As promised during the first half of IFFR 2021 last February, I went back for the second part which started two weeks ago for a period of 5 days. Ok, sorry, I could have come with my thoughts a bit earlier.
In this second part, there are no official competition sections, but instead a very interesting new one called ‘Harbour’, containing a very captivating selection of contemporary cinema
As in my first words about IFFR last February, I will not get into detail with film reviews but rather share the variety of films I had the opportunity to watch.
Because of the pandemic, this June edition still happened online, but with some presential screenings for a local audience could take place. Even though, from my side, I stayed at home with the big advantage to be able to pause whenever I wanted. But for sure, I miss the big screen, mainly in film festival environment with all the usual Q&As, talks and parties.
Except in some specific situations due to geo-blocking, which didn’t allow me to watch those specific movies online, it was once again, a tremendous job and effort made by all the IFFR organisation.
I would risk to say that I liked this June selection more than the February one.
Here is my selection:
- Phoenix by Bram Droulers (Belgium)
- Bottled Songs by Chloé Galibert-Laîné (Germany)
- Lumina by Samuele Sestieri (Italy)
- Amor Fati by Cláudia Varejão (Portugal)
- Davos by Daniel Hoesl and Julia Niemann (Austria)
- Au jour d’aujourd’hui by Maxence Stamatiadis (France)
- Persona Non Grata by Lisa Jespersen (Denmark)
- Damascus Dreams by Émilie Serri (Canada)
I can just end this quick wrap-up by saying that I truly hope that in 2022, for the third consecutive year, I will be able to attend the 51st edition, this time, back to the several venues and finally watch some films on a big screen and be at some parties.
See you in 2022 IFFR and congratulations for your amazing anniversary edition in suchadverse conditions.