Feature Film Award
Given annually to the director, of any nationality, for their first Feature Film screened at the London Film Festival which best captures the artistry expressed in Ray’s own vision. The Award was presented for the first time in 1996. For further information on submitting your film to the London Film Festival please follow the link below. LFF Festival Submission Guidelines & regulations
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"An ambitious, confident, intelligent and extremely
well-acted, début feature which deals honestly and openly with a painful
period in recent German history. We also give a very honourable mention to an Italian
film by Kim Rossi Stuart,
ALONG THE RIDGE (Anche libero va bene), which would have been a worthy
winner had we not chosen THE LIVES OF OTHERS." said Jury President
Clyde Jeavons.
"The Jury acknowledges the high standard of many
of the first features in this year's Festival, and particularly admired
Bouli Lanners' Ultranova, Lee Yoon-Ki's This Charming Girl,
and Maria Procházková's Shark in the Head. We are unanimous, however,
in giving the 10th annual award to the Irish film, Pavee Lackeen,
Perry Ogden's skilfully dramatised and deeply committed portrayal of the
traveller community in Dublin and its struggle with bureaucracy, poverty
and prejudice." said Jury President Clyde Jeavons.
The Woodsman,
directed and written by Nicole Kassell, has won the
9th Satyajit Ray Foundation Award for a first feature film pemiered in
the UK at the London Film Festival. "We were unanimous," said
Clyde Jeavons, who chaired the Foundation's prize jury. "It was an
extremely well-crafted film debut by Nicole Kassell, which treats the
controversial theme of paedophilia with great insight and sensitivity,
thanks not least to Kevin Bacon's fine performance in the leading role."
The world of nine-year-old Hodder Jacobsen is a strange
place to live. His mother dead he lives alone with his uninterested,
night-shift working father. It's a solitary, routine world featuring
a daily trip to the bakers for a rum whirl, random and seemingly impertinent
questioning of his teacher Miss Asta K and a perplexingly optimistic
approach to difficult circumstances. As the established class scapegoat,
he finds that relationships with his peers don't come easily but his
life develops a sense of purpose when a fairy appears to him and tells
him that he has been chosen to save the world. Hodder soon discovers
that life as the chosen one isn't nearly as rewarding as he had first
thought but he sets about organising an expedition to the African
island of Guambilua where his world trip is to begin. Frederik Christian
Johansen as Hodder perfectly captures the silent strength but inner
despair of the boy who finds reality and fantasy blurring around him
in this amusing and offbeat story. Genz deals bravely with the themes
of childhood loneliness and loss while also making something uplifting
and wonderful that shouldn't be pigeon-holed for younger audiences
only.
This first feature by Yamina Bachir-Chouikh is
a courageous, violent, provocative and disturbing film about the sickening
social and political situation in Algeria during the worst years of
terrorism. Rachida (a striking performance from Bahia Rachedi)
is a 20 year old teacher in a popular region of Algiers. One morning
on her way to work she is surrounded by a group of terrorists who
try and force her to take a bomb into the school - she refuses, she
is shot and left for dead. Though she recovers, she flees the city
to live with her mother ( Rachida Messaouden) herself in self imposed
exile since her divorce. Presenting a time in Algeria's history when
both fundamentalist and government militias perpetuated crimes against
the most vulnerable in the community, and the public felt impotent
against the force, this is not easy viewing. Yet the portrayal of
courageous women fighting its gratuitous, unjustified self-destructive
violence, gives some room for hope
One of this year's most auspicious feature debuts, In the Bedroom is
a considered, slowly unfolding examination of a decent American family,
and the solid New England community in which they have lived all their
lives. The Fowlers are respectable and well liked - he is doctor, she
tutors the local school choir, they have a son who they evidently love,
who is preparing to leave home for college. Specifically, the film explores
with great candour the impact of a swift and sudden tragedy on this
upper middle class marriage, and the undercurrents of anger, blame and
frustration which are propelled to the surface. Then, from these private,
personal interactions at the heart of the family, In the Bedroom moves
outward to reveal a complex and entirely credible picture of wider social
dynamics and divisions. The film never strikes a false note, and the
restraint and control which is evident in both direction and in a clutch
of superb performances simply serves to make the emotional impact of
the film all the more intense. Even by their own usually excellent standards,
Tom Wilkinson and Sissy Spacek give remarkable, beautifully precise
performances (and were rewarded accordingly when the film aired at Sundance),
with Marisa Tomei and Nick Stahl arguably no less impressive. In short,
unmissable. This film is nominated for The Sutherland Trophy.
Jean-Pierre Sinapi's brittle, funky comedy is
without a doubt the most no-nonsense, bracingly bolshy film about disability
yet made. It's set in a home for the disabled, where 50-year-old former
activist René is the despair of his new young carer Julie. Enraged by
life in a wheelchair, René demands the chance to make love again, and
Julie finds herself exploring the hard shoulder of the Route Nationale
7 to recruit a likely prostitute. René's exploits soon transform the
whole community, including a wheelchair-racing Clash fan and a young
gay Muslim with a Johnny Halliday fixation who is attempting an uneasy
conversion to Catholicism. Sinapi's film is shot digitally, which at
once gives it a crisply no-nonsense docudrama feel. But the mobility
of the new camcorder technology also becomes a metaphor for the hard-won
mobility of its characters - a militant gesture for a militant film
which has more than a touch of Mike Leigh humour about it. Sinapi's
film knocks down more than one preconception - not just about disability,
but about sexuality, religion and politics too. The crisp sparring between
Nadia Kaci and Olivier Gourmet (known for his roles in the Dardenne
brothers' Rosetta and The Promise) is just part of the pleasure of this
vibrant, provocative piece.
The Satyajit Ray Foundation's Annual Award to a debut feature film showcased in the London
Film Festival has been won this year, in the teeth of unusually strong competition, by
American director Kimberly Peirce's
groundbreaking real-life drama, BOYS DON'T CRY. This is
the Foundation's fourth such award, which goes to an outstanding first feature reflecting
the humanity, compassion and artistry of Satyajit Ray's own films.
While still an infant Thomas Builds-the-Fire's parents were killed in a
tragic house fire. He was rescued by a neighbour, Arnold Joseph, and is brought up
by his grandmother to be rather friendly but feeble. However, he retains a close
connection with the son of his rescuer, Victor Joseph, the very antithesis of Thomas. When Victor's estranged father dies in a lonely caravan in Phoenix the two boys make the
journey to collect his ashes. Evan Adams

