International Jury

UNARCHIVE AWARD Three minutes by Bianca Stigter

For opening a new methodological horizon in the reuse of archival images. The author expands a short film to its full expressive and unveiling potential, and through this method of inquiry she manages to break the boundary between microhistory and macrohistory by managing to make them walk together.

BEST FEATURE FILMEt j’aime á la fureur by André Bonzel

The decision was difficult to make, but we agreed that Et j’aime á la fureur by André Bonzel succeeds in conveying how family films – his own, those of several generations of his family, and those of unknown origin – can tell an intimate personal story, capture the feeling of a generation, and also make us reflect on the history of cinema from the Lumière brothers to the present.

BEST SHORT FILMINCIDENTby Bill Morrison

His film is both an artistic and political statement. More than a denunciation of police violence, Morrison’s film invites reflection on the perverse effects on truth given by the widespread presence of surveillance cameras, and explores the possibilities for reuse of the emerging, ubiquitous and all-seeing video archive.

the jury also awards a SPECIAL MENTION to Gli ultimi giorni dell’umanità by enrico ghezzi and alessandro gagliardo

A passionate and intelligent film that moves fluidly between collective and personal imagery. Long experience in resemantizing images gives the film a dense expressive layering that makes it a unique and free work.

International Jury

UNARCHIVE AWARD Three Minutes – A Lenghtening by Bianca Stigter

For having opened a new methodological horizon in the reuse of archival images. The director has expanded a short film to the maximum of its expressive and revealing potential, and thanks to this method of investigation she has managed to break the boundary between microhistory and macrohistory, making them walk alongside each other.

BEST FEATURE FILM Et j’aime á la fureur by André Bonzel

Our decision was difficult, but we agreed that André Bonzel’s Et j’aime á la fureur succeeded in sharing how home movies – his own, those from several generation of his family and from unknown sources – can tell an intimate personal story, capture the feeling of a generation and reflect on the history of cinema from the Frères Lumière to the present.

BEST SHORT FILM INCIDENT di Bill Morrison

His film is at once an artistic and political statement. More than a denunciation of police violence, Morrison’s film invites a reflection on the perverse effects on truth of ubiquitous video surveillance, and explores the reuse possibilities of the emerging, omnipresent, all-seeing video archive.

The jury also awarded a SPECIAL MENTION to Gli ultimi giorni dell’umanità by enrico ghezzi and alessandro gagliardo

A passionate and intelligent film that moves fluidly between the collective and personal imagination. The authors’ long experience in resemantizing images gives the film a dense expressive stratification that makes it a unique and free work.

Students Jury

UNARCHIVE AWARD 1970 by Tomasz Wolski

For the best reworking of archival material, through the original and creative use of sound, for the ability to make animation and repertoire dialogue by mutually increasing the power of each element. For being able to give a face and a voice to people and facts that would have remained hidden. The numerous audiovisual sources mixed variously, never appear forced, building a verisimilitude universe is capable of dialogue with our historical period.

BEST FEATURE FILMRadiograph of a Family by Firouzeh Khosrovani

For Firouzeh Khosrovani’s ability to reassemble her family album by creating an architecture in which the author’s private life and Iran’s history are mirrored. The director’s gaze, through the poetic reuse of public and private photographic and audiovisual materials, overcomes dichotomies and offers an empathetic threshold of access to the viewer.

BEST SHORT FILMIrani Bag by Maryam Tafakory

How do we touch each other when we cannot touch each other? Maryam Tafakory, director of Irani Bag, takes us inside the issue through a picture of interpersonal relations in Iran. Between man and woman is a purse, an extension of the female body, a weapon and shield in moments of conflict, a sentimental connection in moments of intimacy that the outside eye cannot and should not savor. In Iran, bags are rarely innocent. Such a specific theme takes on universal significance through the form of the video essay, investigating the very nature of cinema and its potential.

Student Jury

UNARCHIVE AWARD 1970 by Tomasz Wolski

For the best reworking of archival material through an original and creative use of sound, for its ability to make animation and repertoire dialogue, mutually increasing the power of each. For giving a face and a voice to people and facts that would have remained hidden.
The different audiovisual sources, mixed in various ways, never appear forced together, and build a plausible universe, capable of entering into dialogue with our own historical period.

BEST FEATURE FILM Radiograph of a Family by Firouzeh Khosrovani

For Firouzeh Khosrovani’s ability to recompose her family album by creating an architecture in which the author’s private life and the history of Iran mirror each other. The director’s gaze, through the poetic reuse of public and private photographic and audiovisual material, overcomes dichotomies and offers the viewer an empathic access.

BEST SHORT FILM Irani Bag by Maryam Tafakory

How do we touch each other when we can’t touch? Maryam Tafakory, director of Irani Bag, takes us inside this theme, giving us a picture of interpersonal relations in Iran. Between man and woman there is a bag, an extension of the female body, both weapon and shield in moments of conflict, sentimental connection in moments of intimacy that outside glances cannot and must not witness. Bags are rarely innocent in Iran. Such a specific theme takes on a universal meaning through the form of the video essay, by investigating the very nature of cinema and its potential.