EUROPEAN UNITY 

Sentimental Value and Sirāt dominated the European Film Awards on a night that emphasised the importance of cinema’s role in fighting division.

Perhaps unsurprisingly, given the current tension in the global geopolitical sphere, the main theme of this year’s European Film Awards was promoting unity in times of division – and how cinema can help in that quest. Outgoing European Film Academy chair Michael Downey OBE set the tone early on with an opening speech that emphasised the “social and political responsibility” that Academy members have as creatives with a large platform. Downey encouraged members to continue practising “political resistance” through their art, celebrating how “cinema turns the other into us”, and encouraging filmmakers to harness their potential to “resist negative forces” and bind people together. 

It seemed quite fitting, then, that the two big winners in Berlin were focused on two groups – one family, one found family – pushing to overcome division and find common ground. Óliver Laxe’s Sirāt scooped five prizes in total, with DP Mauro Herce taking European Cinematographer. The propulsive film follows a man and his son as they navigate discos in the desert in search of his daughter, finding connection in the rave community they encounter along the way. Throughout their journey through the dunes, this newfound clan experience a whole range of troubles – from comical to harrowing – but come to find solace in each other’s company. 

It appears there was a similar feeling of connection on set, with Herce thanking his “incredible team” in his acceptance speech, adding that “cinema is a very collaborative art” and that “none of this could have been possible” without the support of those around him. In his Masterclass for British Cinematographer, Herce reveals that director Laxe focused on creating a “really friendly atmosphere” throughout the shoot – with these efforts “bringing energy and spirit and making everyone feel relaxed”. This “friendly atmosphere” delivers fantastic results, with the performers on screen – many of whom are not professional actors – immersing the audience in their unpredictable story to great effect. So great, in fact, that Herce pipped two other phenomenal works to the post: Manu Dacosse’s transportive black-and-white The Stranger and Fabian Gamper’s visualisation of memory, which scooped Camerimage’s Silver Frog Award, Sound of Falling. 

Getting sentimental 

Yet it was Sentimental Value that took home the most prizes, nabbing six in total. The film centres on two sisters (played by Renate Reinsve and Inga Ibsdotter Lilleaas) who reunite with their estranged filmmaker father (Stellan Skarsgård) following the passing of their mother, with drama ensuing. Director Joachim Trier’s legs must have been tired by the end of the night, with the Norwegian gracing the stage several times over – for European Film, European Director and European Screenwriter, alongside co-writer Eskil Vogt. 

In his speech for European Director, to loud applause, he emphasised the need to “protect the opportunity for free expression, free art, at a time when polarisation is at play in a big way, in many places, also in Europe”. The Norwegian also revealed his career-long pursuit of connection, and expressed his gratitude for now getting to collaborate with like-minded talents across the continent.

One of those talents is DP Kasper Tuxen, who, despite not receiving a nomination for European Cinematographer, was clearly an important part of the Sentimental Value team. Speaking to British Cinematographer in the winners’ press conference, Trier sang Tuxen’s praises, highlighting both his skill and sensitivity. “Kasper’s particular talent as a cinematographer,” he revealed, “is, I would say, two things. He’s wonderful with light. We shoot on 35mm, and I think sometimes people don’t understand how hard it is to balance a natural light with image to the neutrality level that Kasper does, where the skin tone is so rich and so full of sustaining the work of the actors… Kasper does really complex images on 35mm.

“The other thing is, on set, when we work with him, he’s there in the scene, he’s emotional. If Renate cries, Kasper cries. He’s so linked into what the actors do, and I think that is a great quality: to create film sets that are not macho, tough, and all the people behind the camera are carrying the metal and it becomes this kind of almost, like, military vibe. Kasper’s the opposite. He’s a very sensitive and tender guy who’s a joy to be around.”

Tuxen even influenced the story of the film, Vogt revealed. “Kasper was working on, just for his own sake, a documentary on his family, shooting his parents, the kids, his extended family and the places they hang out,” he said. “We saw that, he sent us a link while we were beginning writing this, and [the shots] were perfect. Some of those images inspired the writing. So he was involved from the very beginning in a very unique way.”  

Mission accomplished

The Awards night itself was a testament to these filmmakers’ commitment to community and togetherness. At a time when division and disunity are the talk of the town, seeing members and guests from across an entire continent – and beyond – share drinks, stories and photographs, it was clear that the Academy succeeded in its mission to, in the words of CEO Matthijs Wouter Knol, create a “sense of solidarity with other filmmakers from all over Europe”. Next up is Athens in January 2027 – we wonder which films will get their own Sentimental Value moment in the birthplace of democracy, and hope that calls for unity feel less desperately important by then.