[et_pb_section fb_built=”1″ admin_label=”Header” _builder_version=”4.22.2″ _module_preset=”default” background_color=”#FFFFFF” background_image=”http:\/\/www.sulmonafilmfestival.com\/wp-content\/uploads\/2023\/10\/decoration-9.png” background_size=”custom” background_image_width=”14%” background_position=”top_right” module_alignment=”left” custom_padding=”||||false|false” collapsed=”on” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_row column_structure=”3_5,2_5″ _builder_version=”4.22.2″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”3_5″ _builder_version=”4.22.2″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_heading title=”SIFF 41 – 2023″ _builder_version=”4.27.2″ _module_preset=”default” title_font=”Mohave||||||||” title_text_color=”#ffcf20″ title_font_size=”63px” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][\/et_pb_heading][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” text_font=”Nunito Sans||||||||” text_font_size=”20px” min_height=”22px” hover_enabled=”0″ inline_fonts=”Nunito Sans” global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
\nThe cave you fear holds the treasure you seek\u201d<\/strong><\/p>\n<\/blockquote>\n
[\/et_pb_text][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” text_font_size=”20px” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
The cave you fear to enter holds the treasure you seek. These the words of Joseph Campbell \u2013 one of the most influent scholars in comparative mythology \u2013 still echoing today and prompting a new way to reevaluate our fears. In 2023 we have witnessed an overwhelming increase in atrocity and dehumanization.
This inevitably leading to a tragic feeling of helplessness. The events related to the current international conflicts have uncovered a growing sense of loss and dismay \u2013 worsened by the careless amount of dubious views and opinions we are surrounded with. It feels rather hard to find our way through all this. And it looks even harder if we do nothing but feed the idiocy of these thoughts – as if we were all drowned in darkness. And it feels hard to get out. Thinking back to Campbell\u2019s words and expanding their meaning, we may quote an inspiring line by Friedrich H\u00f6lderlin : where the danger is, also grows the saving power. We should look at darkness in a different way \u2013 a metamorphic way. Let us transmute it into that of a movie theater to be lighten up with the healing power of stories. Storytelling is our tool for defining a map which heads to the abyss and allows us to restore ourselves. Following this map we can venture deep into the woods to experience the unknown \u2013 all our fears \u2013 pondering our reality and trying to sort out the things we cannot comprehend. A story is like a magnet dragged through randomness, pulling the chaos of things into some kind of shape and \u2013 if we\u2019re very lucky \u2013 some kind of sense. The 41st edition of Sulmona International Film Festival aims at encouraging this process of soul searching by presenting forty-eight cinematographic works from eighteen different countries offering a watchful and layered vision. These directors range in their storytelling by facing the most substantial conflicts of our time \u2013 declining the present through a deep variety of themes and narrative forms. From generational contrast to the discovery of a sexual identity. From the conflicting energy of the complex teenage to the grievous denial of our fundamental rights. And also reflections on mental health \u2013 poetically delivered through animation \u2013 and debates about urgent topics such as environmental sustainability. A festival aiming at presenting various and revealing visions. In the firm belief of making cinema as a way of understanding the world – not only through reasoning, but most of all through feelings that can transform images into meanings.<\/p>\n[\/et_pb_text][\/et_pb_column][et_pb_column type=”2_5″ _builder_version=”4.22.2″ _module_preset=”default” background_enable_image=”off” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_image src=”http:\/\/www.sulmonafilmfestival.com\/wp-content\/uploads\/2024\/10\/manifesto-quadrato.png” title_text=”manifesto-quadrato” url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9hdHRhY2htZW50Iiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjMxMzQifX0=@” url_new_window=”on” _builder_version=”4.27.2″ _module_preset=”default” hover_enabled=”0″ box_shadow_style=”preset4″ box_shadow_color=”#000000″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″ _dynamic_attributes=”url”][\/et_pb_image][et_pb_cta title=”2023 CATALOGUE – SIFF 41″ button_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9hdHRhY2htZW50Iiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjMxMzQifX0=@” url_new_window=”on” button_text=”DOWNLOAD” _builder_version=”4.27.2″ _module_preset=”default” header_font=”Poppins|700|||||||” header_text_align=”left” header_text_color=”#000000″ background_color=”#FFFFFF” custom_button=”on” button_text_color=”#000000″ button_alignment=”left” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” _dynamic_attributes=”button_url” sticky_enabled=”0″][\/et_pb_cta][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.22.2″ _module_preset=”default” background_color=”#ffcf20″ min_height=”100px” height=”100px” max_height=”100px” top_divider_style=”mountains” top_divider_color=”#FFFFFF” top_divider_flip=”horizontal” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”Header” _builder_version=”4.22.2″ _module_preset=”default” background_color=”#ffcf20″ background_image=”http:\/\/www.sulmonafilmfestival.com\/wp-content\/uploads\/2023\/10\/decoration-8.png” background_size=”custom” background_image_width=”14%” background_position=”top_left” module_alignment=”left” custom_padding=”||||false|false” collapsed=”on” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_row column_structure=”2_5,3_5″ _builder_version=”4.22.2″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”2_5″ _builder_version=”4.22.2″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_heading title=”PRIZES 2023″ _builder_version=”4.27.2″ _module_preset=”default” title_font=”Mohave||||||||” title_text_color=”#FFFFFF” title_font_size=”63px” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][\/et_pb_heading][et_pb_divider color=”#000000″ divider_weight=”5px” _builder_version=”4.22.2″ _module_preset=”default” width=”42%” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_image src=”http:\/\/www.sulmonafilmfestival.com\/wp-content\/uploads\/2024\/10\/premi-nuovo-N.png” title_text=”premi-nuovo-N” _builder_version=”4.27.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_slider disabled_on=”off|off|off” _builder_version=”4.27.2″ _module_preset=”default” header_font=”|700|||||||” header_text_color=”#FFFFFF” header_line_height=”0.1em” hover_enabled=”0″ header_font_size_tablet=”” header_font_size_phone=”” header_font_size_last_edited=”on|phone” body_line_height_tablet=”” body_line_height_phone=”2.2em” body_line_height_last_edited=”on|phone” global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″ background_color=”#FFFFFF”][et_pb_slide heading=”Best international short film” _builder_version=”4.27.2″ _module_preset=”default” header_font=”Poppins|700|||||||” header_text_align=”left” header_text_color=”#000000″ header_font_size=”33px” header_line_height=”1.2em” body_font=”Yeseva One||||||||” body_text_color=”#643d43″ body_font_size=”32px” body_line_height=”0.2em” background_layout=”light” hover_enabled=”0″ header_font_size_tablet=”30px” header_font_size_phone=”30px” header_font_size_last_edited=”on|phone” header_line_height_tablet=”2.1em” header_line_height_phone=”1.3em” header_line_height_last_edited=”on|phone” body_line_height_tablet=”0.2em” body_line_height_phone=”1.2em” body_line_height_last_edited=”on|phone” global_colors_info=”{}” sticky_transition=”on” theme_builder_area=”post_content” sticky_enabled=”0″ background_color=”#FFFFFF” background_enable_color=”on”]<\/p>\n
SHADOW BROTHER SUNDAY<\/strong><\/h2>\n
by Alden Ehrenreich<\/h2>\n
For its large dose of humor and drama, allowing the film to highlight the remarkable performances of its actors at their best. It is an amazing directorial debut for the American actor Alden Ehrenreich – probably drawing inspiration from Paul Thomas Anderson, by the use of the 35mm and the soundtrack of \u201cPunch-Drunk Love\u201d. Although clearly referring to one of the masters of American contemporary cinema, he doesn\u2019t seem to make an appropriation. His directing looks simple, tiny yet powerful, inebriant but also dejected.<\/h5>\n
[\/et_pb_slide][et_pb_slide heading=”Best national short film” _builder_version=”4.27.2″ _module_preset=”default” header_font=”Yeseva One|700|||||||” header_text_align=”left” header_text_color=”#FFFFFF” header_font_size=”33px” header_line_height=”2.6em” body_font=”Yeseva One||||||||” body_text_color=”#643d43″ body_font_size=”27px” body_line_height=”0.2em” background_layout=”light” hover_enabled=”0″ header_font_size_tablet=”30px” header_font_size_phone=”30px” header_font_size_last_edited=”on|phone” header_line_height_tablet=”2.1em” header_line_height_phone=”1.3em” header_line_height_last_edited=”on|phone” body_line_height_tablet=”0.2em” body_line_height_phone=”1.2em” body_line_height_last_edited=”on|phone” global_colors_info=”{}” sticky_transition=”on” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
SCIARABALLA<\/strong><\/p>\n
by Mino Capuano<\/p>\n
This short film knows when it is time to leave, to loose. It knows that you can\u2019t tell a story throughout a single scene, but throughout addition and subtraction \u2013 thoroughly choosing when to quit and how to narrate. Sciaraballa begins vaguely but becomes persuading as the narration goes ahead. It tells a bittersweet story – with a sensitive and accurate directing \u2013 revealing an ungrammatical and ruffled poetic, efficiently aimed at filling a void.<\/h5>\n
[\/et_pb_slide][et_pb_slide heading=”Best national short film” _builder_version=”4.27.2″ _module_preset=”default” header_font=”Poppins|700|||||||” header_text_align=”left” header_text_color=”#000000″ header_font_size=”33px” header_line_height=”2.6em” body_font=”Yeseva One||||||||” body_text_color=”#643d43″ body_font_size=”27px” body_line_height=”0.2em” background_layout=”light” hover_enabled=”0″ header_font_size_tablet=”30px” header_font_size_phone=”30px” header_font_size_last_edited=”on|phone” header_line_height_tablet=”2.1em” header_line_height_phone=”1.3em” header_line_height_last_edited=”on|phone” body_line_height_tablet=”0.2em” body_line_height_phone=”1.2em” body_line_height_last_edited=”on|phone” global_colors_info=”{}” sticky_transition=”on” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
BLACK EYED DOG<\/strong><\/h2>\n
by Alessandro Cino Zolfanelli<\/h2>\n
A piece imprinted of great sensibility, capable of building a considerable strain in terms of style. With a stop-motion production, challenging both for an economic perspective and for its making in itself.<\/h5>\n
[\/et_pb_slide][et_pb_slide heading=”Best documentary short film” _builder_version=”4.27.2″ _module_preset=”default” header_font=”Poppins|700|||||||” header_text_align=”left” header_text_color=”#000000″ header_font_size=”33px” header_line_height=”1.4em” body_font=”Yeseva One||||||||” body_text_color=”#643d43″ body_font_size=”26px” body_line_height=”0.2em” background_layout=”light” hover_enabled=”0″ header_font_size_tablet=”30px” header_font_size_phone=”30px” header_font_size_last_edited=”on|phone” header_line_height_tablet=”2.1em” header_line_height_phone=”1.3em” header_line_height_last_edited=”on|phone” body_line_height_tablet=”0.2em” body_line_height_phone=”1.2em” body_line_height_last_edited=”on|phone” global_colors_info=”{}” sticky_transition=”on” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
JACK AND SAM<\/strong><\/h2>\n
by Jordan Matthew Horowitz<\/h2>\n
A short film that – although in a rhetoric dimension \u2013 stands out for its ability to deepen an important matter such as the memory of the Shoah, particularly relevant at the moment due to the Israelian-Palestinian conflict and the recurring and concerning outbreaks of antisemitism all around the world. The film is touching and moving, rousing the sensibility of the audience in a nontrivial way.<\/h5>\n
[\/et_pb_slide][et_pb_slide heading=”Best animated short film” _builder_version=”4.27.2″ _module_preset=”default” header_font=”Poppins|700|||||||” header_text_align=”left” header_text_color=”#000000″ header_font_size=”33px” header_line_height=”2.6em” body_font=”Yeseva One||||||||” body_text_color=”#643d43″ body_font_size=”27px” body_line_height=”0.2em” background_layout=”light” hover_enabled=”0″ header_font_size_tablet=”29px” header_font_size_phone=”30px” header_font_size_last_edited=”on|phone” header_line_height_tablet=”2.1em” header_line_height_phone=”1.3em” header_line_height_last_edited=”on|phone” body_line_height_tablet=”0.2em” body_line_height_phone=”1.2em” body_line_height_last_edited=”on|phone” global_colors_info=”{}” sticky_transition=”on” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
ROSEMARY A.D. (AFTER DAD)<\/strong><\/h2>\n
by Ethan Barrett<\/h2>\n
<\/h5>\n
<\/h5>\n
With its childlike and primordial aesthetics, this short film is capable of capturing the essence of fatherhood throughout an original stream of consciousness \u2013 infusing a deep emotional richness into a real story.<\/h5>\n
[\/et_pb_slide][et_pb_slide heading=”Best environmental short film” _builder_version=”4.27.2″ _module_preset=”default” header_font=”Poppins|700|||||||” header_text_align=”left” header_text_color=”#000000″ header_font_size=”33px” header_line_height=”1.4em” body_font=”Yeseva One||||||||” body_text_color=”#643d43″ body_font_size=”28px” body_line_height=”0.2em” background_layout=”light” hover_enabled=”0″ header_font_size_tablet=”28px” header_font_size_phone=”30px” header_font_size_last_edited=”on|phone” header_line_height_tablet=”2.1em” header_line_height_phone=”1.3em” header_line_height_last_edited=”on|phone” body_line_height_tablet=”0.2em” body_line_height_phone=”1.2em” body_line_height_last_edited=”on|phone” global_colors_info=”{}” sticky_transition=”on” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
DONDE LOS NI\u00d1OS NO SUE\u00d1AN<\/strong><\/h2>\n
by Stefano Sbrulli<\/h2>\n
For its report on the dreadful conditions of Cerro de Pasco (in Peru) \u2013 one of the most polluted cities in the world. Its storytelling and documentary device accurately balances humanity and tragedy, formality and empathy, fieldwork and poetic detachment.<\/h5>\n
[\/et_pb_slide][et_pb_slide heading=”Best Abruzzo short film” _builder_version=”4.27.2″ _module_preset=”default” header_font=”Poppins|700|||||||” header_text_align=”left” header_text_color=”#000000″ header_font_size=”33px” header_line_height=”2.6em” body_font=”Yeseva One||||||||” body_text_color=”#643d43″ body_font_size=”32px” body_line_height=”0.2em” background_layout=”light” hover_enabled=”0″ header_font_size_tablet=”30px” header_font_size_phone=”30px” header_font_size_last_edited=”on|phone” header_line_height_tablet=”2.1em” header_line_height_phone=”1.3em” header_line_height_last_edited=”on|phone” body_line_height_tablet=”0.2em” body_line_height_phone=”1.2em” body_line_height_last_edited=”on|phone” global_colors_info=”{}” sticky_transition=”on” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
HAPPY NEW YEAR, JIM<\/strong><\/h2>\n
by Andrea Gatopoulos<\/h2>\n
Throughout the experimental language of cyber realism <\/em>the director represents virtual reality by using its original source without reconstructing it. This approach develops an innovative narration leading the audience to question themselves on the bounders of real world and virtual world.<\/h5>\n
[\/et_pb_slide][et_pb_slide heading=”Best music video” _builder_version=”4.27.2″ _module_preset=”default” header_font=”Poppins|700|||||||” header_text_align=”left” header_text_color=”#000000″ header_font_size=”33px” header_line_height=”2.6em” body_font=”Yeseva One||||||||” body_text_color=”#643d43″ body_font_size=”32px” body_line_height=”1.2em” background_layout=”light” hover_enabled=”0″ header_font_size_tablet=”30px” header_font_size_phone=”30px” header_font_size_last_edited=”on|phone” header_line_height_tablet=”2.1em” header_line_height_phone=”1.3em” header_line_height_last_edited=”on|phone” body_line_height_tablet=”1.2em” body_line_height_phone=”1.2em” body_line_height_last_edited=”on|phone” global_colors_info=”{}” sticky_transition=”on” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
M\u00c9T\u00c9ORES<\/strong><\/h2>\n
by Agn\u00e8s Patron & Morgane Le P\u00e9chon<\/h2>\n
A music video standing out for an impacting and original poetic.<\/h5>\n
[\/et_pb_slide][et_pb_slide heading=”SIFF KIDS” _builder_version=”4.27.2″ _module_preset=”default” header_font=”Poppins|700|||||||” header_text_align=”left” header_text_color=”#000000″ header_font_size=”33px” header_line_height=”2.6em” body_font=”Yeseva One||||||||” body_text_color=”#643d43″ body_font_size=”32px” body_line_height=”0.2em” background_layout=”light” hover_enabled=”0″ header_font_size_tablet=”30px” header_font_size_phone=”30px” header_font_size_last_edited=”on|phone” header_line_height_tablet=”2.1em” header_line_height_phone=”1.3em” header_line_height_last_edited=”on|phone” body_line_height_tablet=”0.2em” body_line_height_phone=”1.2em” body_line_height_last_edited=”on|phone” global_colors_info=”{}” sticky_transition=”on” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
MUSHKA<\/strong><\/h2>\n
by Andreas Deja<\/h2>\n
[\/et_pb_slide][et_pb_slide heading=”SIFF studenti” _builder_version=”4.27.2″ _module_preset=”default” header_font=”Poppins|700|||||||” header_text_align=”left” header_text_color=”#000000″ header_font_size=”33px” header_line_height=”2.6em” body_font=”Yeseva One||||||||” body_text_color=”#643d43″ body_font_size=”32px” body_line_height=”0.2em” background_layout=”light” hover_enabled=”0″ header_font_size_tablet=”30px” header_font_size_phone=”30px” header_font_size_last_edited=”on|phone” header_line_height_tablet=”2.1em” header_line_height_phone=”1.3em” header_line_height_last_edited=”on|phone” body_line_height_tablet=”0.2em” body_line_height_phone=”1.2em” body_line_height_last_edited=”on|phone” global_colors_info=”{}” sticky_transition=”on” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
THE ONE NOTE MAN<\/strong><\/h2>\n
by George C. Siougas<\/h2>\n
Motivation of the students from Polo Scientifico Tecnologico Enrico Fermi\u201d:<\/u><\/em><\/h5>\n
For the great artistic awareness of this short film capable of representing a particular love story throughout the expansion and restraint of time and rhytm, the subversion of a mechanical routine and the evolution of the music \u2013 becoming a fil rouge that leads the audience to live this tender and surprising story first-hand.<\/h5>\n
Motivation of the students from Polo Umanistico \u201cOvidio\u201d:<\/u><\/em><\/h5>\n
The one note man is a very suggestive short film showing how life can change overnight and take a surprising turn. The main character is able to love again after a period of severe mourning, thanks to music that brings people together. The bassoonist protagonist represents a man getting used \u2013 almost addicted \u2013 to sorrow. The film shows how suffering feeds solitude and turns human beings into automatons, dragging themselves into their daily existence always carrying out the same dull gestures and actions. But something unpredictable changes the game: it is chance, disrupting the routine and presenting a new possibility to the suffering man, reluctant to seizing the opportunity, even if worthy of one. The films looks like a Christmas tale, with a happy ending leading the man to find comfort, joy and hope into someone.<\/h5>\n
[\/et_pb_slide][et_pb_slide heading=”Best directing” _builder_version=”4.27.2″ _module_preset=”default” header_font=”Poppins|700|||||||” header_text_align=”left” header_text_color=”#000000″ header_font_size=”33px” header_line_height=”2.6em” body_font=”Yeseva One||||||||” body_text_color=”#643d43″ body_font_size=”32px” body_line_height=”0.2em” background_layout=”light” hover_enabled=”0″ header_font_size_tablet=”30px” header_font_size_phone=”30px” header_font_size_last_edited=”on|phone” header_line_height_tablet=”2.1em” header_line_height_phone=”1.3em” header_line_height_last_edited=”on|phone” body_line_height_tablet=”0.2em” body_line_height_phone=”1.2em” body_line_height_last_edited=”on|phone” global_colors_info=”{}” sticky_transition=”on” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
Guilherme Daniel<\/strong><\/h2>\n
for APPLAUSE<\/h2>\n
Somewhere between Larrain and Ingmar Bergman – especially for its vivid work on closeups \u2013 it is a short film with a powerful directing, extraordinary actors and an interesting and original editing. Its pure cinematic grammar is capable of rendering a performance solely consisting of 14 minutes of applause. Its style employs the applause both as the editing and the soundtrack, finding its unique and original directorial vision.<\/h5>\n
[\/et_pb_slide][et_pb_slide heading=”Best screenplay” _builder_version=”4.27.2″ _module_preset=”default” header_font=”Poppins|700|||||||” header_text_align=”left” header_text_color=”#000000″ header_font_size=”33px” header_line_height=”2.6em” body_font=”Yeseva One||||||||” body_text_color=”#643d43″ body_font_size=”32px” body_line_height=”1.1em” background_layout=”light” hover_enabled=”0″ header_font_size_tablet=”30px” header_font_size_phone=”30px” header_font_size_last_edited=”on|phone” header_line_height_tablet=”2.1em” header_line_height_phone=”1.3em” header_line_height_last_edited=”on|phone” body_line_height_tablet=”1.1em” body_line_height_phone=”1.2em” body_line_height_last_edited=”on|phone” global_colors_info=”{}” sticky_transition=”on” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
Annie-Claude Caron & Danick Audet<\/strong><\/h3>\n
for DEAD CAT<\/h3>\n
An ingenious short film for the way its writing moves within the comedy: every scene presents a solution providing the joy and enthusiasm of sharing the film with other viewers and recounting it at home after watching it for the first time. The dazed tone of the film makes it hard to find the \u201cright timing\u201d, but this is fixed in a hilarious and brilliant way, simple but clever. All this nourishes our expectations on the first feature-film of these two Canadian filmakers, Ugly<\/em>, already in the working.<\/h5>\n
[\/et_pb_slide][et_pb_slide heading=”Best actress” _builder_version=”4.27.2″ _module_preset=”default” header_font=”Poppins|700|||||||” header_text_align=”left” header_text_color=”#000000″ header_font_size=”33px” header_line_height=”2.6em” body_font=”Yeseva One||||||||” body_text_color=”#643d43″ body_font_size=”32px” body_line_height=”0.2em” background_layout=”light” hover_enabled=”0″ header_font_size_tablet=”30px” header_font_size_phone=”30px” header_font_size_last_edited=”on|phone” header_line_height_tablet=”2.1em” header_line_height_phone=”1.3em” header_line_height_last_edited=”on|phone” body_line_height_tablet=”0.2em” body_line_height_phone=”1.2em” body_line_height_last_edited=”on|phone” global_colors_info=”{}” sticky_transition=”on” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
Afsaneh Dehrouyeh<\/strong><\/h2>\n
for YELLOW<\/h2>\n
Two performances of disarming but overwhelming simplicity \u2013 both able to give significance to every line transcending the value of the short films. The bewilderment of their acting is never flaunted but it rather appears to be consistently devastating. With a significant focus on the condition of Afghan women after the privation of their freedom due to the rise of Taliban government in Afghanistan since April of the past year. If Kendra Sow recalls prestigious oriental actresses of the new millennium (such as the ones from Hou Hsiao-hsien to Wong Kar-wai), the Afghan actress Afsaneh Dehrouyeh almost looks like a feminine embodiment of the paintings by Antonello da Messina \u2013 also due to the chromatic directing choices with the use of soft and poetic streaks of blue hues.<\/h5>\n
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Vincenzo Nemolato<\/strong><\/h2>\n
for THE DELAY<\/h2>\n
For the Buster Keaton-way of the actor of dealing with a story of 15 minutes without never really saying a word. The versatility of its acting is capable of rendering an extremely interesting anachronistic performance, with the actor carrying the entire film on his back. Outdated, in a stubborn and contrary direction opposed to the present, with the precise intention of acting out of time<\/em>.<\/h5>\n
[\/et_pb_slide][et_pb_slide heading=”Best cinematography” _builder_version=”4.27.2″ _module_preset=”default” header_font=”Poppins|700|||||||” header_text_align=”left” header_text_color=”#000000″ header_font_size=”33px” header_line_height=”2.6em” body_font=”Yeseva One||||||||” body_text_color=”#643d43″ body_font_size=”26px” body_line_height=”0.2em” background_layout=”light” hover_enabled=”0″ header_font_size_tablet=”30px” header_font_size_phone=”26px” header_font_size_last_edited=”on|phone” header_line_height_tablet=”2.1em” header_line_height_phone=”1.3em” header_line_height_last_edited=”on|phone” body_line_height_tablet=”0.2em” body_line_height_phone=”1.2em” body_line_height_last_edited=”on|phone” global_colors_info=”{}” sticky_transition=”on” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
Ben Mullen<\/strong><\/h2>\n
for SHADOW BROTHER SUNDAY<\/h2>\n
For its remarkable use of 35mm, worthy of the master of American contemporary cinema Paul Thomas Anderson.<\/h5>\n
[\/et_pb_slide][et_pb_slide heading=”Best editing” _builder_version=”4.27.2″ _module_preset=”default” header_font=”Poppins|700|||||||” header_text_align=”left” header_text_color=”#000000″ header_font_size=”33px” header_line_height=”2.6em” body_font=”Yeseva One||||||||” body_text_color=”#643d43″ body_font_size=”32px” body_line_height=”0.2em” background_layout=”light” hover_enabled=”0″ header_font_size_tablet=”30px” header_font_size_phone=”30px” header_font_size_last_edited=”on|phone” header_line_height_tablet=”2.1em” header_line_height_phone=”1.3em” header_line_height_last_edited=”on|phone” body_line_height_tablet=”0.2em” body_line_height_phone=”1.2em” body_line_height_last_edited=”on|phone” global_colors_info=”{}” sticky_transition=”on” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
Russell Beeden<\/strong><\/h2>\n
for THE ONE NOTE MAN<\/h2>\n
For its exceptional editing, based on musical scanning and intersection of framing.<\/h5>\n
[\/et_pb_slide][et_pb_slide heading=”Best soundtrack” _builder_version=”4.27.2″ _module_preset=”default” header_font=”Poppins|700|||||||” header_text_align=”left” header_text_color=”#000000″ header_font_size=”33px” header_line_height=”2.6em” body_font=”Yeseva One||||||||” body_text_color=”#643d43″ body_font_size=”32px” body_line_height=”0.2em” background_layout=”light” hover_enabled=”0″ header_font_size_tablet=”30px” header_font_size_phone=”30px” header_font_size_last_edited=”on|phone” header_line_height_tablet=”2.1em” header_line_height_phone=”1.3em” header_line_height_last_edited=”on|phone” body_line_height_tablet=”0.2em” body_line_height_phone=”1.2em” body_line_height_last_edited=”on|phone” global_colors_info=”{}” sticky_transition=”on” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
Fernando Vel\u00e1zquez<\/strong><\/h2>\n
for THE LAST CALL<\/h2>\n
For an impressive and unique sound mix, capable of highlighting with subtlety the familiar and moral emotions of the short film, reaching a real live musical \u201cperformance\u201d to support the images and reinforce their effect.<\/h5>\n
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Moments and memories of the 2023 Edition: the Sulmona Film Festival reached the milestone of 41 years<\/p>\n
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The cave you fear holds the treasure you seek\u201dThe cave you fear to enter holds the treasure you seek. These the words of Joseph Campbell \u2013 one of the most influent scholars in comparative mythology \u2013 still echoing today and prompting a new way to reevaluate our fears. In 2023 we have witnessed an overwhelming […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_exactmetrics_skip_tracking":false,"footnotes":""},"_links":{"self":[{"href":"https:\/\/www.sulmonafilmfestival.com\/it\/wp-json\/wp\/v2\/pages\/3227"}],"collection":[{"href":"https:\/\/www.sulmonafilmfestival.com\/it\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.sulmonafilmfestival.com\/it\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.sulmonafilmfestival.com\/it\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.sulmonafilmfestival.com\/it\/wp-json\/wp\/v2\/comments?post=3227"}],"version-history":[{"count":4,"href":"https:\/\/www.sulmonafilmfestival.com\/it\/wp-json\/wp\/v2\/pages\/3227\/revisions"}],"predecessor-version":[{"id":3237,"href":"https:\/\/www.sulmonafilmfestival.com\/it\/wp-json\/wp\/v2\/pages\/3227\/revisions\/3237"}],"wp:attachment":[{"href":"https:\/\/www.sulmonafilmfestival.com\/it\/wp-json\/wp\/v2\/media?parent=3227"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}