On Sunday, by Alauda Ruiz de Azúa, won the prizes for best fiction feature film and best female performance at the 31st edition of the Forqué Awards for her co-star, Patricia López Arnaiz. In series, victory went to Anatomy of a moment, (on Movistar+), series directed by Alberto Rodríguez. As usually happens at Forqué, the ceremony was as musical as it was boring, and the presenters, Daniel Guzmán and Cayetana Guillén Cuervo, were accompanied in a very unfortunate decision by a pseudo artificial intelligence, called TIA, which generated comments and videos of, for example, the conversion of the artists present at the gala into babies. It was enough to observe the looks on the stands to understand that if these are rewards for creation, making jokes about an AI, even at its expense, seemed like a slap in the face to the spectators.
The Forqué awards are awarded by Egeda, the entity that manages the intellectual rights of producers, an organization chaired by Enrique Cerezo, and they generally pave the way for the Goya awards. They usually point this out, it’s true, but there are editions in which they are not right. In 2024 he won here The 47 and then came the squaring of Goya’s circle with the triumph tied between the drama of Marcel Barrera and The infiltrator, by Arantxa Echevarria; in 2023 he triumphed 20,000 species of bees, by Estíbaliz Urrusola, and at the Film Academy Awards the Goya for best film was awarded to The snow society, by Juan Antonio Bayona. There is another curious exception that differentiates the Forqué from the Goya: Pedro Almodóvar never won in the producers’ awards, so in the years when a production by El Deseo – the company of the Almodóvar brothers – won the main Goya, it had never obtained a similar award at the Egeda gala. This year El Deseo came Sirat, by Oliver Laxe, and he didn’t win either. This therefore does not dispel the doubts concerning the Goya for best fiction film.
The night began marked by the death that same morning of the Spanish-Argentine actor Héctor Alterio. Guillén Cuervo began by saying: “This industry has always looked with respect to the past and recognizes those who came before us, a generation that broke down walls, opened doors and windows and made this world a friendlier place. So let’s begin the gala with our love and applause for Héctor Alterio.” Before, on the carpet, the president of the Academy of Performing Arts of Spain had declared: “Héctor Alterio worked until yesterday. The artists do not come off the stage.”
In the cinema, in addition to López Arnaiz (who was consumed by nerves with the prize in hand), in the cinema, José Ramón Soroiz triumphed for Maspalomasand on television Javier Cámara for Jakarta, and Esperanza Pedreño, for the second season of Little faith.
The prize for best documentary was won by Flowers for Antonio, by Isaki Lacuesta and Elena Molina; The best Ibero-American film was won by Argentina Christmas crib, by Dolores Fonzi; the cinema and values education prize was won by Deaf, Eva Libertad (the only one of her four entries to become one of the trophies); The Forqué for best animated film is awarded to the extraordinary Decorated, by Alberto Vázquez, and the best short film was won blind spot, by Cristian Beteta.
Finally, the public prize was awarded to The captive, by Alejandro Amenábar, and the Egeda Gold Medal, a tribute to the career of a producer, was awarded for the first time to a producer, Emma Lustres, of Vaca Films, who is behind Golpes, Cell 211, One Hundred Years of Forgiveness, The Child, In Heaven either Who kills with iron.
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