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Press Release 2014

DEA OPEN AIR
International Film Festival – Saranda 2014

The Feature Film Jury, composed of Isa Qosja (President), Hans Kohl, and Karafil Shenaj, awarded the following prizes:

DEA Award for Best Feature Film: “West” by director Christian Schwochow – Germany, 2013

DEA Award for Best Director in the Feature Film Competition: “At Home” by director Athanasios Karanikolas – Greece, 2013

DEA Award for Best Screenplay in the Feature Film Competition: “Stockholm Stories” – Karin Fahlen, Sweden

DEA Award for Best Cinematography/Camera in the Feature Film Competition: “Quiet Bliss” by director Nana Neul – Germany, 2013

Special Jury Prize: “Agnus Dei” by director Agim Sopi – Kosovo, 2011

The Short Film Jury, composed of Maren Niemeyer (President), Parta Kelmendi, and Genc Përmeti, awarded the following prizes:

DEA Award for Best Short Film: “The Column” by Ujkan Hysaj – Kosovo, 2012

DEA Award for Best Director: “Indigo” by Jean-Julie Collet – Belgium, 2013

DEA Award for Best Editing: “The Package” by Rafael Aidar – Brazil, 2013

DEA Award for Most Outstanding Idea (or the TV21 Kosovo Award): “Washingtonia” by Kostandina Kocamani – Greece, 2014

The Media Jury, composed of Aleksandër Çipa (President), Albana Nexhipi, and Odise Kote, honored with the Media Award:

“Faces” – by Antonia de Palo – Italy, 2013

The Audience Award of Saranda went to the film “Delicacy” by director Stéphane Foenkinos – France, 2011

The TV Klan Award went to the film “Let Them Stay” by director Ali Awtar – Iraq/United Kingdom, 2013

DEA Award – as a sign of encouragement for the promising beginning of a successful cinematic career – was awarded to director Suela Bako for the film “Dinner” (Albania, 2014)

DEA Recognition Award – dedicated to distinguished personalities of cinema – was awarded to the renowned director Xhanfise Keko.

DEA OPEN AIR 

Press Office

The cinema is trying to overcome a serious crisis …
This time a global crisis …
This is not the first cinema crisis …
It is not even its first global crisis …

But in contrast to its previous crises – outside it or partially inside it, this
crisis threatened and still threatens the motive of the existence of cinema
in modern times …,
the desire to consume the film together…

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