The winners of the Can-Senf contest led by a conspirator

Italian Valerio Ferrara was named the 25th title winner^y La Cinef’s edition of his warm style with an unlucky barber believes in conspiracy theories in “A Conspiracy Man” (“Il Barbiere Complottista”). He laughs at his family, no one takes him seriously. Until he gets arrested by the police.

“Personally, I have a special affection for cinema in this country,” Canadian actress Monia Shoukry said, praising the director’s sense of humor. The film hails from Centro Sperimentale di Cinematografia.

“Comedy, as a literary genre, is underestimated at festivals. However, by making comedy myself, I know it’s the hardest. It’s an evil kind: you either laugh or you don’t laugh. We all laughed spontaneously,” she added. .

“You’re crazy! All of you!” the director shouted at the awards ceremony Thursday night.

“Comedy has always been seen as something not so serious. But the first thing I said to my team, all of whom are here, is that it really is. In Italy, we have a long tradition of serious comedies. It’s an honor to win, to win a comedy film. “.

The short film and the La Cinef jury – chaired by Egyptian director Yousry Nasrallah, in which Shukry is participating, won three other awards.

“I’m so mad because there were no porn movies [in the selection]Nasrallah said, ushering in a lukewarm celebration.

Li Jihae Somewhere (“Di Er” from Hebei University’s College of Film and Television of China) took home the second trophy of the evening.

“We want to honor a filmmaker who believes in viewers, cinema, the scene and the characters he portrays,” the jury said, while the happy director promised the audience to “learn the English language” after his victory.

The third prize went to two films: “Humans are stupid when cramped together” (“Les Humains sont cons quand ils s’empilent”) by Laurène Fernandez (La CinéFabrique) and Masha Novikova “Glorious Revolution”.

In her brilliant stop-motion animation, the jury said Fernandez deals with the neighborhood’s many struggles with “mischief” and “amusing cruelty.”

The director noted, “I’m so proud to be a mischievous,” and thanked its cast and heroes.

Novikova’s “Glorious Revolution” dates back to the Ukrainian revolution of 2014. A mother loses her son who was killed during protests, but her attempt to bury him as a hero soon collides with a corrupt bureaucracy.

Jean-Claude Raspengias said the jury admitted that she “greatly admired the film and with this mother, she revolted against injustice and the ruling authorities.”

“You killed me,” replied the Ukrainian director, falling to the ground as he struggled to find the words.

The film, which was developed at the London Film School, was not the only one from the UK, where Mai Vu combined family issues and traditional Vietnamese cooking into a “Spring Roll Dream” (NFTS).

This year, La Cinef selected 13 live films and three animated shorts from among 1,528 titles submitted by film schools from around the world. Four of them represent the participating schools for the first time. As the organizers noted, “The shorts, made by six men and ten women from four continents, reflect the diversity of filmmaking education in the world.”

said Dimitra Kariya, Technical Director of La Cinef Selection diverse She was “delighted” with a large number of female directors this year.

NYU is like Pepi Ginsberg’s “The Pass,” establishing a sense of menace as an innocent-looking summer encounter in a beautiful setting spoils, leaving the protagonist, Ben, afraid to get out of the water. A stranger is waiting for him and says he “loves to watch”.

In the funny and heartbreaking “That’s Amore” (100% Flået Kærlighed) in Denmark, director Malthe Saver sets out to explore the couple’s worst nightmare: What if one day, or even during a romantic vacation, you suddenly fell out of love? The film, coming from Den Danske Filmskole, is inspired by the claim that love is made up of 20% feelings and 80% willpower.

Bianka Szelestey’s “Craze” (“Hajszálrepedés”) – Department of Film Studies at Eötvös Loránd University – also deals with a dark side of the relationship, in which a woman discovers that her partner wants to break up with her – right before dinner.

Olga Kłyszewicz brought her cartoon We’re Not There Tomorrow (“Jutro nas tam nie ma”) to Cannes. The film was shot at the Polish National Film School in ód. In “Kinship” by Oren Kaddouri (Sheherut, The Steve Tisch School of Film & Tel Aviv Tel Aviv), a young girl explores new frontiers in a relationship with her widowed father. Li Yingtong employs a reclusive teenager who works in a convenience store in “The Silent Whistle” (“Feng Zheng,” Emerson College).

In Mum Life, Australian director Robbie Challenger (AFTRS) decided to focus on early motherhood. Family issues are also explored in Alica Bednáriková’s film “Liquid Bread” (“Chlieb náš každodenný,” from TF VŠMU-Film and Television Faculty), in which a family of three meet under one roof, but an unexpected visit disrupts their peaceful routine.

In “Mistida,” Falcao Nhaga (ESTC) focuses on an immigrant mother, with back pain, who calls on her son to help carry groceries. Also shown were “Tout ceci vous reviendra” by Lilian Fanara (La Fémis), as well as “Nahua” by Pratham Khurana from Whistling Woods International.

The Cannes Film Festival allocates a grant of €15,000 (US$16,050) for the first prize, €11,250 (US$12,038) for the second prize and €7,500 (US$8,025) for the third prize.