We agree that many things happen in half a century. We agree that we have lived a political, artistic and social earthquake in Spain in recent 50 years. And in the world of cinema, the Seats have been even greater. By fashion, for legislative changes, for industrial currents, even by law of life: none of the half dozen Spanish filmmakers who will participate in the Cannes Festival from next Tuesday were born when Franco died. The transition did not live, studied in history classes.
Something similar happens with the list of the 53 voters of the survey: most move between forty and fifty years. And the detail is not minor: they have seen movies of the votes not at their premiere, but on video, DVD, digital platforms, television passes or cycles in film libraries or film festivals. In total, they mentioned 215 films.
time also changes perspectives, agiganta legends and dwarfs movies. He does not put them in place, because there are opinions for everyone. But this list of half a hundred titles dismiss a trip through time and a possible collection for students and cinema fans. While it is true that in its first 10 positions there is only one title title – the prodigy of Alcarràs, by Carla Simón, who is also the first filmmaker who appears in the ranking—, It is clear that the new generations, beyond that handful of irrefutable titles of the late seventies and the eighties, do not have a good consideration of the results of the law Miró, that there by 1983 prioritized a certain author’s cinema open to the public to the detriment of industrial feature films, a dichotomy in which Spanish cinema has tried They are currently almost always remakes, Away from a laugh that drinks from the local, or a more intended experimentation to travel with great success by half world festivals? The square of the circle, an enigma that has only resolved Pedro Almodóvar.
Almodóvar has placed seven films among the first fifty places, and an eighth like Return It has stayed at the doors. Has achieved something impressive: each generation has a Almodóvar Favorite, and therefore its success seems to have no expiration: the years go by, new spectators enter, and they choose their favorite almodovarian title. And in that slippery field of the author’s comedy, along with Almodóvar appear Luis García Berlanga, José Luis Rope, Fernando Trueba and Álex de la Iglesia. Which endorses that the laughter sprout of the singularity is very well received.
Those titles and others solidify another perception: legends remain. As producer Elías Querejeta, more and better author than some of his directors. Or that the daring, the singular, wins. This is ratified by the damn The disenchantment; Vampirism and the risk of Rapture; The peculiar idiosyncrasy of Dawn, which is not little; The sober forcefulness of The Holy Innocents; The emotional gaps, the postwar silences and the Vermeerian painting of The south; or the dissection of a marriage that puts in perspective the site of the Spanish woman for centuries of Night function They find new loves in journalists and experts who barely crawl when they premiered. If they were born.
Another of the most interesting phenomena in the Spanish audiovisual of the 21st century appears on this list: that of the new generation of filmmakers, raised at the Sitges Festival, which embrace terror to transcend the genre to tell something more, even delve into its dramaturgy for a social portrait, without ever losing sight of the fact that the target last is scary and create bad roll. Children of Chicho Ibáñez Serrador and the mythical Who can kill a child? They have filmed referent works such as [·REC]Thesis, a monster comes to see me … Films that for European, American and Asian audiences have meant Spanish cinema, because these examples were those that were released in half -world rooms. Flying over, a genius in this preset, the Mexican Guillermo del Toro, with the first film that enters the civil war, The labyrinth of the faun.
This brief review was with the explosion of the filmmakers: half of Spanish society finally the achievement that their stories reach the big screen. Those female empowered voices were waiting for anxious legions of spectators (without gender distinction). One of the pioneers of the new generation, Mar Coll, closes the list. Carla Simón is, after Almodóvar, the first to place a second title in the ranking and by votes it would be in the sixth place of a hypothetical list of more voted filmmakers. There is still a path for equity, and in that brega they advance with a talent coup.
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