The four faces of the foreground

They construct their semblances to blow of interpretation. The roles are part of the polyhedral face of actors and actresses, such as those of these four nominees

Some of the most shocking scenes of Magical Girl are played by Barbara Lennie with her face covered by bandages. Only her eyes are seen, while her broken voice is heard, and the image is like a metaphor for the hidden but fascinating course of this film populated by great actors, women and men, among whom Lennie may not be the one who occupies the most time Screen, but when it is, and from the first moment it appears, electriza.

In that fragile, physical and chemical art, and so mysterious, that is the interpretation, I have always believed that there are actors that appease you and actors that excite you. Or to put it in its own terms, calm actors, who give good, and others whose nerve puts a hundred. Among women, Katharine Hepburn , even when she did sit-com and happy end , was always agitated, very speedy in diction and movement,

often uncomfortably impressing Cukor's masterpieces, not Only to those, the feverish condition of the unstable. While in the antipode, Ingrid Bergman , working with Hitchcock or Rossellini, and even in stories of love and raving, shows a soft modesty, A background of almost mystical stillness that placates us or impregnates us at most with melancholy. Both types produce great art, of course, but the art of Barbara Lennie is of the first category. Click here for the martian movie watch online.

She made her debut in Víctor García León's film Más pena que gloria (2001), where she was still a teenager, forming part of that happy peculiarity of Spanish cinema that is that of children or geniuses who do not lose their temper when they are changed The voice and they grow older: Ana Belén, Ana Torrent, Maribel Verdú, Cristina Marco, Emma Suárez, Juan Diego Botto, Fernando Ramallo, Juan Jose Ballesta, Aída Folch, Iciar Bollain, and I fall short. Its growth has been since 2001 portentous. As a spectator, and even when the film I saw I did not like, she was happy to see it. It

came out a lot or a little, there it was marking its own territory, unmistakable, contagious animation.

The dealer of The bicycle , the sustainable fable of Sigfrid Monleón; The girl who makes the boy suffer in All the songs talk about me, Jonas Trueba debut; The lesbian who observes everything in the skin I inhabit ; The elegant queen of Stella Cadente, by Lluís Miñarro, his third film in this year of grace in which he is nominated as

protagonist of Magical Girl and secondary (brillantísima) in El Niño, by Daniel Monzón.

Like the good interpreters who have already ruled the old Spanish legend that a theater actor does not work in the cinema, Barbara Lennie radiates its force in the montages of Miguel del Arco that I have seen of her,

Holidaymakers, The function to be done, Misántropo . In the first two there was no stage; Everything happened before and at the height of the public. In more than a moment, seduced, I feared that the impetus of the actress would throw me on my back, armchair included.

One of the successes of The Minimal Island , Alberto Rodríguez's great film, is the distribution of its two protagonists, and the Academy, in a fair act, has recognized it by nominating the two in the same category. This preliminary justice, however, can not be solomonic, on the day of the trial, because by preventing the bases of the prize the ex aequo or Javier Gutiérrez or Raúl Arévalo could split in two the head of the Goya that one or another obtained, an operation that Otherwise it would require a heavy instrument probably not available at the gala.

They both deserve it (without forgetting, of course, Luis Bermejo, extraordinary in his role as father of one of the magical girls of Carlos Vermut), but let's go back to the start. Gutiérrez interprets in the minimum island to Juan, and Arévalo to Pedro, the detectives of the section of homicides sent in 1980 from Madrid to a town of the banks of the Guadalquivir to investigate the disappearance of some girls. The police are a couple not very well avenue in

research or leisure, and since the actors appear, the public - who has regularly followed their brilliant careers - expects from them that disquieting complexity and a point Histrionic, in the good sense of the adjective, which marks his dramatic "persona". In the case of Gutierrez, at least for me, more in his memorable theatrical performances, in comedy and tragedy, with the company Animalario of which he is part: The wedding of Alexander and Ana, Hamelin, Ay, Carmela!

But Alberto Rodriguez proposes with them a mirage, one of those that abound in The minimum island , from the beginning, with the beautiful zenith images of the marsh that could be naturalistic or created in a digital laboratory. That mirage or trompe-l'oeil that enriches the criminal plot is based on the fact that of the two policemen one hides a dark past, a stain, and since the two actors are consummate stylists of the turbidity, we never know at all, as history progresses, Who is the reason, or who blames it on suspicions and deductions.

Gutiérrez, with his vintage cropped mustache than Arevalo, of almost Mexican thickness, is the repository of the historical memory that beats in this thriller. His habitual physique of man neither high nor low, nor ugly nor handsome, not altogether sweet or altogether acerbic, contrasts with that of Arévalo, but that contrast does not correspond closely with the matter of the argument and with the outcome, an end that We will not count here of course, and in which the crossing of good and evil occurs in its dubious or uncertain dimension.

I discovered Carmen Machi as a man in a theatrical text that I had written, with the invaluable cooperation of the best playwright of all time . It happened in 2001, when the Theater of the Abbey entrusted to the German director Hansgünther Heyme a montage of The Merchant of Venice in which my translation of that masterpiece of Shakespeare was used, already released in the CDN under the Direction of José Carlos Plaza. For more info.

The actors of the new montage formed the Company of the Theater of the Abbey, created by José Luis Gómez, and in that excellent campus and to me unknown appeared the first day of the trials a young woman named Carmen Machi, who had commissioned in the distribution six papers Different, among them, with great relief, that of Lancelot Gobbo,

It's been 14 years, and I will not fall into the impertinence of detailing the carrerón that has made the actress then revealed. Interpreting the rogue Lancelot, Machi, enraged by some of the Germanic "morcillas" contributed by Heyme to the translation, showed a corrosive and at the same time very flat humor that his later works in television, in cinema and in theater have corroborated. But Machi, with his face and voice so gifted for guase and tear, not only knows how to make us laugh, as evidenced in Eight Basque surnames .

A role developed in three scenes, four years later, in the setting of Lluís Pasqual by Roberto Zucco de Koltès, was for me the confirmation of a pathetic record unexpected but no less dazzling. It was the sister of the little girl who attracted the murderer so much, and her two monologues, in the family home and at the station, had something that theater arouses more than cinema: the desire to be carried away by a physical presence than one He does not want it to disappear for anything i