of the good bossAgustín Almodóvar opined on twitter that the Academy “had to review the system for choosing the Spanish film for the Oscars”, beginning a new chapter in the history of misunderstandings and reconciliations of the Almodóvars with the Academy, a path paved with authentic pain and glory.

His criticism did not stop at the comparison with The good pattern: also ugly that Alberto Iglesias was not nominated for the Goya for the soundtrack of parallel mothers. Since the rules of the awards prevent a composer from being nominated for two works and Iglesias was selected for his music in maixabelthe producer was throwing friendly fire and implicitly stating that the Alberto Iglesias of parallel mothers is better than the Alberto Iglesias of maixabel.

It would have been parallel mothers International Oscar nominee this year? Almost sure. Does it make sense to point out that academics vote poorly and are wrong in their tastes? From the outside, it doesn’t look like that at all. On the red carpet, Fernando León de Aranoa came out to stop the ugly game of comparisons stating that “it was not opportune, nor was it the moment”.

It is a cliché, but also an apparent general feeling, that artistic competition is not, or should not be, comparable to sports competition. And nothing in Valencia better embodied that desirable brotherhood than the marriage of Penelope Cruz Y Javier Bardem, who so sweetly seem to enjoy their professional cloud. the protagonist of parallel motherswho was precisely the one who presented the Goya to Elías Querejeta y Roures in 2003, spoke wonders of his ‘rival’ at the red carpet ceremony.

A reminder that in the end, although they symbolize the affection and admiration of their peers, the Goyas, all things considered, are nothing more than their popular name: some simple heads.




www.rtve.es

Related Posts

George Holan

George Holan is chief editor at Plainsmen Post and has articles published in many notable publications in the last decade.

Leave a Reply

Your email address will not be published. Required fields are marked *