INTERNATIONAL JURY AWARD

LES IMAGES QUI VONT SUIVRE N’ONT JAMAIS EXISTÉ (France, 2022, 7’12”) by Noé Grenier  

First and foremost, cinema is light that brightens darkness: in a world that seems to be heading towards its end (a recurring theme among the films proposed in this selection), this film offers a gesture of resistance against this darkness and invites to continue the memory and persistence of the moving images in our memory. For us, cinema is when “these eyes but close / To look within,” to quote a verse by the poet Byron, born a century before cinema came into being.

The Pesaro Nuovo Cinema / Lino Miccichè Award for best film in competition goes to Noé Grenier’s a LES IMAGES QUI VONT SUIVRE N’ONT JAMAIS EXISTÉ.

 First Special Mention HERBARIA (Argentina/Germany, 2022, 83’) by Leandro Listorti   

For its conciseness and the rare intelligence in the editing work, the film gives room to silence, establishing a relationship between the slow and painstaking process of preserving memory in two apparently different domains that are surprisingly akin. For this reason, for its beauty and its sobriety, we decided to give the first mention to Leandro Listorti’s Herbaria. 

Second Special Mention FESTINA LENTE (France/Tunisia, 2021, 21’) by Baya Medhaffar

A debut film that gives hope to a cinema of the future interweaving personal memory and the memory of the world. Therefore, Baya Medhaffar’s FESTINA LENTE deserves the second special mention. 

JURY OF STUDENTS AWARD

TUGGING DIARY (Hong Kong, 2021,16’) by Yan Wai Yin  

The Jury of Students Award goes to Tugging Diary by Yan Wai Yin for she has effectively conveyed the climate of protest in Hong Kong through a revolutionary language, characterized by an immersive combination of the roughness of the images and the lyricism of the acoustic commentary.

Special mention to ALIZAVA (Lithuania, 2021, 39’) by Andrius Žemaitis

A special mention goes to Andrius Žemaitis’ Alizava, a ghost film pervaded with realism where the meanings of rituals take shape in the presences/absences falling into the oneiric world; for the technical choices that evoke a suspended imaginary dimension.

(RE)EDIT COMPETITION AWARD

PRENDRE CONSCIENCE/PERDRE CONNAISSANCE by Occitane Lacurie

For the originality of a comparative analysis of a milestone of modernity such as the film Last Year in Marienbad and a TV series like Westworld which casts a new theoretical gaze on both works.

Special Mention to Riding Horses, Riding bikes. Horses, bicycles and shifting heroes by Edoardo Spallazzi, Federica di Giampaolo.

For the rigour in the research, selection, and editing of the pictures within a suggestive and razor-sharp process of analysis that covers sixty years of collective imagination shaped by American cinema.

SNCCI ITALIAN CRITICS’ AWARD

ALIZAVA by Andrius Žemaitis  

For being able to convey the complexity of a child’s pint of view by way of a mise-en-scène that, with an extraordinary creativity, makes diverse film styles and genres coexist in harmony.

VEDOMUSICA – ITALIAN MUSIC VIDEOS AWARD

Amam Ancora - Nzira directed by Bianca Peruzzi

For the ability to depict a universe outside the norms of the genres with a both delicate and cruel gaze, avoiding the rhetoric of diversity and rejecting the fashionable ‘catalogue approach,’ with a form that respects imperfection and knows how to search feelings and ecstasy in it. the prize goes to Nzira’s Amam ancora directed by Bianca Peruzzi, a music video that occupies an aesthetic continuum going from Caravaggio to Matthew Barney and accompanies the neo-melodic song in the dreamy and fluid present reminiscent of Bertrand Mandico’s and Yann Gonzalez’s surrealist cinema.

LINO MICCICHÈ AWARD FOR YOUNG FILM CRITICS

1) ELETTRA BATTISTEL (Section A 3rd Prize)

2) DAVIDE GRAVINA (Section B 1st Prize)