These are the Prize Winners!
The Bavarian Television Short Film Prize, worth 5.000 Euro, awarded by the International Jury, goes to OVER by Jörn Threlfall.
A story about a desperate act of an immigrant looking for a better future. The film touches an important issue in the seemingly dispassionate manner by using simple ascetic means. A current topic that is presented in an innovative, daring and unexpected way.
The International Jury gives a Special Mention to the film TRAFO by Paul Horn.
Extremely suggestive and perverse vision of dehumanisation and cruelty to which only a man is capable of. A powerful experiment on the emotions and conscience of the viewer.
The Short Film Prize of the City of Regensburg, awarded by the Jury of the Young, goes to RITOURNELLE by Camille De Leu.
There are many aspects that define a good movie – the actor’s performance, stunning images, excellent camera work, thoughtful dialogs and much more. But all the artistic and technical elements need to be built up on a basic concept. This concept is the story and this is also the greatest strength of Camille De Leus film RITOURNELLE. The story seems to be familiar to all of us. It deals with thoughts about the youth we live through (or have already experienced), about family life, about sexuality, about all those exhausting thoughts in your mind. To make a long story short: You think about everything between life and death, and everything beyond. The basic concept has been made and the film can be build up with the three outstanding actresses, who make the audience forget that the story is actually written down in a script. Despite all the authenticity and proximity the camera work and delightful pictures in RITOURNELLE are creating an artistic cover. It is obvious that it wasn’t an easy decision to choose one out of so many films. But every discussion led us to this single movie.
The Regensburg BMW Short Film Prize worth 1.500 Euro, awarded by the German Jury, goes to [OUT OF FRA]ME by Sophie Linnenbaum.
Are you in the frame? With an ambiguity of filmic vocabulary the director shows in a humorous and innovative way social phenomena and rejections. Because of the surprising realization and the visual dealings with the idea we become conscious of our part as a participating observer. Not only that the director plays with certain patterns, also our cinematic expectations are turned upside down. Social roles do not square with shifted self-perception. We have to get back into the frame in order to be perceived.
The Max Bresele Memorial Prize worth 500 Euro for a political relevant film, awarded by the German Jury, goes to KRIEG IM FRIEDEN (WAR IN PEACE) by Luise Omar.
There is no escape. At different places, too, we live with our past, which at the same time remains our present. History, reality, and news mix in this film and descend upon its protagonist. Here, there is no establishing of normality after war and escape. In a sensitive and artistic way this current problem is being translated into film. The diverse aesthetics of animation illustrate the topic in such a concise way, that they let us participate in the biographies and their terrifying everyday life.
A Special Mention goes to TAGELÖHNER SYNDROM (WORK FOR ONE DAY) by Rita Bakacs.
With great respect for its protagonists, the film offers us an in-depth look into the working world early at 4 a.m. We meet men fallen out of the system, who present themselves with their hopes, setbacks, and dreams. In doing so, the director succeeds in keeping the distance and at the same time allowing closeness – especially with the discreet cinematography. There is neither humiliation nor evaluation.
The FilmFernsehFonds Bayern Subsidary Prize worth 1.500 Euro, awarded by the FFF Jury, goes to MARS CLOSER by Annelie Boros and Vera Brückner.
With an exceptionally clear vision and an immense sense for form the directors and the cinematographer manage to draw the audience into the story and under the spell of the images. They skillfully steer clear of moments that might get lost in mannerisms. Consciously, the boundaries of conventional documentaries are challenged, many questions remain without answer. So, just for a while, the audience participates in the experiment just as much as the protagonists.
A Special Mention goes to WAS WIR TUN WENN WIR ALLEIN SIND (WHAT WE DO WHEN WE ARE ALONE) by Moritz Adlon and Felix Pflieger.
A very peculiar protagonist, a very peculiar form and a deliberately ordinary situation. A small film about our private every-day emptiness. In its finest scenes, it brings back memories about Jim Jarmusch’s debut “Permanent Vacation“ and makes us very curious to see more from the director.
WINDOW TO THE REGION
The Regional Prize of Mittelbayerische.de worth 500 Euro, awarded by the Regional Jury, goes to S’LICHTL by Philipp Wagner.
We were really impressed by the high quality of the films in the “window to the region” and we want to say that the local filmmakers should not be scared to submit their films to other competitions as well. Many interesting films were shown but unfortunately, we had to decide which film is going to be the winner. For us, S’LICHTL by Philipp Wagner was the most convincing film in terms of cinematic quality, form and content. The film tells the myth about “Lichtl” and presents the visual narrative delicately in black and white. The lack of resources did not hinder the creativity of the film team. If anything, S’LICHTL is the perfect example for alternative film making on a high level. The story is told in a clever way and the sound effects enhance the experience. The lights were all well aligned and never used excessively. Further, the actors’ performances are worth to mention, too. Their talent combined with the creative minds of the filmmakers made this film what it is.
Special Mentions go to TRAUMA by Severin Alexandersson, KOPF STEIN PFLASTER by Thomas Feser and MODRY 3000 by Joscha Baltha.
As already said, the artistic quality of the “window to the region” was really high. That is why we want to highlight three other films. TRAUMA by Severin Alexandersson is a great illustration of a nightmare, which reveals deep insights about the protagonist and simultaneously challenges the viewer. KOPF STEIN PFLASTER by Thomas Feser shares a few features with Trauma, but is visually done in a completely different manner. It tells the story of an outstandingly performed female protagonist and shows images of a mental illness. MODRY 3000 by Joscha Baltha approaches the medium film from a different angle. The film is inspired by the experimental films of the 1970s and takes full advantage of its genre.
The Kinokneipen Prize worth 333 Euro for the Audience favorite goes to IRREGULARS by Fabio Palmieri.