On Sundays, by Alauda Ruiz de Azúa, has won at the 31st edition of the Forqué Awards the awards for best fiction feature film and best female performance for its co-star, Patricia López Arnaiz. In series the victory has been for Anatomy of a moment, (on Movistar+), series led by Alberto Rodríguez. As usually happens at the Forqué, the ceremony was as musical as it was boring, and the presenters, Daniel Guzmán and Cayetana Guillén Cuervo, were accompanied in a very unfortunate decision by a pseudo artificial intelligence, baptized as TIA, which generated comments and videos of, for example, the conversion of performers present at the gala into babies. You only had to observe the looks from the stalls to understand that if they are awards for creation, chaining jokes about an AI, even at its expense, seemed like a slap in the face to the attendees.
The Forqué awards are granted by Egeda, the entity that manages the intellectual rights of producers, an organization chaired by Enrique Cerezo, and they usually point the way to the Goya awards. They usually point out, true, but there are editions in which they are not right. In 2024 he won here The 47 and then came the squaring of the Goya circle with the triumph from the same between the drama of Marcel Barrera and The infiltrator, by Arantxa Echevarría; in 2023 he triumphed 20,000 species of bees, by Estíbaliz Urrusola, and at the Film Academy Awards the Goya for best film went to The snow society, by Juan Antonio Bayona. There is another curious exception that differentiates the Forqué from the Goya: Pedro Almodóvar has never won in the producers’ awards, so the years in which a production by El Deseo – the company of the Almodóvar brothers – won the main Goya, it had never previously obtained a similar reward at the Egeda gala. This year from El Deseo came Sirât, by Oliver Laxe, and he didn’t win either. Therefore, it does not resolve doubts regarding the Goya for best fiction film.
The night began marked by the death that same morning of the Spanish-Argentine actor Héctor Alterio. Guillén Cuervo started by saying: “This industry has always looked with respect to the past and recognizes those who have preceded us, a generation that knocked down walls, opened doors and windows and made this world a friendlier place to live. So let’s start the gala with our love and our applause for Héctor Alterio.” Before, on the carpet, the president of the Academy of Performing Arts of Spain had declared: “Héctor Alterio has been working until yesterday. The artists do not get to get off the stage.”
In acting, in addition to López Arnaiz (who was consumed by nerves with the award in her hand), in film, José Ramón Soroiz triumphed for Maspalomasand on television Javier Cámara for Jakarta, and Esperanza Pedreño, for the second season of Little faith.
The award for best documentary was won by Flowers for Antonio, by Isaki Lacuesta and Elena Molina; The best Ibero-American film was won by Argentina Belén, by Dolores Fonzi; the award for Cinema and Education in Values was won by Deaf, Eva Libertad (the only one of her four candidatures that became one of the trophies); Forqué for best animated film went to the extraordinary Decorated, by Alberto Vázquez, and the best short film was won dead angle, by Cristian Beteta.
Finally, the public award went to The captive, by Alejandro Amenábar, and the Gold Medal by Egeda, the tribute to a producer’s career, went for the first time to a producer, Emma Lustres, from Vaca Films, who has been behind Beatings, Cell 211, One Hundred Years of Forgiveness, The Child, To Heaven o Who kills with iron.