JURY DECLARATION

Formally precise and narratively fresh, The Canon is a masterclass in what it means to look and to want and all the power that comes with it. An outstanding film that not only critiques the gaze of others, but with every frame, holds the viewer to confront the gaze of their own. Congratulations, the International Festival Signes de Nuit Main Award unanimously goes to The Canon.

JURY DECLARATION

The film, as if paying homage to an unknown hero, unfolds its narrative in a nondramatic fashion that nonetheless builds and sustains tension throughout. Through this masterful storytelling, the film guarantees that its story will resonate with and be retold by generations to come.

JURY DECLARATION

Cinema has always lived in the in-between: in between what is there and what is not, what is said and left unsaid, between happiness and longing. "Places I Have Called My Own" commands the space of these fragile in-betweens, building almost unbearable tension one moment, then offering overwhelming joy the next, only to take it away with the ache of an impossible reality. In this film, cinema feels most alive, even in its stillness.

JURY DECLARATION

The film effectively uses an objective, flat camera technique to portray the mundane, yet sometimes frightening and rough, life in a low-income neighborhood of Mexico. The resilience of the residents featured in the film would evoke ambivalent reactions among viewers, prompting necessary discussions.

JURY DECLARATION

If Damian Walshe-Howling prefers not to be a filmmaker, the only other profession that would suit him is that of a sharpshooter or sniper. He knows exactly what to aim for and consistently hits the bull's-eye, even if he sometimes appears to be distracted. He always gets back on track and never misfires. Furthermore, he is confident that contemporary audiences will clearly understand the political unrest depicted in the movie's backdrop, which serves as a model for other parts of the world.

JURY DECLARATION

Not quite, but getting very close to the Altmanesque aesthetic style, the film introduces various characters almost simultaneously, seizing our attention in very short moments. It admirably avoids unnecessary camera focus, instead following their behaviors which lead to the unexpected, yet remain close to our daily lives.

DIRECTOR STATEMENT

"1:10" began as an experiment—an attempt to capture the impact of seemingly small moments and uncomfortable spaces where culture, ego, and emotion collide. The film is rooted in a real event from my childhood in Switzerland that has stayed with me for years. It’s been humbling to see how audiences in Thailand have connected with its themes of inherited roles, group dynamics, and unspoken social codes. The film doesn’t seek to resolve these tensions, but to make space for them—quietly, and without judgment.

JURY DECLARATION

A philosophical inquiry is presented through a Yeti-like creature, prompting us to contemplate relevant topics such as AI, climate change, religion, and the meaning of art. The combination of cinematography, classical music, and abstract artworks offers viewers a unique experience blending melancholy with hopefulness.

JURY DECLARATION

The film's storytelling method is an intriguing mixture of rationally highlighting human rights issues and heightening irrational human emotions like cursing and haunting. By using metaphors in every key scene and playing with popular genres such as psycho-thriller/horror and ghost stories, the film makes a powerful statement about the situations in occupied territories.