The TILDA

Braunschweig International Film Festival presents TILDA, the new women film award

There is a new addition at the 33rd edition Braunschweig Film Festival. The new women film award is called "TILDA" and comes with a prize money of 5.000 Euro donated by 60 benefactresses. The wish of the sponsors: to give more visibility to film-making women in all their diversity. „The TILDA“ will be awarded for the first time at the festival's award ceremony on Saturday, November 23rd. Six international productions are in competition.

The goal is to give more visibility to female filmmakers in all of their diversity. This diversity includes genre, ways of storytelling, the stories themselves as well as the directresses as the award aims at women of all origins, sexual orientation, skin colours etc. Another important goal of this award from women for women is to give motivation to directresses at the beginning of their career, whose work does not yet get the recognition it deserves.

The following five films are nominated: “Adam” by Maryam Touzani (Marokko/Frankreich), “Love Mobil” by Elke Margarete Lehrenkrauss (D), “Mein Ende. Dein Anfang” by Mariko Minoguch (D), “She’s Missing” by Alexandra McGuiness (Irland, UK USA), “Song Without a Name” by Meline Léon (Peru/Spanien/USA) and “The Third Wife” by Ash Mayfair (Vietnam).

Winning films

2022: PINK MOON

German premiere, Netherlands, Slovenia 2022, 95 min, colour, directed by Floor van der Meulen.

At a dinner party, 74-year-old Jan announces to his children that he wants to end his life on his next birthday. Daughter Iris, in particular, reacts with shock and, out of anger and incomprehension for his decision, takes her father to the snowy mountains of Slovenia. She hopes to get answers and also find a way to deal with Jan's wish. The lightly directed drama PINK MOON sensitively and forcefully addresses the right to self-determined and dignified dying. "A film that shows my perception of the world and deals with my greatest fears," says director Floor van der Meulen about her debut.

Biography Director:Floor van der Meulen, born in 1989, studied audiovisual design in Rotterdam and New York. Her documentaries and TV productions have won international awards. PINK MOON is the feature film debut of the director and writer.

The jury's statement:

This year's TILDA goes to a film that manages an unprecedented balancing act between a highly personal narrative and an exploration of a controversial but highly relevant social issue. From the perspective of a daughter whose father announces his intention to take his own life, the director not only stages an emotional and resonant story in which she creates an almost painful intimacy with all the main characters, but also opens up the space for an open-ended reflection on the subject of suicide. At the same time, it allows the film a true-to-life dash of humour and authentic lightness. An excellent ensemble, led by the director with impressive acting, carries this balance as well as flawless and artful camera work and sound design. We congratulate Floor van der Meulen on this year's TILDA for her film PINK MOON.

The jury 2022

Sophie Brakemeier

Sophie Brakemeier is a media scholar, film critic and programme coordinator at goEast - Festival of Central and Eastern European Film. Since 2019 she is a permanent member and former editorial director of the project FILMLÖWIN - Das feministische Filmmagazin.

Prof.‘in Dr. Sabine Brombach

Founder, professor at Ostfalia University of Applied Sciences, focus: gender & diversity. Social scientist, women's officer; study projects on the topic: women and girls; education, counselling, coaching. Worked in France, Great Britain, Morocco, Ethiopia, Mongolia, Azerbaijan, Indonesia.

Verena Gräfe-Höft

Verena Gräfe-Höft is a Hamburg-based producer and founder of JUNAFILM. She is a member of the EAVE Producer Network and an alumna of the European TV Drama Labs & Inside Pictures. In 2017 she was chosen by German Films as Producer on the Move in Cannes. In 2019 she won the Producer Award at Filmfest Hamburg.

 

Dr. Gabriele Heinen-Kljajić

After graduating from high school in the town of Mechernich (1981), Heinen-Kljajić studied political science, German language and literature and sociology at the University of Bonn (MA 1989). In 1990, she became a research assistant at the universities of Gießen, Frankfurt am Main and Jena as part of the Volkswagen Foundation's research project "Arms Control in Western Europe". She served as Minister for Science and Culture of Lower Saxony and is still active in various bodies in the fields of science, culture and education.

2021: HIVE

Kosovo, Switzerland, Northern Macedonia, Albania 2021, 83 min, color

 

Like many women in Kosovo, Fahrije is hoping for news about her husband, who is still missing seven years after the war. Widows are not expected to work, but she has to provide for her family and joins forces with other widows to start a business producing ajvar. This is despite the fact that the community already condemns her for daring to drive! The film was inspired by the true story of Fahrije Hoti. Laura Wilson (Altitude Film): "We were all thrilled with HIVE. It's a beautifully made, deeply thoughtful film that is by turns angry, entertaining, moving and inspiring." At Sundance, the film won the hearts of audiences and juries alike!

Biography Director:Born in Kosovo in 1983. Studied directing in Kosovo and New York. Her feature film debut HIVE was the big winner of Sundance Film Festival, where it won three major awards from jury and audience. Today Basholli is a cultural director in Pristina.

JURY-STATEMENT

Seven years after the end of the war in Kosovo, it is mainly widows who bear the social burden of the losses. Fahrije, like many other women, lost her husband during the Krusha e Madhe massacre. Many of these bodies have never been found. To support each other in finding the missing and grieving, the women have formed an association. In search of a way out of poverty, they begin the commercial production of ajvar. In doing so, they prevail against the opposition of the traditional patriarchal environment. The high level of social control already condemns driving.

Sensitively and intensively, the film accompanies Fahrije and with her the women around her on their way to a growing independence.

This story is based on actual events in the aftermath of the Krusha e Madhe massacre, in which over 200 people were killed and three-quarters of the houses burned down. The film recalls this, but shows what is not conveyed by the news: After years of waiting and searching for the missing, the women must find ways to deal with the unchangeable. This happens undramatically, between pain, resignation, realism, also humor, so that the political can be experienced through the personal.

With this feature debut, Kosovar Blerta Basholli presents a mature work.

- Sabine Brombach, Heike Klippel, Jakobine Motz, Anna Wollner

The jury 2021

Anna Wollner

Landed in university radio by chance while studying communication, media and theatre studies in Leipzig. She has been working as a film and series critic for public radio for over 15 years.

Jakobine Motz

She studied camera at the Academy for Film and Television in Potsdam-Babelsberg. Graduated in cinematography in Los Angeles. She works as a cinematographer, editor, film writer and lecturer.

Heike Klippel

Founder, professor of film studies at the Braunschweig University of Fine Arts. Publications on feminist film theory, memory, time, film and everyday life. Last publication: Poisons and Poisoning in Science, Fiction, and Cinema (2017), ed. with B. Wahrig, A. Zechner.

Prof.‘in Dr. Sabine Brombach

Founder, professor at Ostfalia University of Applied Sciences, focus: gender & diversity. Social scientist, women's officer; study projects on the topic: women and girls; education, counselling, coaching. Worked in France, Great Britain, Morocco, Ethiopia, Mongolia, Azerbaijan, Indonesia.

2020: SLALOM

Directed by Charlène Favier.

With great empathy, complexity and persuasive power, French director and screen writer Charlène Favier uncovers the malicious mechanisms of abuse in her debut feature SLALOM about a ski instructor and his 15-year old student: the power position of the successful coach who uses a mix of pressure, criticism, praise and favoritism to control the young woman; the insecurity of the adolescent whose absent mother and missing father figure make her susceptible to male recognition so that she seemingly accepts her coach’s transgressions; the presumption that the young woman is partly responsible for her abuse.

But the almost fairytale-like snow scenes reveal what the teenager is truly looking for. Yet, instead of the beauty, harmony and love, she finds herself in an abyss of sexual exploitation which nearly destroys her. When her dream of winning the skiing-race comes true, she feels no happiness, just emptiness. Only then she manages, with the support of her friend and her mother, to dissociate herself from her coach and end the abuse.

Favier’s film stands out through its subtle dramaturgy, its camera work with its closeness to the main character, the remarkable acting performance, and its strong emancipatory message.

The Jury 2020

2019: LOVEMOBIL

Directed by Elke Margarete Lehrenkrauss, Germany, 103 min.

Jury's statement:
An extraordinary documentary about sex workers in caravans parked on the side of country roads in Lower Saxony. The slow-paced, quiet film offers intimate insights and moments of truth, showing hope, fear, loneliness and desperation in a way that attests to the sensitive, respectful work of the film team with the protagonists over a period of three years. The filmmakers remain invisible and inaudible throughout the film – an usual but convincing choice for a documentary as it leaves the protagonists to tell their own stories.
The focus is on two young women, Milena from Bulgaria and Rita from Nigeria, and the pimp-cum-landlady Uschi. The portrayal of the protagonists as intelligent and dignified individuals with limited life choices stands in harsh contrast to the process of dehumanisation that takes place in the monetary exchange between sex worker and ‘client’.
The film skillfully juxtaposes the cramped space in the caravans with the open countryside around it, the photography with its long takes, precise framing and choice of original images is impressive and the quiet way in which this documentary exposes the depressing daily horrors of prostitution in the German countryside will not be easily forgotten.
A courageous, overwhelming and eye-opening film!

The Jury 2019

Heike Klippel

Professor of film at the University for Fine Arts Brunswick. Her work includes publications about feminist film theory, memory, time, film and everyday life. Her latest published work was Poisons and Poisoning in Science, Fiction, and Cinema (2017), with B. Wahrig and A. Zechner.

Frauke Kolbmüller
The Leipzig film maker studied film production. As a freelance producer she worked with Desert Film. In 2015 she founded Oma Inge Film in Hamburg, whose third production is SYSTEMSPRENGER. She is a member of the European Film Academy.

Joanna Łapińska
Director of Programming of the Transatlantyk Festival, Member of the European Film Academy. Before, Joanna Łapińska worked for almost 15 years for the New Horizons International Film Festival, since 2007 being the Artistic Director of the festival.

Dr. Wibke Westermeyer
Scientific editor at the Georg-Eckert-Institute in Brunswick. She contributed in creating and is jury of an award for film about tourism.

Dr. Maxa Zoller
Creative Director of the International Women´s Film Festival Dortmund I Köln. She also works as a free curator of film, for Art Basel among others, and recently taught History of Film & Arts at the American University in Cairo.