2024-04-22 03:30:52
Although the cinematographic news of the XI delivery of the Platinum Awards at the Gran Tlachco Theater in Xcaret Park in Riviera Maya, Mexico, was that The Snow Society was the big winner of the night by obtaining six awards (including Best Picture, Best Director, Juan Antonio Bayona, and Best Male Performance for Enzo Vogrincic), there was another way to look at Saturday night’s ceremony because Argentine cinema won much more than an award: the defense of its artists but also of important foreigners.
Both the brief but Andy Chango’s powerful speech upon entering the stage (Best Male Supporting Performance in a Miniseries for The love following Love), such as Cecilia Roth when she received the Platinum Honor, and also the one in Bayonne when it won the Platinum for Best Direction, had a content of strong defense of national cinema due to the situation you are currently experiencing, while This Monday the problem will get even worses with the publication in the Official Gazette of new regulations by the president of Incaa, Carlos Pirovano, which removeamong other things, nothing less than Development management of the structure of the Institute.
The first to sound the alarm was Andy Chango: as soon as the ceremony began conducted for the first time in Platinum history by two women, the Mexican actress and model Esmeralda Pimentel and the Colombian actress and singer Májida Issa, Chango went up to receive the award for the performance of Charly García in the biopic of Fito Páez. “How to explain in just one minute that the world is dying, climate change, that culture is dying, but in Argentina they are murdering her, how to explain the pain, the helplessness and, at the same time, the gratitude,” said Chango. “This Argentina is going away much faster than the planet,” the musician concluded and it was clear from the beginning that You can’t always receive an award with a smile, especially at this particular moment in the country in which every corner of the national culture is systematically attacked. “The culture that we love so much will no longer exist,” said the winner.
The second Argentine who went up to receive a Platinum was Daniel Burman as Best Series Creator for the second season of Iosi, the repentant spythe series that tells the story of a spy for the Argentine Federal Police who infiltrates a Jewish community to gather information, which was then apparently used to carry out the terrorist attacks once morest the Israeli embassy in 1992 and the AMIA in 1994. “I want to thank so many people… When we started developing this project eight years ago, telling the story of a anti-Semite It seemed like an echo of the past, something my grandparents told me. With the things that are happening, the series becomes a very cruel reflection of what is happening. It has a devastating effect on me and at the same time sadly happy,” said the director of The broken hug.
When Cecilia Roth went on stage to receive the Platinum Honor Award on behalf of the president of EGEDA – the organizing entity of these awards together with the Ibero-American Federation of Cinematographic and Audiovisual Production -, the theater was “collapsing”, as it is often said colloquially. Everyone gave a standing ovation. “Among the dozens of titles that make up his filmography there are Argentine, Spanish, Chilean and Uruguayan works,” Cerezo recalled, drawing an overview of Roth’s acting career, whom Cerezo defined as “an ambassador of Argentina and all of Latin America.”
The Argentine actress gave a warm speech, but did not leave aside the conflict that the country is experiencing. She recalled that when she was a child she played with her brother Ariel, who made up stories for her that “had nothing to do with playing with dolls or with mom or dad.” She played, for example, at being astronauts. But before starting the game, Cecilia told Ariel: “We made it true.” “So, when we made it true, everything that was happening, that we were playing in it, became true,” said the actress. “For me, that game turned into truth is cinema. We turn the scenes, the stories, the characters into truth. We build a parallel reality and in that parallel reality we settle and create a story where we are one of those who tell that story,” explained Roth.
Then he spoke of exile in 1976, when he had to leave for Spain. “Bringing together those two countries that also imply having crossed all of South America, and all of Latin America and being lucky enough to work in vulnerable countries, I need to say that We have to take care of our cinema: it is always in danger, in one country, in the other. I believe that the Ibero-American community is a single cinema: the one that speaks in Spanish and Portuguese. It is one cinema, one country. When you have problems, you have to be attentive and help them. It’s not that I’m asking for help. I am asking that we all be aware of our place in the world. Spanish has to be heard the same as other languages. It is not always heard. In our country the problem is serious because not only is it not heard, but may cease to exist. Let us be attentive, let us resist. And like when she was a girl, I say: let’s turn that struggle, that resistance and those dreams that we have for that cinema that we make into truth,” Roth concluded. If when she went on stage, everyone stood up, After his speech, the audience broke their hands applauding.
Yes for that moment the defense of Argentine cinema had become bandera Of the compatriots who took the stage, nothing less than the word of the big winner of the night: the Spanish Juan Antonio Bayona. At the beginning of the gala, the hosts proposed that one director tell another two words that they would have to say in their speech in case they win a Platinum. Bayona got not two but three words: freedom, culture and Argentina. And when he received the Platinum for Best Director, Bayona first noted that he would not be in that place “if it were not for a book that comes from the survivors of the Andes.” “This award is the result of a career and that career begins because my parents taught me to love cinema. They come from a very humble place and did not have the freedom to choose whether to study or work,” said Bayona, while remembering that His mother worked since he was 9 years old.
“Precisely because they did not have access to school, for them education and culture were always very important of their children. So I am here thanks to them,” he said crying. And since the third word that he had to introduce in his speech was missing, Argentina, Bayona commented that “the first references that I remember regarding Argentina are images from the movies of Adolfo Aristarain and Eliseo Subiela”. “Cinema is a very powerful and fundamental tool of expression for a country. To be once morest cinema is to be once morest your own country. So Argentina, here we are! You are not alone, here we are and the united Argentine cinema is here. “We are here to support,” concluded the Spanish director.
Hours before the gala, Bayona had participated in the action “United Argentine Cinema” along with Cecilia Roth, Dolores Fonzi, Santiago Mitre, Daniel Burman, Pablo Larraín, Alejandra Flechner, Marcelo Subiotto, Enzo Vogrincic, Lila Avilés, Santiago Korovsky, Pilar Gamboa, Lola Dueñas and Alice Braga, among other artists from various geographies. They raised an Argentine flag with the mention “United Argentine Cinema.” A statement was also issued that, among other statements, states: “The national government has declared war on the audiovisual sector. “A fundamental institution such as the National Institute of Cinema and Audiovisual Arts has been illegally defunded, discredited and deactivated.”
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