The Bosnia 'Quo Vadis, Aida?' It triumphs at the European cinema awards

With the incidence rate of Coronavirus in a new peak, the European cinema prizes returned one more year at the zoom. Just a month ago and with the cycle of fe

The Bosnia 'Quo Vadis, Aida?'
 It triumphs at the European cinema awards

With the incidence rate of Coronavirus in a new peak, the European cinema prizes returned one more year at the zoom. Just a month ago and with the cycle of festivals already fulfilled in face-to-face, the reunion was spoken in Berlin. Back I wanted the chaotic and 'Wi-Wide' last year's ceremony that crossed 'another round'. Well, new wave and, with it, new connections in peak and mute (there were not so many the truth). And so Gala Number 34 of the EFA managed to elapse with the agility and discretion due in honor this time and against all odds of 'Quo Vais, Aida?, By Jamila Zbanic.

Let's say that the film by the Bosnian director spent at the time inadvertent by the billboard in a relationship inversely proportional to the cry of rage proposed. Zbanic stops at one of the most brutal chapters of the recent history of infamy: the slaughter of Srebrenica of July 1995. The Director, who received the Gold Bear in 2006 by 'GRBAVICA (THE SECRET OF ESMA)', adopt In this work, the point of view of a UN translator, which is also a mother of two children. The idea and strategy is to stop the look at the center of all horrors. The protagonist, a powerful and immense Jasna Djuricic, is right in between. Speechless. Unable to translate both horror. From the position of it, however, she gives voice to all: the executioners, the victims and whom they came to mediate there. Everything listens, everything sees everything, everything is silent. To finally, scream everything. For the film, the director and actress were the rigor prizes.

Well, it was this nude film exercise that was imposed to theoretically favorites. The academics preferred the frontality of Bosnia to the baroque and provocative carnity of Julia Ducournau, in principle that appeared in the head of her forecasts by her gold palm in Cannes: 'Titane'. Nor did the voters (or not all) be impressed by the clarity and success of 'El Father', from Florian Zeller. For the latter, yes, were the distinctions for the best script and the best actor of the year. A Anthony Hopkins was not worth, in fact, with winning the Oscar, he also touched him. It sounded strange, yes. The rare dance of premiere dates that have condemned all Spanish cinema this year (neither Almodóvar nor León de Aranoa nor icíar Bollaín, for example, were on the lists of eligible) makes the British interpreter continue to triumph, although some Hayan Forgotten the movie and Hopkins himself already remember what his role was going. In fact, he did not even bother to say hello.

Soon, yes, it was learned that the only Spanish option remained at all. 'Sentimental', of Cesc Gay, gave way of the honor of being the European comedy of the year to 'Ninjababy', of the Norway YNGvil Sve Flikke. The film that could be seen in the last Gijón Festival is undoubtedly one of the productions of the year (it does not matter what) for its strange ease to mix animation, disarray, irony and catastrophe in, without a doubt, an exceptional comedy. And arrivals at this point was the rest, the rest of Europe that is not Spain.

Finally, that Flee, Jonas Poher Rasmussen, got so much the awards for the best documentary and better animated tape, arriving at this point, the best (or one of them) news of the entire gala. The film is called to be one of the emblem productions of the season. And it is well that it is recognized from the beginning, from right now. The way of mixing looks, genres and distinguish voices in the story of a double flight (that of a man who runs away from his country, Afghanistan, and the prejudices that force him to hide his homosexual condition) is moving and even memorable. And so they understood the European cinema awards. Good.

Either, if the ceremony last year was primed in melancholy and bad connections because of the misfortune of the pandemic, this time the idea was to avoid all deviation towards fatigue or micro off neglectedly. The Honorary Awards, so to speak, both Danish Director Susanne Bier for all his career, and to the Hungarian filmmaker Márta Mézáros for his evergreen legacy, as the British Steve McQueen for the innovation that supposes the series prodigy that is Small Ax ', they were delivered as quickly as adequately emotional. And that was the guideline for everything else. It gives the impression that the epidemic is already part of us. And zoom too.

Date Of Update: 11 December 2021, 16:01

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