FeKK - mednarodni festival kratkega filma v Ljubljani

Slovene: Vizualna poezija, ki prefinjeno uporablja tehniko cut-out animacije, nas popelje v misli glavne junakinje, ki poskuša pobegniti iz najtemnejših delov svojega uma. Močan prvi profesionalni film nas je prepričal s popolno kombinacijo slike, zvoka in pripovedi.

Slovene: Film spretno navigira med dvema ravnema: na eni prikaže fascinanten karakter Boštjana Čadeža, ki ga spoznamo tako skozi zaupen odnos z režiserjem kot skozi njegov ustvarjalni miselni proces. Na drugi strani pa vidimo družbeno-kulturni vpliv Boštjanove igre Line Rider, ki je močno vplivala na številna življenja in zgradila skupnosti ljudi, tudi tistih, ki so po navadi marginalizirane. Gledljiva, humorna, hkrati pa čustvena filmska izkušnja

The award was presented by Belgian distributor Ben Vandendaele from Radiator IP Sales.

Slovene: FeKK SLO: Gre za zelo osebno pripoved o "prijateljstvu, intimnosti in težki bolezni", ki je žirijo "prepričala s svežim in brezkompromisnim filmskim pristopom. Iskren in očarljiv portret, ki se ne boji prikazati tako lepih kot tudi grdih plati življenja."

Slovene: FeKK BAL Po resnični zgodbi posnet film, silovit prikaz zadnjih trenutkov življenja Toma Buzova, je "napeta zgodba, pripovedovana z veliko gotovostjo, spretno kinematografijo in prepričljivimi igralskimi nastopi, uspešno ustvari napeto in klavstrofobično vzdušje na vlaku iz Beograda v Bar."

"V obeh programih smo si letos lahko ogledali obsežen izbor raznolikih filmskih produkcij, posebej pa bi radi izpostavili veliko prisotnost kvalitetnih animiranih filmov. Kljub temu smo se na koncu odločili za klasično filmsko formo, znotraj katere pa so se nas še posebej dotaknili dokumentarni filmi. Oba nagrajenca sta dokumentarca, ki v sebi nosita veliko človečnosti, posegata po temah is vsakdana ter se ob enem dotikata tudi širših družbenih tematik in problemov. V našem izboru smo iskali filme, ki so kvalitetni tako na problemskem kot izvedbenem nivoju. Naša zmagovalca ustrezata tem kriterijem, a sta si tudi različna, eden namreč v ospredje postavlja osebno, intimno izkušnjo, drugi pa k prikazanemu pristopa bolj objektivno, z distance."

"Za zanimiv prikaz krščanstva med prebivalci afriške vasi, ki sta ga avtorja uokvirila v sliko, ki simbolizira njuno pot. Zamisel in referenčnost filma ter njegova iskrena, neomadeževana in subtilna realizacija naredijo ta film edinstveno kompleksen in prepoznaven."

“Rodna gruda je nežen film, ki z rahločutnim pristopom dovoli protagonistki zažareti v njeni karizmatičnosti in na izviren način prevpraša razmerje med urbanim in ruralnim.”

"Film je ujel izjemno pomembne zgodbe, ki že dolgo let niso bile predstavljene ali pa dovolj glasno povedane. Močnim in vznemirljivim pričevanjem žensk sledijo preproste risbe, ki na celovit način ustrezajo surovemu jeziku in brutalnosti njihovega spolnega življenja. Moč te animacije ni le v pomembnosti vsebine, temveč tudi v dobro premišljeni obliki."

"Majhna, a silovita animacija, ki se spretno in zanimivo sprašuje o smislu bivanja z močnim eksistencialnim pridihom. Filmu je uspelo žonglirati med resnostjo, žalostjo, zabavo in ironijo, pri čemer ujame zelo aktualen pogled na naše strahove."

For its inovative and visually remarkable approach. A gut wrentching vulcanic eruption of digital images sends the viewer deeper into the harsh reality of our contemporary world.

The phrase “You Can’t Automate Me” encapsulates the crux of the relationship between the human and the machine in the singularly mechanised environment of a seaport. Through the introduction of elements of dance Katarina Jazbec positions front and centre the human body and the collective spirit of a daily life, marked with hard work, routine, and the precariousness of life itself.

She is a master of storytelling and fantastic in guiding the actors. The film evokes a range of emotions and comes across in natural flow.

We have seen the future of cinema and her name is Ester Ivakič.

In his short film, musician and exceptional artist Tomaž Grom interweaves personal archive footage and family photos with incredible sensitivity, giving us an intimate insight into a dialogue with his memories and inner feelings. In a complex documentary form, the footage literally breathes with its original musical score.

FeKK SLO

Film s tehniko, ki v običajnih podobah krajin ustvarja vizualni šum, razdira ustaljeno dojemanje filmskega posnetka in hkrati že vzpostavlja nove iluzije. Z zvokom, ki v odnosu do slike gradi občutno napetost, vzbuja intenzivno telesno izkušnjo, s tem pa podira idejo o hladnosti tehnologije in dopušča prostor za heterogeno razumevanje.

Zelo neposredna, a v isti sapi subtilna zgodba o mami in hčeri, ki jo tke resnična ljubezen, a hkrati tudi razlike in predsodki. Režiserka za kamero ne posega v dogajanje, a tudi ne skriva svoje prisotnosti, s čimer ustvari dinamičen, čustven, a tudi družbeno zaveden in pomemben film.

Režiser nam je uspel prikazati dobro razdelan svet in povedati vse prek majhnih interakcij med liki, pri tem pa se je dotaknil tabu teme tega, da nisi zmožen ljubiti svoje družine.

Avtorica se odloči za pogumen pristop k delu z medijem filma in s pomočjo različnih tehnik odkriva umetniške potenciale kratke forme. Pulzirajoče podobe in zvoki vznemirjajo gledalčeve sinapse in ustvarijo celostno telesno izkušnjo, ki nas posrka v mašino spomina.

The film is merging the portrait of the city and a selfportrait of filmmaker in a very sensitive way. The performatic aspect of the film and the well thought compositions of the shots create a unique visual language, while the use of the traditional folk song and the protagonist in the film gradually bring us into the state of melancholy. Jury awards the film In my younger days by Tina Ščavničar as the best Slovene film from the competitive section.

The jury decided to give a special mention film Memory machine. The film seduces our memory with rich layers of sounds and images which are usually hard to remember. The jury recognised the experimental courage and wanted to award the film for its creative formal solutions, which at the same time adress our emotions and our mind.

The intimate portrait of Iva holds up a mirror to a society that increasingly dictates the ideals of appearance, beauty and success. The film delivers its commentary in an unobtrusive way,; it avoids moralising and encourages the contemplation of how contemporary technology and society – which have transferred the limelight from stages and runways to our living rooms – shape the individual’s self-image.

Using well developed and acted characters, this is an engaging and highly relatable portrayal of the role of social media in our relationships today.

For its warm depiction of a community's dedication to and love for a singular pastime, and for its compelling and sincere encapsulation of a rural milieu that is colourful down to its final visual detail.

For employing a deceptively simple composition to maximum cinematic effect, in depicting a mass of people in transit both through the frame and across geographic terrain.

For its architectural aesthetics accompanied by a peculiar soundscape leaving the audience in a timeless space, the best Slovenian Award goes to 2045 by Maja Prelog and Blaž Murn.

For sharing the storytelling with its main unanimated character - the gallery - through a picture composition specifically intended to blend reality and art, the Jury Mention goes to Vis-a-vis by Miha Likar.

Swimming strongly brings us a vivid story of the culture clash through the eyes of a teenager torn by the life in contemporary western surrounding opposed to religious rules of her family. Through her excellent performance the young lead actress carries the universal story of growing up.

Indigo explores the inner world of the performers and uses precise misanscene and editing to create a self-assured filmic metaphor for a relationship going through a change.

Through an unobtrusive blend of slice-of-life images the director gives us an insight of a burden of solitude that an immigrant has to cope within a contemporary Slovenian society.