The Goya are the Velázquez

The Goya gala is like corn doves: one, optimistic, always expects them to be much better than they are later and, even knowing it, it cannot avoid falling again and again. This time it has not been different, long … and tedious as always (apologize euphemism). Of course, this should be the year in which they change their name and are called, even informally, the Velázquez, as in that glorious parody of the great Juan Carlos Ortega of which it is already indistinguishable. The thing started with Luis Tosar singing (bad) with other actors the song ‘Welcome’. As I thought, optimistic, that the screenwriters would not be so predictable, I swore to the scarlet O’Hara that, if Miguel Ríos appears, I retired to my rooms and invented this article. What they are going to read is, then, the result of my imagination. It is a joke: I had no choice but to continue seeing it by labor imperative. So believe me if I tell them that, before getting off the stage, the singer shouted “free Palestine”, thus opening the ban for the enumeration of all the right causes almost in alphabetical order. That Woke was not dead, that he was in Parranda. The presenters, Maribel Verdú and Leonor Watling picked up the glove, reminding the victims of the Dana and throughout the ceremony they would appear, without any control, all the others: immigration, housing, new imperialisms, ethnic cleanings, climate change, mothers Workers, war in Congo, sexual violence and even climatic migrants. The climax, for emotional lack of control, was achieved by a lady with glasses, Goya for the best sound, who dedicated two whole minutes, not to thank the award for all her living and dead relatives, but to give a rally. He shouted, biddled and upset, declared a misplaced allegation in favor that housing promoters were all over 30% of these to social housing, which his sister had once said it, and against the shopping centers and the resorts. I would have loved to know what was happening at that time by the head of Richard Gere, Goya International, sitting in the first row with his lady. Gere, in his speech of thanks and I suppose that for integrating, he also pointed to claim and harangue us to be alert because they are dark times. While they applauded, delivered, I gave me the silly laugh when remembering that “great is the cinema” of Garci in which ‘Cotton Club’ and Fernando Méndez-Leite, current president of the Academy, which was among the Tertulians, who was among the Tertulians, who was among the Tertulians, who was among the Tertulians, among the Tertulians , he pointed out that Richard Gere there is no one who holds him and that he is an actor who hates, who “has a tremendous problem, and has such little eyes” and “you never know what it expresses.” I guess he has changed his mind or would not have given him the International Goya under his mandate.

Striking, for unexpected, has been the time when an award -winning (apologize that he does not remember which or why he has defended families. I have feared for a moment to be canceled by subversive and conservative. Against all prognosis, it has been unscathed from a more transgressive trance today than teaching the tits, but not as much as pronouncing the name of the absent Karla Sofía Gascón on stage. In doing so, the producers of ‘Emilia Pérez’, when collecting the Goya for Best European Film, some whistle has been heard among the shy applause and their rehearsed “Before hate and scorn, more cinema and more culture” has almost sounded to commitment , more warm than the “the greatest is the error, the more necessary the forgiveness” of a uncomplexed C. tangana that has told everyone, with intention and without hesitation, that they are also wrong. Another absence, that of Pedro Almodóvar, has not freed us, however, his eagerness for pontification. This time per person interposed: his brother Agustín, who is the Carlos Bardem in Calzada de Calatrava. The best of the gala: that we have, until the next, a whole year to forget it.

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