Goya 2018: a gala in which the claims have been drowned out by the excesses of the humor Chanante

Chanantes


we Wanted to surrealism and to us it was the hand. Perhaps on paper, after which the Chanantes would have a touch of absurd humor wrong in effervescent interventions almost anarchic and devastating in previous galas, I had sense to ask for a gala full filed for them. The result has been only mildly satisfying in the evening in the ‘Handia’ swept.

okay, there was a joke great of pure nerve-racking (Morty Mortensen Mortimer and simultaneous translation from Isabel Coixet with the face of circumstances), any certifiably good (the room to thank, let’s face it, he set the expectations for the clouds), and jokes of vomiting endless stained teeth and chocolate. And a Walk to Gilliam to finish off. But as they themselves said, from the beginning, this was being done for closing, quickie, and mood pensive, semi-improvised of the Chanantes drifting are not the most rhythmic of the world.


So we had a gala with a few ups and downs of rhythm absolutely delusional (not a compliment), with a second half in which all interventions of the presenters have been reduced to a minimum, and that will be remembered by the tremebundo punch dialectical Leticia Dolera, who has defined all the paripé of the claim that underpinned the gala as a “a field of turnips feminist“.

The claim would be not get along well with the frivolous, black and absurd humor of Kings and Seville, and for this reason, some joke successful (“the role of women is very important and, therefore, I am presenting I“) was buried by others that pointed in that direction just to be contrary (“me and my wife, Joaquín, that I endure daily…“). In this context, the necessary feminist claim was somewhat watery, and since then very far from that memorable and almost terrorist, “No to war” from animal house and that Marisa Paredes has been recalled in a speech short and without monsergas, without doubt, the most thoughtful of the night.

From that point of view, the interventions of the own Leticia Dolera -who gave a well-deserved Goya Carla Simon ‘Estiu 1993’- and of the Earthquake of Alcorcon have been properly corrosive and strong, but unfortunately the context was not appropriate, and the fans were very well-but they were, after a gala presented by two men and that he needed remedial occasional actress, as a winking face to the gallery.

At those heights, or the intervention of the Dog dropping the gala was being “as the birth of a horse, pretty but gives a bit of disgust“, could save her from a certain slackness that** * * in times did yearn for mediocrity militant, but correct, Dani Rovira**.

The steamroller ‘Handia’ and Coixet

Library

‘Handia’ has earned ten Goyas at a gala that has practically been a celebration of this film is so little seen and so typical awards night. Only Isabel Coixet, with a sudden lift at the last minute with the prizes of Best Director and Best picture for ‘The library’ (in addition to the Best Adapted Script) or the three all-important ‘Estiu 1993’ (best new director, Best actress and Best supporting actor) are going to make you remember other titles in this edition.

Because neither ‘Verónica’ (7 nominations, a Goya technical) or ‘The Call’ (5 nominations for that pitaba strong, single-Goya for the best song, what above has provided us with the creepy gift of contemplating the dreadful aesthetics of Leiva) they will be remembered in a gala that went with the hands almost empty.

Javis, yes, can’t complain. Not only has made mention constant in the monologues, but his creation Paquita Rooms has made a good intervention (this yes) full of pace and bad milk, though possibly more of a wizard you will have been wondering who was that lady. the Explain its origin is complicated, but something tells us that the Javis were rubbing the hands in the audience.

In hindsight, what is certain is that stay in the memory some jokes corrosive and unexpected and a rollercoaster of rhythms and tones maddening. The claim of the role of women was adequate, and the simple and digestive speech of the vice-presidents of the Academy, Mariano Barroso and Nora Navas, has made reference to it in a tone that is conciliatory and friendly. is The truth is that at the end you end up lacking a bit more of the tone of elephant in china shop for according to claims. Or is that at the end, and I’m santigüando while I write, one is reminded of the Ploughman.

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The news Goya 2018: a gala in which the claims have been drowned out by the excesses of the humor Chanante was originally published in Espinof by John Tones .


Espinof

Goya 2018: a gala in which the claims have been drowned out by the excesses of the humor Chanante
Source: english  
February 4, 2018


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