April 21, 2021

2019: Industrial bakery and melancholy | Culture

2019: Industrial bakery and melancholy | Culture



A tray of Bonys, Tigretones and Panteras Rosas, that industrial bakery that is the Proust cupcake of the EGB generation, received the presenters on Friday night at the 33rd Goya awards gala. A catering austere (although not in saturated fats) and premonitory to satiate the preambles of the ceremony held last night in Seville. Symptom of the modesty of the Academy or a nod to what was the school snack of many of its current members? The photo circulated through social networks with more complicity than criticism: it is difficult to resist the pinkest flavor of that childhood.

The certain thing is that already it was in the form of bun, song, image or speech (like the one of Antonio de la Torre imitating the sports journalist José María García), the eighties and their surroundings rose in unforeseen protagonists of the gala. When Rosalia came on stage to perform I stay with you, the soundtrack of the evening was sentenced. The song of Los Chunguitos, which in 1981 was converted thanks to Hurry, quickly, by Carlos Saura, in the hymn of the helplessness of marginal young people of those years, was resurrected by the hand of El Guincho, the Cor Jove of Orfeó Catalá and the stellar Catalan performer.

That the Goya of Honor was for the director Chicho Ibáñez Serrador deepened even more in that feeling of returning to a decade in permanent revision and that, strange coincidence, he finally gave in to Seville in 1992. The filmmakers who took the stage to honor the director of Who can kill a child? (Álex de la Iglesia, Jaume Balagueró, Alejandro Amenábar, Nacho Vigalondo, J.A. Bayona, Paco Plaza, Juan Carlos Fresnadillo and Rodrigo Cortés) are children of that torrential playground. All of them appealed to a childhood in front of the television discovering the pleasure of terror thanks to the creator of the One two Three. They honored the amusing and amiable man who was behind those Stories for not sleeping that stopped being broadcast in 1982 and that awoke their darkest fantasies.

But the icing on the cake was the memory of the 30th anniversary of the Goya to the film that drove the international career of Pedro Almodóvar, Women at the edge of a nervous attack, premiered in 1988, and with his Mambo Taxi, his gazpacho, his anxiolytics and his "I'm tired of being good" went straight into the popular culture of a country to travel later to the rest of the world. It was the festive culmination of some Goya that were debated between industrial pastries and melancholy.

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