The 17th edition of the Seville European Film Festival is already history. Not only because it has de facto finished, but because it will be remembered as one of the few samples that bet on the physical format in the tyrannical times of the coronavirus. Once again, all the recognition to the organization of the festival and its team of volunteers, coordinators and professionals who merged into the same work unit to ensure the development of every minute of the SEFF within the legal margins and of course to control that the entire health protocol to be followed is respected.
After the reading of Saturday’s palmars and the last projections of some award-winning films at the Lope de Vega Theater yesterday, to overcome the hangover and that there is no instant melancholy when thinking that there will not be SEFF until next year. It comes, what better than to list the 5 best films that went through the festival and that either did not scratch an award or simply received an award something more invisible compared to the important ones. This is the Top 5 structured from worst to best of this Seville European Film Festival:
5. ‘My Little Sister’ (Switzerland), by Stphanie Chuat and Vronique Reymond.
A contemporary revision of the classic Hansel and Gretel children’s tale by the Brothers Grimm that cleverly dodges the melodramatic temptation inherent in its proposal, thanks in large part to the extraordinary performance of Nina Hoss (which has earned her an EFA nomination) . Faithful and moving portrait of the love of siblings and forceful look at the social consequences that illness tends to cause.
Four. ‘Fanny Lye Deliver’d’ (United Kingdom), by Thomas Clay.
Daring film of ambitious intentions about a Puritan family on a British farm in the 17th century. Shot in 35 millimeters, the film alters the codes of the western and uses groundbreaking cinematic language to pressure the viewer with an atmosphere of tension and brutal violence. An impeccable film that Quentin Tarantino and Michael Haneke would be very proud of if they saw it.
3. ‘Wildfire’ (UK) by Cathy Brady.
A wonderful first opera where the sociopolitical conflict on the Irish border and a heartbreaking family history between two sisters are structured in a tale of fears, longings for happiness and prejudices. Brady exposes through the characters the need for union between the Irish people, something unfeasible without the two main performances, the stoic Nora-Jane Noone and the volcanic Nika McGuigan, sadly deceased after filming.
2. ‘Quo Vadis, Aida?’ (Bosnia and Herzegovina), by Jasmila Zbanic.
The one sent by Bosnia to fight for the Oscar for Best Foreign Film tells the story of a UN translator who searches for her family among those who fled a conflict zone during the Balkan War. A trip back in time to the heartbreaking Srebrenica Massacre, without hesitation or complex, on the back of an impressive Jasna Đuričić. A film that could perfectly be The European Schindler’s List, a film that scares and hurts.
1. ‘Druk‘(Denmark), by Thomas Vinteberg.
Denmark continues to play the Champions League and Vinterberg continues to be Real Madrid. Wonderful film that dialogues with alcoholism without any suspicion and that points to teaching as an absolute priority of society. As he did in ‘The Hunt’, Vinterberg once again relies on Mads Mikkelsen to channel the story, and he dazzles with a sublime and round interpretation. An unforgettable film with an absolutely stunning ending.
That’s what I say.
By Jess Snchez Aguilar
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