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Stepne de Maryna Vroda gagne le prix du meilleur film à Scanorama

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- Le prix du meilleur film de la compétition courts-métrages européens est allé à The Bitch de Carla Melo Gampert ; Plica Polonica d'Agata Tracevič a été nommé meilleur court lituanien

Stepne de Maryna Vroda gagne le prix du meilleur film à Scanorama
Stepne de Maryna Vroda

Cet article est disponible en anglais.

The 21st edition of the European Film Forum Scanorama opened on 9 November with a screening of The Taste of Things [+lire aussi :
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by Trần Anh Hùng, and wrapped on 19 November with the national premiere of the first Lithuanian 3D feature film, titled Twittering Soul and helmed by Lithuanian sculptor-turned-director Deimantas Narkevicius. The festival was held in Lithuania’s four biggest cities — Vilnius, Kaunas, Klaipėda and Šiauliai — and in the smaller towns of Alytus and Visaginas. 

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This year’s top prize went to Stepne [+lire aussi :
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by Maryna Vroda (Ukraine/Germany/Poland/Slovakia), the winner in the festival’s feature-film competition and collecting a €7,000 award. “The film creates space and time for the audience to experience the story subtly and tenderly, bridging collective and individual memories. Revealing the story of a son coming home to his dying mother in a remote Ukrainian village, the film opens up the funeral, gathering the last few village inhabitants. Thanks to its insightful and almost tactile gaze in her debut feature, the director reminds us that history is made of personal stories,” said jury president and managing director of the Austrian Film Academy Katharina Albrecht-Stadler. The other jurors were filmmakers Mitra Farahani and Isabelle Stever.

This year, more than half of the films included in the feature film competition were helmed by women. The other films in competition included the likes of Here [+lire aussi :
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interview : Bas Devos
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by Bas Devos (Belgium), Family Time [+lire aussi :
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interview : Tia Kouvo
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by Tia Kouvo (Sweden/Finland), Sweet Dreams [+lire aussi :
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interview : Ena Sendijarević
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by Ena Sendijarevič (Netherlands/Sweden), Amor [+lire aussi :
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interview : Virginia Eleuteri Serpieri
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by Virginia Eleuteri Serpieri (Italy/Lithuania), Solitude [+lire aussi :
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interview : Ninna Pálmadóttir
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by Ninna Pálmadóttir (Iceland/Slovakia) and Kalak [+lire aussi :
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interview : Isabella Eklöf
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by Isabella Eklöf (Denmark/Sweden/Greenland/Norway/Netherlands/Finland). 

Next, the Award for Best Film in the Scanorama European Short Film Competition “Glimpses of Europe” went to Carla Melo Gampert, director of the animated film The Bitch (France/Colombia), collecting a €5,000 award. Meanwhile, the Award for Best Lithuanian Short Film was bestowed upon Agata Tracevič’s Plica Polonica, awarded €3,000. 

This year, Scanorama showcased some outstanding European hits including Poor Things [+lire aussi :
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Q&A : Yorgos Lanthimos
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by Yorgos Lanthimos, The Eternal Daughter [+lire aussi :
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by Joanna Hogg, Do Not Expect Too Much from the End of the World [+lire aussi :
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interview : Radu Jude
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by Radu Jude, MMXX [+lire aussi :
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interview : Cristi Puiu
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by Cristi Puiu, Anselm [+lire aussi :
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by Wim Wenders, Ingeborg Bachmann – Journey into the Desert [+lire aussi :
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interview : Margarethe von Trotta
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by Margarethe von Trotta, and Daaaaaali! [+lire aussi :
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by Quentin Dupieux, among others.

“Cinema is an inclusive art that draws on reality, and can represent current European issues in an artistically compelling way. Thus, ecological accents, the ever-growing discourse of sustainability in society, reflection on colonial legacy, the stigmas of social minorities, migrants and their integration, the transformation of women’s roles in society at various points in history, and the revision of attitudes, responsibilities, and values naturally make their way into the cinema’s field of vision. Scanorama, now in its third decade of existence, shuns the declarative denominator of a single theme and relies on both focal points of today’s artists and time-tested tradition of classics,” commented Grazina Arlickaite, the festival’s founder and artistic director.

Among other highlights of this year’s edition was the retrospective focusing on famous film directors’ works in TV such as Christian Petzold’s Cuba Libre, Béla Tarr’s Macbeth, Lars von Trier’s Medea and Agnès Varda’s Nausicaa, as well as screenings of Georgian female directors’ film prints (unexpectedly discovered in the Lithuanian film archive) including Liana Eliava’s Cinema (1977), Lana Gogoberidze’s Day is Longer than Night (1983) and Nana Dzordzadze’s My English Grandfather (1987), winner of the Caméra d’Or at the 1987 Cannes Film Festival.

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(Traduit de l'anglais)

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