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US Spotlight Award for Flinckenberg; Berlinale prizes for two Danish films

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- Peter Flinckenberg has been honoured by the American Society of Cinematographers, while Berlin has given awards to films by Joshua Oppenheimer and Vladimir Tomic

US Spotlight Award for Flinckenberg; Berlinale prizes for two Danish films
Pirjo Honkasalo (left) and Peter Flinckenberg at work on the set of Concrete Night (© Ville Tanttu)

At the 29th American Society of Cinematographers’ annual ceremony on Sunday 15 February in Los Angeles, Finnish cinematographer Peter Flinckenberg was the first Finn to receive the society’s Spotlight Award for his work on Finnish director Pirjo Honkasalo's award-winning Concrete Night [+see also:
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(2013 – which has also garnered him a Jussi, Finland’s national film prize). 

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Flinckenberg, who snagged another Jussi for Finnish director Amir Escandari’s documentary Pixadores [+see also:
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(2014), has been acknowledged as one of Finland’s most talented and versatile cinematographers, according to the Finnish Film Foundation. He has shot a total of 31 features, documentaries and shorts, including Finnish director Selma Vilhunen’s Do I Have to Take Care of Everything?, which was nominated for an Oscar for Best Live Action Short Film.

At the Berlin International Film Festival, two Danish documentaries were given awards by the independent juries: Joshua Oppenheimer's second film about the Indonesian genocide, The Look of Silence [+see also:
film review
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film profile
]
, received the Peace Film Prize from the International Physicians for the Prevention of Nuclear War, while Vladimir Tomic's Flotel Europa [+see also:
film review
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film profile
]
bagged the Readers’ Jury Award from the Berlin daily newspaper Der Tagesspiegel.

Oppenheimer’s “companion piece” to his Oscar-nominated The Act of Killing [+see also:
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festival scope
film profile
]
collected five prizes at last year’s Venice Film Festival, including the Grand Special Jury Prize; it was named Best Nordic Documentary at the Göteborg Film Festival 2015, also adding the Danish Film Academy’s Robert to its 12 international awards.

In 1992, Tomic – when he was 12 – fled Sarajevo with his mother and elder brother; now, after being educated at the Royal Danish Academy of Fine Arts, he describes how they spent two years in limbo on the Flotel Europa, a giant ship that the Red Cross pulled into the canals of Copenhagen, since the refugee camps were full.

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