What prestigious award is Eva Longoria set to receive at the Platino Awards? Why are filmmakers from central and southern America, Spain, and Portugal particularly invested in this event? Who are some of the notable nominees this year?
The Platino Awards, Ibero-America’s annual film awards ceremony, has got Madrid buzzing, with industry icon Eva Longoria set to pick up the show’s honorary prize on Sunday night.
The biggest filmmakers from central and southern America, Spain, and Portugal have flocked to the Spanish capital for the 12th edition of the event, with nominees including the Academy Award-nominated Fernanda Torres for her performance in Walter Salles’ I’m Still Here and Úrsula Corberó in Luis Ortega’s Kill the Jockey.
Among other nominees are Brazilian actor Gabriel Leone for Netflix‘s F1 series Senna and Spanish legend Pedro Almodóvar for his English-language debut The Room Next Door, which premiered in Venice last year.
The Hollywood Reporter caught up with Ortega on Saturday to talk politics and his next film.
“I don’t like traveling,” the Argentine, nominated for best director with Kill the Jockey, tells THR, admitting that the right-wing Trump administration makes the U.S., in particular Miami, where Ortega grew up, not the most attractive destination right now. “I don’t like police. The airport is terrible, I get strip-searched. It’s terrible, especially if you have my name, which is like a drug trafficker’s name.”
“Our current situation in Argentina is pretty much the same,” he continues, “as in ideology and economy. But [the U.S.] has more money than us, which isn’t necessarily good.” His latest project, Kill the Jockey, debuted to critical acclaim and was Argentina’s entry for best international feature film at this year’s Oscars. While it wasn’t shortlisted, Ortega’s story about two jockeys evading capture by a powerful mobster in Buenos Aires resonated.
The movie did the festival circuit last year, airing in Venice, Toronto and San Sebastian. “You have to drink your way through the festival,” Ortega says on how he found the festival circuit. “It’s unbearable — it has to do very little with the reason why you’re making the film. The whole presentation was pretty exhausting. I like talking with the crowd after the Q&A, but [film festivals] would be better if they were an out-of-body experience. But you have to take your body with you and get on the plane.”
The filmmaker admits the success of Kill the Jockey makes the task of funding his next movie a little easier, though landing the funding isn’t something he enjoys. “The whole getting the money part is boring, right? You have to talk to the enemy,” he says, clarifying that he means people with money. “I don’t have friends with money. Somehow, I get the money because I believe in what I’m doing, but it’s never easy. I don’t care where the money comes from. I grab it and run.”
His newest film, Ortega tells THR, is called Magnetized. It’s about a priest that smokes crack and, while high, gives enamouring speeches. “It doesn’t romanticize crack, obviously,” Ortega says, “But it kind of pumps up his religious side and he falls in love with an actress. He becomes magnetized and goes to work in the mines in the north of Argentina. He finds gold.”
Ortega is finishing off the script. “We’re looking for the money. It’s gonna be a very commercial film,” he says with a smirk.
But there is a hurdle stopping ceremonies like the Platino Awards from getting as big as the Oscars, Ortega continues: “I don’t think anybody gives a fuck,” he says about Spanish-language content making it on the global stage. “People don’t like reading subtitles. I have to know English, but people who know English don’t know how to speak Spanish.”
It’s a problem in his native Argentina, as well, and worldwide, as the dubbing industry becomes increasingly popular. “Spain has their own Pacino [who dubs the actor’s voice for every film he stars in]. When the guy that’s been dubbing Pacino for 50 years dies, then Pacino dies for the Spanish community. Did you know that?”
Hugo Bonemer, a Brazilian actor best known for his theatrical portrayal as fellow countryman Ayrton Senna in the late racer’s onstage biography, is slightly more optimistic about Spanish-language content. “Every human being wants to be valued by their work, recognized for their efforts,” Bonemer says to THR on Saturday. “We want to be loved. We want to be seen.”
He references filming Netflix’s Senna— shot entirely in South America — which became the streamer’s most-watched non-English language series worldwide after its November release. “In terms of nation, of course, there is this pride, like, yeah, there’s Brazil. We’re making it!”
Bonemer is nominated in the best supporting actor category at the Platino Awards for his performance as Senna‘s rival, Nelson Piquet. “It was like an acid trip. I could feel there was money all around,” he says about being on a Netflix set. “There was a drone on the side of a motorcycle filming us. I had never seen such a thing.”
When asked if he is nervous about Sunday night, the Brazilian replies: “I’m very excited. Anxiety is high level right now!”
Luis Ortega on His ‘Kill the Jockey’ Follow-Up and U.S. Politics
Luis Ortega is a name that has become increasingly synonymous with audacious storytelling and provocative cinema. Known for his daring narratives that blur the lines between reality and fiction, Ortega’s work explores deep-seated societal issues, making him a crucial figure in contemporary film. Following the cult success of "Kill the Jockey," Ortega is set to release a highly anticipated follow-up that delves into the complex tapestry of U.S. politics, offering viewers not just entertainment but also a stark reflection of current societal dilemmas.
From "Kill the Jockey" to New Beginnings
"Kill the Jockey" presented grueling insights into the struggles of identity, race, and perseverance. The film showcased Ortega’s knack for blending dark humor with poignant social critique. The protagonist’s journey was not merely a narrative arc; it became an allegory for broader societal themes that resonate with audiences on multiple levels.
In Ortega’s follow-up project, he shifts his focus toward the intricate world of U.S. politics. Unlike many filmmakers who opt for a rose-tinted depiction of governance, Ortega is resolute in portraying an unvarnished view of the political landscape. He aims to peel back the layers of American democracy, exposing the often murky motivations that drive political decisions.
“I want to provoke thought and discussion through my films,” Ortega states in an interview. “Politics is a complex stage where personal motives and societal expectations clash. My goal is to explore this conflict in a manner that feels both urgent and relatable.”
A Cinematic Commentary on Polarization
Ortega’s upcoming film is set against the backdrop of a divided nation, navigating themes of polarization that have defined U.S. politics in recent years. As many citizens have begun to feel disenchanted with the political process, Ortega seeks to capture this frustration tethered with a glimmer of hope. The film features characters from various ends of the political spectrum, highlighting their struggles and emphasizing their shared humanity.
“I believe that art should reflect the world as it is, but also challenge us to think about how we want it to be,” he notes. In creating multifaceted characters that exhibit a range of political ideologies, Ortega aims to foster empathy—an increasingly scarce commodity in today’s sociopolitical climate.
The Influence of Personal Experience
Born into a politically engaged family, Ortega’s upbringing heavily influenced his worldview. Growing up, he was exposed to the discourse surrounding governance and social justice. "From a young age, I saw firsthand how the political system can both uplift and oppress people," he recalls. This personal connection to politics is palpable in his work, lending authenticity to his narratives.
Ortega’s passion for storytelling is deeply rooted in his commitment to social justice. The characters in his films often reflect marginalized voices, tackling subjects that many mainstream filmmakers shy away from. This focus has garnered him both acclaim and criticism, yet Ortega remains undeterred.
“I’ve always taken the position that as an artist, you have a responsibility to address pressing issues,” he asserts. He believes that film can serve as a platform for dialogue, allowing viewers to engage with complicated subjects in a digestible format.
Current Events and Relevant Themes
In his latest film, Ortega incorporates real historical events and contemporary issues, intertwining them with fictional narratives. This approach not only enhances the relatability of the story but also makes it a timely commentary on current events. Elaborating on this, Ortega says, “Art has a unique power to capture the zeitgeist, to hold a mirror up to society and challenge people to confront uncomfortable truths.”
His film showcases significant political events that have shaped the current landscape—ranging from elections to pivotal legislation. This not only provides context but also encourages viewers to reassess their understanding of democracy and civic responsibility.
A Call for Civic Engagement
Ortega hopes that his work will serve as a catalyst for civic engagement. Through the lens of entertainment, he seeks to provoke thought and inspire action. “This isn’t just a film to watch; it’s an invitation to participate in the world around you,” he explains passionately.
By including educational components, such as discussion guides and community outreach initiatives alongside the film’s release, he aims to facilitate conversations about pressing societal issues. His commitment to fostering dialogue runs deep, as he continually emphasizes that change begins within communities.
Conclusion: A Vision for the Future
Luis Ortega’s forthcoming follow-up to "Kill the Jockey" promises to be a poignant exploration of U.S. politics, delivered through the lens of compelling storytelling. By confronting the complexities of political life, he captures the urgent need for engagement, empathy, and understanding in a time of significant division.
In a world where narratives often become overshadowed by sensationalism, Ortega’s work stands as a vital reminder of the potential of film as a medium for social change. As audiences gear up for this next chapter in Ortega’s creative journey, one thing is clear: his films will continue to challenge and inspire us, urging viewers to reflect on their role in shaping the future of society.
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