BUCHAREST INTERNATIONAL EXPERIMENTAL FILM FESTIVAL AWARD 2012 offered by the National University of Fine Arts Bucharest METEOR (by Matthias Muller and Christoph Girardet) The two filmmakers present another crystal of found footage film, using the expressive power of the material to transform it into their poetic cinematic language. The dark skies act as a screen where the imaginations and dreams of young boys are projected, symbolizing their complex expectations, shared between fears and the desire for freedom. The melancholic mood is turned into a magical trip to the moon, where visual sensations interrupt the feeling of loneliness.
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BEST CINEMATOGRAPHY AWARD offered by KODAK CINELABS ROMANIA THE WAVES (by Miguel Fonseca) The cycle of life and death is represented with a beautiful cinematography of the sea and the landscape around it. Timeless one wave after the other rolls to the beach and back; being part of the cycle of the elements. This natural ongoing rhythm influences the atmosphere of the film and the subtle presentation of the relationship between two sisters.
SPECIAL MENTION CONNECTION LOST (by Paula Onet and Manuela Borza) The film shows how a clever concept – in this case two female Romanian exchange students telling their relatives through Skype that they want to stay in Turkey – can lead to a work that is at the same time deep and humoristic. The spontaneous and absurdly framed conversations tell us, how strong family ties are not enough to overcome an unavoidable generation gap. Distrust of unknown cultures, and a strong wish to protect their beloved offspring drives the older generation. The young want to dive in a new adventure – in their studies, their lives, and in their way of making cinema. Their adagium: simple means and strong effect.
2012 Winners > SPECIAL MENTION CONNECTION LOST (by Paula Oneţ and Manuela Borza) The film shows how a clever concept – in this case two female Romanian exchange students telling their relatives through Skype that they want to stay in Turkey – can lead to a work that is at the same time deep and humoristic. The spontaneous and absurdly framed conversations tell us, how strong family ties are not enough to overcome an unavoidable generation gap. Distrust of unknown cultures, and a strong wish to protect their beloved offspring drives the older generation. The young want to dive in a new adventure – in their studies, their lives, and in their way of making cinema. Their adagium: simple means and strong effect. > BEST CINEMATOGRAPHY AWARD offered by KODAK CINELABS ROMANIA THE WAVES (by Miguel Fonseca) The cycle of life and death is represented with a beautiful cinematography of the sea and the landscape around it. Timeless one wave after the other rolls to the beach and back; being part of the cycle of the elements. This natural ongoing rhythm influences the atmosphere of the film and the subtle presentation of the relationship between two sisters. > BUCHAREST INTERNATIONAL EXPERIMENTAL FILM FESTIVAL AWARD 2012 offered by the National University of Fine Arts Bucharest METEOR (by Matthias Muller and Christoph Girardet) The two filmmakers present another crystal of found footage film, using the expressive power of the material to transform it into their poetic cinematic language. The dark skies act as a screen where the imaginations and dreams of young boys are projected, symbolizing their complex expectations, shared between fears and the desire for freedom. The melancholic mood is turned into a magical trip to the moon, where visual sensations interrupt the feeling of loneliness.

2012 Winners

> SPECIAL MENTION

CONNECTION LOST (by Paula Oneţ and Manuela Borza)

The film shows how a clever concept – in this case two female Romanian exchange students telling their relatives through Skype that they want to stay in Turkey – can lead to a work that is at the same time deep and humoristic. The spontaneous and absurdly framed conversations tell us, how strong family ties are not enough to overcome an unavoidable generation gap. Distrust of unknown cultures, and a strong wish to protect their beloved offspring drives the older generation. The young want to dive in a new adventure – in their studies, their lives, and in their way of making cinema. Their adagium: simple means and strong effect.


> BEST CINEMATOGRAPHY AWARD offered by KODAK CINELABS ROMANIA

THE WAVES (by Miguel Fonseca)

The cycle of life and death is represented with a beautiful cinematography of the sea and the landscape around it. Timeless one wave after the other rolls to the beach and back; being part of the cycle of the elements. This natural ongoing rhythm influences the atmosphere of the film and the subtle presentation of the relationship between two sisters.


> BUCHAREST INTERNATIONAL EXPERIMENTAL FILM FESTIVAL AWARD 2012 offered by the National University of Fine Arts Bucharest

METEOR (by Matthias Muller and Christoph Girardet)

The two filmmakers present another crystal of found footage film, using the expressive power of the material to transform it into their poetic cinematic language. The dark skies act as a screen where the imaginations and dreams of young boys are projected, symbolizing their complex expectations, shared between fears and the desire for freedom. The melancholic mood is turned into a magical trip to the moon, where visual sensations interrupt the feeling of loneliness.

2011 BIEFF AWARD OUT (2010, Israel, Roee Rosen) The jury awards the BIEFF Prize to a film without compromise: OUT by Roee Rosen. The work combines eroticism and exorcism with political critique, while developing a visual strategy that cannot but touch a sensitive chord with every individual in the audience. Watching OUT is an astonishing and painful experience. In a highly original, artistic language it confronts us with a strong statement against Israel’s right wing politics, by driving out the devil of Israel’s minister of foreign affairs, Lieberman, from a young Israeli woman, in a sexual performance. And, right at the moment the audience seems to get a grip on the film, it bursts out in a puzzling song –full of tradition, sentiment and longing – which brings the viewer in the next unexpected emotional state.
2011 BEST CINEMATOGRAPHY AWARD, offered by KODAK HOW TO PICK BERRIES (2010, Finland, Elina Talvensaari) The jury decided to give the Award for Best Cinematography to the film “How to Pick Berries” for the courageous and imaginative way in which the director uses powerful images to show the reality of global economy versus human nature. It is remarkable how the gradation of the visual exercise builds up a powerful mental reaction.This fllm at the border between documentary and science-fiction has a strong imaginative impact.
2011 JURY AWARD, offered by ABIS STUDIO SO DO I (2011, Romania, Vlad Constantin) A student film which displays signs of an approach to storytelling and of a visual sensibility that remind some of the best present European art cinema, with a surprising control over framing, performance, set design and editing, used to challenge common thoughts on human relations and moral values, as well as habits of narrative short film directing. The jury wishes that this special award to SO DO I, involving a substantial postproduction support, will help the director in further developing and refining his skills and vision, and in putting a new name on the map of the vibrant Romanian contemporary film scene.
2011 SPECIAL MENTION I’M NOT THE ENEMY (2011, Germany, Bjorn Melhus) Alienation, dizziness, hallucination are situations revealed by the symptoms of PTS (post-traumatic stress) in war veterans. Creating several characters (all acted by the director himself as a strong commitment to his own idea) who talk with each other using dialogue lines from Hollywood movies about veterans of war, the director portrays a world of estrangement that gives the spectator the same effective feeling. The jury also appreciates the precise editing and the intelligent use of sound and music.
2011 SPECIAL MENTION NIGHT FISHING (2011, South Korea, PARKing CHANce) For his cinematographic images produced by a mobile phone and the way a surprising storytelling of a shaman can deal with cultural issues without being exotic. A clear remark also for the acting that emotionally portrays a state of mind and for the unforgettable beginning scene with the band Uhuhboo Project.
2011 Winners > SPECIAL MENTION NIGHT FISHING (2011, South Korea, PARKing CHANce) Motivation: For his cinematographic images produced by a mobile phone and the way a surprising storytelling of a shaman can deal with cultural issues without being exotic. A clear remark also for the acting that emotionally portrays a state of mind and for the unforgettable beginning scene with the band Uhuhboo Project. > SPECIAL MENTION I’M NOT THE ENEMY (2011, Germany, Bjorn Melhus) Motivation: Alienation, dizziness, hallucination are situations revealed by the symptoms of PTS (post-traumatic stress) in war veterans. Creating several characters (all acted by the director himself as a strong commitment to his own idea) who talk with each other using dialogue lines from Hollywood movies about veterans of war, the director portrays a world of estrangement that gives the spectator the same effective feeling. The jury also appreciates the precise editing and the intelligent use of sound and music. > JURY AWARD, offered by ABIS STUDIO SO DO I (2011, Romania, Vlad Constantin) Motivation: A student film which displays signs of an approach to storytelling and of a visual sensibility that remind some of the best present European art cinema, with a surprising control over framing, performance, set design and editing, used to challenge common thoughts on human relations and moral values, as well as habits of narrative short film directing. The jury wishes that this special award to SO DO I, involving a substantial postproduction support, will help the director in further developing and refining his skills and vision, and in putting a new name on the map of the vibrant Romanian contemporary film scene. > BEST CINEMATOGRAPHY AWARD, offered by KODAK HOW TO PICK BERRIES (2010, Finland, Elina Talvensaari) Motivation: The jury decided to give the Award for Best Cinematography to the film “How to pick berries” for the courageous and imaginative way in which the director uses powerful images to show the reality of global economy versus human nature. It is remarkable how the gradation of the visual exercise builds up a powerful mental reaction.This fillm at the border between documentary and science-fiction has a strong imaginative impact > BUCHAREST INTERNATIONAL EXPERIMENTAL FILM FESTIVAL AWARD OUT (2010, Israel, Roee Rosen) Motivation: The jury awards the BIEFF Prize to a film without compromise: OUT by Roee Rosen. The work combines eroticism and exorcism with political critique, while developing a visual strategy that cannot but touch a sensitive chord with every individual in the audience. Watching OUT is an astonishing and painful experience. In a highly original, artistic language it confronts us with a strong statement against Israel’s right wing politics, by driving out the devil of Israel’s minister of foreign affairs, Lieberman, from a young Israeli woman, in a sexual performance. And, right at the moment the audience seems to get a grip on the film, it bursts out in a puzzling song –full of tradition, sentiment and longing – which brings the viewer in the next unexpected emotional state.

2011 Winners

> SPECIAL MENTION

NIGHT FISHING (2011, South Korea, PARKing CHANce)

Motivation: For his cinematographic images produced by a mobile phone and the way a surprising storytelling of a shaman can deal with cultural issues without being exotic. A clear remark also for the acting that emotionally portrays a state of mind and for the unforgettable beginning scene with the band Uhuhboo Project.


> SPECIAL MENTION

I’M NOT THE ENEMY (2011, Germany, Bjorn Melhus)

Motivation: Alienation, dizziness, hallucination are situations revealed by the symptoms of PTS (post-traumatic stress) in war veterans. Creating several characters (all acted by the director himself as a strong commitment to his own idea) who talk with each other using dialogue lines from Hollywood movies about veterans of war, the director portrays a world of estrangement that gives the spectator the same effective feeling. The jury also appreciates the precise editing and the intelligent use of sound and music.


> JURY AWARD, offered by ABIS STUDIO

SO DO I (2011, Romania, Vlad Constantin)

Motivation: A student film which displays signs of an approach to storytelling and of a visual sensibility that remind some of the best present European art cinema, with a surprising control over framing, performance, set design and editing, used to challenge common thoughts on human relations and moral values, as well as habits of narrative short film directing. The jury wishes that this special award to SO DO I, involving a substantial postproduction support, will help the director in further developing and refining his skills and vision, and in putting a new name on the map of the vibrant Romanian contemporary film scene.


> BEST CINEMATOGRAPHY AWARD, offered by KODAK

HOW TO PICK BERRIES (2010, Finland, Elina Talvensaari)

Motivation: The jury decided to give the Award for Best Cinematography to the film “How to pick berries” for the courageous and imaginative way in which the director uses powerful images to show the reality of global economy versus human nature. It is remarkable how the gradation of the visual exercise builds up a powerful mental reaction.This fillm at the border between documentary and science-fiction has a strong imaginative impact


> BUCHAREST INTERNATIONAL EXPERIMENTAL FILM FESTIVAL AWARD

OUT (2010, Israel, Roee Rosen)

Motivation: The jury awards the BIEFF Prize to a film without compromise: OUT by Roee Rosen. The work combines eroticism and exorcism with political critique, while developing a visual strategy that cannot but touch a sensitive chord with every individual in the audience. Watching OUT is an astonishing and painful experience. In a highly original, artistic language it confronts us with a strong statement against Israel’s right wing politics, by driving out the devil of Israel’s minister of foreign affairs, Lieberman, from a young Israeli woman, in a sexual performance. And, right at the moment the audience seems to get a grip on the film, it bursts out in a puzzling song –full of tradition, sentiment and longing – which brings the viewer in the next unexpected emotional state.

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