International Competition Award: FUCK THE POLIS by Rita Azevedo Gomes

Georges de Beauregard International Award: FRÍO METAL by Clemente Castor

Special mention of the International Competition Jury: COBRE by Nicolás Pereda

French Competition Award: BONNE JOURNÉE by Pauline Bastard

Georges de Beauregard National Award: HORS-CHAMP, LES OMBRES by Anna Dubosc, Gustavo de Mattos Jahn

Cnap (National Centre for Visual Arts) Award: DES MILLÉNAIRES D’ABSENCE by Philippe Rouy

Special mention of the Cnap (National Centre for Visual Arts) Jury: L’AMOUR SUR LE CHEMIN DES RONCETTES by Sophie Roger

First Film Award: FANTAISIE by Isabel Pagliai

Special mention of the First Film Competition Jury: LOS CRUCES by Julián Galay

Special mention of the First Film Competition Jury: SI NOUS HABITONS UN ÉCLAIR by Louise Chevillotte

Claudia Cardinale Foundation Award: FERNLICHT by Johanna Schorn Kalinsky

Cine+ Distribution support Award in partnership with GNCR: MORTE E VIDA MADALENA by Guto Parente

Flash Competition Award: گل‌های شب ِدریا by Maryam Tafakory

Special mention of the Flash Competition Jury: A PRELUDE by Wendelien van Oldenborgh

Special mention of the Flash Competition Jury: CONTROL ANATOMY by Mahmoud Alhaj

Special mention of the Flash Competition Jury: LENGUA MUERTA by José Jiménez

Alice Guy Award: ABORTION PARTY by Julia Mellen

Renaud Victor Award: BULAKNA by Leonor Noivo

Special mention of the Renaud Victor Jury: SI NOUS HABITONS UN ÉCLAIR by Louise Chevillotte

High School Award: NEXT LIFE by Tenzin Phuntsog

Special mention of the High School Jury: MIRACULOUS ACCIDENT by Assaf Gruber

The Second Chance School Award: NEXT LIFE by Tenzin Phuntsog

Special mention of the Second Chance School Jury: JACOB’S HOUSE by Lucas Kane

Audience Award: LA JUVENTUD ES UNA ISLA by Louise Ernandez

International Competition Award: FUCK THE POLIS by Rita Azevedo Gomes

Georges de Beauregard International Award: FRÍO METAL by Clemente Castor

Special mention of the International Competition Jury: COBRE by Nicolás Pereda

French Competition Award: BONNE JOURNÉE by Pauline Bastard

Georges de Beauregard National Award: HORS-CHAMP, LES OMBRES by Anna Dubosc, Gustavo de Mattos Jahn

Cnap (National Centre for Visual Arts) Award: DES MILLÉNAIRES D’ABSENCE by Philippe Rouy

Special mention of the Cnap (National Centre for Visual Arts) Jury: L’AMOUR SUR LE CHEMIN DES RONCETTES by Sophie Roger

First Film Award: FANTAISIE by Isabel Pagliai

Special mention of the First Film Competition Jury: LOS CRUCES by Julián Galay

Special mention of the First Film Competition Jury: SI NOUS HABITONS UN ÉCLAIR by Louise Chevillotte

Claudia Cardinale Foundation Award: FERNLICHT by Johanna Schorn Kalinsky

Cine+ Distribution support Award in partnership with GNCR: MORTE E VIDA MADALENA by Guto Parente

Flash Competition Award: گل‌های شب ِدریا by Maryam Tafakory

Special mention of the Flash Competition Jury: A PRELUDE by Wendelien van Oldenborgh

Special mention of the Flash Competition Jury: CONTROL ANATOMY by Mahmoud Alhaj

Special mention of the Flash Competition Jury: LENGUA MUERTA by José Jiménez

Alice Guy Award: ABORTION PARTY by Julia Mellen

Renaud Victor Award: BULAKNA by Leonor Noivo

Special mention of the Renaud Victor Jury: SI NOUS HABITONS UN ÉCLAIR by Louise Chevillotte

High School Award: NEXT LIFE by Tenzin Phuntsog

Special mention of the High School Jury: MIRACULOUS ACCIDENT by Assaf Gruber

The Second Chance School Award: NEXT LIFE by Tenzin Phuntsog

Special mention of the Second Chance School Jury: JACOB’S HOUSE by Lucas Kane

Audience Award: LA JUVENTUD ES UNA ISLA by Louise Ernandez

Moraine, Moraine

Camille Llobet

France, 2025, Color, 12’

World Premiere

Pacheû, Camille Llobet’s previous film (FIDMarseille 2023), made audible the melting of the permafrost in alpine glaciers, as well as description of off-screen landscapes by mountain guides sat in the snow. Moraine seemingly inverses all these parameters: a complete absence of dialogue in place of spoken descriptions, agile going-abouts instead of sitting down. Two guides explore a moraine, a “glacial deposit of unconsolidated debris”, where each step seems risky but where the two seemingly frolic with ease. The joy of movement, using the slope and the stone flows to move faster, the precarious but always regained balance: the mountain as a playground for the virtuosity of movement, were it not for the melting ice…

Nathan Letoré

Interview

Camille Llobet

For those unfamiliar with the term, what is a “moraine”, and how did the desire to make a film about it come about?

Formed from rock debris carried along by the movement of a glacier, moraines create ridges that become clearly visible as the glacier retreats. They are composed of heterogeneous sediments known as till: clays, silts, sands, pebbles, and boulders that can reach the size of a house. These sediments gradually cover Alpine glaciers, which are then referred to as “black glaciers”. After various scouting trips, I focused my project on the moraines of the Mer de Glace, which are particularly impressive, shifting, and noisy. Named at the end of the 17th century by a British explorer for its resemblance to “a lake whipped up by a strong wind and frozen solid in an instant”, the Mer de Glace is today a gaping hollow, marked by its vanished glacial mass, now replaced by a vast moraine amphitheatre. Geomorphologists are closely studying the traces and shifting behaviour of these black glaciers, whose surfaces are difficult to interpret and change rapidly.

Whereas Pacheû involved long periods of seated observation and description of mountain landscapes, Moraine is light-footed and agile, constantly in motion. How did you approach filming this, aiming to capture movement within the constraints of navigating and framing in the high mountains?

To me, Moraine takes the kinaesthetic experimentation begun in Pacheû a step further. Pacheû combined dialogue—field readings—with gestural experiments. Here, I wanted to focus on that kinaesthetic exploration: how can the cinematic image convey something that pertains to the sense of movement? To push the experimentation further, we refined the filming set-up by concentrating on one specific site: the moraines of the Mer de Glace. By bivouacking on location with a research team (performers, cinematographer, and sound engineer) I’ve worked with for several years, we were able to take the experimentation further—particularly complex in the high mountain environment.

Traversing steep slopes or narrow ridges, descending unstable ground every dayall this transforms the body, imprinting itself in muscles and joints. Where an inexperienced hiker struggles to find a path without falling or destabilising the ground underfoot, Sarah and Laurent play with the void, with verticality and the instability of the terrain, attuned to what their whole sensory field is telling them. How can one convey, through cinematic language, something that takes place more at the level of proprioception or kinaesthesia? In the tradition of studying movement through images, I develop precise choreographic and cinematic experimental set-ups. The bodies are engaged with the material within relatively small zones (a bit like the scale of a dance stage).

How did you approach the editing of image and sound?

As a video artist, sound is just as important to me as image. In the video research for Moraine, we began by capturing the sonic envelope of this gaping hole in the mountain –transformed into a true echo chamber. With my sound engineer, we made ambisonic recordings of the Mer de Glace, but also near another glacier: facing the steep drop of the Bionnassay glacier, where one hears a multitude of tiny collapse sounds and a range of resonances. Every gravel slide, rockfall, or breaking serac shatters and slips down slopes of varying lengths, plunges into crevasses of varying widths.

There’s a strange disjunction between the visual impression of this glacial leviathan, seemingly frozen for hundreds of years, and the sound, which reveals its constant motion, conjuring the image of a hidden, subterranean city in motion. These sounds exist on the surface and in the crevices of the Mer de Glace, but they’re often masked by the roaring of countless waterfalls. We also captured the different textures of meltwater flows in moulins and rustlings along the ice walls. The editing and then sound mixing were meticulous, delicate work—an attempt to share the materiality and complex sonic environment of this shifting world.

Interview by Jean-Paul Felley and Nathan Letoré

Technical sheet

  • Script:
    Camille Llobet
  • Photography:
    Antonin Claude
  • Editing:
    Camille Llobet
  • Sound:
    Camille Llobet, Corentin Vigot, Kerwin Rolland
  • Cast:
    Laurent Bibollet, Sarah Blanc
  • Production:
    Camille Llobet (visual artist)
  • Contact:
    Camille Llobet (visual artist)
  • Subtitles:
    -