The 2023 International Film Festival Rotterdam (IFFR) culminated in a celebration of cinematic excellence, with Igor Bezinović’s film “Fiume o morte!” claiming the prestigious Tiger Award. This accolade, worth €40,000, acknowledges Bezinović’s innovative approach in crafting a hybrid documentary that delves into the life of Gabriele D’Annunzio, an Italian poet and nationalist figure who captured Fiume in 1919. The film’s unique blend of dramatic elements and documentary insights not only pays homage to D’Annunzio but also invites reflection on the resurgence of ultra-nationalism in contemporary Europe. By transforming historical events into a living narrative, Bezinović’s work challenges viewers to confront the past as an active force in shaping today’s world.
Central to the film’s acclaim is its timely relevance, as highlighted by the Tiger jury. They emphasized the importance of engaging with history as a present reality, warning of its impact on future coexistence and equity. The jury’s statement underscores the film’s ability to grapple playfully with nationalism, highlighting it as a form of knowledge that, while dangerous, must be processed to avoid its grip. By rendering history anew, the film aspires to forge a world where equitable coexistence is possible for all.
Bezinović’s elation at winning was evident as he expressed his delight not only in the award but also in the film’s universal resonance. He noted his initial fears about the film’s appeal beyond its regional context but found reassurance in its universal impact. His hope for the triumph of “the good guys” adds a personal touch, reflecting the broader aspirations of the festival.
The Tiger Competition jury, consisting of Yuki Aditya, Winnie Lau, Peter Strickland, and Andrea Luka Zimmerman, also acknowledged the absence of Soheila Golestani due to a travel ban. Festival director Vanja Kaludjercić expressed solidarity, extending an invitation for her future participation. This gesture, along with a joint statement from the jury, highlighted the missed contribution of Golestani, underscoring the importance of inclusivity and diverse voices in cinematic discourse.
In addition to Bezinović’s win, the festival recognized other notable films. Sammy Baloji’s “The Tree of Authenticity” and Tim Ellrich’s “Im Haus meiner Eltern” each received special jury awards of €10,000. Baloji’s film was lauded for its methodical and meditative exploration of colonial history, while Ellrich’s intimate drama on caregiving resonated deeply. Jon Blåhed’s “Raptures,” a drama in the minority language Meänkiel, won the Big Screen Competition, praised for its poignant exploration of sectarian entrapment and its stunning cinematography.
The festival concluded with additional awards, including the FIPRESCI Award for “Fiume o morte!” and the NETPAC and Youth Jury Awards for “Bad Girl” and “The Visual Feminist Manifesto,” respectively. These recognitions celebrated diverse narratives and innovation, encapsulating the festival’s spirit of fostering dialogue and creativity. As the IFFR drew to a close, the awards highlighted the power of film to engage with pressing issues, inspiring hope and reflection in a world grappling with division and change.
