Awards

Grand Prize

Belle de nuit – Grisélidis Réal, Self-Portraits.

Director: Marie-Ève De Grave (Belgium)

 

A film of staggering authenticity, revealing an uncompromising artist. A woman whose lust for life suffuses the screen. A discreet, sensitive and poetic work on the role of art as a necessary weapon for survival. A hard-hitting yet touching film. Undoubtedly one of the finest films in recent years.

Jury Prize

Dans les pas de Trisha Brown

Director: Marie-Hélène Rebois



A film about the transmission of knowledge and skills to women from different generations and cultures, about the visionary work of a trailblazing figure in modern dance: Trisha Brown. This restrained and unadorned work focuses solely on its subject: the memory of the body. We discover the effects of time and its bridges through a mise en abyme of archival images, without which the flagship work Glacial Decoy would no longer survive.

Best Essay

Koudelka, Shooting Holy Land.

Director: Gilad Baram (Czech Republic) 




Director Gilad Baram, the assistant of the Josef Koudelka, follows the Czech photographer’s journey back to the Holy Land after an absence of several years. He manages to frame his subject with the same rigour, research and awareness of the photographer himself. The film’s synchronicity is perfectly in tune with the on-site work of the celebrated photographer. 

Best Portrait

Pavlensky - Man and Might

Director: Irene Langemann (Germany) 



A stunning portrait of an extraordinary artist. For Petr Pavlensky, social commitment and activism are inseparable from his art and life. By literally embodying political art in his performances, Pavlensky forcefully denunciates the Russian political regime. The direction is surgically precise, vivid and direct, like its subject. A film that depicts both the exterior and interior of the man, revealing a single-minded, iron-willed artist. 

le Prix Spécial

WIM

Director: Lut Vandekeybus (Belgium) 



A sister’s portrait of her brother: the renowned choreographer Wim Vandekeybus. The film’s strength lies in the blurring of the boundaries between the artist’s creative and daily lives. A colossal job of editing in which the narrative codes disappear, making us wonder if the film is a documentary, biography or promotional corporate video. Between love and hate, this profile skilfully and disturbingly mixes fiction and reality, revealing a figure at once surprising, detestable, loveable or narcissistic. It is up to the viewer to decide.