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“And last night, I had another Monica Bellucci dream. 

I was in Paris on a case, Monica called

and asked me to meet her at a certain cafe.

She said she needed to talk to me…”

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You could buy into this dream, repeated here word for word, but it’s FBI Deputy Director Gordon Cole — a character once again performed by David Lynch in the latest instalment of Twin Peaks (Season 3) — who makes the surprising confession.

The scene in question takes place in episode 14 of the new TV series. Twenty-five years after the question that kept the planet in suspense — “Who killed Laura Palmer? — now’s not the time for a discourse on the surrealist device thought up by Lynch. Nor are we about to ask the not-insignificant question of how on Earth the director convinced the producers and managers for the series that such an experimental and radically daring project as Season 3 would fit into the standard TV series format. The Universe can keep the lid closed on these answers.

What’s going on here — following Lynch’s example, but leaving nightmares to one side this time — is a tearing down of the blurred boundaries between dreams and reality, allowing them to light up our days for just a moment.

The stars are aligned, and once again the Donostia Awards section of the San Sebastian Film Festival brings us a rare parade of talent and glamour on the red carpet.

Donostia Awards recognise the career and legacy of directors and actors and have been bestowed historically on Gregory Peck (who opened the list in 1986), Bette Davis, Lana Turner, Oliver Stone, Lauren Bacall, Robert Mitchum and Francis Ford Coppola.

This year, the honour falls on three new names; director Agnès Varda, living legend from the second half of the 20th century, a fundamental time for film; Ricardo Darín, regular visitor to our festival and creator of so much diverse and solid work that he’s almost another member of our family; and lastly, the beautiful actress Monica Bellucci, her seductive and unnerving presence having led to daring performances in “Malena” ( Giuseppe Tornatore, 2000) and “Irreversible” (Gaspar Noé, 2002), as well as less-highbrow contributions including a new addition to the gallery of ‘Bond girls’, an ad for Martini, a campaign for Dolce & Gabbana… or the strange Parisian dreams of director David Lynch.

Friends, coming back now to dreams, allow me to leave this short account here and answer Monica’s call…this afternoon she’ll receive her well-earned honour in the Velódromo de Anoeta, and she said with some urgency that she needed to talk to me beforehand in a certain cafe…

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