The night had been saved long before the ceremony ended, with an honor prize (Aitana), with a prize of great lucidity (saves queen) and with another of great sensitivity (the Tania). The Aitana Sánchez-Gijón saves any gala by routine; The save queen was a blow of Karate to the routine of premiables that the academy usually waste without squeezing the imagination and the prize for the best song, ‘Los Almendros’, which the Tania gives Yerai Cortés and its flamenco guitar is something that he does not need a prize because he enters as inside as a kiss, as an insult, as a curse. That he arrived, is that Richard Gere picked her Goya the same year as her, a woman, an actress, a lady who is so above the flotation line that would be said that she elegantly surfs her profession, to the camera and the screen already the screen . Salva Reina is a sublime actor, of a naturalness that breaks the seam So many things to reward and that, that of Salva Reina, of the elderly, of the main Wear. The Tania, his beautiful song, his inimitable voice and the cap that puts C. Tangana’s film was just a matter of good taste, of good ear, of a type of smell that does not satisfy any fashion smell. And that same wave of good taste and good ear is in which Javier Macipe climbed to win his Goya as best novel director with that movie that takes you on his back and you give up the return that is ‘The Blue Star’. The Eduard Fernández and the best actor, so, in this case by ‘Marco’, it was not a matter of any concrete sense, but common sense. As the award for Carolina Yuste, unbeatable, the best of the year. The rest, was to take prizes to ‘Los Disery’, by Pilar Palomero, who denied them many, such as ‘Escape’ by Rodrigo Cortés, who played in another league.
#OTI #Rodríguez #Marchante #forgotten
