The Oscar carpet is red again, in a return to stereotypical glamour.

But the big news, according to information given to photographers, means more than a change of decoration.

After complaints from celebrities, who were tired of waiting so long to access the Dolby Theater, the organizers have established a double lane.

The important ones will access through one and the less relevant through the other. In these times of struggle for equality, there will be celebrities who will arrive at the gala today, will go via the express route and will be separated from their family or friends, destined for the other route.

So everything ready for the 96th edition of the Hollywood Industry Awards. The Dolby and the promenade are fortified, while curious people try to take photos through the cracks of a stage where only journalists and workers pass through.

The glamor that accompanies the gala is surrounded by an ode to vulgarity – a Spider-man approaches and a loud eruption hits right next to it – and a trade in absurd things that, in any case, only contribute to the global warming.

Observing this environment amplifies the echo of some words by German director Win Wenders. “After another life, Hirayama chooses to live a life dedicated to serving the common good. “If you do your best, you know who you are,” he said. Faced with that scrap metal trade, his character opts for the principle of reduction. “He lives with less and less things and he is happy,” the filmmaker stressed.

Wenders spoke this way on Friday night, at the Academy of Motion Picture Museum, about Perfect Days, which is competing in the international film category. “I’m a Japanese director now,” he joked. His title represents that country.

Next to him sat the other four on the list: Juan Anton Bayona (The Snow Society), Matteo Garrone (Io Capitano), Ilker Çatak (Teachers’ Room) and Jim Wilson, producer of Zone of Interest.

Opposed to the Oscars’ tinsel, the evening was an exciting exercise dedicated to those stories that feed the sense of humanity. These five works reflect on real people with their light and dark.

There was a moment when each person had to talk about someone else’s film. Garrone assured that Bayona’s film “makes the audience have an emotional experience.” The Barcelona native praised the Italian with a very personal allusion. He explained that he grew up in a working-class and marginal neighborhood, with drug problems (without mentioning Barcelona), but assured that he had a happy childhood, protected by his parents (Juan Antonio and Piedad were in the auditorium). It was the introduction to point out that “Matteo looks at the characters at eye level, never above, and they don’t see themselves as miserable.”

It was clear that the daily life outside of the bourgeois family of the Auschwitz chief in the Zone of Interest was the one that sparked the most conversation.