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You Don’t Belong Here Wins the Top Prize at FilmFestival Cottbus

The 36th edition also honoured Vladlena Sandu’s Memory and gave its inaugural GenNext award to Milena Aboyan.

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Florin Șerban’s Romanian drama You Don’t Belong Here took the top feature prize at the 36th FilmFestival Cottbus. The awards were handed out on November 7. Vladlena Sandu won the directing prize for Memory, and Milena Aboyan’s Drei Kameradinnen won the new GenNext award. The names are worth keeping separate. One is the selection of the main film jury, another singles out a director, and the third comes from a competition with a youth jury. Each gives an audience a different reason to look for a film it may have missed.

Festival news can feel remote when a name and a trophy arrive without any account of the decision. Cottbus has something more useful to offer here. The choices point to different ways in which a film can ask us to look at another person. A father may be wrong about how much he knows of his child. A filmmaker returning to childhood may be unsure which images to trust. A jury of teenagers may notice details an industry panel would pass by. Those are different kinds of attention, and a prize list can make room for all three.

A domestic story with a thriller’s pressure

The €15,000 top prize went to a story about Marius, a doctor raising his son alone. The festival’s account describes a father already struggling to reach the boy when police link him to a group of young people accused of causing trouble. The international jury singled out the screenplay and the tension it finds in that setup. Sandu’s directing award, worth €7,500, went to her feature debut Memory, a return to her childhood in Grozny. The separate prize puts emphasis on how a filmmaker approaches that experience.

The tension in Șerban’s premise comes from a problem a procedural cannot answer on its own. The police can ask what happened. The father has to ask why his account of his son’s life has stopped being useful. If the story lets these questions interfere with each other, a familiar domestic scene can acquire the urgency of an interrogation without any change in setting. Sandu’s premise raises almost the inverse concern. Returning to a past event can reveal that the narrator is implicated in the way it is remembered. Clarity about what happened does not settle what the experience has become.

A youth jury adds another point of view

GenNext was new to this edition. The jury for its award included students from Teplice, Zielona Góra and Cottbus, and the city supplied the €5,000 prize. Aboyan’s film and Șerban’s winner were both scheduled for return screenings on November 8. Igor Šeregi’s The Wedding won the separate audience award. INTERFILM traces the festival’s origins to the film-club movement and describes its focus on cinema from Central and Eastern Europe and former Soviet states. The November 3 to 8 dates covered the screenings as well as the award evening.

German distributor DCM already lists Drei Kameradinnen in cinemas. Availability for the other films depends on the local programme.

An audience award can reveal what travels across a room on first contact. A student jury has time to discuss why a film met resistance or why it seemed to understand something its viewers know firsthand. Neither kind of response can substitute for seeing the film, but both make a shortlist more informative. A viewer who begins with The Wedding is making a different decision from someone following the directing prize to Memory. The value of a regional festival shows up when those paths remain open and the next screening has a chance to make the comparison concrete.

The most productive response to the Cottbus results is to remember the filmmakers as well as their titles. An international festival prize is a signal of attention, not a promise of distribution. If a local festival or cinema later books one of these films, the distinction between the awards gives a viewer a starting question. Is the pressure of a family relationship what makes the film work, or is it the way the director arranges a point of view? A good programme lets that question outlive the night on which the prizes were handed out.

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