Let no one be fooled on this issue. There's no magic here, even though film has a lot of magic. After all, their mission is to create their own truth through lies and, more than the truth, likelihood. It is not, therefore, something that is generated by itself. Behind there are many reasons, means and jobs, and also evolution. In addition to the talent of many directors, writers, actors and technicians.

However, it seems that participation in the Official Section, the Goya nominations, etc., give a special value to the last harvest. And especially Loreak. But if before the film of the Moriarti others had not done a black job breaking taboos and prejudices, would the film of Garaño and Goenaga have taken place in Zabaltegi? That is to say, the usual thing, you have to make ten bad films to achieve great success. And that, I insist, doesn't detract from the value of the movie. It's there because it was worth it. But also because another nine have helped him make the way.

And that is why we have to give some conditions. And I say the condition that doesn't help her. And in our field, we're fed up with weeping fame. What is the sector that does not have aid at present? They are also given to change the car or the windows of the house. Three out of every euro invested in audio-visual is returned in one way or another. No free, then.

The institutions do not offer anything free of charge or on their own account. The conditions for films made in recent years have been thanks to the fight of various players in the sector, producers, actors, writers... On the one hand, the aid for production in Basque created by the Basque Government, to do the same in the official minority languages from Madrid, and, finally, EITB, forced by the famous 6% law. What has happened is, to a large extent, thanks to that. Because we've always said that talent is, but there's not always been help developing it. The question is to what extent these conditions will be maintained in order for the harvest of the coming years to produce the same results. An excellent or very good one in ten movies.

Another issue is to highlight what it achieves. And that's where I think we still have a long way to go. Because without taking away any merit from Loreak, it is clear that the grit offered by Lasa and Zabala is more difficult to swallow, at least for some, and although on film merits it is not far from the former, there is no difference in the media attention given to it. We are all aware of the reasons.