It is clear that the Goyas are not the most suitable ecosystem for bulls. With greater or lesser intensity over the course of four decades, a progressive and combative discourse—essentially folk—prevailed in every ceremony. The great celebration of Spanish cinema is the antithesis of the world of bullfightingmostly connected to conservative social circles and on the political spectrum defended with particular vehemence on the right.
Bullfights count the clock, or these people believe that it is an anachronistic festival and are not subject to the game of canceling it. no embargo, Two films that embody the idea of frontal mode were made with many options in this edition. At the time woke up y, most reseñable, without precedents.
As for the width Late sunny dayde Albert Serrawhich you pass in the best document category; y short Head on the wallde Manuel Manriquewhich aspires to rise with a cabezón in the feature short category. There he rose first, celebrated by critics Concha de Oro at the San Sebastian Festival; and the second, in the main role Nacho Sanchez (Manticore) y Angela Cervantes (supplements best actress main character with The fury), was a major triumph at the Fugaz awards, the Goyas from the short film.
Late sunny daywhich follows a Peruvian bullfighter Andres Roca Rey during the intensive period, it is a radically aesthetic proposition. Book writer Albert Serra creates a “microscopic portrait of Lydia’s essence”, as critic Carlos Reviriego pointed out in El Cultural.
The camera feels discreet but lacks a few details. Blood is on the first levelFor example, to make the viewer feel like a guy, an interpreter… Well, now Serra is careful to enjoy the juicy look or the sea, which is no longer involved in the dispute that the ancestral discipline provokes; On the contrary, the demonstration of bullfights is purely anthropological.
Today, Ahí is a film sequence conceived conceptually. Asistimos a liturgy of the matador before and after each bullfight: the impenetrable silence that seeks him when he is seen (“lates de soledad”), the series that is projected on the tribune in the van of the chimney in the square, on the serious gestures in the spear…
The filmmaker presents him exposed vulnerable with all his insecurities. “Did you understand that?”when you ask a matador after a happy day in Las Ventas. If you are referring to the public, clearly, what Serra ignores throughout, on cast a folkloric capa on an essentially artistic artifact. In this regard, the tremendous work of the sound team enhances its magnetism.
La verdad, en fin, recorre cada momento del documental, desde la escalofriante cogida contra las tablas hasta los comentarios alentadores de la cuadrilla, impagables, pues albergan todo lo que la disciplina invoca: el arrojo, la emoción, la solidaridad… Además, con algunas frases no puedes no reírte. Hasta en la danza de la muerte cabe el sentido del humor.
Eso es, la muerte. El abismo de la muerte ‘real’ termina de redondear una película hondísima, sin fisuras, que se sitúa entre lo celestial y lo humano. “No se puede eliminar de la vida la pulsión oscura, la irracionalidad, la muerte”, dijo en una entrevista el director, que entiende que la riqueza de Tardes de soledad pasa por acercarse al corazón de la misma, los toros, “desde la inocencia”.
El resultado es absolutamente inédito. Nunca antes había abordado nadie tan difícil empresa con tan original perspectiva. Será curioso también ver cómo se desenvuelve Serra en la fiesta del cine español, con el que mantiene una relación a lo sumo tibia. El cineasta, que también compite por el Goya a mejor director, competirá en la categoría de documentales con Todos somos Gaza, Eloy de la Iglesia. Adicto al cine y Flores para Antonio.
Por si fuera poco, otra película de toros se ha colado entre las favoritas a llevarse el cabezón. Una cabeza en la pared estuvo nominada al mejor cortometraje en los Premios Forqué, aunque se lo llevó Ángulo muerto, que apunta a ser su rival más duro en los Goya.
Nacho Sánchez embodies a matador who has lost his place in the world after three years the bulls were abolished. You can’t adopt a dog at an animal shelter because your previous office doesn’t feel like mascots are welcome.
So plods along this dystopia – for many no doubt a utopia – that Manuel Manrique needs to plant very interesting dilemma about the prejudices that obscure the stigmas, and about the vision that society appropriates of the new, advanced clothing and the old, deprived of food. The relationship between a bullfighter (Nacho Sánchez) and a Sevillian dancer (Ángela Cervantes) is a reflection of this breach, the consequences of which can be irreconcilable.
Both films, Serra and Manrique, atienden a the psyche of the bull matador without playing it and always gently challenging the viewer to try to understand it. There are no predecessors of Goya, we say that they have a similar emphasis. Indeed, the circulation of bull-themed films that aspired to the cabezón turns out to be pitiful, and in none is it a central premise.
Ancestors of ‘taurinos’
It is also appropriate to mention those who have decided on a prize since 1987 – the year when the first gala was celebrated. Exactly the last one Blancanieves (2012), was the only triumph. Pablo Berger’s film was released with six heroes, including Best Picture and Lead Actress (Maribel Verdú), in the 2013 edition. However, the bullfights never end up being the core story in the adaptation of the Grimm Heroes story.
In case Hable with her (2002) theme was also very tangential – Rosario Flores embodies the bullfighter – and only Alberto Iglesias if it was with trophy in one late that paragraph Almodóvar the result was one escabechina. Only one goya (best music) from your nominations.
El de Jamón, jamón (Bigas Luna, 1992) is a similar example: six nominations, including Best Picture, and no award. The main character (Javier Bardem) aspires to be a bull matador, and the bull bull aesthetic is relevant on stage, but the central argument is the other derroteros.
El Pasodoble de Jose Luis Garcia Sanchez (1988) rose with Goya to the best original music, and the bull imagery is justified only from an ornamental lens, while the protagonist Justina, a donkey of the third generation (1994) was a relaxing movie, but in the end there wasn’t much left of the party. Saturnino García beat Goya for best acting revelation, and Santiago Aguilar and Luis Guridi (La cuadrilla) won for best direction of a novel.
Will this be the year that triumphed in Goya precisely in films that took to the bullfights without touching them and focused on the subject at the front? Even if this were not the case, the circumstances in 2026 would not be unusual.
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