The Academy rewards ‘La Trinchera Infinita’ for turning the sound into the protagonist

Iñaki Díez, Alazne Ameztoy, Xanti Salvador and Nacho Royo-Villanova get the Goya for their exhaustive work recreating loudly a story of an confinement that lasts more than thirty years.

The Goya to the Best sound direction fell to by The infinite trench, a story of a confinement that lasts more than thirty years. The film has been awarded at the San Sebastián Festival, where she won the best direction and best script awards, among others. He has also been nominated at the Feroz Awards and the Forqué Awards.

Nacho Royo-Villanova, after collecting the Goya of this edition, was “very happy for the work developed in this film in which one of the challenges was to capture with sharpness the sound of some dialogues that were produced at a very low volume. It was not to be covered by other sounds produced by the movement”.

Those responsible for the sound of this production, Iñaki Díez, Alazne Ameztoy, Xanti Salvador and Nacho Royo-Villanova, Goya for the best sound appreciates that the script “was very scheduled in terms of sound design, it is a gift from the directors, which has then facilitated the project. In the case of mixtures, they have developed outside the field. What we have tried to transmit is that what the protagonists hear is what the spectator hears”.

The sound in this work is another protagonist. As Alazne Ameztoy explains, "the goal is to serve to give authenticity to history with such important details as the accent of the protagonists, which is limited to a rural geographical location and at a very specific time. All this gives credibility to what is being narrated."

The movement of objects and the sound they produce is key in the narrative and to generate suspense in the viewer, explain those responsible for the sound that, if we look, there are sequences in which Antonio de la Torre's gaze is directed to what he is seeing, and turns from one side to another. All this movement is accompanied by sound displacement.

Sound postproduction has been carried out in San Sebastián, in the room Irusoin And also, in parallel, in The horn. Finally, the entire project has been compacted in Best Digital, in Madrid with Dolby Atmos.

The infinite trench competed in the Goya category for the best sound with the great winner of the night, Pain and Gloria, as well as with While the war lasts and with Who kills iron of director Paco Plaza.

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