- The Cineuropa Award is given to a film that besides having indisputable artistic qualities also brings out the idea of European dialogue and integration
- The Prize is given by one or more qualified editors or collaborators chosen by Cineuropa and present at the Festival
- The Prize is given to a film produced or co-produced by a country participating in the MEDIA Programme or member of Eurimages
- The Prize consists of promotion on the Cineuropa site, including a special newsletter dedicated to the film (including a review, an interview with the director, and trailers and excerpts), which will be sent to our mailing list of over 50,000 subscribers.
The Prize is awarded at the following partner festivals:
Trieste Film Festival
Mons International Love Film Festival
Vilnius Film Festival - Kino Pavasaris
Lecce European Film Festival
Cinema City International Film Festival
Sarajevo International Film Festival
Istanbul Film Festival
Brussels Mediterranean Film Festival
Les Arcs European Film Festival
Moon, 66 Questions
This Greek-French coproduction is a highly emotional tale about incommunicability and a father/daughter's estranged relationship, beautifully played by Sofia Kokkali and Lazaros Georgakopoulos. The film is a powerful call to accept diversity within our closest circle: family.
I Never Cry
A moving, dynamic film full of dark humour that follows Ola, a rebellious 17-year-old Polish teenager sent by her mother to Ireland in order to repatriate her father’s body, killed in an accident at work. While addressing the social reality of families separated by the economic migration of Poles to Ireland, director Piotr Domalewski paints with finesse and humour an explosive and selfish adolescence that this initiatory journey will open up to others.
Magnus von Horn's Sweat delivers a story you will first feel in your muscles and then in your head, as with the help of a tour-de-force performance from Magdalena Koleśnik it shows how to build – or break – an influencer. Depending on what is currently trending.
Frederik Louis Hviid's and Anders Ølholm's Shorta is based on a Danish case involving a far-left activist who was brutalized by three police officers on New Year's Eve 1992 and who suffered permanent brain damage. The film is further proof of the quality of Nordic crime cinema for a quarter of a century.
Florenc Papas's Open Door portrays the unmistakable social aspect of a patriarchal society of a poor country in transition, without forcing it beyond the needs of the screenplay, which is utterly economical. A film that is brilliantly played by the two lead actresses and that shows rural Albania in a particularly poetic way.
Visar Morina's Exile masterfully creates the sense of sweaty threat and unease, as in it, even a lethal combo of a dead rat and a stroller on fire proves to be the least of its protagonist’s worries. And it also shows how hard it is not to feel like “the other” sometimes – even in your own house.
Nova Lituania by Karolis Kaupinis, Vilnius International Film Festival - Kino Pavasaris 2020
Nova Lituania by Karolis Kaupinis is a film that gives an absurd yet elegant commentary on Europe’s colonial misadventures, showing the falsehood in the pretenses of colonizers as saviors or bringers of “civilization”, and how hard it is for a subaltern culture to keep its voice.
Oray by Mehmet Akif Büyükatalay is a film that relies heavily on an excellent blend of young talents and non-professional actors. Opting to depict his characters and their relationships with a naturalistic approach, the director weaves his tale with a precision rarely seen from a first-time filmmaker. Main actor Zejhun Demirov is literally spectacular, making the movie’s structure not only convincing, but also utterly enthralling.
How can anybody fail to love Andreas Horvath's Lillian, a portrait of a simultaneously vulnerable and determined woman who is on a symbolic quest for something indefinable, challenging herself and defying a billboard asserting that "girls don't hitchhike" in this visually striking road movie that brings a true story from the 1920s bang up to date? And how can anybody fail to admire the magnificent performance by visual artist Patrycja Płanik, the mise-en-scène of the solid documentary approach, and the almost obsessive tenacity with which the director pursued and realised this project?
Halina Reijn's Instinct boldly goes where few films dare to these days, with the help of two astonishing central performances, and proving there is more to life than political correctness.