Pedro Almodvar is measured against Polanski and Bellocchio at the European Film Awards

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Pain and gloryhe has four nominations and Antonio Banderas presents himself as the clearest of the favorites.

Pedro Almod

The director of pain and glory, Pedro Almodvar.
AFP

No movie ofAlmodvar, oddly enough, it is among the best in Europe to date. Or, at least, that is what emerges from the palmars, always debatable, of theEuropean Cinema Awards. Twice, that's it, and thanks toreturnYTalk to her, has been noted as the most distinguished of directors in his year. And it even has an honorary prize for the entire race awarded in 2013. Well,Pain and gloryIt looks like the seal to subtract the wound. Up to four categories(guin, director, movie and actor)the movie starring is nominatedAntonio Banderas, the most obvious of the favorites, according to what was made public on Saturday morning at the European Film Festival.The gala and solution to the entanglement will take place in Berlin on December 7.

Its most obvious rivals are two filmmakers with the obligatory vitola of teachers: the PolishRoman Polanskiand the italianMarco Bellocchio. Rarely the Academy chaired byWim Wenderspresent a list of favorites so perfect and even universally indisputable. The parallels, or laziness, as you look, have made all of them occupy the same lockers.The three aspire to be the best director, the three sign the best of the scripts and the three opt with their male interpreters to the statuette of marras.Jean Dujardinis the protagonist ofThe officer and the Spanish, Polanski's; YPierfrancesco Favinooccupies the same place in the credit titles ofThe traitor, Bellocchio's.

To continue with the coincidences,they all tell the story of a man who, after knowing the glory, approaches the end of lifeTo, indeed, the pain. The Polish tape recovers the Dreyfus clebre case. We talked about the clearly anti-Semitic sentence condemned by the French army officer at the end of the 19th century and that Zola himself denounced in a milestone of what was previously called journalism. No one escapes that Polanski himself stands on the side of the accusedin a film as balanced, tense and monumental as, everything is said, shameless. The Special Jury Prize went to the film in Venice.

In case ofThe traitoris different. Radically diverse. This time, the Italian tells the story of the regretful mobsterTommaso Buscettaand he does it with the bleeding and even cruel tone of the most cruel, worth the pompous epteto, of the masters. The film narrates a chisel, and from the hand of an immense Pierfrascesco Favino, the journey that goes from despair to the simplest moral act. Busceta was not a hero. He simply developed a survival instinct near the miraculous. And so to become the greatest of traitors and the most necessary of men. Everything at once.The traitorAlways move straight ahead. The violence is dry, without mannerisms. The result is an exploration to the deepest and most murky of the soul to draw the exact profile of issues such as fear, guilt, responsibility or much simpler horror.

And then it’sPain and glory, which is, as is well known, the most reflective, personal and illuminated of the tapes of aAlmodvarthat looks in the mirror ofAlmodvarto tear from the surface the most refined, faithful and deep portrait of all of us. It sounds tremendous and, indeed, it is. The image that is right to see through the last masterpiece of the director of La Mancha is that of a whole country (ours), at the same time that form and sense is given as rarely before the matter of memory itself , to the very stuff of cinema. That said, the most elementary of the ways to end a deficiency (the one that no Almodvar film appears in the European honorary palmares) is really deficient.

For the rest, note that next to the three undisputed appear with three nominationsThe favourite, fromYorgos Lanthimos, YPortrait of a woman on fire, fromCline Sciamma. For the first are the nominations for film, director and actress (Olivia Colman), and for the second, director, guin and actress (Nomie MerlantYAdle Haenel). It becomes rare, if not unfair, that Sciamma's dazzling work has been left out of the best production nominations. And even more strange that a tape of 2018, not of 2019, re-enters the list of awards: that happens toThe favourite, who was already at the Oscars and, in fact, Olivia Colman won it.

The rest of the films that qualify for the jackpot are 'Los miserables', byLadj Ly(which is also a candidate for guin), andSystem crasher, fromNora Fingscheidt(which in the same way appears in the category of actresses by Helena Zengel). Good for the first, also debatable for the second.

As things, and discardedBong Joon Hoand hisParasitesfor very little European, it is the turn of Pedro Almodvar.

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