KINGFISHER AWARD
An international jury award presented by the general sponsor, Telekom Slovenije, d.d., to the best film of the Perspectives section.
International jury: Marina Gumzi, Ayla Kanbur, Bálint Szimler
Blue Haron (By: Sophy Romvari)
The jury, diverse in tastes but open to thoughtful debate, saw and discussed ten significantly different films.
That is even more why, at the end of this process, we are not choosing a winner, but rather offering our warm recommendation.
We have decided to honour the LIFFE 2025 Vodomec Award to the remarkably unique Blue Heron, a quiet reflection on disability, memory and grief.
Patiently and with refined precision, the director uses film as a canvas to capture time but also as a dialectical means for re-viewing an unsettling family situation. In doing so, she doesn't shy away from being as personal and specific as one can possibly be and it is magical when universality is found in this specificity.
A deeply moving work of art.
Special Mention:
A Sad and Beautiful World (By: Cyril Aris)
In a region where persistent bomb threats and political turmoil prevent life from moving forward, people find themselves trapped in a repetitive fate, with little sense of the ideal future they imagine for themselves. As communities fragment and people leave their homeland, the film asks what, if anything, remains to hold on to: perhaps a fable-like love, fragile and almost impossible.
The film explores this contradiction with a confident, finely balanced cinematic language — enriched by humor and brought to life through lovable, deeply human characters.
For illuminating this tension with clarity, and emotional precision, the Jury presents its Special Mention to A Sad and Beautiful World.”
BEST SHORT FILM AWARD
Presented by ACTUAL I.T.
Jury: Maja Alibegović, Rok Kajzer Nagode, Gábor Osváth
An Orange from Jaffa (By: Mohammed Almughanni)
A film that plays like a thriller while dealing with a timely subject and features two incredible acting performances, which made it even easier for the jury to pick the winner. The award goes to The Orange from Jaffa by Mohammed Almughanni.
Special Mention:
Ceasefire / Prekid vatre (R: Jakob Krese)
The film convinced us with its directness and raw approach. The Special Mention goes to Jakob Krese for the film Ceasefire.
FIPRESCI PRIZE
An award presented by the jury of the International Federation of Film Critics
International jury: Tinkara Uršič Fratina, Slovenija; Diana Martirosyan, Armenija; Shahla Nahid, Francija
Ida Who Sang So Badly Even the Dead Rose Up and Joined Her in Song/Ida, ki je pela tako grdo, da so še mrtvi vstali od mrtvih in zapeli z njo (By: Ester Ivakič)
A sensitive and profound film about coming to terms with life and death, entirely carried by the pre-adolescent lead actress, inhabited by her character. A film that lives in the space between worlds, where atmosphere and subtlety outweigh explicit explanation. It creates an authentic feeling of childhood in the countryside, woven through with elements of magical realism that reflect the main character’s emotions. Fipresci Prize goes to Ester Ivakič’s film Ida Who Sang So Badly Even the Dead Rose Up and Joined Her in Song.
KINOTRIP YOUNG JURY PRIZE
This year's jury consists of five members of the 10th Kinotrip Film Club Zarja Debeljak, Maruša Gedrih, Mila Gorkič, Estel Erika Tagliaferri, Ema Žvanut.
Sandbag Dam / Zečji nasip (By: Čejen Černić)
Of the five competing titles, the film that left the strongest impression was the one depicting a queer relationship with exceptional authenticity and tenderness. Every touch and glance carries a deeper meaning, supported by a naturalistic colour palette. The vulnerability of the wild rabbit as natural prey is a constant symbol in the story. The film is a poignant yet beautiful portrayal of uncertain, clandestine young love. The handheld camera creates tension and reveals the characters’ inner worlds, while the plot points up the intolerance still rooted in the traditional society of our region. The Kinotrip Young Jury Award goes to Sandbag Dam by Čejen Černić Čanak.
AKMS – SLOVENIAN ART CINEMA ASSOCIATION AWARD
Jury members: Erik Toth, Izola; Jure Matičič, Domžale; Vid Šteh, Trbovlje
Two Prosecutors / Dva prokuroraTwo Prosecutors / Dva prokurora(By: Sergej Loznica)
It seems increasingly likely that history is doomed to repeat itself. Despite the many tragedies and devastation left behind by totalitarian regimes, it seems that we have learned nothing from the often shocking and bloody lessons of history. This makes the existence of art all the more important, as it serves to remind us of past injustices and thus prevent them from sinking into oblivion. Two Prosecutors, a combination of courtroom thriller, crime drama, and historical drama, takes place in Stalin's Russia in 1937, when political paranoia, systemic violence, and the suppression of truth were part of daily reality for citizens living a life of fear and obedience. Directed and written by Sergei Loznitsa, the tense film is pervaded by an authentically dark atmosphere, featuring superb acting performances and, despite its historical distance, carries universal resonance, revealing the terrifying instruments of totalitarian regimes that seek to create obedient and undemanding citizens without a clear moral compass or conscience. Through the story of an idealistic prosecutor who, through a small act of rebellion, begins to expose corruption within Stalin's secret police, Loznitsa subtly draws numerous parallels with current events both in Russia and elsewhere in the world, where we are once again witnessing the unchecked rise of totalitarian regimes and their leaders. That is precisely why films such as Two Prosecutors are so necessary; art, in this case cinema, has the power to remind viewers of the tragedies of human history that we naively believe cannot be repeated.
DRAGON AUDIENCE AWARD
The festival audience voted for their favourite film, which receives the Audience Award. The highest score, 4,63, was given to the film: A Sad And Beautiful World (By: Cyril Aris)
Film | Score |
A Sad And Beautiful World | 4,63 |
Psycho Therapy | 4,51 |
Yugo Florida | 4,49 |
U Are the Universe | 4,42 |
Wind, Talk to Me | 4,33 |
80+ | 4,27 |
A Loose End | 4,23 |
Traffic | 4,20 |
Growing Down | 4,19 |
Divine Comedy | 4,12 |
Blue Heron | 4,10 |
The Devil Smokes | 4,05 |
The Botanist | 3,78 |
The Mastermind | 3,29 |
VOTING FOR THE BEST FILM OF THE ADRIATIC FESTIVAL NETWORK
The voting for the Best Film of the Network of Festivals in the Adriatic Region at 36th Liffe concluded on Sunday, 23 November 2025.
The 36th Liffe audience gave the highest score to Maldoror/Maldoror with the score 4.59.
36th Liffe Film | Score |
Maldoror | 4.59 |
Miyazaki:Spirit of Nature | 4.45 |
Christy | 4.44 |
Perla | 4.26 |
Renovation | 4.07 |
In Adam's Interest | 4.05 |
Kelly Reichardt has established herself as a seminal figure in contemporary American independent cinema. She is a filmmaker who persistently directs her gaze elsewhere – to the margins and the details of daily living, unearthing the overlooked, the marginalized, the invisible. Within the context of American mythology, which she subtly yet consistently undermines, these are stories of women, the working class, the barely visible footprints of indigenous peoples, the lively traces of animals that profoundly affect the nature of her images, and above all, the long takes of landscape that invariably highlight both human alienation and our inherent inalienability from the world. Reichardt, who was born and raised in the perilous swamps of Florida, chose the Oregon landscape as the backdrop for her vision of American society, and later moved there herself.
The urban peripheries used as settings in her films are surrounded on one side by rocky high deserts and on the other by deep conifer forests, whose vastness faithfully reflects her cinematic narratives. A foremost example here is Reichardt’s debut film, River of Grass (1994), set in a sleepy Florida suburb. Echoing the great American Bonnie and Clyde legend, a bored and listless housewife Cozy sets off on a journey with Lee, an aimless young dropout – in a road movie without the road, a love story without the love, and a crime story without the crime. Reichardt adopts a realistic filmmaking style through the use of non-professional actors, actual locations, and absence of any major stylistic interventions in cinematography.
Although receiving plaudits at Sundance with her debut film, Reichardt spent the next twelve years trying to finance a second film: Old Joy (2006) marked a stylistic shift for the filmmaker, one that she largely continues to employ today – a neo-neorealist style, defined by an in-depth dialogue with nature, and enhanced through Slow Cinema pacing, a detail-picking pace that allows for the emergence of the unspoken through a carefully constructed gaze, while viewer-wise opening up a field of empathy and sensitivity in relation to the film image. The screenplay for Old Joy, a film about estranged friends, was written in partnership with John Raymond, an Oregon-based author who went on to become the director's indispensable collaborator. Reichardt decided to edit the film herself, and has continued to serve as her own editor in all her subsequent projects.
There followed another road movie without the road or destination – Wendy and Lucy (2008), Reichardt’s first collaboration with the actress Michelle Williams. Set during an economic crisis, the film’s protagonist Wendy travels to Alaska with her (the director's) dog Lucy in search of a better life. Casting Williams, the director went on to create a whole range of female characters, including Certain Women (2016) and Showing Up (2022), banking on Williams’ talent for extremely ruminative deadpan performance in relation to the emotions and social (sexual) positions of her characters.
On yet another endless road, Meek's Cutoff (2010) depicts a group of settlers lost in the middle of the Oregon countryside. Here, the filmmaker draws on a unique form of American mythology – the Western. But instead of an action spectacle, Reichardt opts for a careful study of gender and myth through a decolonizing and feminist perspective. In similar fashion, she reappropriates and redefines Western tropes in the film The First Cow (2019), shattering the myths of neoliberal America with a gentle tale of male friendship and the relationship between ownership, capital, and theft.
Reichardt's affinity for exploring film genres is further reflected in Night Moves (2013) and The Mastermind (2025). However, echoing her use of the Western, the filmmaker shows that genre tropes are merely a starting point for her to examine perhaps unexpected thematic and conceptual points – the ecological thriller thus becomes a quiet meditation on guilt, and a heist film becomes a sensitive study of character and coincidence, as well as cinematic colour and composition. In subverting all cinematic expectations and paying scrupulous attention to the medium itself, Reichardt has solidified in every way her position as a giant of American and world cinema.
Anja Banko
The Kelly Reichardt Retrospective has been organised in cooperation with the Slovenian Cinematheque and the Kino Otok – Isola Cinema International Film Festival.
Jure Novak
Director General of Cankarjev dom
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