The nominees for greatest actress on the Goya: “In cinema we can be more sincere than in life” | Goya Awards | Cinema | EUROtoday

“Vulnerability” has been probably the most repeated phrase within the assembly open to the general public of the nominees for greatest main actress of the subsequent Goya Awards (held on February 28) this Tuesday at nightfall on the Barcelona History Museum in El Born. With three of the 5 nominees on stage—Ángela Cervantes (In anger), Patricia López Arnaiz (Sundays), Nora Navas (My buddy Eva)—and two linked nearly by being of their respective filming of recent initiatives—Antonia Zegers (The Turtles) and Susana Abaitua (A ghost in battle)—, the interpreters have mirrored on the significance of opening up, their involvement within the initiatives and the state of the occupation.

“In the cinema we can be more sincere than we are in life and you stay wider than long,” defined López Arnaiz, who has emphasised how he’s nonetheless assaulted by violent sequences and dialogues of Maite, his atheist character in Alauda Ruiz de Azúa’s movie, although months have handed since filming ended and he’s at residence on a Sunday in his pajamas. “Being an actress you experience a violence that leaves its mark on you. As Ángela said, this is what is strange and strange about a profession in which sometimes you can be very alone and it is very difficult to tell what happens to us,” she mentioned, recalling the phrases concerning the estrangement of the occupation that Cervantes mentioned when gathering her Gaudí award for greatest actress a number of days in the past.

The protagonist of At Furythrough which she performs an actress who’s raped at a New Year’s Eve social gathering, has defined that she got here to the position as a result of she went to highschool with its director, Gemma Blasco. “We have known each other for years, she did films and I did acting, so I have been involved in this project for more than ten years because I have followed it closely with my friend,” she defined a few position that overwhelmed her. “I had to understand a rape without having suffered it in my life. There was a lot of physical and psychological work,” she mentioned, recalling that after this undertaking she took on the Jauría play, through which she as soon as once more took on the position of a sexually assaulted lady.

“It is a gift to be condemned to be an actress,” mentioned Nora Navas, who acquired this nomination in Cesc Gay’s romantic tragicomedy that explores an id and relationship disaster on the age of fifty. “In life it’s cool to be vulnerable and it’s okay to make mistakes. You are with a team that knows that your vulnerability is not going to be played against you. To be an actress you have to be very vulnerable, make mistakes and lose yourself.”

Susana Abaitua, for her half, has mentioned that she turned obsessive about the character of Amaia, the civil guard infiltrated into ETA. “It was a gradual process, but I even got obsessed with the license plate numbers of the cars on the set, in case they had changed them. It was great for me to build that obsession with the team, from which I relied a lot on makeup and hair to elevate my character, to bring out everything at the moment of the action.”

Antonia Zegers, the hopeless lady in Belén Funes’ movie, has insisted on this work of camaraderie. “If our work is being celebrated, it is because there was also a person who silently lifted our work, from a director to a wardrobe manager. This is a collaborative work,” he emphasised. Navas closed the discuss by assuring that successful a Goya doesn’t imply that you’ll get higher initiatives, even when it seems to be good: “It’s a great award and when people come home they take a photo.”