Carne Cruda #1626 – Las favoritas de los Goya 2026

Overview

This episode centers on the Spanish film industry's most prestigious event, the 40th Goya Awards. The Carne Cruda team, led by Javier Gallego and joined by regulars like Marta Medina, Violeta Arribas, Alejandro Maciá, and special guests, examines the standout films and key themes among the 2026 nominees. The program mixes irreverent banter with serious analysis, in-depth interviews with directors and actors, and reflections on cinema’s sociopolitical role.

Key Discussion Points & Insights

1. Opening Banter: Marta Medina’s Return and Reflections on Religion in Culture

• The program opens with typical camaraderie and humor, as Marta Medina jokes about singing religious songs learned in school, triggering a tongue-in-cheek discussion about nihilism, secularism, and persistent cultural symbols in Spanish society (00:06–01:12).
  • Memorable Quote:
    "Dicen que el nihilismo ha muerto. Dicen que ya no se ve lo de Nietzsche, lo de Gotti, Stoetzí."
    — Marta Medina (00:28)
  • The team jokes about being mistaken for Radio María, underlining their atheist stance.

2. The Goya 2026: A Historic Year for Spanish Cinema

• The hosts herald this as a banner year, with Spanish films making waves worldwide (01:12–02:42):
  • Sirat: Featured at Cannes, with Golden Globe and Oscar nominations.
  • Romería, Ciudad sin sueño, and Sorda: Highlights at other major festivals (Berlín, San Sebastián).

3. The Five Best Picture Nominees (02:42–05:52)

• Sirat (11 nominations): A trance-inducing drama blending North African myth and modern quest, scored by Kandig Rai (02:51–03:51).
• Más palomas (9 nominations): Tender electronic-scored portrait of a gay elder's self-discovery in Maspalomas, Canary Islands.
• La cena (8 nominations): Dark comedy featuring Franco post-war, mixing pasodoble with historical farce.
• Sorda (7 nominations): Eva Libertad’s immersive drama about a deaf woman and everyday ableism.
• Los domingos (13 nominations): Family fracturing as a young woman pursues the cloistered life, probing questions of faith, fanaticism, and tolerance.
  • Notable Moment:
    Marta Medina’s concise but vivid synopses set the tone for serious yet accessible criticism.

4. In Focus: Dialogue with Alauda Ruiz de Azúa, Director of "Los domingos"

• A rich interview exploring Los domingos’s impact and the debates it has ignited (05:38–20:24):

  • On the film’s intention:

    "Hay una apuesta... de dejar cierto margen al espectador, de apostar porque había zonas grises, cosas difíciles de juzgar y querer más plantear las preguntas y los dilemas que las respuestas." — Alauda Ruiz de Azúa (06:24)

  • On not taking sides:

    "No toma partido claramente... cada uno expresa su situación y su percepción de esa realidad." — Javier Gallego (07:39)

  • On religious vocation:

    "...como persona no creyente, como atea, hago una película sobre la vocación religiosa... me interesa todo lo humano, a mí ya me parece que ya hay un posicionamiento bastante, bastante evidente." — Alauda Ruiz de Azúa (08:40)

  • On family and conflict:
    Examines family as both pillar and prison; the father as a complex figure whose actions may be passive or self-serving (12:09–13:33).

  • Generational tolerance:
    Azúa describes consulting the young cast—many from secular backgrounds—about their response to a friend pursuing a cloistered life.

    "El instinto natural era tolerarlo. A ella la hacía feliz." (17:10–18:25)

  • Industry recognition:
    Alauda reflects on her career’s exceptional streak:

    "Intento disfrutarlo y la verdad, no hago muchos planes a largo plazo... pero intento disfrutarlo y ser consciente de que es muy excepcional." (18:44)

5. Deep Dive: "Sorda" – Pioneering Deaf Representation

• Interview with Eva Libertad (director) and Miriam Garlo (lead actor, and Eva's sister), with sign-language interpreter Alejandro Maciá (22:29–32:57):

  • Language and Identity:
    Miriam corrects usage—prefers “personas sordas” and “lengua de signos” over “no oyentes” or “lenguaje”:

    "Nuestro idioma, el idioma natural de las personas sordas es lengua de signos... a las personas sordas nos gusta que nos digan personas sordas, no personas no oyentes." — Miriam Garlo (23:37–24:49)

  • Rehearsal Process & Accessibility:

    • Miriam: “Para mí siempre trabajar con Eva Libertad es trabajar en un espacio seguro, porque sé que ella va a cubrir todas mis necesidades de accesibilidad.” (23:37)
    • Eva: "El corto sí que nació de un momento de la vida real de Miriam... pero luego, para hacer el largometraje... hice una fase de investigación entrevistando a madres sordas..." (25:01)

  • Genre-Bending Representation:
    The film’s impact extends to cinemas now offering subtitled screenings for the deaf, and motivates sign language learners:

    "Gracias a Sorda, algunos cines han puesto versiones películas españolas con subtítulos... pequeños triunfos..." — Eva Libertad/Alejandro Maciá (29:04)

  • Audience Reactions:

    "La gente del público oyente dice que nunca antes habían pensado en muchos de los detalles, muchas de las consideraciones con las que tenemos que vivir las personas sordas..." — Miriam Garlo (30:44)

6. Interview: Guillermo Galoe on "Ciudad sin sueño" (35:25–50:57)

• A close look at Galoe's film set in Madrid’s Cañada Real:

  • On access and authenticity:

    "Es mucho trabajo, mucha paciencia... intentar eliminar las barreras, los muros que nos separan a través de la confianza." — Guillermo Galoe (37:36)

    • The script evolved through many rewrites, adapting to the cast and environment.

  • Working with Non-Actors & Anarchic Environments:

    "El objetivo es conseguir una libertad absoluta en un entorno que... es incontrolable, ingobernable." (39:46)

    • Scenes were charted, rehearsed, but often adapted in the moment.

  • Community pride and political impact:

    "...conseguir que las personas... ocupen espacios que normalmente no suelen ocupar, ya sea la alfombra roja... es un orgullo muy grande. Ellos también pertenecen a esto..." (43:40)

  • Portraying harsh realities with dignity:

    “Me costó entrar ahí... había un recelo... porque normalmente lo que se muestra es solo eso. Tenía la responsabilidad del poder de las imágenes..." (48:38)

    • The film aims for complexity—neither sensationalizing nor whitewashing Cañada Real.

7. Iberoamerican & Short Film Recommendations (51:02–55:32)

• La misteriosa mirada del flamenco — Diego Céspedes’ debut (Best Iberoamerican Picture nominee):
  Described as a “western queer” mixing trans experiences, magical realism, and Chilean landscapes.

  "Esas historias siempre han existido... ayudar a que se diversifique la historia en el cine, a que el arte crezca en ese sentido, me hace sentir muy tranquilo, muy feliz." — Diego Céspedes (52:06)

• Advocacy for Short Films:
  Marta Medina highlights shorts like El cuento de una noche de verano (consent, subtlety) and Una cabeza en la pared (dark comedy on bullfighting’s social death).

• Todos somos Gaza (documentary):
  A follow-up by Hernán Zinn, made with on-the-ground Palestinian crews, revisiting the lives of children in the region (56:27).

• Decorado (Animated Feature):
  Alberto Vázquez’s satirical odyssey questions societal "teatrillo" (stage), echoing The Truman Show and systemic critique.

8. Closing Moments & Recommendations (57:18–58:50)

• Encouragement to support Spanish (and Iberoamerican) cinema:
  The team’s tone is celebratory, proud, and insistent on film’s power to tell "exceptionales" stories.

• Closing music recommendation by Marta Medina: "GoFilm" by synth-pop group Covenant, as a tongue-in-cheek encouragement to “id al cine”.

Notable Quotes

• “La cultura es política y bien lo sabe mejor que nadie.”
  — Javier Gallego (35:25)
• "Tenemos que hacer el trabajo de la gente, pero no el trabajo de los políticos."
  — Alejandro Maciá, about film’s role vs. activism (32:29)
• "El cine es siempre político. Cualquier cosa que hagamos en este mundo... es política."
  — Eva Libertad (32:57)
• "Si encuentro algo que me haga feliz, no me gustaría que alguien me dijera que no..."
  — Alauda Ruiz de Azúa, reflecting on generational tolerance (18:10)

Timestamps for Major Segments

• 00:06–01:12 – Intro banter, Marta’s return, musings on religion/culture
• 01:12–02:42 – Brief overview: Spanish cinema’s global triumphs
• 02:42–05:52 – Breakdown: Five Best Picture nominees
• 05:38–20:24 – Interview: Alauda Ruiz de Azúa ("Los domingos")
• 22:29–32:57 – Interview: Eva Libertad & Miriam Garlo ("Sorda")
• 35:25–50:57 – Interview: Guillermo Galoe ("Ciudad sin sueño")
• 51:02–55:32 – Iberoamerican & short film recommendations
• 56:00–58:03 – Quickfire: More shorts, animation, and Todos somos Gaza
• 58:03–end – Closing thoughts/recommendations

Tone & Language

• Vibrant, candid, often playful but always passionate about cinema.
• Critical engagement with social, political, and cultural issues, blending humor, empathy, and rigorous analysis.
• Frequent use of first-person accounts, direct speech, and unscripted, organic dialogue.

For Listeners New and Old

This episode is a must-hear for anyone interested in the state of Spanish-language cinema, the issues at its heart—from religion and family to accessibility and urban marginality—and the energy of a cultural scene confident on the world stage. Each film discussed opens up deeper questions about Spanish society, and the guests offer inspiration for both cinephiles and creators alike.