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The 73rd edition of the San Sebastian International Film Festival in northern Spain experienced one of its highlights on Friday night with the presentation of the Donostia Award to Jennifer Lawrence.

At the age of 35, the American actress became the youngest performer to receive this recognition for her career, which already includes an Oscar, a Golden Globe and enormous public support for a long series of films that have marked an entire generation.

“Our freedom of speech is under attack in the United States.”

“It’s a huge honour,” the actress told a pre-ceremony press conference, where she also reflected on the state of culture in her country: “Our freedom of speech is under attack in America, including in the world of film, where we realise that we are all connected and need empathy and freedom.”

Lawrence presented her latest film, ‘Kill Me Love’, which represents a turning point in her career and in which she participates as a producer, at the event. The performer encouraged young filmmakers to keep fighting for their dreams: “Learn, go to casting tests, keep trying. But above all, watching films is very important”.

When asked about the role of women in Hollywood, Lawrence noted that creators such as Greta Gerwig, a renowned actress and independent film director, “have shown that when we are given the opportunity, the world benefits, because more stories are told and there are more perspectives.

Oscar winner for ‘The Bright Side of Things’ in 2012, Lawrence has starred in acclaimed titles such as ‘The Great American Swindle’, ‘Don’t Look Up’, ‘Joy’ and ‘The Hunger Games’ trilogy.

In addition, with her production company Excellent Cadaver she has promoted projects such as ‘Causeway’, ‘Sin malos rollos’ and documentaries of social impact such as ‘Zurawski v. Texas’ or ‘Bread & Roses’, which was distinguished with a Peabody Award.

The actress joins a long list of personalities who have received the Donostia Award, such as Penélope Cruz, Julia Roberts and Viggo Mortensen. In San Sebastian, her award crowned a festival marked by political gestures, especially in relation to the war in Gaza.

A festival marked by protests in support of Palestine

The strong political tone that was to mark this year’s San Sebastian Festival was already present at the opening of the event, on 19 September, when some 2,000 people gathered outside the Kursaal to express their support for the Palestinian people.

“Free Palestine” was the slogan chanted as the guests paraded down the red carpet. Inside, presenters Silvia Abril, Toni Acosta and Itziar Ituño condemned “the genocide carried out by Israel in Palestine” and called for a round of applause “to be heard even in Palestine”.

On the same day, Pedro and Agustín Almodóvar wore stickers with the slogan “Genocide Stop” and shouted “Long live free Palestine” during the Donostia award ceremony for producer Esther García. The honoree herself recalled that “films are tools to make the world a more beautiful and fairer place” and urged to “fight to stop the genocide in Gaza now”.

The protests multiplied throughout the week. On 21 September, Juliette Binoche called from the stage for “an end to the massacre in Palestine”, while Iranian filmmaker Jafar Panahi denounced the insensitivity of international politics.

Last Tuesday, directors such as José María Goenaga and Aitor Arregi, in competition with ‘Maspalomas’, defendedthe embargo on Israel: “It is time to take a clear position”, said Goenaga. The following day, the director of ‘Los Tigres’, Alberto Rodríguez, was categorical: “The continuation of the genocide in Gaza is a disgrace. We are all accomplices if we don’t act”.

Also on Wednesday, in a gesture reminiscent of Javier Bardem‘s keffiyah at the Emmy Awards, Eduard Fernández took to the stage wearing a Palestinian headscarf during the National Film Award ceremony. He read out the names of the children who died in Gaza and warned: “Some will say ‘what a pain in the ass’, but we can’t stop saying it to preserve our dignity”.

San Sebastian, in this edition, has shown that cinema not only celebrates careers such as that of Jennifer Lawrence, but also becomes a loudspeaker for common causes, above all in the world of the seventh art.

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On 15 August 1929, the Spanish doctor Jerónimo Megías fulfilled his dream by embarking on the first trip around the world in the Graf Zeppelin.

It was not the first time that Megías, King Alfonso XIII’s personal physician, had boarded the famous aircraft. In May of that year he obtained a seat on a trip that would take him and 17 other passengers from Friedrichshafen (Germany) to Lakehurst (New Jersey, United States).

On that occasion, the zeppelin had to turn back due to engine failure while flying over the Spanish Mediterranean coast.

This time, however, the challenge was much more ambitious: it would be the first round-the-world flight of a passenger airship.

The trip was a success: the LZ 127 Graf Zeppelin departed from Friedrichshafen towards Tokyo, where it made a stopover after flying over the Soviet Union. It crossed the Pacific Ocean to Los Angeles for a second stopover and flew over the United States to Lakehurst, on the east coast.

After crossing the Atlantic Ocean, the airship returned triumphantly to Germany on 4 September 1929, a journey that lasted 20 days, 4 hours and 14 minutes.

Now, cartographer and science writer Alejandro Polanco has revisited the historic event in an illustrated book: ‘The first flight around the world in the Graf Zeppelin’.

A book to rescue the history of zeppelins

The initiative was paid for by a crowdfunding campaign on Kickstarter. The result is a book, in digital and print versions, which tells the story of the Graf Zeppelin through a large collection of restored images of the time, as well as the testimony of Jerónimo Megías, who wrote a book about his experience on the round-the-world voyage.

“The project consisted of scanning the small photographs in high resolution, translating the technical text of the album from German into English and adapting it to create a high quality hardcover book, adding fragments of Megías’ travel diary,” Polanco explained to Euronews Culture.

The restored album includes more than 200 scenes of these airships, from their beginnings in the late 19th century to the 1930s.

“In the 1920s, small photographs of zeppelins were sold in Germany in cigarette packs so that people could complete an album with them,” says Polanco, who acquired the album from a private collector.

It has been a century, but the photographs have been well preserved as they are reproductions on silver bromide paper. The album provided each miniature with a description.

Around the world, told from the inside

The format of the original images is small, but they are highly detailed and show different zeppelins flying, views captured from them and details of their interiors. Audiences of that time could use small devices with lenses to enlarge the scenes, even giving a sense of three-dimensional vision.

It was the easiest way to get close to an experience that was only accessible to a few: Dr Megías had to pay 7,000 dollars to get his ticket around the world.

“I didn’t shy away from flying to London and I didn’t skimp on radiograms to Berlin, Hamburg and Friedrichshafen. The competition was fierce and the battle between the applicants was intense,” Megías said in his memoirs of the trip.

Megías compared the experience on board the Graf Zeppelin to a luxury hotel. The airship had all the necessary amenities: a kitchen with a chef, a communications room that allowed passengers to send and receive telegrams by radio, and a lounge that served as a dining room, living room and office.

The cabins had electric lights and could accommodate two passengers. During the day, the beds could be folded to make a sofa. There were also folding tables by the windows, some folding chairs and compartments with curtains to store belongings.

There was enormous public expectation for the round-the-world flight. American news magnate William Randolph Hearst knew it well and sponsored the trip in return for his media outlets having exclusive rights to chronicle it.

Among the 20 passengers on the aircraft was the British journalist Lady Hay Drummond-Hay, sent by Hearst to the zeppelin, who reported the adventure while becoming the first woman to fly around the world.

The symbol of an era

Polanco’s book not only details the great voyage of the LZ 127, but also the origin of zeppelins, their historical context and the technology they used.

It includes short biographies of key people, such as the founder of the company, Ferdinand von Zeppelin, and the engineer Hugo Eckener, who commanded the airship on its most emblematic flights.

“The LZ 127 was a symbol of the Weimar Republic, before Germany fell under the absolute power of the Nazis in 1933,” Polanco writes.

In addition to the famous round-the-world journey, the Graf Zeppelin made hundreds of trips, including a regular route across the Atlantic to South America, carrying passengers, cargo and mail without any significant mishaps until it was retired in 1937.

It even made a ‘triangular’ trip between Europe, South America and the US, in 1930.

The tragic accident of the LZ 129 Hindenburg, the zeppelin that exploded in New Jersey on 6 May 1937, marked the end of these aircraft’s golden age. Besides, the rapid development of aeroplanes accelerated their decline.

“Nowadays the new airships fly thanks to non-flammable helium. But I don’t think helium would have saved the old zeppelins either, it was just that the Hindenburg disaster hastened an end that the arrival of improved aircraft had already heralded,” says Polanco in the book that pays tribute to these giants of the sky.

There’s a saying among performers: if you want to work in Ireland, move to England. (Once you leave, the offers pour in, or so the logic goes.)

For Tyrone actor Katherine Devlin, this couldn’t have been more on the nose. In 2022, she was in a Westfield Shopping Centre picking up bits to furnish the London flat for which she had just signed a lease. A few days prior, she had packed her worldly belongings into two suitcases and hauled them across the Irish Sea.

Now, as she lugged a “huge new duvet”, freshly purchased, through the mall, a call came through from her agent. She had landed the role of Annie Conlon in the Belfast cop drama, Blue Lights.

“Within a week I had to pack everything up,” she says. “I mean, I hadn’t even unpacked, that’s the thing. And I went back home.”

Having graduated drama school a year previously, Devlin had been collecting smaller parts in the likes of Netflix’s Vikings, and Element’s The Dig, but this was new territory. She’d play a central role, as one of three rookie Police Service of Northern Ireland (PSNI) officers, in a prime-time BBC series.

“I had huge imposter syndrome walking into Blue Lights season one,” she says. “[In drama school] we get training when it comes to screen acting, and when it comes to acting in general theatre, but you learn on the job – you really do. It’s the small things that you can’t really teach, like making your mark, and the technicalities surrounding it, and being on the same page as the DOP [director of photography]. When you’re in the rhythm of it, that’s when you pick it up.”

Co-star and seasoned actor Siân Brooke (who has starred in Sherlock, Dr Foster and Trying), was a grounding influence.

“She said a couple of things that really stuck with me,” says Devlin. “She was like, look: if there’s anything you need, just come to me, because I’ve been there before. But also – and I stand by this, too – the fear aspect doesn’t really end. You’re always going to be rocking up to set nervous, because you care.”

Following new recruits, Grace (Siân Brooke), Tommy (Nathan Braniff) and Annie (Katherine Devlin) as they navigate the challenges and idiosyncrasies of frontline policing in contemporary Belfast, Blue Lights went on to receive widespread critical acclaim. It wasn’t long before Devlin was walking the Bafta red carpet in Alexander McQueen after season two got nominated in the Best Drama Series category (it clinched the win).

“We were filming at the time, and then got news that we’d been nominated,” she says. “Everybody was cheering and clapping and loving life, but also, on the flip side, we were like: we still need to film season three.

“It was just chaos … I remember immediately getting on to a stylist. I had some sort of vision of what I wanted to wear. I didn’t think that would be McQueen, which was incredible. We landed there and it was just surreal, totally surreal.”

Devlin is speaking over Zoom ahead of the release of season three. A fourth season has also been greenlit.

She’s back living in London – second time’s a charm – and has just got a cat, Lughnasa, who skulks behind her on the couch. Devlin sits in front of a blank wall – nothing to see here – but has a face you cannot look away from, and it is this, with her dark features and pale-to-translucent skin, that fills the screen.

The curious intensity of this face is part of what makes her so compelling as Annie, a fiery young Catholic officer, whose many layers peel back as the seasons proceed.

“Me and Annie are quite similar,” she says. “She’s from a Catholic background, so am I. There was something there that I could really relate to, especially being Irish and being from the North. Annie isn’t from Belfast – she’s from the Glens of Antrim. So, she’s a country girl, and I’m sort of a country girl, too.” (Devlin grew up “between the town and countryside” in Cookstown, Co Tyrone).

What does she think compels a young Catholic woman like Annie to join the PSNI?

“It’s a constant question, especially this season with Annie, where there are a lot of sacrifices being made … At the minute, within the PSNI, 32 per cent are Catholic. [The Catholic population] is underrepresented, and it has been for numerous reasons, such as mistrust within Catholic communities dating back to the Troubles and the RUC … There’s a lovely scene in season three [where] Tommy asks: why are we doing this? Why are we sacrificing so much? Because they are – it’s a real vocation. And Annie and a couple of others say: because it’s important. I think that’s what it boils down to.”

Co-created by Declan Lawn and Adam Patterson, who both hail from the North and who first met as reporters on BBC’s Panorama, the show has an authenticity and lightness of touch that sets it apart.

“It is a police show that isn’t copaganda – that isn’t sleek and sexy. You’re seeing real-life police officers that have their flaws. It’s also a show that isn’t afraid to ask big questions and show those hard-hitting topics.”

In season three, the complexities and injustices of class are under the microscope, as the officers reckon with the hidden world of white collar-criminals who facilitate organised crime.

“They’re very much within the belly of the beast in this season, and dealing with a system that is so much bigger than themselves and super-overwhelming for them as characters,” says Devlin. “There’s a lot of really heavy stuff. They bring up a super hard-hitting topic about car accidents within the North. There’s a scene where Aisling [Dearbháile McKinney] and Annie arrive to a car accident, and it offers up this question of how people deal with trauma, and how they deal with grief.”

[ Blue Lights review: This compelling show is a rare spark in the moribund world of Irish crime televisionOpens in new window ]

Along with hard-hitting topics, we can also expect stunts, car chases, action.

“I always love the chases – that’s when you have to try and keep your cool and act as if you’re not enjoying it.”

And three seasons in, Devlin, like her character, is quite literally settling into the uniform.

“The uniform is naturally very heavy. It’s a really good way into the character, because it changes your whole posture. It changes the way you walk. Getting used to that was a bit of a struggle.

“But then, also, we have a fantastic police advisor on set that we can go to if we want to ask a question. He’s super on it when it comes to making sure that we’re … staying true to how it’s supposed to be.”

The daughter of a civil engineer father and artist mother, Devlin knew she wanted to be an actor from a young age, and saw performance as a way of expressing her big imagination.

“I loved the idea of just stepping into different character. I was really shy in school, and I remember being petrified at the idea of having to speak, or to read out loud, in class.

“The idea of being perceived as myself was actually very terrifying. But when it came to the acting side of things, there was a real comfortability.”

She took drama classes as a child, and remembers her first performance, aged nine, wearing a flamboyant red hat and doing a Southern American accent, on stage in the Burnavon Theatre in Cookstown. Later, having turned down several university offers, she completed a foundation course in Acting and Theatre at Dublin’s Lir Academy, before working in a Dublin sushi restaurant.

She recalls this as one of her “fondest memories … I think everybody should have some experience of dealing with the public and [doing a job] such as waitressing”. After this, she went on to train at the Royal Welsh College of Music and Drama in Cardiff.

While the Lir boasts a number of well-known alumni, most notably Paul Mescal, the notion of fame is not something that appeals to Devlin.

“I think what makes a truthful, good actor is somebody that doesn’t want to be famous. The people that go into it to become famous, in my opinion, nine times out of 10, aren’t great actors. You follow the craft of it, and you follow that truth.”

For the large majority, acting means grit, not glamour.

“It’s a super tough industry, and it’s extremely competitive. It’s a constant journey and a constant battle within yourself as well – making sure you stay true to who you are, but also picking yourself time and time again when you do get those rejections … There’s such unknown territory within this industry. You never know what’s around the corner.

“You either get sucked up by it, or you relish and enjoy the idea of the unknown, so that’s what I’m trying to do.”

Blue Lights returns to BBC One on Monday, September 29th.