Netpac Jury Award Winners

2019

Jury Prize

A Family Tour by Ying Liang (Hong Kong - Taiwan - Malaysia - Singapore)

for its in-depth universal portrayal of human conditions across borders in the world reflected in dilemma between creative expression and his frustrating personal experience told in a most self-restrained manner.

 

 

2018

Jury Prize (ex-aequo)

The Taste of Rice Flower by Pengfei (China)

for its delicate balance in portraying tradition-vs-modernization issues of migrant workers and the children they leave behind in a subtle mother/daughter storyline graced with distinct moods and rituals.

thetasteofticeflowerweb


mothersweb

 

Jury Prize (ex-aequo)

Mothers by Lee Dong-eun  (South Korea)

for its low-key treatment in portraying the different faces of motherhood and how its various characters cope and accept it in a sensitive drama about what it is to become a family.


Special Mention

A letter to the president by Roya Sadat (Afghanistan)

For its vivid drama on the plight of women struggling against a country’s patriarchal traditions set amidst corruption and lawlessness, revealing that change may not be forthcoming.

alettertothepresidentweb

 

 

2017

Jury Prize

Going the distance by Harumoto Yujiro (Japan)

for its effective use of comedy and multiple stands of narrative culminating into a dramatic ending that hits home the film’s message with sublime power.

 

 

2016

Jury Prize

Imbisibol by Lawrence Fajardo (Philippines)

for its effective use of comedy and multiple stands of narrative culminating into a dramatic ending that hits home the film’s message with sublime power.

Imbisibol


Wednesday, May 9

Special Mention

Wednesday, May 9 by Vahid Jalilvand (Iran)

for being a straightforwardly told story with crafty directing and cinematography. It creates debate, raises questions, and gives hope, for audience and for Iranian cinema.

 

2015

Jury Prize

The Monk by The Maw Naing (Myanmar)

for being eloquent even during its silence, thus engaging the audience as participants, and for aptly portraying the dilemma of its protagonist, not just as a monk but also as an individual.

The Monk


Chen Shiang-chyi

Special Mention

Chen Shiang-chyi 

actress in Exit by Chien Hsiang (Taiwan)

for her subtle, nuanced and graceful portrayal of solitude.

 

2014

Jury Prize

The Ferry by Shi Wei (China)

for a film that makes audience reconnects to our human and environmental cores, showing the path to compassion, using poetic cinematography and film language.

The Ferry

 

2013

Jury Prize

With You Without You by Prasanna Vithanage (Sri Lanka)

for its aesthetic quality and the sublime way of adapting Dostoevsky's story to the contemporary reality. Whenever love and humanity succeed in overcoming tragedy, conflict, and sufferings, only then they can win.

With You Without You

 

2012

Jury Prize

August Drizzle by Aruna Jayawardana (Sri Lanka)

For its powerful and unsentimental depiction, rooted in its national cinema, of a rural woman struggling to establish her own identity.

August Drizzle


Return Ticket

Special Mention

Return Ticket by Teng Yung-Shing (Taiwan / China)

For its sensitive and moving inter-generational portrait of a dislocated society still dreaming of home.

 

2011

Jury Prize

P.S. by Elkin Tuychiev (Uzbekistan)

For its deployment of myth and madness as cinematic constructs to signify and dis-construct the complex realities of contemporary life.

P.S.

 

2010

Jury Prize

Animal Town by Jeon Kyu-hwan (South Korea)

For its frank representation of the horrors in modern urban lives, with an experimental and sincere direction and actors' daring actors performance.

Animal Town

 

2009

Jury Prize

Dawn of the world by Abbas Fahdel (Iraq / France)

For its cinematic pace, atmosphere and representation of a dying culture in the time of devastating war.

L'Aube du monde

 

2008

Jury Prize

The Old Barber by Hasi Chaolu (China)

For its touching tale of human life, focussing on marginalized individuals, and its sensitive relationship between the human and his surrounding projected in a very sensitive way.

Le Vieux barbier


Les Moissons pourpres

Special Mention

The Red Awn by Cai Shangjun (China)

For its clear depiction and comments on the changing face of a commercializing China. Love and condition in human bonding have been portrayed here in a subtle manner. The film has successfully reflected the globalization of China from the grass root.

 
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