When in 1969 Carol Hanish transformed the propaganda phrase “the personal is political” and not only in a pioneer feminist shout but also in one of the most decisive social precepts of the twentieth century, the possibility that an actress did not go through her mind With the viscerality and temperament of Candela Peña, he would pronounce as soon as he received the Goya for Best Supporting Actress for his interpretation in «A pistol in each hand» the following statement: «He has not worked for three years. In these three years I have seen my father die in a public hospital where there were no blankets to cover him and a child has come out of my gut that I do not know what public education awaits him. From here I ask you for work, I have a child to feed. Thanks good night”. Nor did Hanish imagine the warning that the then President of the Marisa Paredes Film Academy threw on the Aznar government and his management of the Iraq War with that “one should not be afraid of culture, entertainment, or freedom of expression. We must be afraid of ignorance and dogmatism. You have to be afraid of war. Or the offer of improvised posters that took place in the 17th edition of some Goya where the seats became explicit anti-war trenches.
The historical journey of the maximum celebration of the seventh art has always been truffled by a sometimes expendable political claim, at times mercantile – remember the naive exhibition of the red fans that wore last year many of the protagonists of the evening against the gender violence – that by imposition of the Academy itself or by the particular initiative of the winners ends up playing down the only capital element that should have it: the cinema. That is why from some sectors of society the gestures of representatives of the political class are observed with demiurge eyes while underlying a kind of collective craving to catch the president on duty in a resignation. If three years ago the barrage of criticism fell on the figure of Rajoy for the public recognition he made where he assured that he had not seen any of the nominated films, this year the target could have Sánchez’s face. It does not seem that the president of the Government will be present at the facilities of the Martín Carpena Sports Palace in the city of Malaga in Biznaga, which will host the 34th edition of the Goya Awards on January 25.
In contrast to this lack of elegance slightly comparable to the displacement that Vox leader Santiago Abascal starred only a few days ago after his refusal to invite the Academy – although if we stick to the facts it is difficult to locate the profile of a single President who has attended the ceremony – the recently released Minister of Culture José Manuel Rodríguez Uribes or Alberto Garzón as Minister of Consumption will be some of the familiar faces that attend the gala in favor of a political representation that does not end up going crazy for the cultural incentive The organizers predict a gala free of acidity and dialectical darts, but the truth is that politics always ends up being the answer, although it has not even been constituted as a question.