Denmark, The Netherlands, Sweden (116 min)
France (105 min)
Italy, Poland (97 min)
Romania, Luxembourg (109 min)
France, Belgium, Spain (90 min)
Switzerland (19 min)
for ANOTHER ROUND
for ANOTHER ROUND
for ANOTHER ROUND
Using light, colour and composition, Matteo Cocco builds up the unique world of Italy’s celebrated Naive painter and sculptor Antonio Ligabue. The beauty and originality of the film’s tender images lead us into Antonio’s instinctual and raw emotional world. In this atmospheric film, Matteo combines amazing impressionistic landscape and architecture shots with incredibly haptic and sensual portraits of the protagonist as he leans into a horse’s soft fur, follows a cockroach running across the earthen floor or dances with a turkey to an audience of country kids.
This documentary is considerably indebted to the editing. It consists almost entirely of grainy black and white archive film and each shot has been chosen with great care. Maria Fantastica Valmori skilfully edits the images of a train travelling across Europe towards the frontline and pictures of comrades-in-arms with scenes of past happiness but also death and destruction in a war-torn Europe. The archive used, no doubt chosen from many hours of material both amateur and professional, is absolutely vital in telling the film’s story.
The world of David Copperfield is not an ordinary period film. It’s a modern approach filled with textures, colours and infinite details that mingle with both the costume and make-up department, creating a solid and consistent visual experience that feels realistic and believable although splashed with fantasy.
There is a lot of detail in the costumes in HIDDEN AWAY. Ursula Patzak has created realistic and creative costumes that support and carry the plot but never draw your attention away. That’s the art of costume design. Efficient yet discreet, her costumes leave all the room that is necessary for the story to unfold.
Some of the finest heavy hair- and make-up work can serve to tell a story without the viewer even noticing it. That takes skills, patience and precise ideas.
Such make-up and hair work is made by Yolanda Piña, Felix Terrero and Nacho Diaz in THE ENDLESS TRENCH. In the movie, we accompany Higinio and Rosa more than three decades – the aging of the characters is fluid, impressive and highly believable. Not once does it interrupt your viewing experience and you really feel time passing in the narrow space.
The score in BERLIN ALEXANDERPLATZ makes use of the entire spectrum of film music – from big orchestral arrangements to chamber-like strings, electronic and immersive sounds to pop music. Dascha Dauenhauer’s impressive score blends perfectly with the sound design and continuously propels the story forwards.
Yolande Decarsin’s sound design in the documentary LITTLE GIRL achieves something that is almost impossible: Very gently and delicately, it takes you into the life of little Sasha and her family. You no longer feel as if you are watching something from the outside but as if you were there as the kids get ready for school, sitting with them in their garden, or joining them for lunch.
The well-crafted visual effects in THE PLATFORM create a very dark and immersive environment. They help the story just like the central platform that goes into infinity above and below. Thanks to the visual effects by Iñaki Madariaga, the platform becomes an entity of its own. The creativity of the solution is simple yet astonishing in its minimalistic expression which creates an unforgettable emotional and visual experience.
Switzerland (88 min)