European Film Academy e.V. Kurfürstendamm 225 10719 Berlin GERMANY tel. +49 30 887 167-0 www.europeanfilmacademy.org
EFA Productions gGmbH Kurfürstendamm 225 10719 Berlin GERMANY tel. +49 30 887 167-0 www.efa-productions.com
Amtsgericht Charlottenburg 14236 Nz
Amtsgericht Charlottenburg HRB 99369
EUROPEAN FILM ACADEMY e.V. Editor: Pascal Edelmann Graphic design: Andrés Castoldi Unless otherwise indicated, all pictures appear courtesy of the respective production/ distribution companies. P32 & 46: United Archives GmbH/Alamy Stock Photo; p56: Moviestore collection Ltd./Alamy Stock Photo
THE 30th EUROPEAN FILM AWARDS WELCOMES Agnieszka Holland ...................................................... Chairwoman EFA Board Michael Müller ............................................................. Governing Mayor of Berlin Prof. Monika Grütters ................................................. Federal Government Commissioner for Culture and the Media Mariya Gabriel ............................................................. EU Commissioner for Digital Economy & Society
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Help us to Help Oleg Sentsov ...................................
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THE EFA PATRONS ......................................................
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FROM A DIVIDED EUROPE TO A DIVIDING EUROPE By Wim Wenders, EFA President
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TOWARDS THE NEXT DECADE .................................. By Marion Döring, EFA Director
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THE AWARD CEREMONY ............................................
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FROM 1988 TO TODAY ................................................
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EUROPEAN CINEMA 2017 .........................................
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CREDITS ........................................................................
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THANKS ........................................................................
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EFA 2017 ...................................................................... European Film ............................................................. European Comedy ...................................................... European Discovery - Prix FIPRESCI ...................... European Documentary ............................................. European Animated Feature Film ........................... European Short Film .................................................. European Director ...................................................... European Screenwriter ............................................. European Actress ....................................................... European Actor ........................................................... AWARDS 2017 The Jury ........................................................................ European Cinematographer – Prix Carlo di Palma European Editor .......................................................... European Production Designer ................................ European Costume Designer .................................... European Hair & Make-up Artist .............................. European Composer .................................................. European Sound Designer ........................................ European Co-Production Award - Prix EURIMAGES ................................................................. European Achievement in World Cinema ............... EFA Lifetime Achievement Award ........................... EFA Young Audience Award ...................................... EFA People’s Choice Award ......................................
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THE 30th EUROPEAN FILM AWARDS
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WELCOME
Agnieszka Holland Chairwoman EFA Board In these times of change there are good reasons to look back at our history. It is the moment to remember the history of our continent, Europe, and, also the shorter history of the European Film Academy. Across the world we can observe how achievements of civil and social rights movements are put into question, criticized as wrong or evil, shrugged off or simply reversed. 2
The ideals of equality for all people, independent of sex, race, gender or religion, and the freedom of opinion and artistic expression have again become something to stand up and fight for - not in remote and socalled underdeveloped territories but in the middle of our continent. In our midst, democracy is treated as an outdated luxury and nationalism rises up. We cannot ignore this. When the first European Film Awards brought together some of Europe’s greatest filmmakers in what was then West Berlin, the city was divided into allied sectors, Germany was divided into the Federal Republic of (West) Germany and the German Democratic Republic (East). Europe, too, was divided into West and East, Nato and Warsaw Pact states, with a few blank islands bathing in the luxury of supposed neutrality. There was no Internet, no social media, not even mobile phones. The European Community had twelve member states, all of them, of course, in the West.
Still, European filmmakers from all over the continent, East and West, crossed borders and flocked to these EFA gatherings where they could meet their colleagues “from the other side”, hear their stories. While exchange was difficult, there was great interest, hunger even, to find out more. Have we lost this appetite for each other’s realities? I refuse to believe that. My late friend, Krzysztof Kieslowski, said, when receiving the first EFA Award for A SHORT FILM ABAOUT KILLING: “I hope Poland is in Europe”. Today, Polish filmmakers worry if Poland will remain in Europe. But the crisis of European democracy and unity are not our only worry. The film world is currently flooded with and shocked by a wave of revelations about sexual harassment and violence in its very midst. Whether it is more shocking that it took place or that so many of us kept quiet about it all these years I don’t know. But I know that it cannot be tolerated and that we need to confront this and do all we can to
make the film world the warm and welcoming space that we would all like it to be, without sexual harassment, molestation, aggression or violence. A lot remains to be done. And we continue working on it. But we depend on you! This Academy is ours and we count on you to help us for it to fulfill our greatest ambitions, to always remain connected to current developments, true to our beliefs, active in what we can influence, faithful to what is meaningful for our films and our audience. Tonight we celebrate the 30th European Film Awards and I would like to welcome all of you, EFA Members, friends and supporters, nominees and award recipients. A special welcome goes to the founding members of the European Film Academy who are with us tonight! It is an honour to see you here! I’d like to take this opportunity to thank all our friends and partners who helped us realize all this. I wish to thank the Creative Europe MEDIA Sub-Programme of the EU, the Federal Government
Commissioner for Culture and the Media, FFA German Federal Film Board, Berlin’s Capital Cultural Fund, the German State Lottery Berlin, and Medienboard Berlin-Brandenburg for their continued support. Special thanks go to the patrons of the European Film Academy, film companies and institutions from all over Europe who support our work not only financially, but also with their informed input and presence at the awards ceremony (you will find a detailed list of them from page 10). Thank you all very much for making the 30th European Film Awards possible! And thanks also to all those who have been making it possible for 30 years!. Have a great and memorable evening!
WELCOME
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WELCOME
Michael Mßller Governing Mayor of Berlin The 30 years of the European Film Awards stand for 30 years of European cinematic history and film funding. They stand for the European Film Academy’s deep commitment to bringing European filmmakers together and fostering a European cultural dialogue. Thanks to the European Film Academy, European cinema now enjoys a stellar reputation in the international film scene. 4
I am delighted that the European Film Awards are celebrating this momentous 30th anniversary here in Berlin. The ceremony is returning to the city that hosted the very first edition of these awards back in 1988 as a European City of Culture. The Berlin Wall fell just a year later, paving the way for the jubilant experience of reunification. Since then, the city has grown together culturally, too, and has become a tremendous lure for people in the cultural sector from Europe and the rest of the world. As a European film capital with an eventful history, Berlin offers exciting shooting locations, highly professional production conditions, and good funding structures. The Berlinale is an annual cultural event with a high international profile. Berlin benefits in every possible way from the dynamism generated by its arts and culture professionals. In fact, the cultural sector is one of the mainstays of Berlin’s economy. As a cultural venue, Berlin stands for open-mindedness and diversity. This message is especially close to
my heart. Particularly in times like these, when anti-democratic tendencies are gaining ground in Europe, it is vital that we send a signal of support for unity, democracy, and solidarity. These are the values the European Film Awards stand for, and I am delighted that the awards ceremony in Berlin is carrying the European idea to the world. My heartiest congratulations go to you on your 30th anniversary, as well as my sincere thanks for your work for European cinema and, as a result, for European cultural exchange. I wish you many more years of success with the great project of advancing the cause of European cinema and, with it, the European idea. And I wish all of the nominees, filmmakers, and film industry supporters every success and a wonderful evening.
„Cinema flourishes when tensions in society grow and people are feeling the urge to confront the depth of challenges” Agnieszka Holland recently said. Berlin and the world were a different place when the European Film Awards were established 30 years ago, the year before the Wall came down. The world was divided into two blocks, but it was the filmmakers who saw a way for change through rapprochement. The idea of a European Film Academy was born. Today, the European idea is challenged by globalization, migration and populism triggering insecurity and anxiety. This makes it all the more important to picture the diverse landscape of European film that can challenge our perceptions and views of the world, mirrors our societies and celebrates otherness as much as what we have in common. Since its beginnings and with tremendous efforts and dedication, the European Film Academy highlighted the achievements of European films, efforts that led to the great diversity and to the recognition of European film today.
This year, in addition to awarding the latest outstanding achievements of European filmmakers, the European Film Awards will celebrate also the vision and dedication of the filmmakers, who were the driving force behind of the European Film Academy over the past 30 years, such as Ingmar Bergman, Agnieszka Holland, Paolo Sorrentino, Michael Haneke, Roy Andersson, Pedro Almodóvar, Jeanne Moreau, Margarethe von Trotta, Agnès Varda, Wim Wenders and many more. I wish all filmmakers, organizers and audience members a joyful and inspiring award night. Happy birthday, European Film Awards, and keep up the passion and enthusiasm!
WELCOME
Prof. Monika Grütters MdB Federal Government Commissioner for Culture and the Media
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WELCOME
Mariya Gabriel EU Commissioner for Digital Economy and Society I would like to warm-heartily welcome you to the 30th ceremony of the European Film Awards. This anniversary sheds light not only on the successful experience of the European Film Academy in promoting European creativity, but also on new perspectives for the promotion of European works in the digital age. In this context, the visibility of European works is crucial. The digi6
tal shift has completely changed the role of citizens acting as consumers. They are their own gatekeepers, moving away from programmed content to content on demand. Audiovisual works subsequently have to face increased competition to find their audience. The promotion of European works does not only support the development of a strong European audiovisual sector, but also results in the promotion of our common European values and culture. Culture is the glue “that bonds European emotions,” as EFA President Wim Wenders said. Part and parcel of our European culture, films are possibly the closest to the citizens’ daily life. They reflect our past, present and future. The unique richness of European cinema lays in the stories that are told. These stories are about citizens’ life, told by citizens, for their fellow citizens and beyond. I believe in the inspiration that is at the heart of this creative process. The European Film Awards are a showcase for the European excellence in creation, and I am proud that many
of the films entries, as well as the Academy itself, have received support via different schemes of the Creative Europe MEDIA programme, which since 1991 has invested over 2.4 billion in European creativity and cultural diversity. This also reflects, more generally, the constant commitment of the EU towards culture, while we are preparing for the 2018 European Year of Cultural Heritage, which will be an unprecedented year of events and celebrations. As participants, nominees and winners of the European Film Awards, you are the best ambassadors for the European culture. I would like to wish you an exciting and wonderful ceremony.
THE HUNGARIAN NATIONAL FILM FUND CONGRATULATES
ON BODY AND SOUL A FILM BY
ILDIKO ENYEDI
ON BEING NOMINATED FOR BEST FILM BEST DIRECTOR – ILDIKÓ ENYEDI BEST ACTRESS – ALEXANDRA BORBÉLY BEST SCREENWRITER – ILDIKÓ ENYEDI
30th European Film Awards
FILMFUND.HU
HELP US TO HELP OLEG SENTSOV!
In late November, the Russian Supreme Court in Moscow confirmed the 20-year sentence for Oleg Sentsov. The filmmaker, who was involved in supporting the Euro Maidan protests in Kiev and who has opposed the annexation of Crimea by Russia, was arrested by the Federal Security Service of the Russian Federation (FSB) in his house in Simferopol on 10 May 2014 and brought to Moscow where he was detained and awaiting trial for over a year. Although the key witness had retracted his testimony as given “under duress”, the trial, based on the accusation of Oleg Sentsov having committed “crimes of a terrorist nature”, was continued. Supporters across Europe, institutional and individual, gathered thousands of signatures supporting an EFA letter to the President of Russia and Russian authorities asking for Sentsov’s immediate release. But at the end of what Amnesty International described as “an unfair trial in a military court” he was sentenced to 20 years in jail. In an effort to help Oleg Sentsov, the European Film Academy has opened a bank account to collect donations for the coverage of legal expenses and to support his young children. 8
All donations are welcome – any amount will help! Thank you! DONATIONS: European Film Academy e.V. IBAN: DE69 1005 0000 0190 3335 70 BIC/SWIFT: BELADEBEXXX Reference: Donation for Oleg Sentsov For bank transfers from countries outside the single euro payments area (SEPA): Berliner Sparkasse / LBB Landesbank Berlin AG. Address: Alexanderplatz 2, 10178 Berlin, Germany PLEASE NOT E: EFA cannot issue donation receipts in this special case due to German tax rules!
# FreeOleg
EFA PATRONS The EFA Patrons are companies involved in the production, distribution and exhibition of European cinema as well as national institutions of film and/or culture which support the European Film Awards, some of them for the 20th time already:
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CATALAN INSTITUTE FOR CULTURAL COMPANIES FROM THE MINISTRY OF CULTURE OF CATALONIA Xavier Díaz Director The Catalan Institute for Cultural Companies, the agency within the Ministry of Culture of Catalonia which helps and promotes cultural companies, has been supporting the European Film Academy with the firm belief that it is essential to be part of an organisation which not only promotes and gives visibility to European cinematography but also provides tools for its development. Catalonia hosted the European Film Awards 2004 in Barcelona. Years later, in 2008, the Catalan Film Academy started its activity. Since then it was clear that the Catalan Institute for Cultural Companies had to be one of the EFA Patrons. The main aims of the Catalan Film Academy are to promote Catalan cinema, unite the profession and achieve international recognition. We believe in the importance of working to strengthen both Catalan cinematography and the dialogue with European cinema.
CENTRE DU CINÉMA OF THE FEDERATION WALLONIA BRUSSELS Jeanne Brunfaut Director General
CENTRE NATIONAL DU CINEMA ET DE L’IMAGE ANIMEE (CNC) Frédérique Bredin President (picture: Christian Kettinger)
At Centre du Cinéma, we believe that cinema is a major factor for deepening the European identity. We are proud and happy to support the European Film Academy which remains a great window for the image of European films world-wide. We also believe that EFA will be an effective tool and help European decision makers understand the role of European cinema in the preservation of cultural diversity.
France has successfully created an ambitious public policy based on cultural diversity. With 56 co-production agreements and programs for supporting film directors wherever they come from, France is the friend of all cinema world-wide. Seventy years after it was founded, the CNC continues to consolidate its role as an original ecosystem, envied and even imitated in many countries. Its aim is to fund the most singular French and international artists, to regulate the film and audiovisual markets, and also to maintain and promote the memory of the cinema of the past. Through its partnership with the European Film Awards, the CNC is re-affirming its cultural ambition, that of a fraternal Europe, driven by culture. This Europe is a wonderful idea because it is a message of hope and of dialogue between cultures that resounds world-wide.
EFA PATRONS
DANISH FILM INSTITUTE Claus Ladegaard Head of Film Funding / Interim CEO
EURIMAGES Roberto Olla Executive Director
FILM CENTER SERBIA Boban Jevtic CEO
For more than 25 years Eurimages has supported a wealth of international co-productions and has made a major contribution to promoting cultural diversity through cinema. The fund has a rigorous selection process and encourages producers to strive for excellence in independent cinema. We are proud to be associated with the European Film Awards and to be able to honour highly talented producers who are passionate about independent cinema with the European Co-production Award - Prix Eurimages.
Film Center Serbia (FCS) is a government institution working under the auspices of the Ministry of Culture and Information of the Republic of Serbia. FCS was founded in order to creatively stimulate and administrate financial support to Serbian film industry. Its goal is to direct and manage strategic development of Serbian film industry.
(picture: Robin Skjoldborg)
We are living in times of great change. The film industry, too, is characterised by fundamental game changers. European cultural politicians and institutions must relate to the new reality for content production within a globalised and digitised media world, where mega companies like Facebook, Netflix and Google are setting the agenda. This makes it even more important to maintain the strength and quality of cinematic narratives which take a local starting point to tell universal stories that are touching, challenging and entertaining. EFA celebrates these very qualities, and the Danish Film Institute is delighted to be a part of that celebration.
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EFA PATRONS
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FILM FINANCES SCANDINAVIA AB Maritha Norstedt CEO
FILM FUND LUXEMBOURG Guy Daleiden Managing Director
Film Finances are proud to be associated with the European Film Awards. Film Finances is the world leader in completion guarantees. We help movies get to the big screen. We provide financiers with a service that gives them an assurance that the film will be delivered on time and that the over-budget costs will not be the financier’s responsibility. EFA gives us the opportunity to participate in the future of European films.
The Luxembourgers are on board! It is with great satisfaction and pleasure that the Luxembourg Film Fund supports the European Film Awards. Our national film industry lives above all through European co-productions and for the Grand Duchy of Luxembourg it is absolutely important that the work and talent in all these films should be recognised and rewarded.
FILM I VÄST Mikael Fellenius CEO (picture: Ola Kjelbye)
Film i Väst is one of Europe’s leading regional film funds, located on the Swedish west coast in Västra Götaland. Film i Väst is active as co-producer and investor in international and Swedish film and TV-drama. Film i Väst is a proud patron to European Film Academy´s support and profiling of European film. A task and mission which will be even more important in the future.
EFA PATRONS
FLANDERS AUDIOVISUAL FUND (VAF) Pierre Drouot CEO
ICELANDIC FILM CENTRE Laufey Guðjónsdóttir Director
Besides our strong belief in European cinema, we also believe in the European Film Awards as probably the best instrument on hand today in the promotion and marketing of the wide and colourful variety European cinema has to offer. Therefore we are extremely proud and excited to be among the European Film Academy’s patrons.
The Icelandic Film Centre supports the development, production and distribution of Icelandic films and promotes film culture in Iceland. One of our most important tasks is to encourage strong ties between Icelandic filmmakers and the international film community. In recent years we have welcomed many European productions to our shores, and our own films and filmmakers have benefited enormously from collaborations with our European partners. We’re proud to be a patron of the European Film Academy and we look forward to a strong and fruitful relationship well into the future.
INSTITUTO DO CINEMA E DO AUDIOVISUAL (ICA) Luís Chaby Vaz President ICA – Instituto do Cinema e do Audiovisual– was created in 2007, succeeding ICAM (Instituto do Cinema, Audiovisual e Multimedia). Responsible to the Ministry of Culture, ICA ‘s main tasks are to support production, distribution, exhibition and promotion of Portuguese cinema and audiovisual products, within the country and abroad. Providing ongoing financial support for independent production, ICA seeks to contribute to the construction of a solid and integrated industry in Portugal. ICA also supports the promotion of Portuguese cinema and audio-visual media in all international film festivals, as well as providing assistance to help to ensure the presence of producers at various events. ICA is glad to support the European Film Academy and we strongly believe this is an important opportunity to promote European film among ourselves as well as outside European borders.
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EFA PATRONS
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IRISH FILM BOARD James Hickey Chief Executive
ISTITUTO LUCE-CINECITTÀ Roberto Cicutto President & CEO
KOSOVO CINEMATOGRAPHY CENTER Arben Zharku Director
Supporting Irish creative talent in film is the main thrust of the policy of Bord Scannán na hÉireann/the Irish Film Board. We are delighted to join with our European colleagues on supporting the European Film Academy and in particular its awards ceremony which recognises European creative talent in film. Major challenges face European film in the years ahead. In becoming a patron of EFA we see this as an opportunity to participate in the dialogue about the future of European film where the focus is on the strength and diversity of European creative film output. Ireland has a long history of contribution to and vigorous engagement with all aspects of European culture.
lstituto Luce - Cinecittà is the state-owned company whose main shareholder is the Italian Ministry for Culture, subsidising its activities on an annual basis. We hold one of the most important film and photographic archives in which are collected and digitally categorised both its own productions and materials derived from private collections and acquisitions. It is a large collection concerning the history of the XX century, and it has also been inscribed by UNESCO in the registry “Memory of the World”. Institutional work includes promoting Italian cinema, both classical and contemporary, at home and abroad by means of projects that are presented in collaboration with the most relevant cultural institutions of the world. Since July 2017 Istituto Luce-Cinecittà is in charge of managing the legendary Cinecittà Studios and postproduction labs, founded in 1937. Luce-Cinecittà is proud to be one of the patrons of the European Film Academy, since our mission cannot be successful without such a strong network as EFA
The Kosovo Cinematography Center is a public film fund of the youngest country in Europe aiming to rebuild the historically interrupted film tradition and giving space to accumulate filmmaking talents. Being part of EFA is an honour for us, and a great opportunity to network with other European fellow bodies in developing the film industry.
EFA PATRONS
LITHUANIAN FILM CENTRE Rolandas Kvietkauskas Director
LUX FILM PRIZE Doris Pack Co-ordinator
MACEDONIAN FILM AGENCY Gorjan Tozija Director
The Lithuanian Film Centre is proud to join the European Film Awards’ patrons. Representing our small film community, which has a strong artistic tradition and passion for co-production, we feel that it is essential to contribute to the celebration of European film culture. The European Film Awards are a powerful embodiment of creativity and diversity in cinema, which our talented artists and skilled producers will share with the audience through their own stories. We look forward to the new discoveries ahead of us.
Culture plays a fundamental role in constructing our societies. With this in mind, the European Parliament launched the LUX FILM PRIZE in 2007 with the aim of enhancing the circulation of European films across Europe and sparking Europe-wide debate and discussion of major societal issues such as immigration, integration, poverty, freedom of expression and women’s rights. The LUX FILM PRIZE is a unique initiative. While most European co-productions are shown only in their country of origin and are rarely distributed elsewhere, the LUX FILM PRIZE gives three European films the rare opportunity to be subtitled in the EU’s 24 official languages, screened and discussed across Europe. We are very proud to join the family of the European Film Academy, the best place to showcase the richness of European cinema.
The Macedonian Film Agency as a legal successor of the Macedonian Film Fund will continue to be a patron of the European Film Academy. Being associated with the European Film Academy gives us a wonderful opportunity to affirm our orientation for the equal treatment and support of national and international co-productions as a way of providing international distribution, recognition and promotion of European films. In that way, the European Film Awards are a celebration of the annual film creativity and a great tool for the promotion of European films and filmmakers!
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EFA PATRONS
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MINISTRY OF EDUCATION AND CULTURE OF CYPRUS (CULTURAL SERVICES) Costas Kadis Minister of Education and Culture
THE NETHERLANDS FILM FUND Doreen Boonekamp CEO
POLISH FILM INSTITUTE Izabela Kiszka-Hoflik Acting Director
(picture: Yvonne Witte)
(picture: Marcin Kułakowski/ Polish Film Institute)
Cyprus’ Ministry of Education and Culture is pleased to be associated with an organisation, having as its central aim to promote Europe’s film culture. I strongly believe that, by supporting the European Film Academy, we support European excellence in cinematographic works, communicate European values, as well as strengthening dialogue between different countries.
Dutch arthouse films, documentaries, animation and especially children and family films enjoy increasing international success at major international film festivals worldwide. For a small country with a limited language area it is extremely important to belong to a strong and vibrant European film culture with its own values and distinct character. Dutch filmmakers are extending their focus to other European countries and beyond. They are actively participating in both majority and minority Dutch co-productions in order to exchange knowledge and creativity to raise the artistic level of productions and to stimulate the circulation of films across borders. We feel strongly connected to the European Film Academy which plays a vital role in presenting and warding European talent globally and we are honoured to be a patron.
Since its launch in 2005, the Polish Film Institute has been actively supporting the development of Polish cinema, particularly arthouse cinema. Supporting projects by first-time directors and producers had brought about a distinct new generation of filmmakers. The Polish Film Institute encourages international coproductions that stimulate growth on the European audiovisual market. It is thanks to co-productions that various European backgrounds and sensibilities are able to interact and complement each other. The power of European cinema lies in its diversity. In 2016, Poland had the honour of hosting the European Film Awards for the second time. This unique ceremony celebrates all European filmmakers, allowing them to feel like an integral part of the European filmmaking family.
EFA PATRONS
SEVILLE EUROPEAN FILM FESTIVAL Antonio Muñoz Delegate for Urban Habitat, Culture and Tourism for Seville City Council Seville’s City Council through its Institute of Culture and Arts organizes each November the Seville European Film Festival. Nowadays, European filmmaking is showing an extraordinary creative strength, full of new, different proposals to be explored and discovered. It is no exaggeration to say that new blood is running underground and above the surface in the old continent. Our festival is committed, through the fresh impetus of its director, José Luis Cienfuegos, to promote and encourage both the long creative tradition of renowned veteran filmmakers and the eagerness of the new talents - a goal that we proudly share with the EFA which honours our city and festival by announcing in Seville the nominees for the European Film Awards.
SWEDISH FILM INSTITUTE Anna Serner CEO
SWISS FILMS Catherine Ann Berger Managing Director
Film is essential for a democracy. Without it, many voices would never be heard, and all kinds of stories never be told. Thanks to the EFA, we are given a chance to see the fantastic diversity in Europe and share our realities, creating an understanding across the borders. My colleagues and I at the Swedish Film Institute are very proud to be one of the patrons of the EFA and present our Swedish films, just as much as we are looking forward to discover other important stories from all over Europe.
SWISS FILMS is the promotion agency and ambassador for Swiss cinema. We promote our films and talents at festivals and markets worldwide and help enhance their international visibility through curated bespoke film programs. We are proud to be one of the European Film Academy’s patrons and honoured to contribute to the unique power of Europe’s diverse cinematic voices by helping to bring our best films to your screens.
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FROM A DIVIDED EUROPE TO A DIVIDING EUROPE By Wim Wenders President of the European Film Academy We’re standing at a crossroad today. We see our proudest dreams endangered. So, even if it has been quoted on several occasions, this beautiful story of the late Krzysztof Kieslowski, winner of the first European Film Award back in November 1988, it is worth telling it again, especially today, as we are facing the 30th edition of the European Film Awards. In November 1988, after the first ceremony in Berlin, Krzysztof was asked what his European dream would consist of? And this was his answer: “In the night of the Awards ceremony, I was suffering from a bladder infection, which made me run to the bathroom every ten minutes. And there I regularly bumped into Marcello Mastroianni who had escaped from the ceremony to smoke a cigarette. And into Wim Wenders who seemed to feel an urge to wash his hands every ten minutes. This is the Europe, I am dreaming of”, was Kieslowski’s conclusion, “me at 18
the pissoir, Marcello with his cigarette and Wim washing his hands”. What I like so much about this story is the human aspect of this little European summit in a bathroom in Berlin: Two film directors, one from an Eastern communist country who later that night, when receiving his award, would say that he hoped that his country, Poland, was indeed also part of Europe. The other one, me, from a country torn into an Eastern and a Western half and from a divided city, which, at that moment, nobody would have believed to grow together so soon again. And Marcello Mastroianni watching over us like a (smoking) archangel. Those two directors from two neighbouring countries, which couldn’t be further apart, were suffering from strange urges. I can’t remember, why I felt like washing my hands every ten minutes, maybe I was simply nervous. This was my city, the iron curtain was only a few kilometres away and so
1988: Krzysztof Kieślowski
many great filmmakers from East and West were suddenly coming together at this ceremony that we all felt a miracle was taking place. And Krzysztof might really have felt insecure because his country was so close and yet, he felt, so far away. The third member of our little gathering, Marcello, was hopefully less troubled by politics at the time and simply an Italian rebelling against the non-smoking policy in a German public building. Did we talk, while we were together in that bathroom? I don’t think so. What may have united us unconsciously in that moment was certainly a feeling of solidarity and conspiracy: The same feeling that only a few months later led to the foundation of the European Film Academy. So, somehow, this little gathering in the bathroom of a theatre in Berlin was the symbolic hour of birth of the 30-year joint-adventure called “European Film Academy” that we are celebrating on 9 December. It was in Paris that the second ceremony was presented. Only one year had passed and Europe found itself at the threshold of one of the most fundamental changes in its history. The Berlin Wall had just fallen a few days before, and there we were, filmmakers
from East and West, sticking our heads together, passionately hoping that the unbelievable would become true, that borders would disappear, free travelling within Europe would finally become normal for all of us, dictatorships would crumble and democracy would move into all the countries that had supressed people, artists and filmmakers for so many decades. We all know the continuation of the story. Our optimism was justified. Things turned to the better – not to the best, obviously, because the growing together of East and West takes much longer than it should, and nobody must ever forget the horrible wars that were shaking the Balkan in the beginning of the 90s. Our friends and colleagues in dissolving Yugoslavia had to pay a very high price. I still remember them sitting together around the table at one of our general assemblies in Berlin. Our colleagues from Bosnia, Croatia and Serbia were giving us reports from the situation in their territories and none of them blamed the other for what was happening – on the contrary: They were all very much concerned about each other and they were giving us one of the most beautiful lessons of our life: How empathy and non-nationalistic
thinking beyond borders can be stronger than any attempt to split a society, a country or a continent. Roughly resumed, this was Chapter One of our story. It was marked by many good experiences and the high hopes that the world had finally understood that nationalism, populism and selfishness are killer bacteria for our peaceful lives together. Cut! Let’s move on to another chapter, the present: Today, in December 2017, we find ourselves again at a threshold, but this time we have every reason to be extremely worried that we will enter into a dark future again! It’s a given: Europe has been far from perfect and our politicians and authorities have been concentrating far too much on administration and economy. Distanced from their European citizens, they were driven by thoughts of efficiency and regulations. Sorry for this slightly generalized verdict, I know the world is much more complex, and governing a society, a country and even more so, a whole continent, is an extremely challenging task. Criticizing is always easy. Being responsible is something else. Let me therefore state that it was a big mistake that WE, ALL TOGETHER, kept Europe 19
1988: Marcello Mastroianni and Giulietta Masina
based on bureaucracy for far too long. We allowed it to be a dry financial entity and that was not a solid ground. It did not give Europe a soul and this might be an important, if not the most important reason why people are now turning back to the past, believing against all historic evidence - to find a better future there. Let me say it as clearly as possible: Looking at Europe I still see a paradise. 20
A safe haven where most people on our planet would want to be! But I also see a tormented place, a continent that is shaking in confusion. Unashamed and unabashed voices everywhere that shout for the good old times, for reinstalling the borders, for excluding the others to be by themselves again, as “glorious nations” with their national future in their own hands .... And all the time, these cynical pied pipers conceal
or try to make us forget that the good old times they invoke or implore were full of wars, despair, unrest, instability and hostility! Why are they so successful? Many people are afraid of the future. They’re in the middle of a crisis where they can’t touch things anymore and they want something tangible again, hold on to something that they know, are familiar with. They are mistaking Europe for the source of the problem. All those nationalist dreams will have their bitter awakenings of being left behind, of being isolated, of having lost all protection, and finally of having no more roof to cover them from the upcoming storms of global changes. Europe is not the problem. It is the solution! Under its roof it can protect languages, traditions, regions, minorities, cultures and local industries better than encapsulated, sealed-off small national entities that will implode, be blown away or have their people remain isolated within. Together we have developed over the past decades an excellent culture of dialogue and peace. What I fear for you citizens of Hungary or Poland or Austria or the Czech Republic: You will not survive as what you dream of being or becoming, if you
don’t stay under the mighty shield of Europe and if you do not agree to carry this shield together with all of us. We ALL have to get our act together. Brussels, Berlin, Paris - do not let those nationalists ruin our common house without trying everything to tell the people of Europe what they are about to put at risk and lose! Did we really do everything to let the British people know what was at stake for them? Did we really do everything we could to let their YOUNG people know that abstaining from that vote was gambling their future away? We didn’t. They just took it for granted that Europe was there. And then the carpet was pulled from under their feet, their future was stolen away from them. We should really be concerned that something like this will happen again. We have a common responsibility in Europe, for Europe, a responsibility beyond our national borders. What we are going through right now is not only the result of administration and politics. We are all conditioned by our languages, by the country, culture, and religion we grew up in. We are the sum of the experiences we made. And all this is in a huge upheaval right now. Our civilization is pushing us through a
huge crisis: We all move from that long history of mankind, where everything was real, could be touched and passed on physically, to a new history in which everything is turning virtual, ephemeral, where less and less things are tangible, real and existing, where we are confronted with an onslaught of a million things at the same time, while even our friends become fictional, and data.
We all together are moving into the digital age and I wish we will be able to save this feeling of solidarity and conspiracy – not only in our Academy which sometimes feels to me like Noah’s Ark, but even more so in our marvellous home continent!
1989: Liv Ullmann 21
TOWARDS THE NEXT DECADE by Marion Döring Reality these days puts many themes and challenges on the European Film Academy’s agenda, more so than in the past. The political developments in Europe and beyond threaten our film culture and industry in a way that requires constant attention, and also action. More and more filmmakers on our continent are getting deprived of their artistic freedom. This includes filmmakers being imprisoned, like Oleg Sentsov, or put under house arrest, like Kiril Serebrennikov. But it isn’t limited 22
to these, admittedly harshest cases. In most cases, deprivation of artistic freedom comes creeping along in a slow process. Directors of public broadcasting stations, of cultural and film institutes get dismissed and are replaced by people who serve the political interests of those in power. Members of the committees that decide which film productions will get supported financially are appointed based on their supposed political submissiveness, not their expertise. A willingness to prefer projects which emphasise national glory rules over creativity and the idea of possibly posing uncomfortable questions. Public funds are cut or completely abolished. More and more populist and corrupt governments on this continent are subjugating culture and art to their own political interests. Of course, we, the European Film Academy, have to follow the developments very closely in countries where governments are ready to sacrifice culture and cinema for their own populist agenda. And, of course, this Academy has to also be concerned about Brexit because British film professionals are deeply concerned themselves! No truly European association or institution that is concerned with culture can nowadays neglect its responsibility
to react on what is happing in front of our eyes on our very continent. Even if it doesn’t have the legal power to stop the process - taking a standpoint, publicly defending the freedom of artistic expression is a matter of honour, and a duty. These developments are also very much reflected in the way our awards ceremony is presented. This 30th European Film Awards Ceremony takes on several issues that stir the world, our continent, and our industry. Some of these were mentioned above. And, most recently, our industry was shocked by a wave of revelations about sexual harassment and violence in its very midst. Can we come together at a ceremony without addressing these issues? Should we remain silent about sexual harassment, molestation, aggression or violence? Is it possible for us to look the other way when minorities are suppressed, when racism is gaining more and more ground in our countries? Can we ignore the violations of the freedom of opinion and artistic freedom? Certainly not! The European Film Awards’ main task is to promote outstanding achievements in European cinema. At the same time, there are only very few
pan-European cultural events with a strong media presence like the European Film Awards. We have to take advantage of this opportunity to provide a platform not only for celebration but also for reflection and protest! The political climate has clearly changed and marked the profile of our ceremony over the past years. A spirit of curiosity, openness and friendship has always been more important to us than starship and glamour, which, though important for the promotion of our films, is not a strength of European cinema. Instead, we experience European film as a constantly changing variety of brave stories and surprises, some by and with known faces, some from complete newcomers. Competing with Hollywood or with the Oscars is a lost game. We have always known that but it often seemed like an impossible mission to make clear that European cinema is different and that, consequently, also an awards ceremony celebrating European cinema has to be different. One of the biggest challenges we are facing with our European Film Awards is the fact that we talk about films most of the people in Europe haven’t had a chance to see yet – because they haven’t been released at the time of
the ceremony, because they may never find distribution outside their own territories, because they haven’t been visible enough, fighting a desperate battle against the big marketing machines of the majors. It is, however, not true that there is no audience for our films. There are passionate audiences, across the continent, and we encounter them at festivals, at cinemas, big and small, and on online platforms. Yes, we cannot compete with the big marketing machineries (for which our industry doesn’t have the financial resources anyhow) but there is something we can do: Investing into film education, with all consequences and with all our energy. We have already lost two, three generations. It will become a matter of survival for European cinema if we don’t accept that we have to take care of future generations. We can say this with great confidence and optimism because in 2012 we launched a new category of the European Film Awards, the EFA Young Audience Award (YAA). We were not sure at the time whether our idea would work out – to get young audiences watch three nominated films in many European countries on the same day, discuss the films and, by the end of the day, to 23
let them vote for the winner who would receive the award in a little ceremony streamed online. We started with partners in six countries who were experienced in film education. The result was overwhelming: The young audiences, 12 to 14 years old, loved the experience, enjoyed the films, they were proud of being part of a pan-European jury. The news spread,
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and every year there were more partners in more cities and countries joining the club. In 2017, we have organised the sixth edition - with 37 cities in 31 countries across Europe! The Creative Europe MEDIA sub-programme of the EU acknowledged the potential of this annual film education event and gave us a grant this year which will allow us, together with our
partner and film aggregator Under the Milky Way, to translate and subtitle the YAA nominated films from several editions in order to make them available on VOD platforms throughout Europe. The YAA label will allow kids to discover a curated quality programme of European films for their age they otherwise wouldn’t have a chance to see. Because this is also a fact: Europewide distribution of European films for a young audience basically does not exist. In another initiative we are teaming up with Filmfest Hamburg, for the second time this year – and the outcome is as promising as for the YAA: University students from 20 universities in 20 countries across Europe get to watch and debate five nominated films from the EFA Feature Film and Documentary Selections. Each university in the end sends one delegate student to a final jury meeting in Hamburg where they decide on the winner of the “European University Film Award” (EUFA). The same enthusiasm we experience every year with the YAA audiences can be observed with the EUFA student participants - which grew within one year from 13 to 20 universities (and there will be more in 2018). Both of these film education programmes
prove: There is an audience for European films, there is even a very passionate audience – we just need to address it, take it by the hand and guide it through the jungle. Connecting with younger generations will have a high priority on our agenda in the years to come. EFA, like all academies, is suffering from an imbalance between an arrived (and ageing) membership and not enough young members. There are many reasons for this imbalance. One is certainly that young filmmakers are often too shy to ask whether they would be allowed to join. Many young nominees tell us that they believed EFA was a club of old people, conservative and self-reflected, and how surprised they were witnessing an unpretentious ceremony and very relaxed gatherings during the European Film Awards weekend. Year 30 of our Academy was the right moment to put up a sign, and in summer, at the Karlovy Vary International Film Festival we launched a campaign inviting young filmmakers to become voting members of the EFA. We are very grateful that Ken Loach and Małgorzata Szumowska accepted to become patrons of our Young Membership Campaign.
Film professionals under 36 years of age who wish to join EFA and have worked on at least one feature-length film (the film must have had an official screening in a regular, international section of a competitive FIAPF-accredited European film festival or been nominated by a national film academy) are very welcome to join. All applications have to be supported by one EFA Member. For a reduced membership fee, they get full voting rights for the European Film Awards as well as for the EFA Board. As our Chairwoman, Agnieszka Holland, put it: “We want to encourage our young colleagues to actively take part in our Academy community and activities. We clearly need their inspiration and expertise to bring the Academy into the next decade. Our art and industry will be undergoing fundamental changes in the years to come. Only together with our younger colleagues will we be able to master these challenges.”
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Thomas Hermanns
Maria von Heland
THE GREAT BEAUTY, and into the sunflower field in Agnès Varda’s LE BONHEUR, just to mention the first two film quotations. Now lean back and discover for yourself the stations of this cinematographic journey. Every year, it’s a real pleasure to develop the concept together with our marvelous artistic team: The script and stage direction is again in the hands of Maria von Heland who – together with her writing team Sandra Wollner und Timm Kröger – keeps surprising us with a seemingly endless capacity to react in good humour to changing realities with a flow of creative ideas
Kriton Klingler-Ioannides
The Awards Ceremony
By Marion Döring and Jürgen Biesinger Welcome to the 30th European Film Awards or, as we like to call them, the EFAs! Like every second year, the awards return to Berlin, home of the European Film Academy. Willkommen! It’s a special occasion, of course, and while we want to celebrate this year’s films and achievements we also want to shed a spotlight on some of the films and people that have accompanied us throughout these 30 years. Both script and set design pick up this idea and you can find references to some of these people and their films throughout the evening, the awards weekend and this brochure. The memories we offer can only serve as a glimpse of the rich diversity of European cinema, some of them feature in lists of (first) names, some of them as imagery, still and moving. So, we invite you to a party that leads onto the dance floor of Paolo Sorrrentino’s 26
The stage and the visual design you’re looking at was designed by German art director Bode Brodmüller, winner of the German Design Award 2017 for the show design of the spectacular German TV programme “Mein bester Feind: Joko & Klaas”. This is his fourth time on board. The visual presence of the films on stage was actually his idea – thank you, Bode! Berlin-based musician, composer, producer and sound designer Kriton Klingler-Ioannides works for theatre and film and has previously been selected for a German Film Award. He
created the original music for tonight’s show. Belgian actress Veerle Baetens and Belgian actor, writer and theatre director Johan Heldenbergh will perform the song “If I Needed You” from Felix van Groeningen’s THE BROKEN CIRCLE BREAKDOWN.
Leading through tonight’s show once again is German TV host, author and director Thomas Hermanns. He has directed various TV and live performance shows, founded the famous Quatsch Comedy Club, and brought karaoke to Germany. Enjoy the ceremony!
The Awards Ceremony
Bode Brodmüller
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some impressions
On the following pages you will find what can only be a subjective selection of some of the films and people that have accompanied the EFAs from 1988 to today ‌
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theo& tonino& thanassis& giorgos& andreas& eleni.
The Greek master Theo Angelopoulos was repeatedly celebrated at the EFAs: For LANDSCAPE IN THE MIST (European Film 1989) which also got him a nomination as Director and, together with Tonino Guerra and Thanassis Valtinos, as Screenwriter and Giorgos Arvanitis as Cinematograper, for ULYSSE’S GAZE, which received the European Critics’ Award 1995 and was nominated as European Film, and for THE WEEPING MEADOW which again received the European Critics’ Award and also got nominations for Theo Angelopoulos as director, for cinematographer Andreas Sinanos and for composer Eleni Karaindrou. 31
aki& matti& andré& markku& kati& timo& fabienne& reinhard. Aki Kaurismäki’s first EFA nomination came in 1990 for THE MATCH FACTORY GIRL. This was repeated in 1992 with LA VIE DE BOHEME which won European Actor for Matti Pellonpäa and Supporting Actor for André Wilms. In 2002 THE MAN WITHOUT A PAST received nominations for Film, Director, Screenwriter, actor Markku Peltola, actress Kati Outinen and cinematographer Timo Salminen. And LE HAVRE, produced by Aki, Fabienne Vonier and Reinhard Brundig, was nominated in 2011 for Film, Director, Screenwriter and Actor (André Wilms). 33
alex& laurens& dick& vincent& rikke& annett.
In 1992, Dutch filmmaker Alex van Warmerdam won Young European Film of the Year for THE NORTHERNERS, along producers Laurens Geels & Dick Maas. The film also picked up Composer of the Year for his brother Vincent van Warmerdam and Production Designer of the Year for Rikke Jelier. Alex came back in 1998 with LITTLE TONY which got him a nomination for Screenwriting and his wife Annet Malherbe for Acting. His 2006 film WAITER was included in the EFA Selection, so were BORGMAN in 2013 and SCHNEIDER VS. BAX in 2015. 35
gianni& angelo& gian maria& ennio& tonino& mario& vittorio.
Gianni Amelio started his EFA success in 1990 with OPEN DOORS which won European Film for him and producer Angelo Rizzoli, Cinematographer 1990 for Tonino Nardi, a special award for Gian Maria VolontĂŠ and European Discovery of the year for actor Ennio Fantastichini. It continued two years later when THE STOLEN CHILDREN received European Film 1992 and in 1994 when LAMERICA, produced by Mario and Vittorio Cecchi Gori, also won European Film. 37
RIFF-RAFF, produced by Sally Hibbin, won Ken Loach his first EFA for Film in 1991 and got Ricky Tomlinson a nomination as Supporting Actor. In 1995 LAND AND FREEDOM won European Film for him and producer Rebecca O’Brien, MY NAME IS JOE in 1998 was nominated for Film and Peter Mullan for Actor. In 2002, SWEET SIXTEEN received nominations for Directing, actor Martin Compston and screenwriter Paul Laverty and received the European Critics’ Award 2002 Prix Fipresci. In 2004 A FOND KISS got Paul Laverty another screenwriting nomination, and in 2006 THE WIND THAT SHAKES THE BARLEY got nominations for film, directing and for actor Cillian Murphy and it won Barry Ackroyd the EFA for Cinematography. I, DANIEL BLAKE (2016) was nominated for film, director, actor Dave Johns and screenwriter Paul Laverty. The film won the initial European University Film Award (EUFA).
ken& sally& rebecca& peter& martin& paul& cillian& barry & dave.
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Lars von Trier exploded into the EFAs in 1996 with BREAKING THE WAVES which won him and producers Peter Aalbæk Jensen and Vibeke Windeløv Film and the Critics Award and Emily Watson Actress. This was continued with a nomination for Screenwriting in 1998 for IDIOTS. In 2000 his DANCER IN THE DARK again won Film for him and producer Vibeke Windeløv, Actress for Björk and the Audience Award for both. DE FEM BENSPAEND got him a nomination for European Documentary in 2003, along the producer Jørgen Leth, and his feature DOGVILLE won Director, Screenwriter and Cinematographer for Anthony Dod Mantle in 2003. At the EFAs 2008 in Copenhagen Lars received the honorary award Achievement in World Cinema along with his Dogma brothers Søren Kragh-Jacobsen, Kristian Levring and Thomas Vinterberg. The next year ANTICHRIST won Anthony Dod Mantle another award for Cinematographer 2009. In 2011 MELANCHOLIA, produced by Meta Louise Foldager Sørensen and Louise Vesth, won EFAs for Film, for cinematographer Manuel Alberto Claro and for production designer Jette Lehmann. In 2014, he and Louise Vesth were gain nominated for NYMPHOMANIAC.
lars& peter& vibeke& emily& björk& jørgen& anthony& søren& kristian& thomas& meta louise& louise& manuel alberto& jette. 41
pedro & agústin& carmen& cecilia& penélope& Pedro and Agústin Almodóvar received their first EFA josé luis& award, Best Young Film, at the initial EFAs in 1988 for WOMEN AT THE VERGE OF A NERVOUS BREAKDOWN alberto& for which Carmen Maura also received Best Actress. This was only the beginning, to be followed by LIVE emma& FLESH, nominated for European Film 1998, ALL ABOUT MY MOTHER which won European Film & adriana. Director 1999 and for which Cecilia Roth also received European Actress, TALK TO HER (European Film, Director & Audience Award 2002), BAD EDUCATION which received four nominations (2004), VOLVER (European Director & Audience Award 2006) for which Penélope Cruz also received European Actress, José Luis Alcaine European Cinematographer and Alberto Iglesias European Composer, an award he won again in 2009 for BROKEN EMBRACES. In 2013 Pedro Almodóvar received the honorary award EUROPEAN ACHIEVEMENT IN WORLD CINEMA, in the same year I’M SO EXCITED was nominated for European Comedy. And in 2016 JULIETA was nominated for Film, Director and the People’s Choice Award, and Emma Suárez and Adriana Ugarte for European Actress. 43
At the European Film Awards 1989 in Paris, a special mention went to the creative spirit of the new films coming from Sarajevo in what was at the time still Yugoslavia. KUDUZ by Ademir Kenovic was nominated for Young European Film of the Year, along with actress Snezana Bogdanovic and composer Goran Bregovic. Only a few years later, the country was now breaking up in a series of wars, the Documentary Award 1994 went to the Saga-Group Sarajevo, a collective trying to resist the picture painted in the West about their warstruck home country. As Ademir, who was present to accept the award, said, “I wouldn’t wish anybody to get the same award for trying to survive and document similar horrors!” In 1997 he was again nominated, with Abdulah Sidran, for Screenwriting THE PERFECT CIRCLE. Danis Tanović’s film about this war, NO MAN’S LAND was produced by Cedomir Kenovic and got a nomination for actor Branco Djuric, and the Screenwriting award for Danis.
ademir& snezana& goran& abdulah& danis& cedomir& branco.
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jean-pierre& jean-marc& claudie& bruno& audrey.
2001 was the year of Amélie. LE FABULEUX DESTIN D’AMELIE POULAIN enchanted audiences and carried off the EFA for Film for director Jean-Pierre Jeunet (who also won the directing and audience award as „king of Europa“) and producers Jean-Marc Deschamps and Claudie Ossard, Cinematographer for Bruno Delbonnel and the first nomination for Audrey Tautou for Actress. 47
catherine& danielle& emmanuelle& fanny& firmine& isabelle& ludivine& virginie& françois& charlotte. An impressive group of actresses were awarded at the EFAs 2002: Catherine Deneuve, who later received the EFA Lifetime Achievement Award (just like her colleague Isabelle Huppert (in 2009), Emmanuelle Béart, Fanny Ardant, Virginie Ledoyen, Danielle Darrieux, Ludivine Sagnier and Firmine Richard – all of them for 8 FEMMES by François Ozon. His SWIMMING POOL won Charlotte Rampling the actress award in 2003. The director himself received the Award European Screenwriter 2013 for IN THE HOUSE. 49
wolfgang& stefan& bernd& katrin& daniel.
The EFAs 2003 were celebrated in what used to be a bus depot at the border between East and West Berlin, the big winner was GOOD BYE LENIN which brought home Film for director Wolfgang Becker and producer Stefan Arndt, Screenwriter for Bernd Lichtenberg and Actor for Daniel BrĂźhl. The film also won all three audience awards, film, actor for Daniel BrĂźhl, and Actress for his film mother Katrin Sass. 51
agnès& jean-pierre& christian& charles.
Agnès Jaoui and Jean-Pierre Bacri received their first EFA nomination in 1998 for Screenwriting SAME OLD SONG. Two years later they won this award for THE TASTE OF OTHERS which also got them and producers Christian Bérard and Charles Gassot a nomination for European Film 2000. In 2004 they won the EFA for Screenwriting once more, for LOOK AT ME which also got Agnès Jaoui a nomination for Directing. 53
cristian& oleg& anamaria.
The Romanian filmmaker Cristian Mungiu received his first EFAs in 2007 for the drama 4 MONTHS, 3 WEEKS and 2 DAYS. Produced by him and Oleg Mutu, the film received a nomination for actress Anamaria Marinca and the award for Film and Directing. Cristian was again nominated in 2012 for BEYOND THE HILLS (Screenwriting) and in 2016 for GRADUATION (Screenwriting & Directing). 55
matteo& domenico& maurizio& ugo& gianni& massimo& roberto& toni& marco.
The 2008 EFAs saw the celebration of the Italian drama GOMORRAH about the Camorra system in the South of Italy. The film took home awards for director Matteo Garrone, producer Domenico Procacci, screenwriters Maurizio Braucci, Ugo Chiti, Gianni di Gregorio, Massimo Gaudioso and Roberto Saviano, actor Toni Servillo and cinematographer Marco Onorato. 57
BENNY’S VIDEO by Michael Haneke was nominated for European Film in 1993 and received the Felix of the Critics. The Austrian director’s THE PIANO TEACHER was nominated for Film and Screenwriter in 2001 and won Isabelle Huppert an acting EFA. HIDDEN received nominations for actress Juliette Binoche and cinematographer Christian Berger and won Michael Haneke Director, the Critics’ Award and Film 2005, along with producers Veit Heiduschka and Margaret Ménégoz, as well as Actor for Daniel Auteuil and Editor for Michael Hudecek and Nadine Muse. This was repeated in 2009 when his black and white drama THE WHITE RIBBON got cinematographer Christian Berger another EFA nomination and won Michael Haneke Director, Screenwriter and Film, the latter together with producers Stefan Arndt, Veit Heiduschka, Michael Katz, Margaret Ménégoz and Andrea Occhipinti. And in 2012 AMOUR received nominations for screenwriting and cinematographer Darius Khondji and EFAs for Director and Film for Michael Haneke and producers Margaret Ménégoz, Stefan Arndt, Veit Heiduschka and Michael Katz, actress Emmanuelle Riva and actor Jean-Louis Trintignant.
michael& isabelle& juliette& christian& veit& margaret& daniel& michael& nadine& stefan& andrea& darius& emmanuelle& jean-louis. 59
The Belgian brothers Jean-Pierre and Luc Dardenne won their first EFA in 1997 for their documentary, GIGI, MONICA... ET BIANCA, together with fellow director Benoît Dervaux. They came back in 1999 with ROSETTA which picked up nominations for the brothers and fellow producers Laurent and Michèle Pétin and actress Emilie Dequenne, in 2002 with THE SON which got actor Olivier Gourmet a nomination, in 2005 with THE CHILD which received nominations for Jean-Pierre & Luc and fellow producer Denis Freyd as well as actor Jérémie Renier. LORNA’S SILENCE got a nomination for actress Arta Dobroshi in 2008 and THE KID WITH A BIKE, produced by Jean-Pierre & Luc Dardenne, Denis Freyd & Andrea Occhipinti, was nominated in 2011 for Film, Director and Actress Cécile de France, and won Screenwriter, an award that they were again nominated for in 2014 with TWO DAYS, ONE NIGHT.
jean-pierre& luc& benoît& laurent& michèle& emilie& olivier& jérémie& denis& arta& andrea cécile.
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Danish director Susanne Bier received her first EFA nomination in 2005 with BROTHERS, along with producers Peter Aalbæk Jensen and Sisse Graum Jørgensen, actress Connie Nielsen, actor Ulrich Thomsen, screenwriter Anders Thomas Jensen and composer Johan Söderqvist. She came back the next year when she was nominated as Director for AFTER THE WEDDING, along with actor Mads Mikkelsen. Susanne finally received an award as European Director in 2011 for IN A BETTER WORLD which also received nominations for Film, for actor Mikael Persbrandt, and for screenwriter Anders Thomas Jensen. In 2013 LOVE IS ALL YOU NEED won her the EFA for Comedy along with producers Sisse Graum Jørgensen and Vibeke Windeløv.
susanne& peter& sisse& connie& ulrich& anders thomas& johan& mads& mikael& vibeke.
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nuri& gökhan& ebru& zeynep.
CLOUDS OF MAY by Nuri Bilge Ceylan received the EFA Critics’ Award in the year 2000. The Turkish filmmaker was again nominated in 2003 for UZAK (Directing), in 2012 for ONCE UPON A TIME IN ANATOLIA (Directing), for which cinematographer Gökhan Tiryaki was also nominated, and in 2014 for WINTER SLEEP, together with fellow screenwriter Ebru Ceylan and producer Zeynep Özbatur Atakan. 65
THE CONSEQUENCES OF LOVE brought the first EFA nominations to Italian director Paolo Sorrentino and actor Toni Servillo, both for the People’s Choice Awards. Both were again nominated in 2008 for IL DIVO, along the producers Francesca Cima, Nicola Giuliano and Andrea Occhipinti and cinematographer Luca Bigazzi, and Toni Servillo took home European Actor. LA GRANDE BELLEZZA got Paolo Sorrentino another nomination, Screenwriting, alongside Umberto Contarello, in 2013, and won him Film, together with the producers Nicola Giuliano and Francesca Cima, Actor for Toni Servillo and Editor for Cristiano Travaglioli. In 2015, YOUTH got him a further nomination in Screenwriting and one for Rachel Weisz in Acting and it received EFAs for Film, for Paolo and producers Nicola Giuliano, Francesca Cima and Carlotta Calori, Director, and Actor for Michael Caine.
paolo& toni& francesca& nicola& andrea& luca& umberto& cristiano& rachel& carlotta& michael.
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andrei& mikhail& nadezhda& oleg& alexander& sergey& alexey.
Russian director Andrei Zvyagintsev won the 2003 Discovery award for THE RETURN. His 2007 film THE BANISHMENT got a nomination for cinematographer Mikhail Krichman, in 2011 ELENA a nomination for actress Nadezhda Markina. In 2014 LEVIATHAN received nominations for the film’s director, screenwriters Oleg Negin and Andrei Zvyagintsev, the producers Alexander Rodnyansky & Sergey Melkumov, and for actor Alexey Serebryakov. 69
At the European Film Awards 1992, Pawel Pawlikowski received a Special Mention for his documentary DOSTOEVSKY’S TRAVELS. In 2001, his feature LAST RESORT was nominated for European Discovery and in 2005 MY SUMMER OF LOVE received nominations for Pawel and producers Christopher Collins and Tanya Seghatchian. His black and white drama IDA was the big star at the European Film Awards 2014 in Riga. It was got nominations for actresses Agata Kulesza and Agata Trzebuchowska and got awards for the director and producers Eric Abraham, Piotr Dzięcioł and Ewa Puszczyńska, for screenwriters Pawel and Rebecca Lenkiewicz and for cinematographers Łukasz Żal and Ryszard Lenczewski.
pawel& christopher& tanya& agata& eric& piotr& ewa& rebecca& łukasz& ryszard.
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ruben& erik& marie& philippe.
In August 2005, at the Edinburgh International Film Festival, Ruben Östlund’s short film AUTOBIOGRAPHICAL SCENE NUMBER 6882 was nominated for the 18th European Film Awards. Five years later, at the Cork Film Festival 2010, his short film INCIDENT BY A BANK was nominated for the same award. His feature FORCE MAJEURE, produced by Erik Hemmendorff, Marie Kjellson and Philippe Bober, was nominated in 2014 for Directing and Film. 73
małgorzata& wojciech& karl& raimond& jacek.
Małgorzata Szumowska was twice nominated for the European Discovery award – in 2001 for HAPPY MAN, produced by Wojciech Has, and in 2005 for STRANGER, produced by Karl Baumgartner and Raimond Goebel. She also had two films in the EFA Selection 33 SCENES FROM LIFE in 2009 and IN THE NAME OF in 2013. Finally, in 2015, her film BODY received a nomination for Directing and won Jacek Drosio the award for Editing. One year later, it received the EFA People’s Choice Award. 75
roy& pernilla.
The EFA Selection 2000 included Roy Andersson’s film poem SONGS FROM THE SECOND FLOOR. The Swedish director’s YOU, THE LIVING was nominated for European Director 2007. And in 2015 A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE was nominated for Screenwriting, Directing and Film and took home the award European Comedy for director Roy Andersson and producer Pernilla Sandström. 77
yorgos& athina& lee& ceci& colin& ed& efthymis. The EFA Selection 2009 included DOGTOOTH by the Greek director Yorgos Lanthimos and with Athina Rachel Tsangari as associate producer. In the following year, she directed ATTENBERG, with Yorgos as one of the producers, which made it into the EFA Selection 2011. And in 2012, their next feature ALPS, him directing, her producing, was again included in the EFA Selection. Finally, in 2015, his next feature THE LOBSTER, produced by Ed Guiney, Lee Magiday, Ceci Dempsey and Yorgos Lanthimos, received nominations for Directing and Film and for actor Colin Farrell, and won Screenwriting for him and Efthimis Filippou while her feature CHEVALIER made it into the EFA Selection 2016. 79
maren& janine& jonas& michel& sandra& peter.
Written and directed by Maren Ade, the German comedy TONI ERDMANN was the big sensation at the European Film Awards 2016 in Wrocław, taking home a total of five awards. The film won EFAs for Maren Ade, producers Janine Jackowski, Jonas Dornbach, and Michel Merkt, actress Sandra Hßller and actor Peter Simonischek. 81
THE EUROPEAN FILM AWARDS - HOW DOES IT WORK? FILM SUBMISSION Films can be submitted as candidates for the European Film Awards 2017 by European film institutions, festivals, trade magazines, media partners, members of the European Film Academy, EFA Patrons and producers of European films. THE EFA DOCUMENTARY SELECTION A committee of EFA Members and documentary experts selects 15 documentaries from all films submitted or suggested. THE EFA FEATURE FILM SELECTION In the 20 countries with the highest number of EFA Members, these members vote one national film directly into the selection. A committee of the EFA Board and a group of experts then adds more films. This results in approx. 50 films recommended for a nomination.
THE NOMINATIONS Based on the EFA Selections and the additional film entries, the nominations are decided on by democratic vote of the EFA Membership. In the categories Animated Feature Film, Discovery and Comedy the nominations are decided on by committees. In the category European Short Film the nominations are established in co-operation with 15 festivals across Europe. Throughout the year, at each of these, an independent jury chooses one film of max. 30 mins. from the international competition to be nominated for the EFAs. THE AWARD RECIPIENTS Based on the nominations, the award recipients are elected by democratic vote of the EFA Membership.
more info at www.europeanfilmacademy.org/European-Film-Awards 82
EUROPEAN FILM AWARDS 2017 EFA 2017
#efa2017
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NOMINATIONS EUROPEAN FILM 2017
BPM (BEATS PER MINUTE) 120 BATTEMENTS PAR MINUTE
LOVELESS
ON BODY AND SOUL TESTRŐL ÉS LÉLEKRŐL
(NELYUBOV)
WRITTEN & DIRECTED BY Robin Campillo PRODUCED BY Marie-Ange Luciani & Hugues Charbonneau
DIRECTED BY Andrey Zvyagintsev WRITTEN BY Oleg Negin & Andrey Zvyagintsev PRODUCED BY Alexander Rodnyansky, Sergey Melkumov & Gleb Fetisov
WRITTEN & DIRECTED BY Ildikó Enyedi PRODUCED BY Mónika Mécs, András Muhi & Ernö Mesterházy
France 145 min Early 1990s. With AIDS having already claimed countless lives for nearly ten years, Act Up-Paris activists multiply actions to fight general indifference. Nathan, a newcomer to the group, has his world shaken up by Sean, a radical militant.
84
НЕЛЮБОВЬ
Russia, Belgium, Germany, France 127 min Zhenya and Boris are going through a vicious divorce marked by resentment, frustration and recriminations. Already embarking on new lives, each with a new partner, they are impatient to start again, to turn the page – even if it means threatening to abandon their 12-year-old son Alyosha. Until, after witnessing one of their fights, Alyosha disappears…
Hungary 116 min The director of an industrial slaughterhouse is suspicious about Maria, the new quality inspector sent by the authorities. Endre thinks she’s pretty, but she’s too formal and keeps too much to herself. He also thinks she’s too tough on grading the beef, but Maria sticks to her standards with the same focused order she tries to run her life. During routine company interviews, a lady psychologist discovers that Maria and Endre are having similar recurring dreams.
NOMINATIONS EUROPEAN FILM 2017
THE OTHER SIDE OF HOPE THE SQUARE TOIVON TUOLLA PUOLEN WRITTEN & DIRECTED BY Ruben Östlund WRITTEN, DIRECTED & PRODUCED BY Aki Kaurismäki
PRODUCED BY Erik Hemmendorff & Philippe Bober
Finland, Germany 100 min
Sweden, Germany, France, Denmark 145 min
Khaled, a young Syrian refugee who has lost virtually all of his family, drifts to Helsinki as a stowaway passenger on a collier to seek asylum without great hopes for his future life. Wikström, is a travelling salesman of about fifty. After he leaves his alcoholic wife and his profession, he turns momentarily into a poker shark, then buys an unprofitable restaurant in Helsinki.
Christian is the respected curator of a contemporary art museum, a divorced but devoted father of two who drives an electric car and supports good causes. His next show is “The Square”, an installation which invites passersby to altruism, reminding them of their role as responsible fellow human beings. But sometimes it is difficult to live up to your own ideals: Christian’s foolish response to the theft of his phone drags him into shameful situations.
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NOMINATIONS EUROPEAN COMEDY 2017
KING OF THE BELGIANS
THE SQUARE
WRITTEN & DIRECTED BY Jessica Woodworth & Peter Brosens PRODUCED BY Peter Brosens, Jessica Woodworth, François Touwaide, Frans van Gestel, Arnold Heslenfeld, Laurette Schillings, Mira Staleva & Stefan Kitanov
WRITTEN & DIRECTED BY Ruben Östlund PRODUCED BY Erik Hemmendorff & Philippe Bober
Belgium, Netherlands, Bulgaria 94 min The King of the Belgians is on a state visit in Istanbul when his country falls apart. He must return home at once to save his kingdom. But a solar storm causes airspace and communications to shut down. No planes. No phones. With the help of a British filmmaker and a troupe of Bulgarian folk singers, the King and his entourage manage to escape over the border. Incognito. Thus begins an odyssey across the Balkans during which the King discovers the real world – and his true self. 86
Sweden, Germany, France, Denmark 145 min Christian is the respected curator of a contemporary art museum, a divorced but devoted father of two who drives an electric car and supports good causes. His next show is “The Square”, an installation which invites passersby to altruism, reminding them of their role as responsible fellow human beings. But sometimes it is difficult to live up to your own ideals: Christian’s foolish response to the theft of his phone drags him into shameful situations.
NOMINATIONS EUROPEAN COMEDY 2017
VINCENT AND THE END OF WELCOME TO GERMANY THE WORLD WILLKOMMEN BEI DEN VINCENT HARTMANNS DIRECTED BY Christophe van Rompaey WRITTEN BY Jean-Claude van Rijckeghem PRODUCED BY Dries Phlypo, Jean-Claude van Rijckeghem, Emmanuel Giraud & Aurélie Bordier Belgium, France 121 min Vincent is a 17-year old ecologist who drives his family crazy with his attempts to reduce their carbon footprint. Vincent‘s giddy French aunt Nikki takes him on a trip to France, convinced that the boy‘s obsession is related to his suffocating mother. But on their roadtrip, Vincent proves to be much more than Nikki can handle.
WRITTEN & DIRECTED BY Simon Verhoeven PRODUCED BY Quirin Berg, Max Wiedemann, Michael Verhoeven & Stefan Gärtner Germany 116 min The recently retired teacher Angelika decides, against her skeptical husband Richard’s will, to take in a refugee. Soon afterward, the young Nigerian Diallo moves into the Hartmann home, and a whirlwind of complications ensue. These events not only disrupt the lives of Angelika and Richard’s adult children Philip and Sophie; they also put their own marriage as well as Diallo’s chances of integration to the test.
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NOMINATIONS EUROPEAN DISCOVERY 2017 Prix FIPRESCI
BLOODY MILK PETIT PAYSAN
GODLESS БЕЗБОГ (BEZBOG)
DIRECTED BY Hubert Charuel WRITTEN BY Claude Le Pape & Hubert Charuel PRODUCED BY Stephanie Bermann & Alexis Dulguerian
WRITTEN & DIRECTED BY Ralitza Petrova PRODUCED BY Rossitsa Valkanova, Eva Jakobsen & Laurence Clerc
France 90 min Pierre is a 30-year-old dairy farmer. His life revolves around the family farm he took over, his cows, his veterinarian sister and his parents. When the first cases of an epidemic disease break out in France, Pierre finds out one of his animals is infected. Losing his cows is not an option for Pierre. He has nothing else and he will do whatever it takes to save them.
88
Bulgaria, Denmark, France 99 min In a remote Bulgarian town, Gana looks after the elderly with dementia, while trafficking their ID cards on the black market. At home, she provides for her jobless mother, with whom she hardly speaks. Her relationship with her carmechanic boyfriend is no shelter for love either - with sexual attraction vanished, intimacy is reduced to an addiction to morphine.
NOMINATIONS EUROPEAN DISCOVERY 2017 Prix FIPRESCI
LADY MACBETH DIRECTED BY William Oldroyd WRITTEN BY Alice Birch PRODUCED BY Fodhla Cronin O’Reilly UK 89 min Rural England, 1865. Katherine is stifled by her loveless marriage to a bitter man twice her age, and his cold, unforgiving family. When she embarks on a passionate affair with a young worker on her husband’s estate, a force is unleashed inside her so powerful that she will stop at nothing to get what she wants.
SUMMER 1993 ESTIU 1993
THE EREMITES DIE EINSIEDLER
WRITTEN & DIRECTED BY Carla Simón PRODUCED BY Valérie Delpierre, Stefan Schmitz & Maria Zamora
WRITTEN & DIRECTED BY Ronny Trocker PRODUCED BY Paul Zischler, Susanne Mann, Karin C. Berger & Arash T. Riahi
Spain 96 min
Germany, Austria 110 min
In the summer of 1993, following the death of her parents, six-year-old Frida moves from Barcelona to the Catalan province to live with her aunt and uncle, who are now her new legal guardians. The country life is a challenge for Frida – time passes differently in her new home and the nature that surrounds her is mysterious and estranging. She now has a little sister whom she has to take care of and has to deal with new feelings, such as jealousy.
Albert grew up on an isolated mountain farm in the middle of nowhere in the Alps. Although he’s already in his 30s, his omnipresent mother Marianne still pulls the strings in his life. Like an abandoned animal that keeps coming back to its territory, the introverted farmers son keeps sneaking back to the mountain as often as possible.
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NOMINATIONS EUROPEAN DOCUMENTARY 2017
AUSTERLITZ WRITTEN, DIRECTED & PRODUCED BY Sergei Loznitsa Germany 94 min There are places in Europe that have remained as painful memories of the past - factories where humans were turned into ash. These places are now memorial sites that are open to the public and receive thousands of tourists every year. The film’s title refers to the eponymous novel written by W.G. Sebald, dedicated to the memory of the Holocaust. This film is an observation of the visitors to a memorial site that has been founded on the territory of a former concentration camp. Why do they go there? What are they looking for?
90
COMMUNION KOMUNIA WRITTEN & DIRECTED BY Anna Zamecka PRODUCED BY Anna Wydra, Anna Zamecka, Zuzanna Krol, Izabela Lopuch & Hanka Kastelicová Poland 72 min When adults are ineffectual, children have to grow up quickly. Ola is 14 and she takes care of her father, autistic brother and a mother who lives separately; but most of all she tries to reunite the family. She lives in the hope of bringing her mother back home. Her 13 year-old brother Nikodem’s Holy Communion is a pretext for the family to meet up. Ola is entirely responsible for preparing the perfect family celebration. COMMUNION reveals the beauty of the rejected, the strength of the weak and the need for change when change seems impossible.
LA CHANA WRITTEN & DIRECTED BY Lucija Stojevic PRODUCED BY Lucija Stojevic, Greta Olafsdottir, Deirdre Towers & Susan Muska Spain, Iceland, USA 86 min She was one of the greatest stars in the flamenco world, captivating audiences world-wide with her innovative style and breathtaking use of rhythm in the 1960s and 1970s. LA CHANA brings us close to the heart and mind of La Chana, the self-taught Gypsy dancer, Antonia Santiago Amador, as she returns to the stage to give a final seated performance after a break of two decades.
NOMINATIONS EUROPEAN DOCUMENTARY 2017
STRANGER IN PARADISE
THE GOOD POSTMAN
WRITTEN & DIRECTED BY Guido Hendrikx PRODUCED BY Frank van den Engel
DIRECTED BY Tonislav Hristov WRITTEN BY Tonislav Hristov, Lubomir Tsvetkov PRODUCED BY Kaarle Aho & Kai Nordberg
Netherlands 72 min In a classroom in Sicily, just inside the walls of Fortress Europe, recently arrived refugees receive lessons from a teacher who has some rather unbalanced traits. One moment he mercilessly rejects the refugees – the next, mollifyingly, he embraces them. Operating at the intersection of documentary and fiction, STRANGER IN PARADISE investigates the power relations between Europe and refugees.
Finland, Bulgaria 80 min A small Bulgarian village just by the Turkish border has found itself in the middle of a European crisis, as at nights asylum seekers sneak passing the border. The forgotten village has become the most important secret loophole of Europe. Ivan, the local postman, has a vision. He decides to run for mayor and turn the dying village alive by welcoming refugees. His opponents want to close their eyes, close down the border and re-introduce communism.
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NOMINATIONS EUROPEAN ANIMATED FEATURE FILM 2017
ETHEL & ERNEST WRITTEN & DIRECTED BY Roger Mainwood PRODUCED BY Camilla Deakin, Ruth Fielding & Stephan Roelants ANIMATION: Peter Dodd UK, Luxembourg 94 min The film follows the lives of lady’s maid Ethel and milkman Ernest from their first chance meeting in 1928, through the birth of their son Raymond in 1934, to their deaths, within months of each other, in 1971.
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LOUISE BY THE SHORE LOUISE EN HIVER WRITTEN & DIRECTED BY Jean-François Laguionie PRODUCED BY Jean-Pierre Lemouland & Galilé Gauvin-Marion ANIMATION: Lionel Chauvin & Joahanna Bessière France, Canada 75 min On the last day of summer, Louise, an old woman, realizes that the last train has departed without her. She finds herself alone in a small seaside resort town, abandoned by everyone. The weather quickly turns for the worse followed by the seasonal tides.
NOMINATIONS EUROPEAN ANIMATED FEATURE FILM 2017
LOVING VINCENT
ZOMBILLÉNIUM
DIRECTED BY Dorota Kobiela & Hugh Welchman WRITTEN BY Dorota Kobiela, Hugh Welchman & Jacek Dehnel PRODUCED BY Hugh Welchman, Ivan Mactaggart & Sean Bobbitt ANIMATION: Dorota Kobiela & Łukasz Mackiewicz
WRITTEN & DIRECTED BY Arthur de Pins & Alexis Ducord PRODUCED BY Henri Megalon & Léon Pérahia ANIMATION: David Nasser
Poland, UK 94 min
Pierre is a 30-year-old dairy farmer. His life revolves around the family farm he took over, his cows, his veterinarian sister and his parents. When the first cases of an epidemic disease break out in France, Pierre finds out one of his animals is infected. Losing his cows is not an option for Pierre. He has nothing else and he will do whatever it takes to save them.
The world’s first feature-length painted animation. The life and controversial death of Vincent van Gogh is told by his paintings and by the characters that inhabit them, featuring over 120 of van Gogh’s greatest paintings.
France 90 min
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NOMINATIONS EUROPEAN SHORT FILM 2017
94
The short film programme is organised by the European Film Academy and EFA Productions in co-operation with 15 film festivals throughout Europe. At each of these festivals, an independent jury presents one of the European short films in competition with a nomination in the short film category of the European Film Awards.
The members of the European Film Academy then got to watch all nominated shorts and it is they who voted for the overall winner. We would like to thank the following for making it possible for the short film nominees to join us in Berlin: Culture Ireland EYE International Institut Ramon Llull Institute of Cinema and Audiovisual, I. P. Romanian Film Center Swedish Film Institute SWISS FILMS UniFrance
Sarajevo Short Film Nominee
Krakow Short Film Nominee
Valladolid Short Film Nominee
NOMINATIONS EUROPEAN SHORT FILM 2017
COPA-LOCA
EN LA BOCA
WRITTEN, DIRECTED & PRODUCED BY Christos Massalas
WRITTEN, DIRECTED & PRODUCED BY Matteo Gariglio
Greece, fiction, 14 min
Switzerland/Argentina, documentary, 25 min
This is the story of Copa-Loca, an abandoned Greek summer resort. Paulina is the girl at the heart of Copa-Loca. Everyone cares for her and she cares about everyone – in every possible way.
In Buenos Aires, the Molina family lives and works in the shadows of the legendary Boca Juniors stadium. Selling fake tickets to the soccer games, they constantly get in conflict with the corrupt police. As her family sinks deeper into this underworld, the mother tries in vain to keep them all from falling apart.
FIGHT ON A SWEDISH BEACH!! WRITTEN & DIRECTED BY Simon Vahlne PRODUCED BY Axel Danielson & Ellen Hallin Sweden, fiction, 15 min EPIC BEACH FIGHT!! This is what happens when you yell “Sieg Heil” and call someone’s wife a whore. He had it coming.
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Rotterdam Short Film Nominee
Uppsala Short Film Nominee
Berlin Short Film Nominee
INFORMATION SKIES
LOVE
THE ARTIFICIAL HUMORS OS HUMORES ARTIFICIAIS
NOMINATIONS EUROPEAN SHORT FILM 2017
WRITTEN, DIRECTED & EDITED BY Metahaven WRITTEN & DIRECTED BY Réka Bucsi (Daniel van der Velden, Vinca Kruk) PRODUCED BY Marc Bodin-Joyeux & Gábor Osváth Netherlands/South Korea, experimental fiction, 24 min
INFORMATION SKIES is a post-truth essay in which live action and animation shape a new cinematic aesthetic. The film follows a young couple who believe to be living a perilous and heroic life. When the haunting of traumatic loss exposes their fantasy as fake, they immerse themselves further into their self-built world.
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Hungary/France, animation, 14 min
WRITTEN, DIRECTED & PRODUCED BY Gabriel Abrantes
LOVE describes affection in three different chapters, through an impact on a distant solar system. Abstract haiku-like situations reveal the change in atmosphere on one planet, caused by the change of gravity and light. This pulsing planet makes the inhabitants become one with each other in various ways.
Portugal, fiction, 29 min THE ARTIFICIAL HUMORS is about humor, anthropology and artificial intelligence. It focuses on how humor is central to human relationships, used as a form of social control, and one of the most complex forms of communication. It tells the story of an indigenous girl who falls in love with a robot that is a rising stand up comedian in Brazil.
Drama Short Film Nominee
Vila do Conde Short Film Nominee
Cork Short Film Nominee
NOMINATIONS EUROPEAN SHORT FILM 2017
THE CIRCLE HEVÊRK
THE DISINHERITED LOS DESHEREDADOS
WRITTEN, DIRECTED & PRODUCED BY Rûken Tekeş
WRITTEN & DIRECTED BY Laura Ferrés PRODUCED BY Valérie Delpierre
Turkey, fiction, 14 min
Spain, documentary / fiction, 18 min
In Mesopotamia, there are children of different ethnicities, religions and languages. Zelal, 7 year-old petite girl, is an ethnic Kurd as well as religiously an Ezidi (Yazidi). An ordinary school day turns into a life changing event for Zelal and her introvert admirer, Zeki, after their Turkish teacher introduces the letter of the week ‘O’…
THE DISINHERITED is a portrait of the director’s father facing the end of his family business. Pere Ferrés is 53 years old and owns a small bus company. Lack of money forces him to drive clients who destroy his vehicle to bachelor parties, but he is not prepared to lose his dignity.
THE PARTY DIRECTED BY Andrea Harkin WRITTEN BY Conor MacNeill PRODUCED BY Farah Abushwesha & Emmet Fleming Ireland, fiction, 14 min Belfast 1972. Laurence invites his cousin and man-on-the-run Mickey to a party of drinking, dancing and young love. By morning, reality catches up with them.
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Ghent Short Film Nominee
Bristol Short Film Nominee
Clermont-Ferrand Short Film Nominee
TIMECODE
UGLY
WANNABE
DIRECTED BY Juanjo Giménez WRITTEN BY Pere Altimira & Juanjo Giménez PRODUCED BY Juanjo Giménez, Arturo Méndiz & Daniel Villanueva
WRITTEN, DIRECTED & PRODUCED BY Nikita Diakur
DIRECTED BY Jannis Lenz WRITTEN BY Jannis Lenz, Andi Widmer & Matthias Writze PRODUCED BY Lukas Zweng, Roland Fischer
NOMINATIONS EUROPEAN SHORT FILM 2017
Spain, fiction, 15 min Luna and Diego are the parking lot security guards. Diego does the night shift, and Luna works by day.
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Germany, animation, 12 min An ugly cat struggles to coexist in a fragmented and broken world, eventually finding a soulmate in a mystical chief. Inspired by the internet story ‘Ugly the Cat’.
Austria/Germany, fiction, 30 min Coco is 17 and feels a desperate need to become famous even though she seems to lack the necessary talent. She is willing to do anything for recognition and avoid becoming an everyday ‚loser‘. She skips school to attend castings, music videos shoots, and to film YouTube clips but faces one humiliation after another and is quickly pushed to her limits.
Tampere Short Film Nominee
Venice Short Film Nominee
Locarno Short Film Nominee
NOMINATIONS EUROPEAN SHORT FILM 2017
WRITTEN/UNWRITTEN YOU WILL BE FINE SCRIS/NESCRIS GROS CHAGRIN DIRECTED BY Adrian Silișteanu WRITTEN BY Claudia Silișteanu PRODUCED BY Anamaria Antoci, Adrian Silișteanu Romania, fiction, 20 min A Roma family is announced their underage daughter has just had a baby girl. Pardică (50) is very displeased with this early pregnancy, for which he blames his wife. Things become even tenser when he discovers issues related to their their status as parents. The imminent danger of state authorities separating them from their daughter determines Pardică to take action.
WRITTEN & DIRECTED BY Céline Devaux PRODUCED BY Ron Dyens
YOUNG MEN AT THEIR WINDOW JEUNES HOMMES À LA FENÊTRE
WRITTEN & DIRECTED BY Loukianos Moshonas Give it time. You’ll get over it. Jean cel- PRODUCED BY Emmanuel Chaumet France, animation / fiction, 15 min
ebrates his birthday, gets drunk and recalls the dreadful weekend that led to his break-up with Mathilde.
France, fiction, 18 min Two graphic designers at work, by mistake, start playing with an empty scanner’s possibilities. They venture into assumptions, eventually open up to each other, and let go of the strange images, until they let go of themselves.
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NOMINATIONS EUROPEAN DIRECTOR 2017
Ildikó Enyedi for ON BODY AND SOUL
Yorgos Lanthimos Aki Kaurismäki for THE OTHER SIDE for THE KILLING OF A SACRED DEER OF HOPE
Ruben Östlund for THE SQUARE
Andrey Zvyagintsev for LOVELESS
Ildikó Enyedi for ON BODY AND SOUL
Yorgos Lanthimos & Oleg Negin & Efthimis Filippou Andrey Zvyagintsev for THE KILLING OF for LOVELESS A SACRED DEER
Ruben Östlund for THE SQUARE
François Ozon for FRANTZ
EUROPEAN SCREENWRITER 2017
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Official Logistics Partner of the 30th European Film Awards
NOMINATIONS EUROPEAN ACTRESS 2017
Paula Beer in FRANTZ
Juliette Binoche in BRIGHT SUNSHINE IN
Isabelle Huppert in HAPPY END 102
Alexandra Borbély in ON BODY AND SOUL
Florence Pugh in LADY MACBETH
NOMINATIONS EUROPEAN ACTOR 2017
Claes Bang in THE SQUARE
Josef Hader in STEFAN ZWEIG FAREWELL TO EUROPE
Colin Farrell in THE KILLING OF A SACRED DEER
Nahuel Pérez Biscayart in BPM (BEATS PER MINUTE)
Jean-Louis Trintignant in HAPPY END 103
EXCELLENCE JURY
Based on the EFA Feature Film Selection and the additional film entries, a special seven-member jury decided on the winners in the categories for cinematography, editing, production design, costume design, hair & make-up, film music and sound design. The members of this year’s jury are: Samir Fočo, sound designer, Bosnia & Herzegovina Raf Keunen, composer, Belgium Melanie Ann Oliver, editor, UK Vassilia Rozana, costume designer, Greece Susana Sanchez, hair & make-up artist, Spain Łukasz Żal, cinematographer, Poland Tonino Zera, production designer, Italy
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Michail Krichman for LOVELESS The cold eye of Michail Krichman guides us through the film’s dark universe, consequently constructing an intense feeling of discomfort. The camera conveys a strong sense of darkness, emptiness and sadness. The choice of what is shown and what stays hidden, gives tremendous weight to every movement of the camera, every carefully constructed frame. Ascetic and wellmeasured cinematic means evoke an uncanny sense of anxiety, a slight internal tremor.
Robin Campillo
European Cinematographer – Prix Carlo di Palma
European Editor
for BPM (BEATS PER MINUTE) From the very beginning, Robin Campillo’s editing underlines perfectly the desperate personal urgency of the ACT UP activists and their manifestations. Be it at a pharmaceutical corporation or at a conference, the edit makes the tempo and contributes to the urgency of the film in perfect harmony with framing and story.
105
European Production Designer
European Costume Designer
Josefin Ă…sberg for THE SQUARE With great artistic sensibility, the production design in THE SQUARE elevates the film by creating a world at the edge to the surreal. In this way the scenography is able to integrate and interact with the story without ever dominating over it. This is the great artistic quality of Josefin Ă…sberg.
Katarzyna Lewińska for SPOOR The simplicity and clarity of the costumes intensify the images and underline the substantial message of the film. The clash between the human element and the natural environment is reflected in the texture, the colours and the design of the costumes, at the same time contributing to the personality of the characters and giving them life. They form an integral part of the storytelling, along with all the other visual elements, and together they create a powerful viewing experience.
106
European Hair & Make-up Artist
European COMPOSER
European Hair & Make-up Artist
European COMPOSER
Leendert van Nimwegen for BRIMSTONE In BRIMSTONE, Leendert van Nimwegen, with make-up and hair, helps the characters and their development throughout the film, from play- and colourful, to sober and sinister, the good, the bad, the young, the old. It is a perfect combination of hair and make-up to describe characters, so beautifully done, and making them real.
Evgueni & Sacha Galperine for LOVELESS The dark, haunting and brooding music intensifies the experience of watching the film. Beautifully written, with an intelligent use of piano effects, the score works like an extra character added to the unfortunate family. From beginning to end, the music captivates the underlying tensions, the hidden truths and lies, and guides you through the story, without being too overtly present.
108
Oriol Tarragó for A MONSTER CALLS The sound design in A MONSTER CALLS is the power of imagination. Sonically, it takes us into a completely new, unknown world, and does exactly what the filmmaker wants the audience to feel when they’re watching something unfold on screen: It creates a sense of eeriness, a sense of mood, a sense of darkness … resulting in a well-crafted collaboration between sound and visuals.
European Sound Designer
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EUROPEAN CO-PRODUCTION AWARD - PRIX EURIMAGES
Cedomir Kolar
110
Cedomir Kolar has been active in film production for more than 30 years. He was born in former Yugoslavia, in the city of Rijeka on the Adriatic coast of Croatia, and graduated in film production at the Belgrade Academy of Dramatic Arts. He has produced over 30 feature films by authors from all over the world. He is an Oscar Nominee for BEFORE THE RAIN by Milcho Manchevski and an Oscar winning producer for Danis Tanovic’s NO MAN’S LAND. In 1991 he joined Noe Productions in Paris where he produced BEFORE THE RAIN by Milcho Manchevski, AS YOU LIKE ME by Carmine Amoroso, TRAIN OF LIFE by
Radu Mihaileanu, THE ADOPTED SON and THE CHIMP by Aktan Abdykalykov, NO MAN’S LAND by Danis Tanovic and Danis Tanovic’s short film in the collection of films 11’09’’01 - SEPTEMBER 11, produced by Galatée Films and StudioCanal. In 2003 he launched a new Paris-based production entity, A.S.A.P. Films, together with director Danis Tanovic and fellow producer Marc Baschet. In 2005, A.S.A.P. Films produced the new feature by Danis Tanovic, HELL, written by Krzysztof Piesiewicz in collaboration with the late Krzysztof Kieslowski, and WELL TEMPERED CORPSES by Benjamin Filipovic. This was followed by Marion Hänsel’s SOUNDS OF SAND in 2006, Danis Tanovic’s TRIAGE and Srdjan Karanovic’s BESA in 2008, WOMB by Benedek Fliegauf, THE LIGHT THIEF by Aktan Abdykalykov, CIRKUS COLUMBIA by Danis Tanovic and BLACK OCEAN by Marion Hänsel (2010), THE LUNCHBOX by Rites Batra (2013), ALBÜM by Mehmet Can Mertoglu (2016) and FOXTROT by Samuel Maoz (2017).
EURIMAGES is a support fund for cinema co-production, theatrical distribution and exhibition established by the Council of Europe in 1988 (Eurimages@coe.int – www.coe.int/Eurimages).
(picture: Gonçalo Silva/Alamy)
European Achievement in World Cinema
Julie Delpy By Louise Tutt When Richard Linklater was casting the young couple at the heart of BEFORE SUNRISE he was looking for the two most creative young actors he could find in 1994. One was Ethan Hawke, already a pin-up polymath with a series of hit films and a published novel to his name. The other was Julie Delpy, a rising French actress, little known to US audiences beyond the arthouse crowd who had seen her extraordinary performances in Krzysztof Kieslowski’s celebrated THREE COLOURS trilogy. 112
“In the audition he asked me, ‘do you write?’” Delpy said of her first meeting with Linklater. “I was like, ‘Oh, I wrote a screenplay.’ So he wanted that.” Delpy made her film debut aged just 14 in Jean-Luc Godard’s DETECTIVE. She went on to hone her skills in a slew of films by leading European directors including Bertrand Tavernier (THE PASSION OF BEATRICE), Carlos Saura (THE DARK NIGHT), and Agnieszka Holland (EUROPA, EUROPA). But Delpy always had her eye on a further horizon and she moved to New York to study filmmaking at NYU’s Tisch School of the Arts. Delpy credits Linklater and their work together on BEFORE SUNRISE with consolidating her ambition to write and direct. “When I met Richard, I realised I’d always wanted to write and be a director and be more involved than just being given a line,” Delpy told Moviemaker magazine earlier this year. “He made it clear that my involvement would be more than just being given a line. I really liked that concept of work-shopping and changing things. I didn’t know we were going to change the entire screenplay of BEFORE SUNRISE but I knew we were going to have a lot of work to do, writing.” Although neither Delpy nor Hawke received a screenwriting credit for the first film, they did for the subsequent two films in the trilogy about Celine and Jesse, the sophisticated French girl and lovelorn American boy who first meet in BEFORE SUNRISE and spend a day and night in Vienna, walking, talking, and falling in love. Nine years later, BEFORE SUNSET caught up
BEFORE SUNRISE
(picture: United Archives GmbH, Alamy Stock Photo)
European Achievement in World Cinema
with the couple in Paris, while the latest instalment, BEFORE MIDNIGHT, released in 2013, found them married with children in Greece. Delpy in particular electrifies in a 30-minute sequence of the couple arguing that is as painful as it is truthful (Both films earned Oscar nominations for best original screenplay). Delpy’s skill as a screenwriter and actress ensures Celine has always been a fully formed woman, an indelible cinematic life force, very far from a female fantasy character created from a man’s point of view. “Each time we would go into writing something that was a little misogynistic or a little sexist, I would go bananas,” she has said of how she worked closely with Linklater and Hawke on the three screenplays.
The BEFORE films triumphantly punctuate Delpy’s career, and as an actress she has also worked with notable English-language directors including Jim Jarmusch on BROKEN FLOWERS and Todd Solondz on WIENER-DOG. Delpy is now very well established as a writer-director in her own right. She has also starred in all of the seven features she has made. Delpy, fierce, fearless and audaciously talented, has said she did this with no help from anyone. “I’ve never had this great director who saw themselves in me, because I’m a French woman in Hollywood. Who could identify with me as a successful director in Hollywood? Nobody,” she said in 2016. “And the few people who could have been mentors, instead they just stole my ideas.” 113
THREE COLOURS: WHITE
European Achievement in World Cinema
So, in 2002, Delpy shot LOOKING FOR JIMMY with a group of friends for $5,000. Armed with 24 hours of footage, the nascent filmmaker quickly learned how to edit. “I realized directing is a combination of things,” she said. “It’s visual, it’s directing the actors, it’s telling a story. And people don’t always mention this part of directing, but it’s also knowing how to really edit something into something that makes sense.” Coming from a family of actors – her parents were both avant-garde theatre actors and her father often appears in her films – Delpy prefers to work in a naturalistic style, both as an actor and with her own actors as a director. She likes to rigorously rehearse – and also to surprise her cast. 114
“I try to make people forget they are being filmed,” she told Moviemaker magazine. “I do takes very quickly one after another. Sometimes people are caught off guard not knowing what’s going on.” The acerbic upscale comedies 2 DAYS IN PARIS and 2 DAYS IN NEW YORK earned comparisons to the films of Woody Allen, while the French-language titles, the warm family portrait SKYLAB and the hilariously crude Paris-set LOLO, as well as the period film THE COUNTESS, about the notorious Countess Bathory, all played extensively on the international festival circuit. With the exception of THE COUNTESS, Delpy has concentrated on comedy, the genre for which she is best known. MY ZOE, her new film as writer, director and star, takes on a different tone as Delpy plays a woman who goes to extraordinary lengths for her daughter. Daniel Brühl and Gemma Arterton co-star in the film which is due out in 2018. A fourth BEFORE film could happen around 2022 as Celine and Jesse turn 50. For her part, Delpy does not rule out directing a studio movie in the future – if someone asked her. “I’m very comfortable working on set. If I can manage 60 people, I think I can manage 400.”
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(issue 45/2017) and BILD am Sonntag (issue 46/2017). Kraftstoff verbrauch in l/100 km, innerorts: 6,8–4,5; außerorts: 5,0–4,2; kombiniert: 5,6–4,3. CO2 -Emissionen kombiniert: 138–114 g/km (gemäß VO (EG) Nr. 715/2007). Abbildung enthält Sonderausstattung.
FATHER AND SON
Lifetime Achievement Award
Aleksandr Sokurov Art as an Answer By Louise Tutt It is difficult to imagine European cinema in the second half of the 20th Century and beyond without the influence of screen“Ninety-six minutes in a single breath” is how Russia’s Aleksandr Sokurov describes RUSSIAN ARK, his ground- breaking film of 2002. Shot in one unbroken take in the five magnificent palaces of St Petersburg’s Hermitage museum with a cast and crew of thousands, RUSSIAN ARK is the filmmaker’s virtuoso performance, the film forever to be uttered in the same breath as the name Aleksandr Sokurov. The dreamlike meander through 1.5km of the Hermitage and its treasures merges cinema and live per116
formance to bring to life the museum, a repository of Russian and European history and culture ever since Catherine the Great bought 200 oil paintings in 1764. The film ends on the eve of the 1917 revolution and the journey is told from the perspective of a curious, initially confused 21st century narrator, voiced by Sokurov himself, who knows all too well the horrors the 20th century holds for Russia and for Europe. RUSSIAN ARK is also a melancholy meditation on the complicated relationship between Russia and Europe, a conversation about two world views which shows Russia’s love for Europe and the coldness of Europe’s attitude to Russia. “It should be a matter of great regret for Europe that it has always treated Russia with such indifference and arrogance,” said Sokurov in 2002. A Russian filmmaker who now makes most of his films in Western Europe with European partners, Sokurov’s
FAUST
features and documentaries grappled with the issues of Russian and European identity and engaged in weighty conversations about art, history, culture and power. What makes us human and what can save us, a Sokurov film always seems to ask. Art. Culture. These are the answers a Sokurov film often gives us. Born in Siberia in 1951, Sokurov’s childhood was spent moving around the Soviet Union with his military family. He was accepted into the prestigious VGIK film school in Moscow in 1975 where his student films drew negative attention from the authorities. His first feature was his graduation film, THE LONELY VOICE OF MAN, in 1979, but it was banned by the Soviet government and not released until glasnost had taken hold in 1987. (It won a bronze Leopard at the Locarno International Film Festival). Despite regular interrogations at the hands of the KGB, Sokurov carried on making films. “The totalitarian state doesn’t have the objective of destroying artists but of making them submit to its influence,” Sokurov told the Guardian in 2011. “Dozens of artists gave up and did what was expected of them. There were not many who resisted. But I kept on fighting.” He told the Guardian he even knew which Siberian labour camp he would have been sent to. “But suddenly God sent us Gorbachev.” Sokurov’s early films had caught the eye of Andrei Tarkovsky who became his mentor. But their relationship was not easy and Sokurov admits he was uncomfortable with Tarkovsky’s ebullient praise.
Lifetime Achievement Award
“I would storm out of the room and refuse to drink the tea,” Sokurov said in 2016. “I thought it was a sin to believe that you are a genius, and he was trying to convince me that I was a genius. There are no geniuses in film. It’s not that sort of art form where you can create a perfect masterpiece. Literature, yes; music, probably yes; but never, ever film.” MOURNFUL UNCONCERN, an adaptation of George Bernard Shaw’s ‘Heartbreak House’, screened in competition at the Berlin International Film Festival in 1987, while DAYS OF ECLIPSE was nominated as Best Young Film at the inaugural European Film Awards in Berlin in 1988. Sokurov finally came to major international arthouse prominence with the visually transcendent MOTHER AND SON, which won several prizes at the Moscow International Film Festival in 1997. He followed it 117
RUSSIAN ARK
Lifetime Achievement Award
with MOLOCH in 1999, the first of what would become Sokurov’s celebrated tetralogy of films about the daily, unseen life of 20th century dictators and the terrible impact of power on individuals. MOLOCH is the imagined story of a weekend in the life of Adolf Hitler and Eva Braun in 1942 in which they discuss art and politics. Lenin is the subject of TAURUS in 2001 in which he is portrayed as a man crippled by a stroke and stripped of power and influence. THE SUN, made in 2005, explores the day when childlike Emperor Hirohito makes the decision to surrender and bring to an end the awful bloody years of World War II, while the final part is the German-language FAUST a re-telling of Goethe’s play, which won the Golden Lion at the Venice Film Festival in 2011. For Sokurov, the written word and literature is superior to film by far. “The word is free, open and endless. And the visual, unfortunately, is ending during each 118
screening. The word is like a free man and the visual art is a man in prison, in jail,” he said in an interview with Film Comment in 2014. “I don’t think in cinema there are big personalities. The tradition is too young … We are pushed to make films about contemporary things. They seem to say, ‘Look around, life – modern life - is so various, please shoot it, not other things!” Only some filmmakers are able to say, ‘Wait. We are not able to understand this life, we don’t have the necessary distance.” Sokurov’s most recent feature is FRANCOPHONIA, a documentary and a companion piece of sorts to RUSSIAN ARK about the Louvre during the Nazi occupation of Paris. It screened in competition at Venice in 2015 and tells the story of how the gallery director and a Wehrmacht officer worked together to save the art, including German works in France since the Napoleonic wars, from falling into the hands of the Nazis. Its subtitle is AN ELEGY FOR EUROPE, “Only a great work of art has the capacity to link the past to the future and the present,” Sokurov told The Calvert Journal in 2015. “Paintings may give us an understanding of who we are as Europeans.” As Europe and the very idea of ‘Europe’ strives to stay afloat amidst various ongoing political and social convulsions, Sokurov is clear of the role cinema has to play. “Things go on in the old ways, as we say in Russia. That’s the sore point, the great pity of it all. The only thing cinema can do is appeal to your heart, your soul. The soul can still do something.”
................. CANNES
. . . . . .. .. . .. ................... TURIN
.................. TO KYO
........ LO S A N G E L E S
................ TO RO N TO
.................... ROME
. .
. . . . . . . . K A R LOV Y VA RY
.................... BUSAN
. . . . . . . . . . . . . . . . . . . . . PA R I S
............... WARSAW
........ SAN SEBASTIÁN
................ NEW YORK
. . . . . . . . . . . . . . . . . . LO CA R N O
.................. SYDNEY
. . . . . . . . . . I S TA N B U L
.............. VENICE
. . . . . . . . . . . . . . . . . . LO N D O N
.............. MOSCOW
. . . . . . . . . . . . . . . S Ã O PA U LO
.................. MADRID
.............. SHANGHAI
. . . .. . . OPENING THE DOORS TO GERMAN CINEMA
EFA YOUNG AUDIENCE AWARD
6th EFA Young Audience Award With Young Juries in 31 Countries On 7 May 2017 the three nominated films were screened simultaneously in the following 31 countries across Europe to an audience of 12-14-year-olds:
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AUSTRIA: St. Pรถlten & Vienna BELGIUM: Brussels BOSNIA & HERZEGOVINA: Sarajevo BULGARIA: Sofia CROATIA: Zagreb CZECH REPUBLIC: Prague DENMARK: Aalborg ESTONIA: Tallinn FINLAND: Helsinki GERMANY: Berlin & Erfurt GREECE: Athens HUNGARY: Budapest ISRAEL: Tel Aviv ITALY: Florence, Rome & Turin KOSOVO: Prizren LATVIA: Riga LITHUANIA: Vilnius LUXEMBOURG: Luxembourg FYR MACEDONIA: Skopje MALTA: Valletta MONTENEGRO: Podgorica THE NETHERLANDS: Amsterdam POLAND: Lodz, Warsaw & Wrocล aw PORTUGAL: Lisbon ROMANIA: Cluj-Napoca SERBIA: Belgrade SLOVAKIA: Bratislava SLOVENIA: Izola SPAIN: Barcelona TURKEY: Istanbul UK: London
NOMINATED FILMS:
EFA YOUNG AUDIENCE AWARD
ER GOODBYE BERLIN
WINN
TSCHICK Germany
MY LIFE AS A ZUCCHINI MA VIE DE COURGETTE Switzerland/France
THE GIRL DOWN LOCH ÄNZI DAS MÄDCHEN VOM ÄNZILOCH Switzerland
And it was the young audience that acted as a jury and voted for the winner right after the screenings. In a truly European vote, jury speakers transmitted the national results live via video conference to Erfurt (Germany) where the winner was announced in an award ceremony streamed live on the EFA website.
Producer Marco Mehlitz, main actors Tristan Göbel and Anand Batbileg, and screenwriter Lars Hubrich (picture: Carlo Bansini)
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Film Fans Vote EFA PEOPLE’S CHOICE AWARD
Every year, the EFA People’s Choice Award allows film fans across Europe to vote for their favourite film. When the European Film Academy invites its members, Europe’s greatest film stars, directors, actors and actresses, to attend the European Film Awards, the People’s Choice Award sheds a spotlight on the people films are made for, the audience! An international campaign involving more than 20 media partners across Europe and the EFA’s social media channels calls on film-lovers to cast their vote on www.europeanfilmawards.eu. From all votes received, one lucky participant won the chance to attend the 30th European Film Awards.
Ernst & Young, one of the leading global professional services firms, continues to act as Official Tabulator, endorsing the voting procedures and confirming the winner.
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A MONSTER CALLS
BRIDGET JONES’S BABY
Spain by J.A. Bayona
Ireland, UK, France, USA by Sharon Maguire
FANTASTIC BEASTS AND WHERE TO FIND THEM UK, USA by David Yates
FRANTZ France, Germany by François Ozon
EY as Official Tabulator for the voting of the People’s Choice Award 2017 congratulates all the nominees for their fantastic achievement! www.ey.com #BetterQuestions
“EY” and “we” refer to all German member firms of Ernst & Young Global Limited, a UK company limited by guarantee. ED None.
How well rehearsed are you for the public stage?
EFA PEOPLE’S CHOICE AWARD
GRADUATION BACALAUREAT
LIKE CRAZY LA PAZZA GIOIA
Romania, France, Belgium by Cristian Mungiu
Italy, France by Paolo Virzì
STEFAN ZWEIG FAREWELL TO EUROPE VOR DER MORGENRÖTE 124
Germany, Austria, France by Maria Schrader
THE COMMUNE KOLLEKTIVET Denmark, Sweden, Netherlands by Thomas Vinterberg
THE OTHER SIDE OF HOPE TOIVON TUOLLA PUOLEN Finland, Germany by Aki Kaurismäki
OUR MEDIA PARTNERS EFA PEOPLE’S CHOICE AWARD
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LADY MACBETH
EUROPEAN CINEMA 2017
Brave New Films By Louise Tutt ¨We are living in very difficult times right now,” said Polish director and EFA Chairwoman Agnieszka Holland at this year’s Berlinale, where her latest feature SPOOR, co-directed with her daughter Kasia Adamik, won the Silver Bear Alfred Bauer Prize. “We need new perspectives, we need movies that are brave and touching the subjects that are important for our planet.” SPOOR, a genre-defying story about a series of murders in an isolated village, went on to earn around EUR 858,000 at the Polish box-office and has played widely at international festivals. It is also Poland’s entry for the foreign-language Oscar. 126
2017 has been a year of politically charged acceptance speeches at film festivals and awards ceremonies as European filmmakers and juries attempt to make sense of the fast-changing world around us. Hungarian director Ildikó Enyedi’s ON BODY AND SOUL, an unconventional love story set against the backdrop of a slaughterhouse, was the big surprise winner at the Berlinale, taking home the Golden Bear for Best Film. The visually arresting film is the sixth feature by Enyedi who won the Camera d’Or at Cannes for MY TWENTIETH CENTURY in 1989. Berlin jury president Paul Verhoeven singled out the “compassion” that flows through ON BODY AND SOUL and subsequent festival audiences from Mumbai to Sydney and Toronto have fallen equally hard for the film. It now has four EFA nominations for film, director, screenplay and actress for Alexandra Borbély. Distributor Mozinet opened the film in Hungary in March. It has grossed EUR 340,000, is still on release and is within the top 50 releases of the year in its home territory (The biggest Hungarian film of the year is local horse-racing title KINCSEM which has garnered around nearly EUR 1.9m.). In France, ON BODY AND SOUL has taken around EUR 145,000 for Le Pacte, while subscription video-on-demand service MUBI acquired UK rights and the film has grossed EUR 10,472 in the territory. Netflix has US rights to the film which is Hungary’s submission to the foreign-language Oscar category.
THE SQUARE
EUROPEAN CINEMA 2017
The themes of humanity and inclusion pulse through Aki Kaurismäki’s multiple EFA nominee THE OTHER SIDE OF HOPE. The Helsinki-set absurdist drama premiered at the Berlinale where it won the Best Director award, and tells the story of a Syrian refugee trying to claim asylum in Finland. One of the top 50 biggest films of the year in its home territory, THE OTHER SIDE OF HOPE has grossed around EUR 400,000 for distributor B-Plan. The film has also performed strongly throughout Europe, most notably in France (EUR 1.2m) and Italy (EUR 630,000). In May, EFA film nominee BPM: 120 BEATS PER MINUTE, the third feature by French-Moroccan director Robin Campillo, hit the Croisette with such vibrancy that it won the festival’s Grand Prix and Fipresci prizes.
Set in 1990s Paris, BPM: 120 BEATS PER MINUTE, starring EFA Actor nominee Nahuel Pérez Biscayart, is an exquisitely portrayed gay love story about two men active in the protests against the prejudice surrounding AIDS. Released in France by Memento in October, BPM has performed strongly, grossing EUR 5.2m to date and cracking the top 50. It opened in the US via The Orchard in November and has so far taken some $33,288. This year’s Palme d’Or winner, THE SQUARE, Swedish director Ruben Östlund’s provocative satire of the art world, leads the EFA nominations with five nods: Film, Director, Screenplay, Comedy and Actor for Denmark’s Claes Bang. Feted at a string of international festivals, THE SQUARE is on course to be the highest-grossing 127
ON BODY AND SOUL
EUROPEAN CINEMA 2017
Nordic film of the year. The Co-Production Office has sold the film to 54 international distributors to release in 66 territories. (The company sold Östlund’s previous film FORCE MAJEURE to 45 distributors.) TriArt opened THE SQUARE in Sweden in August and it then rolled out in key European territories. France is the film’s biggest market to date where it has taken over EUR 1.7m for Bac. THE SQUARE has also grossed EUR 686,815 in Germany, and has notched up an impressive screen average of EUR 16,314 on its opening weekend in the US via Magnolia on 27 October. Key territories still to open include the UK where it is being released by Curzon Artificial Eye in March 2018. THE SQUARE has been nominated for Best Independent International Film at the British Independent Film 128
Awards to be announced on 10 December in London. Russian director Alexey Zvyagintsev’s LOVELESS a sober drama about a wretchedly unhappy couple whose only child goes missing in the midst of one of their arguments, is nominated for three EFAs, including Film. Since winning the Jury prize at Cannes, LOVELESS has impressed on the international festival circuit, winning Best Film at the BFI London Film Festival in October. It has grossed a solid EUR 1.5m for Sony in its home market, putting it within the top 80 for the year. The film’s second-biggest territory so far is France where it has notched up EUR 1m for Pyramide. Sony is releasing the film in the US in February 2018. Throughout Europe, blockbuster local comedies have performed typically well in their home territories.
LOVELESS
EUROPEAN CINEMA 2017
The interesting European stand-outs outside their local market this year include the dark Polish hospital drama BOTOKS (EUR 858,000) which is the highest-grossing foreign-language film of the year in the UK, the thriller THE NILE HILTON INCIDENT, a Sweden-Denmark-Germany-France collaboration based on a real story which has enjoyed strong business in France (EUR 2.1m); and the subversive UK period drama LADY MACBETH which has struck a chord with Spanish audiences to the tune of some EUR 572,000. Dorota Kobiela and Hugh Welchman’s hand-painted feature animation LOVING VINCENT, which is nominated here for Animated Feature Film, has enjoyed great success in Italy (EUR 1.3m) as well as in its co-production territories, Poland (EUR 858,000) and the UK (EUR 792,033). 129
THE 30th EUROPEAN FILM AWARDS
The EUROPEAN FILM ACADEMY e.V.
EFA Secretariat
President ....................................... Chairwoman ................................. Deputy Chairmen ......................... .......................................................... Members of the Board ................ .......................................................... .......................................................... .......................................................... .......................................................... .......................................................... .......................................................... .......................................................... .......................................................... .......................................................... .......................................................... .......................................................... .......................................................... .......................................................... .......................................................... .......................................................... Honorary Members of the Board .......................................................... .......................................................... ..........................................................
Director ......................................... Finances & Administration ........ Head of Press & PR ..................... Co-ordination Selection/ Nomination/ Awarding Procedures ................................... Co-ordination Short Film Initiative & Training Projects ......................................... Accounting & Membership Administration ............................. Assistant to Director & Membership Relations ...............
Wim Wenders Agnieszka Holland Mike Downey Antonio Saura Francis Boespflug Àngela Bosch Rius Roberto Cicutto Tilde Corsi Helena Danielsson Ilann Girard Angeles Gonzáles-Sinde Vanessa Henneman Henning Kamm Lynda Myles Rebecca O’Brien Ewa Puszczynska Marek Rozenbaum Ada Solomon Ira von Gienanth Krzysztof Zanussi Sir Ben Kingsley Dušan Makavejev Jeanne Moreau István Szabó
Marion Döring Rainer Pyls Pascal Edelmann
Bettina Schwarz
Christoph Bovermann Yvonne Apt Viviane Gajewski
EFA Productions gGmbH Managing Directors ..................... .......................................................... Sponsoring & Event Management ................................ Business Manager ....................... Junior Producer ........................... Team Assistance .........................
Marion Döring Jürgen Biesinger Nikola Joetze Rainer Pyls Heidi Frankl Karolina Randerath
Official tabulator for the European Film Awards: Dr Manuel Heide/Luther Law Firm Official tabulator for the People’s Choice Award: Ernst & Young GmbH
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The 30th EUROPEAN FILM AWARDS Master of Ceremony ........................ Music Act ........................................... .............................................................. .............................................................. .............................................................. Actors ............................................... .............................................................. ............................................................. .............................................................. ............................................................. .............................................................. .............................................................. Artistic Director & Script ................ Co-writers ......................................... TV Director ........................................ Producer ............................................ Executive Producer ......................... Junior Producer ............................... Set Design ......................................... Light Design ...................................... Music Director .................................. Sound Design ................................... Hair & Make-up Artist ..................... Costume Design ............................... Costume Assistant .......................... Clips & Graphics Supervisor, Clip Selection ........................................... Co-ordination Clips & Rights Clearance .......................................... Editor Nomination & Tribute Clips ... Tribute Clip Prix Eurimages .......... Tribute Clips Aleksandr Sokurov, Julie Delpy & 30 years EFA ............ Technical Director ...........................
Thomas Hermanns Veerle Baetens & Johan Heldenbergh Bjorn Eriksson Mikhail Tangian Johannes Bah Kuhnke Alex Brendemühl Anna Geislerová Dave Johns Anamaria Marinca Palina Rojinski Ivan Shvedoff Maria von Heland Sandra Wollner, Timm Kröger Nadja Zonsarowa Marion Döring Jürgen Biesinger Heidi Frankl Bode Brodmüller Manfred “Ollie“ Olma Kriton Klingler-Ioannides Ivo König Waldemar Pokromski Andreas Janczyk Malaika Rönneckendorf France Orsenne Elsa Briquet Rey Verena Herzog Maria von Heland Elias Gabele Ralf Schafstall
Technical Co-ordinator ................... Production Manager ........................ TV Co-ordination & International Broadcast Delivery .......................... Live Stream ...................................... .............................................................. Clips & Graphics Production .......... .............................................................. Editing Facility .................................. .............................................................. Editor Clips ....................................... LED Technik ...................................... Stage Construction .......................... Light ................................................... Production Intern ........................ Production Intern ........................
Max Klarhorst Ricarda Oldenburg
EVENT-TEAM Mareike Emde Ulrike Stadler Sonja Umstätter
PRESS TEAM Yevgeniy Armazov Thomas Abeltshauser Lorena Borghi Michel Burstein Blanka Elekes Szentágotai Marie-France Dupagne Eva Herrero Charles McDonald Barbara Schmidt Anna Schattkovsky Monique van Schendelen Anne-Helene Sommarström Mathias Noschis Valentina Neumann
PROTOCOL Bettina Schwarz Christoph Bovermann Elisabeth Krefta GUEST CO-ORDINATION Jana Ptachkova Helga Angarano Sophie Joos Karolina Randerath Sunny Scheucher
Martin Oberst Kulturserver - Wolfgang Knauff & Denise Knochenhauer Chimney Deutschland GmbH Philipp Lessmeister firsteight GmbH Berlin Ariane Brauer Verena Herzog TST Lichtblick, Jörg Schildbach PRG, Bernhard Kretzschmar Essie Kloss Rafael Nola
THE 30th EUROPEAN FILM AWARDS
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The EFA Secretariat & EFA Productions
bettina& christoph& heidi& jĂźrgen& karolina& marion& nikola& pascal& rainer& viviane& yvonne.
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WE WISH TO THANK: Maren Ade (Komplizen Film), José Luis Cienfuegos, Marina Lanza, Mariona Viader (Seville European FF), Klaus Eder (FIPRESCI), Roberto Olla, Nathalie Monteillet (EURIMAGES), Marc Vandeweyer, Laura Nguyen (Cartoon – European Association of Animation Film), Albert Wiederspiel, Kathrin Kohlstedde (Filmfest Hamburg)
THE 30th EUROPEAN FILM AWARDS
The festivals participating in the EFA short film award: Dieter Kosslick, Maike Mia Höhne & Sarah Schüssel (Berlin IFF), Jean-Claude Saurel, Laurent Crouzeix & Tim Redford (Clermont-Ferrand Int’l Short FF), Fiona Clark & James Mulligan (Cork FF), Miguel Dias & Hugo Ramos (Curtas Vila do Conde – IFF), Antonis Papadopoulos & Sophia Georgiadou (Int’l Short FF in Drama), Rich Warren (Encounters Short Film and Animation Festival Bristol), Patrick Duynslaegher & Wim De Witte (Film Fest Gent), Krzysztof Gierat & Barbara Orilcz-Szczypuła (Krakow FF), Carlo Chatrian & Victoria Manconi (Locarno Festival), Bero Beyer & Peter van Hoof (IFF Rotterdam), Mirsad Purivatra & Bianca Lucas (Sarajevo FF), Jukka-Pekka Laakso & Mervi Rantala (Tampere FF), Niclas Gillberg & Christoffer Olofsson (Uppsala Int’l Short FF), Javier Angulo Barturen & Denise O’Keeffe (Valladolid IFF), Alberto Barbera, Angela Savoldi & Silvia Menegazzi (Venice FF)
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WE WISH TO THANK: the 30th EUROPEAN FILM AWARDS
OUR SELECTION EXPERTS: Péter Bognár (distributor/Hungary) Dave Calhoun (critic/UK) Jacob Neiiendam (CPH:PIX/Denmark) Giorgio Gosetti (Venice Days, Italy) Christophe Leparc (Quinzaine des Réalisateurs/ France) Alik Shpilyuk (Odessa FF/Ukraine) The committee members for EUROPEAN DISCOVERY – Prix FIPRESCI: Mihai Chirilov (Romania) Isabelle Danel (France) Robbie Eskiel (Greece) Angeles González-Sinde (Spain) Michael Pattison (UK) EUROPEAN DOCUMENTARY: Roberto Cicutto (Italy) Vanessa Henneman (Netherlands) Paul Pauwels (Belgium) Marek Rozenbaum (Israel) Sari Volanen (Finland)
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EUROPEAN ANIMATED FEATURE FILM: Antonio Saura (Spain) Christian Davin (France) Moe Honan (Ireland) Alessandro Rak (Italy) Anja Šošić (Poland) Ira von Gienanth (Germany) EUROPEAN COMEDY: Nacho Carballo (Spain) Henning Kamm (Germany) Hrvoje Laurenta (Croatia) Nik Powell (UK) Ada Solomon (Romania) EXCELLENCE AWARDS JURY: Samir Fočo, sound designer, Bosnia & Herzegovina Raf Keunen, composer, Belgium Melanie Ann Oliver, editor, UK Vassilia Rozana, costume designer, Greece Susana Sanchez, hair & make-up artist, Spain Łukasz Żal, cinematographer, Poland Tonino Zera, production designer, Italy
AND SPECIAL THANKS TO OUR PARTNERS AND SPONSORS Creative Europe MEDIA Sub-Programme of the EU Federal Government Commissioner for Culture and the Media FFA German Federal Film Board Berlin Capital Cultural Fund German State Lottery Berlin Medienboard Berlin-Brandenburg Aveda delphiLUX Deutsche Lufthansa AG Euronews Fair. Spirits GLS Haus der Berliner Festpiele M∙A∙C Mast - Jägermeister SE ŠKODA AUTO Deutschland Sofitel Berlin Kurfürstendamm STONE Brewing GmbH.
THE 30th EUROPEAN FILM AWARDS
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CONGRATULATIONS TO THE EFA NOMINEES FROM FLANDERS From the team of MOSCOW BELGIUM
VINCENT and the end of the world
A film by Christophe Van Rompaey Written by Jean-Claude van Rijckeghem
flandersimage.com