Seville European Film Festival 2022: Top Prizes, 5 Takeaways

Strengthening its credentials on this yr’s worldwide function movie Oscar race the place it represents France, Alice Diop’s “Saint Omer” edged Belgian’s Oscar entry “Shut” for prime honors, the Giraldillo de Oro, at a busy Seville European Movie Pageant.

A celebration of European arthouse which couldn’t be extra well timed – the fall-off in arthouse attendance proved the competition’s predominant speaking level – Seville’s prime prizes served to underscore the huge number of tones and points in present European cinema.

“Saint Omer,” Selection famous in a Venice evaluate, is “a quietly momentous French courtroom drama that subtly however radically rewrites the principles of the sport.”

Lukas Dhont’s sophomore function “Shut” shared Seville’s Jury Prize with João Pedro Rodrigues’ “Will-o’-the-Wisp’.” The 2 movies couldn’t be extra totally different tonally, “Shut” weighing in as  “a profoundly felt portrait of two inseparable mates” whereas “Will-o’-the-Wisp is, for Selection, an extravaganza of a musical romance that “mixes anti-royalist politics, local weather change doomsaying and attractive fireman fetishism”.

Courtesy of Diaphana Movies

Awards observe the excitement for Charlotte Effectively’s “Aftersun” topping the New Wave strand. A “sensuous, sharply transferring debut”, picked up in Cannes by A24 and nominated final week for 16 BIFA awards, it appears destined for vital field workplace and award success. 

The foremost plaudit within the Andalusian program went to doc “Como ardilla en el agua,” a debut directed by Mayte Gomez Molina and mom Mayte Molina Romero.

The awards capped the 2022 Seville European Movie Pageant. A 9-day occasion which noticed 222 movies screened, the bulk, 60%, realising their Spanish or world premiere in Seville, a powerful rely.

With a ranging program, and distribution discussion board Merci operating alongside the competition, there was a lot to think about. 5 takeaways:

Championing Regional Expertise a Triumph

Any area and not using a thriving movie sector is a loss to variety of tradition. Effectively attended, the Andalusian program confirmed there may be most definitely a requirement to absorb the totally different voices from any group or place. 

Prize winner “Como ardilla en el agua” balances the experimental and the intimate with aplomb. Director Ana Puentes reveals promise in her drum pores and skin tight brief “My Life At The Starting.” And vet helmer Gonzalo Garcia Pelayo and Pedro G. Romero conjure some disjointed magic with “Sietes Jereles.”

Cinema Wants Extra Column Inches

At Merci, a Visibility of Films in Media session struck a sombre tone, as many spoke of their frustration at a discount of protection of cinema within the press. It’s true of main publications that movie opinions have lowered. However the problem is not only opinions, Avalon CEO Stefan Schmitz, a producer of “Alcarràs,” Spain’s Oscar contender, advised Selection: Tright here must be two communication drives, one “to persuade older audiences it’s not harmful to go to the cinema” and, second, one to influence “youthful crowds to come back and study that cinema theaters provide one thing they can’t have at residence.” 

“With out a continued concentrate on watching movie in cinema, [chances of it] changing into an everyday pastime for the numbers of individuals it as soon as did really feel slim,” stated Schmitz.

Cinema Viewers bounce Again Nonetheless Weak

David Rodriguez, Comscore common supervisor for Spain and Portugal, offered interim figures for 2022 exhibiting audiences in Spain might finish 2022 down 37% in comparison with the 2015-2019 common. Newest information, for October 2022 vs 2019, made for unfavorable studying, with Spain monitoring 40% down, in comparison with France and the U.Ok., 28% off, and Germany at 31%.

Entice Them Again

There was inspiration for attending exhibitors with shows from Belfast’s Queen’s Movie Theatre and Brussels’ Cinema Galeries. QFT talked up a scheme whereby memberships will be connected to a particular child however any caregiver can attend. Cinema Galeries have had success by broadening out to artwork related to filmmakers. They’ve collaborated with David Lynch on an exhibition of his work, and Jim Jarmusch with a curated smorgasbord of what conjures up his movies; it coated poetry, images, music and artwork. The advertising and marketing copy for the Jarmusch season reveals enticement in observe: “This exhibition can solely be regarded as a backwards and forwards between the movie and the exhibition. All of his movies might be screened on the Cinema Galeries. In the identical constructing, we can transfer from one state (the movie) to the opposite (the plan-picture) to raised play at shocking ourselves.” 

If You Need Mainstream, You Want Arthouse

Or so Schmitz argued: “The enterprise we’re in is the enterprise of discovering expertise -–to work with new administrators, to launch careers of filmmakers. And platforms want that section of improvement of content material. They want us as a breeding floor, and so they want us as an institution of manufacturers. As a result of in order for you mainstream, that you must have artists, in case you don’t have arthouse, mainstream dies.” Expertise wants nurturing, and unbiased movies have a historical past of nurturing the subsequent era of filmmakers for giant price range movies. 

Scarlet (L’Envol)
Courtesy of Cannes Movie Pageant



Official Competitors 

Golden Giraldillo: “Saint Omer,” (Alice Diop, France)

Grand Jury Prize: “Shut,” (Lukas Dhont, Belgium, Netherlands, France) and “Will-o’-the-Wisp,”  (João Pedro Rodrigues, Portugal, France )

Finest Director: “Scarlet,” (Pietro Marcello, France, Italy, Germany)

Finest Actor: Eden Dambrine, (“Shut”)

Finest Actress: Julie Ledru (“Rodeo,” Lola Quivoron, France) and Zar Amir Ebrahimi (“Holy Spider,” Denmark, Germany, Sweden, France)

Screenplay: Alice Diop, Amrita David, Marie Ndiaye (“Saint Omer”)

Modifying: Géraldine Mangenot, (“Different Folks’s Kids,” Rebecca Zlowtowski, France)

Cinematography: Mauro Herce, (“Matadero,” Santiago Fillol, Argentina, France, Spain)

New Waves

Finest Movie: Aftersun (Charlotte Wells, UK, USA)

Finest Documentary:  Viagem ao Sol (Susana de Sousa Dias, Ansgar Schaefer, Portugal)

Particular Point out: A Noiva (Sérgio Tréfaut, Portugal)

Andalusian Panorama

Finest Movie: Como ardilla en el agua (Mayte Gómez Molina y Mayte Molina Romero, Spain)

Rosario Valpuesta Award, Finest Quick Movie: Mothertruckers (Paula Romero, Spain, UK)

Rosario Valpuesta Award, Technical Artistry: Menudo viaje. El sueño torcido del arte contemporáneo (María Cañas, Spain)

Limitless Revolutions

Finest Movie: Afterwater (Dane Komlijen, Germany, Spain, Serbia, South Korea)

Extraordinary Tales

Viewers Award: Blue Jean (Georgia Oakley, UK)

EFA Choice

Grand Viewers Award: Tori and Lokita (Jean-Pierre Dardenne, Luc Dardenne, Belgium)


AC/E Award (Spanish Cultural Motion), Finest Spanish Movie Course: Carlos Pardo Ros (“H”, Spain)

Finest Director, European First/Second Characteristic Movie: Nikola Spasić (Christina, Serbia)

Cinephiles of the Future Award: Rodeo (Lola Quivoron, France)

Junior Europe Award: Las vacaciones de Yoko (Juanjo Elordi, Spain)

Asecan Award, Finest Movie, Official Choice: Siete Jereles (Pedro G. Romero, Gonzalo García-Pelayo, Spain)

Ocaña Freedom Award: Pores and skin Deep (Alex Schaad, Germany)

AAMMA Ladies in Focus Award: Blue Jean (Georgia Oakley, UK)

XV European Prize, Movie Screenplay, Seville U., Fiction: En recuerdo de Lupi (Silvia Mares García, Spain)

XV European Prize, Movie Screenplay, Seville U., Non-Fiction: Erosión (Jesús Minchón Rodicio, Spain)