Goyas Again, that’s it… thirty-eight editions, next to nothing. They feel like that distant relative you’re glad to see after a long absence, yet you’re eager for them to go once you’ve finished the olives and caught up on the town gossip. Of the thirty-eight broadcasts, only a handful were genuinely engaging television. Too often the show feels unfocused, slow, and excessively long. It’s surprising that those who produce it still struggle to craft a compelling two-hour program. With twenty-eight categories and no filtering in the thank-you section, the result is a chaotic experience. It’s the kind of thing that makes you wary of the whole ceremony. It seems this year’s festivities are split into two parts, almost two different conversations.
Snow. Everything has already been said about The Snow Society with its thirteen nominations. The film stands as the most expensive production in Spanish cinema, a bold and brutal work with a running time that keeps you rooted in your seat for nearly three hours. The snow comes at you in waves, exhausting the audience as it pours across the screen. A world-renowned figure in cinema is involved, but there are a few flaws: the film’s lead carries an almost apathetic self-regard, a disturbing normalcy. In typical award-season terms, the premiere is expected to push for Oscar contention, yet the path remains uncertain and the industry’s momentum wavers.
Bees. The surprise of the year. Twenty thousand bees across fifteen nominations offer a rare, intimate look at a life starting to pivot at a young age. The film moves beyond doctrine and rigid ideology, presenting a compassionate, unsentimental view of a difficult situation. It blends documentary-like honesty with a sensitivity that avoids melodrama, challenging the viewer while remaining human. The mother’s quest for answers—someone to guide her, a beacon to confirm there is light somewhere—becomes a central thread. The child’s gaze feels almost otherworldly, and from first frame to last, the film disarms and questions in equal measure.
Discussion. Can a nearly experimental film about bees, which earned modest box office, contend for best picture against a snow-centric drama watched by tens of millions on streaming? Is it normal that only a few Spanish films reach one million viewers in a year? Do the directors realize that four of the five contenders for best picture did not cross the 160,000-viewer mark? Should Spanish cinema stay rooted in its traditional model or seek a broader audience? Do we want more wintery snow or the intimate bees, or both, as part of the national storytelling? [Attribution]