Homemade, telematic and mask-wearing glamor in some emotional awards

Without squeezing or elbowing, on a semi-despopulated red carpet located in the Miramar Hotel, and with the Soho Theater in Malaga with a minimum capacity, the glamor of the 35 Goya Awards put on the obligatory mask and it was a hybrid, mostly homemade and telematic, and a minority in person. Emotional, it began with a respectful initial silence for the victims of the pandemic and was filled with tributes to women on the eve of 8-M. Decorum prevailed and no one received their Goya in pajamas, like Jodie Foster received her Golden Globe.

There were barely fifty people in the theater where last year there were almost 3,000 attendees. The technique, with almost 150 video signals in a marvelous mosaic of screens, did not play tricks and improvisation – “what we Spaniards do best,” according to Javier Cámara -, contributed to the miracle being solved as a wonderful and elegant chaos the gala.

The actor from Rioja, nominated for ‘Sentimental’ by Cesc Gay, put on his bow tie and tuxedo at home, where he set up his “little pifostio” to follow the gala from a distance and with his two Goyas at hand. He did not add another ‘big head’.

Ana María Ruiz, an Emergency Nurse from Madrid, presented the night’s jackpot, for best film, for ‘The Girls’, and garnered one of the most heartfelt and intense ovations of the long gala. She was the one who set up the library of the improvised Ifema hospital in Madrid, carrying her books and those of her friends. “Culture heals, gives warmth and comfort,” was her succinct and hopeful message after remembering the deceased healthcare workers and all the victims of the coronavirus.

Mario Casas, nominated for the first time for ‘No Mataras’ for best actor of the year, gathered at his home with his family to receive his first Goya. Without a bow tie and shaken by his people, without a mask or distance, he virtually returned to Malaga, the city where he made his film debut fifteen years ago, with ‘The Way of the English’, under the orders of Antonio Banderas, yesterday’s master of ceremonies with María Casado on a big night for the young actor.

As a family, with Juan, his partner, and his daughter Alejandra, Salvador Calvo, the best director for ‘Adú’, one of the great films of the night, with thirteen nominations. With a broken voice, Calvo dedicated his Goya “to all the Adús in the world.” Adam Nouru, the best new actor for this film, celebrated his award loudly.

Ángela Molina was the only one who could caress the Goya, the one of honor in her case, during the ceremony in which she received it from Jaime Chávarri. “I caress it for all the winners who cannot collect theirs today,” said the actress, nominated five times but who did not win any statuette before the honorary one. “That it comes to you when you still have the strength to be grateful is a blessing.”

Luis García Berlanga was remembered in his year with an imitation of Pepe Isbert as mayor of ‘Welcome Mister Marshall’ by Carlos Latre. “A Berlanga is never bored, we will always have our imagination left,” he said while Diana Navarro sang her peculiar version of ‘Americanos’.

Transparent mask

There were masks for all tastes on the catwalk. Among the most striking are those of Najwa Nimri, transparent and black, like the Loewe dress that she wore, and that of María Barranco, printed in fiery red and jet black, like her vaporous model.

Rozalén tearfully received the Goya for best original song for ‘Rosa’s Wedding’ and beat Alejando Sanz, who was making his debut as a film composer and left empty-handed. The most daring dress is that of Hiba Abouk, showing a lot of leg. Antonio Banderas “stuck” his shirt minutes before the start of the gala and opted for a shirt “in which I feel great.”

Alejandro Amenábar, who is still the king of the Goya after winning 14 ‘cabezones’ with ‘The Sea Inside’, did attend the gala and opted for the bow tie and tuxedo. With his debut 25 years ago with ‘Tesis’ he already got seven. In Malaga he gave the Goya for best sound to the ‘Adú’ team.

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