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Thessaloniki International Film Festival

Dailies from the Thessaloniki international Film Festival

The 61st Thessaloniki International Film Festival was concluded with great success, receiving the audience’s love in every possible way. More than 80,000 viewers and movie industry professionals watched the films and attended the Festival’s online events, whereas a large number films of were sold out. Agora, the Festival’s development branch, also achieved a great attendance, offering support to Greek cinema through a series of new initiatives, actions, and awards.

The 61st Festival hosted a series of exhibitions and visual art events, within the framework of TIFF’s main concept, “Intimacy: a modern tyranny”. Works of art, video mapping, as well as The Glasshouse Project installation adorned the city streets and squares, as well as the Port of Thessaloniki, offering glimpses of joy and hope to the city’s residents, who had the chance to enjoy a touch of art during their scarce walks for exercise, groceries and the covering of basic needs, amidst these hard days we’re experiencing. The goal is for these exhibitions to remain in the city’s public space even after the Festival. 



Films in competition at 51st Thessaloniki Film Festival on December 08, 2010


On December 08, 2010, the films screened for competition at Thessaloniki FF were:


1) Morgen (2010) is a Romania, France and Hungary co-produced film (2010) by director Marian Crisan.


Summary: Nelu is a security guard at the supermarket in Salonta, a town on the Romanian-Hungarian border where illegal immigrants attempt to cross to Western Europe. Nelu’s passion is fishing in the mornings; after work, he returns home to his ill-tempered wife. One morning, while fishing, Nelu finds a Turk; he takes him home, providing him with clothing, food and a bed. The men don’t speak each other’s languages, but communicate honestly: partly because of the Turk’s passionate urgency and partly due to Nelu’s ability to be empathetic to the plight of another. It transpires that the immigrant, Behran, is trying to get to his son in Germany. Nelu resolves to assist him in any way; every trybecomes a new “Morgen”, a fresh tomorrow in German, Behran’s language of hope. In this gentle and insightful film, rather than being the issue, immigration provides the context for what becomes a bond of genuine humanity between the two men.


from 'Morgen'



2) Sweet Evil (2009) is French film by director Olivier Coussemacq


Summary: When judge Henri van Eyck finds out that fifteen-year-old Céline has been living in his garden house, he cannot imagine that this encounter will forever change his life. Céline would rather stay with the Van Eycks than return to her foster parents’ home, so she, discretely but determinedly, convinces the judge to let her stay there, despite his wife Nathalie’s hesitations. As the lies Céline tells start surfacing, the trust among the three main characters is shattered, while the viewer’s alliance shifts constantly from one to the other. By alternating the roles of victim and offender, the film plays a game with the viewer’s preconceptions of justice and ethics, accentuating their grey shades.


from 'Sweet Evil'





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About Thessaloniki International Film Festival

Industry: CROSSROADS Co-Production Forum,AGORA, script-development BALKAN FUND. Competition for directors with 1st or 2nd films. Golden Alexander Prize 37.000 €

Coverage by Vanessa McMahon, Laurie Gordon



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