国际竞赛单元·评审团奖项
International Competition - Jury Awards
BEST FILM 最佳影片
Luci
卢奇
Mateo Vega, Mathieu Wijdeve
马特奥·维加，马修·维德文
2024｜0:15:59｜Netherlands｜Flemish Dutch｜International Premiere
《卢奇》是一部兼具当代艺术实践与纪录片风格的散文式电影，深刻探讨了荷兰殖民历史和苏里南文化遗产。影片追寻艺术家G.G.T.鲁斯特韦克（Luci）的记忆与遗产，通过历史场所、现场表演与重构档案，挖掘这位批评殖民政权的早期艺术家的“光辉”，成功地在个人传记与历史反思之间架起了一座桥梁。- 何伊宁
Luci is an essayistic film that blends contemporary artistic practices with a documentary style, deeply exploring Dutch colonial history and Surinamese cultural heritage. The film traces the memories and legacy of artist G.G.T. Rustwijk (Luci), using historical sites, live performances, and reconstructed archives to uncover the "light" of this early critic of the colonial regimes. It successfully builds a bridge between personal biography and historical reflection. - He Yining
Feferle
费弗勒
Alica Khaet
阿莉卡·哈特
2024｜0:14:48｜Germany｜German｜Asian Premiere
《费弗勒》是一部以精湛的动画形式呈现的动人短片，通过富有幻想和童真色彩的叙事，探讨了记忆、东欧转型及社会问题的复杂性。影片通过费弗勒整理父亲遗物的过程，巧妙地呈现了犹太家庭在东欧历史中的漂泊与挣扎。其细腻的画面与情感表现对苏联电影传统的回应，展现了导演在视觉艺术与叙事层面的优秀完成度。- 何伊宁
Feferle is a touching short film presented through exquisite animation, using a narrative rich in fantasy and childlike wonder to explore the complexities of memory, Eastern Europe's transformation, and societal issues. The film, centered on Feferle's process of sorting through his father's belongings, skillfully portrays the struggles and wandering of a Jewish family in Eastern European history. Its meticulous visuals and emotional depth echo Soviet cinematic traditions while showcasing the director’s mastery in visual artistry and storytelling. - He Yining
Leçon d’Objet
Object Lesson｜客体课程
Herman Asselberghs
埃尔曼·阿塞尔伯格
2024｜0:33:00｜Belgium｜French｜Asian Premiere
《客体课程》是一次对电影制作的反身式探索，影片跟随一位黑人女性主角在电影学校中的教学实践，以混合、多样的视角与方法呈现摄影机前所捕捉的形象与拍摄过程所意味的不可避免的时间流逝，并将持摄影机的人的身份变化与女性主义等多重议题糅合进这一包含着自我指涉的创作过程。- 高重黎
Object Lesson is a reflexive exploration of filmmaking, following a Black female protagonist's shooting practices at a film school. Through a mix of diverse perspectives and methods, the film examines the images captured by the camera and the inevitable passage of time during the filming process. It weaves the shifting identity of the person behind the camera with feminist and other multifaceted issues, creating a self-referential and thought-provoking narrative. - Kao Chung-Li
Sombras de Piedra
Stone Shadows｜石之阴翳
Sebastian Paramio
塞巴斯蒂安·帕拉米奥
2024｜0:20:00｜Spain｜Castilian Spanish｜Asian Premiere
与失落记忆和熟悉阴影在萨那（Sanaa）古城的温柔相遇，帕索里尼留下的影像成为链接过去，现在和未来的关键线索，作者没有像帕索里尼一样，哀悼般想要唤起影像“过去的革命力量”，在古城建筑与石墙间游弋的镜头指向另一种更急切的主体构建，哪怕它现在只像投射在石头表面的阴影。- 刘广隶
In a gentle encounter with lost memories and familiar shadows in the ancient city of Sanaa, the imagery left behind by Pasolini becomes a key link between the past, present, and future. Unlike Pasolini, who mournfully sought to evoke the "revolutionary power of past images," the wandering camera between ancient city structures and stone walls points toward a more urgent construction of subjectivity, even if it currently only resembles shadows cast on the surface of stones. - Liu Guangli
The Eggregores’ Theory
埃格雷戈雷斯理论
Andrea Gatopoulos
安德烈亚·加托普洛斯
2024｜0:15:25｜Italy｜English｜Chinese Mainland Premiere
在理所当然地回应静像电影名作《堤》（1962，Chris Marker）的同时，以极为克制的方式使影片用AI工具描述了一个噩梦般的敌托邦世界，在导演纯熟的叙事背后也许暗含另一个提示，今天的动态影像除了围绕自身喃喃自语，或给文本论述编织精巧的视觉证据以外还能做什么？也许就是安静下来简洁地讲好一个故事。 - 刘广隶
While naturally responding to the iconic still-image film La Jetée (1962, Chris Marker), this film employs an extremely restrained approach to use AI tools to depict a dystopian nightmare. Beneath the director's skilled narrative, another subtle question may lie: beyond self-referential murmurs or crafting intricate visual evidence for textual arguments, what else can today’s dynamic images achieve? Perhaps the answer is to quiet down and simply tell a story well. - Liu Guangli
SPECIAL MENTION 评审特别提及
Spring Plain
春原
Mohammad Karimi
穆罕默德·卡里米
2024｜0:30:00｜Iran (Islamic Republic of)｜Persian｜World Premiere
《春原》融合了真实电影的手法与档案素材的质朴运用，透过被殖民者的视角回溯了伊朗西南部地区石油采掘的历史与在这片土地上生存的人之境遇。影片对当下地缘政治的指涉与回应，对时下最迫切的国际社会议题进行了必要且富有成效的中介。 - 高重黎
Spring Plain combines the methods of cinéma vérité with the unembellished use of archival materials, retracing the history of oil extraction in southwestern Iran and the circumstances of those living on this land from the perspective of the colonized. The film's commentary and response to current geopolitical issues act as a crucial and effective mediation on some of the most pressing international concerns of our time. - Kao Chung-Li
国际竞赛单元·评审团奖项
International Competition - Committee Awards
Outstanding Art Exploration Award 杰出艺术探索
Kein Wunder
No Wonder｜不言而喻
Lia Sudermann, Simon Nagy
莉娅·祖德曼，西蒙·纳吉
2024｜0:11:26｜Austria｜German｜World Premiere
影片对上世纪奥地利地方报纸上对核心家庭图像生产及其所塑造的性别分工的照片档案进行了实验性的重新组织，祖德曼和纳吉尝试在关联式分析的对话中从这些图像中进一步挖掘资本主义与父权制如何作用于当代“照护私有化”的现象，以及内在于当代电影制作工业本身不平等的性别境况。 - BISFF组委会
No Wonder conducts an experimental reorganization of photographic archives from mid-20th century Austrian local newspapers, which depict the production of nuclear family images and the gendered division of labor they constructed. Through dialogic relational analysis, Sudermann and Nagy seek to further investigate how capitalism and patriarchy contribute to the phenomenon of the "privatization of care" in contemporary society, as well as the inherent gender inequalities within the contemporary film production industry itself. - BISFF Committee