The 2014 European Film Awards have been presented in Riga, European Capital of Culture 2014. The winners, in bold:
EUROPEAN FILM 2014
Ruben Östlund’s Force Majeure (Turist).
Andrei Zvyagintsev‘s Leviathan (Levifan).
Lars von Trier’s Nymphomaniac Director’s Cut: Volume I & II.
Nuri Bilge Ceylan‘s Winter Sleep (Kis uykusu).
EUROPEAN COMEDY 2014
Paco León’s Carmina & Amen (Carmina y Amén).
Roger Michell’s Le Week-End.
Pierfrancesco Diliberto’s The Mafia Only Kills in the Summer (La mafia uccide solo d’estate).
EUROPEAN DIRECTOR 2014
Nuri Bilge Ceylan for Winter Sleep (Kis uykusu).
Steven Knight for Locke.
Ruben Östlund for Force Majeure (Turist).
Paweł Pawlikowski for Ida.
Paolo Virzì for Human Capital (Il capitale umano).
Andrei Zvyagintsev for Leviathan (Leviafan).
EUROPEAN ACTOR 2014
Brendan Gleeson in Calvary.
Tom Hardy in Locke.
Alexey Serebryakov in Leviathan (Leviafan).
Stellan Skarsgård in Nymphomaniac Director’s Cut: Volume I & II.
Timothy Spall in Mr. Turner.
EUROPEAN ACTRESS 2014
Marian Alvarez in Wounded (La herida).
Valeria Bruni Tedeschi in Human Capital (Il capitale umano).
Marion Cotillard in Two Days, One Night (Deux jours, une nuit).
Charlotte Gainsbourg in Nymphomaniac Director’s Cut: Volume I & II.
Agata Kulesza in Ida.
Agata Trzebuchowska in Ida.
EUROPEAN SCREENWRITER 2014
Ebru Ceylan and Nuri Bilge Ceylan for Winter Sleep (Kis uykusu).
Jean-Pierre and Luc Dardenne for Two Days, One Night (Deux jours, une nuit).
Steven Knight for Locke.
Oleg Negin and Andrey Zvyagintsev for Leviathan (Leviafan).
Paweł Pawlikowski and Rebecca Lenkiewicz for Ida.
EUROPEAN DISCOVERY
Marie Amachoukeli, Claire Burger, Samuel Theis’s Party Girl.
Yann Demange’s ’71.
Fernando Franco’s Wounded.
Carlos Marques-Marcet’s 10.000 KM.
Myroslav Slaboshpytskiy’s The Tribe.
EUROPEAN DOCUMENTARY
Marc Bauder’s Master of the Universe.
Laurent Bécue-Renard’s Of Men and War.
Jon Bang Carlsen’s Just the Right Amount of Violence.
Teodora Ana Mihai’s Waiting for August.
Gianfranco Rosi’s Sacro GRA.
Hubert Sauper’s We Come as Friends.
EUROPEAN ANIMATED FEATURE FILM
Hélène Giraud and Thomas Szabo’s Minuscule – Valley of the Lost Ants.
Mathias Malzieu and Stéphane Berla’s Jack and the Cuckoo-Clock Heart.
Alessandro Rak’s The Art of Happiness.
EUROPEAN SHORT FILM
Gabriel Abrantes’s Taprobana.
Sebastian Buerkner’s The Chimera of M.
Eoin Duffy’s The Missing Scarf.
Guðmundur Arnar Guðmundsson’s Whale Valley.
Una Gunjak’s The Chicken.
Idan Hubel’s Daily Bread.
Mariam Khatchvani’s Dinola.
Morgan Knibbe’s Shipwreck.
Vincent Patar and Stéphane Aubier‘s A Town Called Panic: The Christmas Log.
Jorge López Navarrete’s Little Block of Cement with Disheveled Hair Containing the Sea.
Jan-Gerrit Seyler’s Still Got Lives.
Wojciech Sobczyk’s Summer 2014.
Simon Szabó’s Wall.
Hannes Vartiainen and Pekka Veikkolainen’s Emergency Calls.
Pavel Vesnakov’s Pride.
PEOPLE’S CHOICE AWARD
Jean-Pierre and Luc Dardenne’s Two Days, One Night.
Stephen Frears’s Philomena.
Christophe Gans’s Beauty and the Beast.
Felix Herngren’s The 100-Year-Old Man Who Climbed Out of the Window and Disappeared.
Paweł Pawlikowski’s Ida.
Lars von Trier’s Nymphomaniac.
Back in November, a special seven-member jury convened in Berlin and, based on the EFA Selection list, decided on the following awards recipients:
EUROPEAN CINEMATOGRAPHER – Prix CARLO DI PALMA 2014
Łukasz Żal & Ryszard Lenczewski for Ida.
EUROPEAN EDITOR 2014
Justine Wright for Locke.
EUROPEAN PRODUCTION DESIGNER 2014
Claus-Rudolf Amler for The Dark Valley (Das finstere Tal).
EUROPEAN COSTUME DESIGNER 2014
Natascha Curtius-Noss for The Dark Valley (Das finstere Tal).
EUROPEAN COMPOSER 2014
Mica Levi for Under the Skin.
EUROPEAN SOUND DESIGNER 2014
Joakim Sundström for Starred Up.
EUROPEAN CO-PRODUCTION AWARD – Prix EURIMAGES
Ed Guiney.
EUROPEAN ACHIEVEMENT IN WORLD CINEMA
Steve McQueen.
LIFETIME ACHIEVEMENT AWARD
Update, 12/26: Writing for Indiewire, Neil Young notes that “the purpose of the European Film Awards remains, for many, somewhat elusive. They remain of limited interest even for the more avid moviegoers in this educated, affluent, cinema-loving continent… The reactions to the glory-night for Ida pointed up one concrete purpose and function of the EFAs: their role in clarifying the picture for the Foreign Language Oscar race. In 2012, Amour won Best Film and three other gongs; in 2013, the same feat was pulled off by The Great Beauty; both landed the Academy Award the following February. The sweep for Ida came hot on the heels of its citation as best foreign film by both the New York and Los Angeles critics’ groups, positioning this somewhat austere, black-and-white 1960s-set road-movie as the ‘front runner’ in the ‘race.’ But what a shame if too much was made of the EFA-Oscar connection, if the European prizes became just another factor in the wall of ‘precursor’ noise.”
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