Rotterdam, Netherlands — A standout documentary, “Fiume o morte!” by Igor Bezinović, clinched the prestigious Tiger Award at the 2025 International Film Festival Rotterdam (IFFR). The film vividly reenacts the unusual post-World War I takeover of the city of Rijeka by Italian nationalist forces under the leadership of the multi-faceted Gabriele D’Annunzio.
The festival, directed by Clare Stewart and curated by Vanja Kaludjercic, continued its tradition of recognizing cinematic talent across various categories. Jon Blåhed’s “Raptures” captured the essence of a 1930s apocalyptic cult in Sweden, earning the Big Screen Award. Notably, the film brought attention to Meänkieli, a minority language in Sweden, by utilizing it for the entire script — a first for cinema.
In addition to the competition awards, the Tiger Special Jury Awards praised two more distinctive films: Sammy Baloji’s “The Tree of Authenticity” and Tim Ellrich’s “Im Haus meiner Eltern.” Baloji’s film explores the echoes of Congo’s colonial past against its current environmental challenges, while Ellrich’s drama delicately portrays the struggles of a family dealing with mental health issues alongside aging concerns.
Bezinović’s documentary didn’t stop at the Tiger Award; it also garnered the FIPRESCI Award, voted on by an international panel of critics, reaffirming its critical acclaim.
The festival also cast a spotlight on Asian and Pacific cinema with Varsha Bharath’s “Bad Girl” receiving the NETPAC Award. Meanwhile, “The Visual Feminist Manifesto” by Farida Baqi, took home the Youth Jury Award, demonstrating a sharp engagement with emerging generational voices in film.
The Audience Award, building anticipation since last year’s winner, Agnieszka Holland’s “Green Border,” drew attention to the harsh realities faced by refugees near the Belarus-Poland border, is yet to be announced.
Earlier in the week, the IFFR Pro Awards recognized outstanding projects in various stages of development. Among the awardees were Uta Beria with the Georgian drama “Tear Gas,” Robin Coops’ “One Charming Night,” and Thomas Woodroffe’s “Erratics.”
As the Rotterdam festival concludes, marked on January 30th by a display of international narratives that captivate and challenge the global film community, it continues to uphold its role as a platform for profound cinematic expressions.
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