Category: Winners

Categories
PROGRAM Winners

See My Ghost Passing Away

WINNER
JURY STATEMENT:
The film is a little masterpiece. Perfect in every performance segment. Precise and seductive compositions, suggestive color-soaked scenes and visualized emotions, longing and regret. A feeling of nostalgia that gently pulsates through the film image. Sound and noises are almost coming out of their ambience, creating a tactile sense of presence.

AUTHOR CV
Yann Pichot was born 1992 in Brittany, France. At 18 years old, he directed his first short film. During his film studies in Rennes, he directed LA PASSEUSE, selected at Brest European Film Festival and which won the Cinematography Prize in Angoulême. Always in search of aesthetic authenticity, in 2019 he shot REGARDE PASSER MON FANTÔME (See my ghost passing away). Alongside his personal projects, he works at Aurora Films.
SYNOPSIS
Between dreams and nightmares, Lilith sees the ghost of her lost love.

Categories
PROGRAM Winners

Devil’s Chapel

WINNER
JURY STATEMENT:
Auras, reflections, glares, frictions. What kind of light breaks through the film?
What’s below?
Using archival material, the author creates an extremely dynamic and tense atmosphere with a simple film trick.
The sound contributes in a good way to the creation of the structure and intensifies the experience of the documentary material.
Black light.

AUTHOR CV
Nicolás de Bórtoli was born in Goya, Argentina in 1991. He is a musician and image and sound designer (FADU-UBA). In 2020 he directed the short film ″Capilla del Diablo″ (winner of the CIBA Cilect Prize 2020).
SYNOPSIS
After finishing building his Chapel, Lorenzo suffered a depression and locked himself in it for three years. When he opens the doors, he calls his children to show what he did: good and evil.

Categories
PROGRAM Winners

Io ho fissato il fuoco per sempre

WINNER
JURY STATEMENT:
Many looks.
People with ideas in their look
An expression of the eyes in which the inner state is reflected.
What is the difference between looking into the lens and through the lens?
Looking and observing imply active thinking, cognitive action.
Mental effort and fixation of the subject.
Anticipation.
Each of these looks is full of riddles / meanings that we cannot decipher.
 
Visible mental currents towards the camera.
 
Direct view of the camera.
A direct look from history into us, a look that causes discomfort,
Something is expected from us, we know something we don’t want to tell them, disappointment.
Workers, peasants, citizens, protesters.
Views and hopes for a better future.
 
This film makes us universal witnesses.

AUTHOR CV
Salvatore Insana attended the University of Roma Tre concluding his studies in 2010 with a paper on the concept of Useless. With Elisa Turco Liveri, actress and performer he has created in 2011 the collective Dehors/Audela, producing video-theatrical works, audiovisual projects, site-specific installations and photographic investigation, experimental workshops. He continued his research in motion pictures, photography and other media forms, interested in moving bodies in their elusiveness, in their metamorphic and tragic ability to elude us, interested to probe deeper on the limits of vision, on the “visual spectra”, and collaborating with several sound artists, composers and theater companies. His works has been screened at several institutions and festivals around the world.
SYNOPSIS
A collective hypnosis, an invisible, subliminal enemy, an impalpable energy on the verge of exploding. The gaze of the filmed subject, that of the camera and that of the spectator trigger a participatory obsession, made of eyes in action. Eyes that stare, emptiness or neighbor. Crossings. Missed encounters. Sudden starts. Between fear and desire. Is the threat out of range? If there is a subjective, it is that of whom? Ways to see. To be aware of being seen. There is someone, off the pitch, who acts as an underground device, a mechanism not revealed to the viewer’s eye. Someone threatens or affects the quiet of our vision and taking your eyes off too early, you know, could be fatal.