Roffa Mon Amour 2022
I had the pleasure of being part of the New Jury in Roffa Mon Amour in 2022, an open air film festival in Rotterdam. This meant that I was assessing a selection of (international) debut films and deciding alongside a jury which movie was going to take home the New Maker Award.
This was surely an honour, and I am pleased that now I can review the films and share my thoughts
(albeit it indeed has been a few months).
I had the pleasure of being part of the New Jury in Roffa Mon Amour in 2022, an open air film festival in Rotterdam. This meant that I was assessing a selection of (international) debut films and deciding alongside a jury which movie was going to take home the New Maker Award.
This was surely an honour, and I am pleased that now I can review the films and share my thoughts
(albeit it indeed has been a few months).
Noche de Fuego (2021) - Winner of the New Amour Award
Directed by Tatiana Huezo
Directed by Tatiana Huezo
My verdict: 4/5
Noche de Fuego (Tatiana Huezo, Mexico/Germany/Brazil/Qatar/Argentina/Switzerland/United States, 2021) is a truly special film in the way it tackles the juxtaposition in its’ subject matter; it’s a coming-of-age film set in a town that is unsafe for women. It never creates a mockery out of the characters’ suffering and yet never makes it feel indulgent, the fact that kids have to grow in an environment where their femininity should be hidden and they could be taken at any time was a fact of life for them. It was a bad town to live in, but it was their town. In a way, the coming-of-age moments really made (female) friendship a prominent theme in the film and those moments were indeed very emotional. Despite this, it crosses over to the thriller genre as there is a sense of tension that prevails throughout the film with recurring images and motifs. It was a pleasure to give this the New Amour Award with the New Jury.
Noche de Fuego (Tatiana Huezo, Mexico/Germany/Brazil/Qatar/Argentina/Switzerland/United States, 2021) is a truly special film in the way it tackles the juxtaposition in its’ subject matter; it’s a coming-of-age film set in a town that is unsafe for women. It never creates a mockery out of the characters’ suffering and yet never makes it feel indulgent, the fact that kids have to grow in an environment where their femininity should be hidden and they could be taken at any time was a fact of life for them. It was a bad town to live in, but it was their town. In a way, the coming-of-age moments really made (female) friendship a prominent theme in the film and those moments were indeed very emotional. Despite this, it crosses over to the thriller genre as there is a sense of tension that prevails throughout the film with recurring images and motifs. It was a pleasure to give this the New Amour Award with the New Jury.
Sonne (2022) - Special Mention
Directed by Kurdwin Ayub
Directed by Kurdwin Ayub
My verdict: 3/5
Sonne (Kurdwin Ayub, Austria, 2022) was our Special Mention for Roffa Mon Amour 2022, and it wasn’t because it was a particularly good film technically per se, but more so because it was unique in the way it presented its’ themes. The themes felt super complex and relevant; tackling the concept of white hegemony + orientalism in an age of digitalisation and cultural complexity. It is unfortunately failed by a weak main character, and odd pacing. It felt authentic in a way and that mattered a lot to us. I personally liked it a lot.
Sonne (Kurdwin Ayub, Austria, 2022) was our Special Mention for Roffa Mon Amour 2022, and it wasn’t because it was a particularly good film technically per se, but more so because it was unique in the way it presented its’ themes. The themes felt super complex and relevant; tackling the concept of white hegemony + orientalism in an age of digitalisation and cultural complexity. It is unfortunately failed by a weak main character, and odd pacing. It felt authentic in a way and that mattered a lot to us. I personally liked it a lot.
Other notable films:
Neptune Frost (Anisia Uzeyman & Saul Williams, United States/Rwanda/France/Canada, 2021): 2.5/5
A style over substance film that has some great directing and music but has very confused messaging and in a way presents the idea of technology being the great equaliser in a naïve fashion (it is a topic that requires more subtlety). The set design and cinematography was also notably incredible, but character writing, plot and pace were just not working here. There are super interesting themes of colonialism, but unfortunately the film feels more like a concept than a complete project.
White Building (Kavich Neang, Cambodia/France/China/Qatar, 2021): 3/5
A film about gentrification that tragically represents the way in which circumstance traps individuals. In this case, there is a case of desperation amongst the young; a sense of their inability to chase their dreams in the confines of the circumstances they are in. Deeply resonant with Rotterdam and represents the plight of having basic needs being heavy on the wallet due to gentrification and inequality. It's nice, but the pacing and tone are unfortunately all over the place.
Leonor Will Never Die (Martika Ramirez Escobar, Philippines, 2022): 3.5/5
This was definitely the most fun film. It is a heart-warming comedy/drama that really highlights the beauty and power of film. It portrays the power of family, yes, but also the power of telling a story as it follows a retired screenwriter who can bring to life her writing. It pays homage to action films of the 80's in an incredibly funny way. It's just a feel-good film.
Censor (Prano Bailey-Bond, United Kingdom, 2021): 2.5/5
I feel like this film was going for a Giallo film-inspired campy feel but it just ends up tonally failing. The story and concept are interesting, but the narrative and characters are not. It ends up feeling more funny than campy, and the funny parts are due to absurd situations that do not make narrative sense rather than from the gory situations.
Neptune Frost (Anisia Uzeyman & Saul Williams, United States/Rwanda/France/Canada, 2021): 2.5/5
A style over substance film that has some great directing and music but has very confused messaging and in a way presents the idea of technology being the great equaliser in a naïve fashion (it is a topic that requires more subtlety). The set design and cinematography was also notably incredible, but character writing, plot and pace were just not working here. There are super interesting themes of colonialism, but unfortunately the film feels more like a concept than a complete project.
White Building (Kavich Neang, Cambodia/France/China/Qatar, 2021): 3/5
A film about gentrification that tragically represents the way in which circumstance traps individuals. In this case, there is a case of desperation amongst the young; a sense of their inability to chase their dreams in the confines of the circumstances they are in. Deeply resonant with Rotterdam and represents the plight of having basic needs being heavy on the wallet due to gentrification and inequality. It's nice, but the pacing and tone are unfortunately all over the place.
Leonor Will Never Die (Martika Ramirez Escobar, Philippines, 2022): 3.5/5
This was definitely the most fun film. It is a heart-warming comedy/drama that really highlights the beauty and power of film. It portrays the power of family, yes, but also the power of telling a story as it follows a retired screenwriter who can bring to life her writing. It pays homage to action films of the 80's in an incredibly funny way. It's just a feel-good film.
Censor (Prano Bailey-Bond, United Kingdom, 2021): 2.5/5
I feel like this film was going for a Giallo film-inspired campy feel but it just ends up tonally failing. The story and concept are interesting, but the narrative and characters are not. It ends up feeling more funny than campy, and the funny parts are due to absurd situations that do not make narrative sense rather than from the gory situations.