The French documentary “On the Adamant” (Sur l’Adamant) directed by Nicolas Philibert was named best film Saturday at this year’s Berlin International Film Festival.
The film takes viewers onto a Seine barge in Paris that serves as a floating day-care center for adults suffering from mental disorders.
“That a documentary is awarded and celebrated, that a documentary can be considered to be cinema in its own right touches me deeply,” said a visibly moved Philibert after the prize was announced by the seven-member jury headed by American actor, screenwriter and director Kristen Stewart.
Philibert said that in the film he had tried to “reverse the image” that people have of those with mental illness and allow viewers to see “what unites us beyond our differences”
“As we all know, the craziest people are not those we think they are,” he added.
The award for best director went to fellow French filmmaker Philippe Garrel for “The Plough” (Le grand chariot) about three siblings who are trying to keep alive the family puppeteering business.
Best leading performance was awarded to Spanish actor Sofía Ortero, who plays an 8-year-old child searching for identity and acceptance in “20,000 Species of Bees” (20.000 especies de abejas).
The award for best supporting performance went to Austrian actor Thea Ehre for her role in “Till the End of the Night” (Bis ans Ende der Nacht), while the best screenplay went to “Music” by German filmmaker Angela Schanelec.
French cinematographer Hélène Louvart received the Silver Bear for outstanding artistic contribution for her work on “Disco Boy.”
The 73rd Berlinale kicked off with an address by Ukrainian President Volodymyr Zelenskyy, who asked artists and filmmakers to unequivocally declare their support for his country in its effort to fend off Russia’s invasion forces
Zelenskyy, a former comedian and actor, is featured prominently in Sean Penn’s film about the war in Ukraine, “Superpower,” which had its world premiere in Berlin.
Full list of Berlinale awards.
Golden Bear for Best Film (awarded to the film’s producers)
Sur l’Adamant (On the Adamant)
by Nicolas Philibert
produced by: Céline Loiseau, Gilles Sacuto, Miléna Poylo
Silver Bear Grand Jury Prize
Roter Himmel (Afire)
by Christian Petzold
Silver Bear Jury Prize
Mal Viver (Bad Living)
by João Canijo
Silver Bear for Best Director
Philippe Garrel
Le grand chariot (The Plough)
Silver Bear for Best Leading Performance
Sofía Otero in
20.000 especies de abejas (20,000 Species of Bees)
by Estibaliz Urresola Solaguren
Silver Bear for Best Supporting Performance
Thea Ehre in
Bis ans Ende der Nacht (Till the End of the Night)
by Christoph Hochhäusler
Silver Bear for Best Screenplay
Angela Schanelec
Music
by Angela Schanelec
Silver Bear for Outstanding Artistic Contribution
Hélène Louvart for the cinematography in
Disco Boy
by Giacomo Abbruzzese
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this — and those many "Babadook" memes — unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables — "Bah-Bah-Doooook" — an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More