Pedro Almodóvar and Antonio Banderas landed 30 years ago as a “pack” in Hollywood. It was with “Women on the verge of a nervous breakdown.” His careers have traveled in parallel since then, sometimes re-feeding. With “La piel que habito” (2011) they resumed their collaboration after many years without seeing their faces on the set and at the moment of truth, Almodóvar has only relied on Malaga to head “Pain and glory.”
The challenge was not small: to make himself, the Manchego director, as punctilious and demanding as he is known to be, in the closest thing to an autobiography that Almodóvar has filmed. Judging by the success of the public and critics, this classic combination of Spanish cinema has worked again. And Banderas, as much or more than Almodóvar, is reaping in recent months the fruit of this delicate work of interpretation.
In the Golden Globes, as in any prize of this caliber, nothing can be taken for granted, but the actor from Malaga arrives at the gala, reaping applause and awards everywhere. Without going further. In addition to the award for best actor achieved in Cannes in May, the United States has surrendered from coast to coast to its interpretation. In November he received a tribute at the Hollywood Film Awards in Los Angeles and in December, exactly one month ago, the New York Film Critics Circle named him best actor of the year for “Pain and Glory.”
But at home, in Europe and in Spain, things have not gone worse. The Goya, to which he is nominated, seems insured, and the award that already in his hands is the European Film Awards. He got it on December 7. As if that were not enough, just a few hours after the Golden Globes, he has been awarded in Palm Springs.
At the gala this morning arrives plethoric, which does not mean that the Globe is tied and well tied. Opposite is particularly Joaquin Phoenix, the interpretive beast of “Joker”. Critics of the Foreign Press Association in Hollywood may not play it to reward Todd Philips’ controversial film in other categories. Instead, they could thank Phoenix as general compensation to “Joker” and, of course, for their impressive work. Adam Driver has also been gaining weight for “Stories of a Marriage” and Jonathan Pryce has pleasantly surprised with “The Two Popes.”
While Banderas arrives with clear options, Almodóvar with “Pain and Glory” seems overshadowed by “Parasites” in the face of his options as the best non-English language film. Bong Joon-ho’s film already took the Golden Palm in Cannes, where the manchego tape was applauded for more than 10 minutes. Almodóvar left a magnificent taste, but the radical proposal of the Korean took the laurels. And so it seems that it will be in the Balloons, except surprise. In fact, in a very close edition in almost all categories, this award is postulated as one of the most obvious.
Balloons have always been looked at with the manchego. He has been nominated 7 times, of which he has twice won the award: “All about my mother” (2000) and “Talk to her” (2002). The last time he was in the race for the award was in 2012 with “The skin I inhabit.” Drawer era that was among the candidates with “pain and glory”. It will be more difficult, as we say, to take the statuette.
Nor does it seem especially easy for the young Hispanic-Cuaban Ana de Armas I achieved glory. For her, in reality, although it sounds topical, being nominated is already the prize, a huge boost to a career that has slowly been forged in Hollywood and that with “Daggers in the back” he has been able to appear in this international showcase nothing less than in the category of best actress comedy or musical protagonist. Awkwafina (“The farewell”), Cate Blanchett (“Where’d you go, Bernadette”), Beanie Feldstein (“Booksmart”) and Emma Thompson (“Late night”) are eligible for the prize.