The European Film Academy (EFA) turned into the anti-capitalist satire The Triangle of Sorrow by Swedish director Robin Ostlund, which won the highest award and three others, while “The Good Shepherd” by Fernando Leon de Aranoawas crowned Best Comedy of the Year.
Ostlundwinner of the EFA Award for Best Film 2017 for The Square, He was awarded the highest award again, plus the corresponding one for Best Director and one for Best Screenplay. His success concluded with the best male performance of one of his actors, the Croatian-Danish Zlatko Boric, in the role of a headstrong Russian rich man.
Another satire, a mixture of humor and drama against the background of job insecurity, with Javier Bardem as Flawless Factory Chief From the scales, the corresponding comedy received the year.
Leon de Aranoa, who received the Education for All Award for the first time, He went up to take him with his product, Jaume Royce, who jokingly claimed that the film is actually a drama. “It’s wrong, it’s wrong,” Roires repeated on stage, sometimes in English, sometimes in Spanish, sometimes in French. Finally, in Catalan, she wishes the director Carla Simon the same success for her film “Alcaras”was nominated for Best Picture and also for Best Screenplay – two accolades cherished by his fellow Swede.
The ceremony took place in the Icelandic capitalaccording to the cyclical shift in the European Football Association, whose biannual party is held in Berlin, where it is based, while it is held every two years in a European city.
The distribution of awards has already begun under a favorable sign Östlund, which won first place for Best Director, to accumulate space for later on the list of winners. His film came to the ceremony after that They won the Palme d’Or at the Cannes Film Festival And precedent for the highest EFA award achieved by the Swede with “The Square”.
The corresponding award for Best Actress was received – despite almost calling from home about her illness – Vicki Krebs from Luxembourg for her intense role in ‘Corsage’A review of Empress Sissi by Austrian director Marie Kreutzer. Thus, she ditched Penélope Cruz, nominated for that award for her role in Parallel Mothers, by Pedro Almodóvar.
It was a very northern partyboth for the list of laureates and for their holding at the impressive Harpa Hall in Reykjavík, including musical interpretations by the Icelandic Symphony Orchestra, and some jokes and winks at the scenes.
Spanish actor Carlos Areces opened the award show He puts on a short swimsuit and becomes the master of ceremonies To announce the award for Best Short Film – which was received by “The Sex Life of a Slovenian Grandmother” -. The pretext for wearing it was the many thermal pools and lakes in Icelanda joke that was greeted with smiles by the audience, who were asked to dress in clothes of a certain etiquette.
Also from Spain The actress, singer, and rights activist attended the LGTBI Jedet, in this case in a very elegant black suit, awarded the International Federation of Critics’ Choice Awards. He was greeted by Slovenian-Italian “Little Body” Laura Samani.
With honors to Ukraine, von Trotta, Bellocchio and Solomon
An entire career honors class was booked German actress and director Margarethe von Trottaan icon among women-run cinema, who received the honorary award from fellow Polish Agnieszka Holland, president of the Egyptian Film Federation and her partner in the fight.
Italian Marco Bellocchio received another special award, in this case as an innovator of cinematic language. He did so in a short, impromptu speech, between conniving laughter with the actor Pierfrancesco Favino and a determination to use only “bellissima lingua italiana”, in a ceremony dominated by the English language.
The Palestinian Elia Suleiman received another special award In recognition of his contribution to European cinema and his career which Mike Downey, director of European Union for All, defines as the perfect combination “between ability to entertain and commitment” to politics.
However, it was the most heartfelt of applause, with the Harpa audience on their feet, for Ukrainian cinema. That was when the Eurimages Prize was awarded collectively to the group of filmmakers from that country at war due to the Russian invasion, and also when the Best Documentary Award was given to “Mariopolis 2”.