Regional diversity was the center stage in the former Goya Awards: the movie that obtained more statuettes was Handia from the Basque Country; Catalonian cinema obtained 9 prizes distributed in 4 films (including the Chilean co-production of A Fantastic Woman) the list concludes with five awards granted to four projects developed in Madrid. The peninsular cinema thrives on diversity with tales spoken in Eusquera, Galician and Catalonian.
The regional filmic experience is consolidating in spite of the centralization suffered in Mexico. In the former Ariel Awards, two out of the three awards destined to shortfilms were works from Jalisco (Aeronautas y Aurelia y Pedro) and the fiction, El ocaso de Juan from Colima. Guadalajara’s International Film Festival has held a constant presence with shorts and documentaries made in Jalisco, and also with long features regardless.
We possibly have the most abundant regional harvest. In competition: A long fiction feature (La Incertidumbre), two documentaries (Lejos del Sentido y Donde se quedan las cosas) and five short films (Goyito Campeón, Al caer la noche, Primavera, Los últimos veranos and Viva el rey).
Out-of-competition are: Seda, the fiction film by Barbara Balsategui; La era de la desconexión, a docuementary by Cristóbal González and the shortfilms La Polveada by Cristina Fregoso and Coamil of Uri Espinosa. Totalling 12 works to be projected. In the out-of -competition films we find a narrative of extreme experience in so far as the origin of the account.
Seda describes the confinement to which a young woman in love with a narcissit is subjected; in La era de la desconexión a group of survivors from a disfunctional family and drug addicts describe their recovery process which leads them to seek peace in nature and in the need of adrenaline; Coamil depicts a collapsed urban world before the lack of water and food; and finally, La polveada narrates the adventures of a suffering young man who has lost a horse and two mules.
In addition to this, we have three contesting features filmed in Oaxaca (Esmeralda’s Twilight, La negrada and Betrayal) and one in Tijuana (Revolver Mind).
The most important challenge for Jalisco’s cinema is to transcend the local screens. To this day, only the cinema made in Mexico City (chilango) has the possibility to be national.
Gerardo Salcedo Romero