10/10/2017.- Mexican filmmaker Arturo Ripstein and Spanish actors Marisa Paredes, Emma Suárez, and Luis Tosar will receive the Golden Spikes of Honor of the Valladolid International Film Festival in recognition of their extraordinary professional careers. Ripstein and Paredes will receive their awards on October 21st, during the 62nd Edition Inauguration Gala, while Emma Suárez and Luis Tosar will collect theirs on October 24th at the Spanish Cinema Gala.
Arturo Ripstein (Mexico, 1943), who will return to the Festival after serving on the International Jury in 2009, will receive the Golden Spike of Honor in recognition of his comprehensive career. Ripstein has been known throughout his career for creating some of the most noteworthy films of Mexican cinema. His works El castillo de la pureza [The Castle of Purity], El lugar sin límites [Hell Without Limits], Profundo carmesí [Deep Crimson], El evangelio de las maravillas [Divine], and La perdición de los hombre [The Ruination of Men], to name a few, make up one of the most respected filmographies of all Latin American cinema.
Being the son of producer Alfredo Ripstein, cinema was always part of Ripstein’s life. He fondly remembers the magical showings that he attended at least once a week with this parents while growing up. He made his debut as director in 1965 with Tiempo de morir [Time to Die], based on a screenplay by Gabriel García Márquez and Carlos Fuentes. This was followed by titles such as Los recuerdos del porvenir [Memories of the Future] (1968), La hora de los niños [The Children’s Hour] (1969), y El náufrago de la calle Providencia [The Castaway on Providence Street] (1971).
Ripstein is the director behind films such as El santo oficio [The Holy Inquisition] (1973), El imperio de la fortuna [The Realm of Fortune] (1985), La reina de la noche [The Queen of the Night] (1994), Profundo carmesí [Deep Crimson] (1996), El coronel no tiene quien le escriba [No One Writes to the Colonel] (1999), La virgen de la lujuria [The Virgin of Lust] (2002), and La calle de la amargura [Bleak Street] (2015). He has received countless awards, such as the Mexican National Prize of Sciences and Arts in the area of Fine Arts, or the French government’s Knight of the Order of Arts and Letters. In addition, he and his work have been honored with retrospectives and tributes at some of the most important international film festivals.
Actress Marisa Paredes (Madrid, 1946) made her film debut at the age of 14. Since then, she has taken part in almost twenty plays, a dozen television series, and 75 films, working under the likes of Jaime Chávarri, Gonzalo Suárez, Fernando Trueba, José Luis Borau, Enrique Urbizu, Antonio Isasi-Isasmendi, Agustí Villaronga, and Pedro Almodóvar.
Almodóvar, with whom she had already worked on Entre tinieblas [Dark Habits] (1986), chose her to be the protagonist of Tacones lejanos [High Heels] (1991). This film would launch her international career, as afterwards she went on to take part in productions in Italy, France, and Mexico. These works include Profundo carmesí [Deep Crimson] (1996) and El coronel no tiene quien le escriba [No One Writes to the Colonel] (1999), both by Arturo Ripstein; La vida es bella [Life is Beautiful] (1997) by Roberto Benigni; El espinazo del diablo [The Devil’s Backbone] (2001), by Guillermo del Toro; and new collaborations with Almodóvar: La flor de mi secreto [The Flower of My Secret] (1995), Todo sobre mi madre [All About My Mother] (1999), and La piel que habito [The Skin I Live In] (2011).
Paredes served as president of the Spanish Academy of Cinematographic Arts and Sciences between 2000 and 2003. She has received numerous awards, such as the National Cinematography Award, the Gold Medal of Merit in Fine Arts, and Grand Vermeil Medal of the Ville de Paris. These are in addition to cinematographic prizes in international festivals like Karlovy Vary, Taormina, Gramado, Gijón and Málaga.
Actress in cinema, theater, and television, Emma Suárez (Madrid, 1964) made her debut on the big screen with Memorias de Leticia Valle [Memoirs of Leticia Valle] (1980), directed by Miguel Ángel Rivas, alongside cast members Fernando Rey and Héctor Alterio. This experience began an extraordinary career, in which, during the 1980s, Suárez worked under the direction of filmmakers like José Luis Borau (Tata mía [Dear Nanny]), José Luis Garci (Sesión continua [Double Feature]), Isabel Coixet (Demasiado viejo para morir joven [Too Old To Die Young]), and Juan Miñon (La blanca paloma [The White Dove]).
With the arrival of the 1990s came Suárez’s collaborations with Julio Medem (Vacas [Cows], La ardilla roja [The Red Squirrel], Tierra [Earth]) and successes like Sobreviviré [I Will Survive] (directed by Alfonso Albacete and David Menkes). This time period also includes her performances in the films of Jaime Chávarri (Besos para todos [Kisses for Everyone]), Manuel Gutiérrez Aragón (Visionarios [Visionaires] and El caballero Don Quijote [Don Quixote, Knight Errant]), Manuel Matji (Horas de luz [Hours of Light], which would earn Suárez a Goya nomination), and Pau Freixas (Héroes [Forever Young]).
Suárez was awarded a Goya in 1996 for her work in El perro del hortelano [The Dog in the Manger] by Pilar Miró. Last year marked one of the most distinguished achievements of her career while at the Academy of Motion Picture Arts and Sciences’s awards ceremony. She won both of the categories she was up for, Best Leading Actress for Julieta, directed by Pedro Almodóvar, and Best Supporting Actress for La próxima piel [The Next Skin], by Isaki Lacuesta and Isa Field. Among her accolades is the award for Best Actress of the Festival, which she won in the 55th edition of Seminci for her role in Agustí Vila’s La mosquitera [The Mosquito Net].
Luis Tosar (Lugo, 1971) made his debut at 23 years old as an actor in theater, short films, and television. He achieved notable popularity when he starred in TVG’s series Mareas vivas [Spring Tides], which opened the doors to the world of cinema to him. In 1999 he worked for the first time under the direction of Icíar Bollaín in Flores de otro mundo [Flowers from Another World]. His performance in this film earned him a nomination for the Goya for Best New Actor, the first time in his career he received a Goya nomination.
In 2002, Fernando León de Aranoa directed him in Los lunes al sol [Mondays in the Sun], the film that helped him win the first of his three awards from the Academy of Motion Picture Arts and Sciences. A year later, with one of his most acclaimed roles, that of an abusive man in Te doy mis ojos [Take My Eyes], again under the direction of Bollaín, he obtained the Goya for Best Leading Actor. He won that award again for Celda 211 [Cell 211], directed by Daniel Monzón.
His career has also taken him to participate in cinema on the other side of the Atlantic. Jim Jarmusch directed him in The Limits of Control, and he played the villain in the big screen adaptation of the classic television series Miami Vice, directed by Michael Mann. In recent years we have seen him in El desconocido [Retribution], directed by Dani de la Torre, Cien años de perdón [To Steal from a Thief], his reunion with director Daniel Calparsoro, and in the recreation of one of the most relevant war episodes in Spanish history: 1898: Los últimos de Filipinas [1898: Our Last Men in the Philippines], by Salvador Castro.
Born in Salamanca, José Luis García Sánchez (1941) graduated in Law and Sociology from the University of Madrid, and in Directing from the Official School of Cinematography. He is an editor of children’s books, as well as an assistant director and screenwriter for television and film. Such films include Corazón solitario [The Lonely Heart] (1972) and Furia española [Spanish Fury] (1975), both by Francesc Betriu, in addition to the aforementioned Queridísimos verdugos [Dearest Executioners], and, finally, Camada negra [Black Litter] (1977), by Manuel Gutiérrez Aragón.
García Sánchez made his directorial debut in 1972, with the comedy El love feroz [Ferocious Love]. After triumphing in the Berlin International Film Festival with Las truchas [Trout] (1978), he directed an episode of the series Cuentos para una escapada [Tales for an Escape] (1979), the documentary Dolores (1980), and feature films such as La corte del faraón [The Pharaoh’s Court], (1985), Divinas palabras [Divine Words] (1987), Pasodoble [Paso Doble] (1987), El vuelo de la paloma [The Flight of the Dove] (1988), which will be screened at the Castilla León Cinema Gala, or La noche más larga [The Longest Night] (1991).
In 1993 García Sánchez directed Tirano Banderas [The Tyrant Banderas], a new approach to the work of Valle-Inclán, after Divinas Palabras [Divine Words]. The film was screened in the Official Section of the 38th Week, and its lead actor, Gian Maria Volonté, won the Best Actor Award. García Sánchez returned to participate in the 49th Week with María querida [Dear Maria] (2004), a portrait of the famous thinker María Zambrano. Pilar Bardem, who played the titular character, went on to win the Award for Best Actress that year. Suspiros de España (y Portugal) [Sighs of Spain and Portugal] (1995), Siempre hay un camino a la derecha [There is Always a Right Way] (1997), Adiós con el corazón [Goodbye from the heart] (2000), Lázaro de Tormes (2001), La marcha verde [The Green March] (2002), Don Mendo Rock. ¿La venganza? [Don Mendo Rock. The Revenge?] (2010) and Los muertos no se tocan, nene [Do Not Touch The Dead, Darling] (2011) complete his filmography.