The Malaga Festival opened yesterday its 24th edition to the rhythm of karaoke with The cover , debut as a filmmaker by the actor Secun de la Rosa, – absent from the contest for having contracted covid-, a musical comedy that pays tribute to those guerrilla artists , as they are named in the film, who do not have their own songs, but make a living by imitating those of others. And it places them performing on a stage like Benidorm, full of hotels with British clients to entertain. The actors Marina Salas, Àlex Monner, María Hervás and Carolina Yuste and the producers Kiko Martínez and José Ramón del Río defended the play, which participates in the official section, and which suffered a filming “accident” due to the pandemic. “The whole film is impregnated with Secun, that’s a reality,” said Monner, who plays Dani, a young man who fears failing as a musician and tries to hide his dreams by working as a waiter.
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Marina Salas, who gets into the skin of Sandra, a girl who imitates Adele, pointed out that The cover it is a personal vision of what is “the B-side of success”. Carmen Machi, Juan Diego and Susi Sánchez take part in supporting roles.
The exhibition ‘Close up cinema’ has 62 photographs about the seventh art in Larios street
The Malaga festival thus once again defies the pandemic for the second year in a row with a larger and more film-centric program than ever, without the traditional red carpet and with masks and reduced capacity at screenings. In the morning there was a fine rain that threatened to cloud the first day of the festival. At noon the exhibition opened Cinema close up on Calle Larios, with 62 images full of empathy around the seventh art, by the Malaga photographer Ana Belén Fernández. And the sun did not take long to impose itself on a day in which the veteran actress Petra Martínez (Linares, Jaén, 1944) shone with her own name, honored with the Biznaga Ciudad del Paraíso in the opening gala presented by Silvia Abril and Toni Acosta. A little earlier, in a meeting with the press in which she was accompanied by the director of the contest, Juan Antonio Vigar, the actress reviewed her extensive artistic and family career. “I like to talk about my personal life,” he said as if it were the most normal thing to do. And she remembered to everyone’s surprise how she fell in love with the legs of her husband, the Spanish actor, director and playwright Juan Margallo. She, who was going to be a detective, ended up reading Ibsen and Chekhov and “I decided to be a theater actress.” One afternoon he went to a filming on Madrid’s Gran Vía and asked one of the operators: “Excuse me, to be a theater actress, where do I have to go?” The man sent her to the William Layton Laboratory, and there she began her journey with a compromised theater that suffered Franco’s censorship: “We were hippies and I had the feeling that with theater the world could be fixed.” As a spectator, she has been faithful to the cinema since she was six years old. Debuted with Colorín colorado in 1976 and now takes the drama to the festival Life was that , by David Martín de los Santos, “a film that will mark my life.” As Vigar stressed, La Biznaga goes straight to “an essential of Spanish cinema.”
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