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

Still Life Primavera, Still Life Primavera

Pierre Creton

France, 2025, Color, 24’

World Premiere

Communication with the dead, apparitions/disappearances, and other supernatural events: since L’Heure du Berger (2007) through to House of Love (2021), Pierre Creton has continually turned the interior of his home into a fantastical device. In Still Life Primavera, this device is reduced to a single closed window looking out onto the garden. It is 21 March, the spring equinox, in Vattetot-sur-Mer. While nature awakens outside, Gaza is dying under the bombs. How can one be present here without forgetting what is happening over there? To hold together the here and the elsewhere, the filmmaker has assumed the role of officiant in a solitary ritual: each hour, for 24 hours, he records a one-minute shot, the camera fixed before the window. During the 12 hours of night, at the beginning and end of the film, the window becomes a dark mirror reflecting the flame of a lit candle: a solitary vigil for the people of Gaza. During the 12 hours of daylight, a dog, a donkey, a cat, a blackbird—animals appear and disappear in all innocence in a garden that could be mistaken for paradise. But at the back of the garden, an upright column echoes the candle: the vigil continues. The window becomes an altarpiece that, far beyond the garden, opens onto the distant disaster. When night returns and images of the catastrophe appear on a laptop screen placed before the window, a hand presses its black silhouette against it. We had seen it earlier, holding between two fingers a white primrose, caught between the window and the camera.

Cyril Neyrat

Interview

Pierre Creton

Still Life Primavera is part of the long line of your films made in your house in Vattetot-sur-Mer. It stands out through the choice of a single frame, with 24 variations unfolding over 24 minutes. What was the origin of this film? What led you to this form, this protocol?

On 27 February 2024, like many other filmmakers and artists, I received a message from Narimane Mari inviting me to make a cinematic gesture rooted in Palestine—something that would bear witness to what is blotted out on the screens of History, when thousands of lives are targeted by Israeli airstrikes, forbidden from living on their land. But how, from so far away, can we share in the fear of death? How can one resist the world’s greatest misfortunes from one’s own garden? I contributed to Narimane’s series of filmic gestures, titled Some Strings, with a four-minute Ex-voto for Gaza. I wanted to extend that gesture into something 24 minutes long.
I imagined an action where I would move as little as possible. I filmed one minute per hour, for twenty-four hours (without sleeping), on the first day of spring, never once moving the camera from its position.

The setup centres mainly on a window looking out onto the garden. In daylight, different things occur on the far side of the glass: animals appear, light and colour shift with the changing atmosphere. But in darkness, the window becomes a mirror, reflecting things from inside the house. Can you comment on this double aspect of the window, and of the film?

The garden always more or less evokes paradise, with its tame nature and domestic animals; yet the radio and newspapers constantly remind us that hell is not far away.
While filming, I had a better idea of what might happen outside than inside (although the sea mist still surprised me). It’s an empirical film, an experimental film—made blindly. I hadn’t anticipated all the reflections on the window at night. I had never noticed, for instance, that reflections could layer upon one another, like natural superimpositions.

Still Life Primavera: a double title, a composite title, which you display split in two at the start of the film. It evokes many associations, but what stands out is a stark contrast between its two parts: Still Life/Primavera. Could you comment?

A silent nature of spring and of death.

Though the film never leaves the house, the violence of the world—that of Gaza—reaches it. It does so very indirectly: a computer screen in the night. We see little; we guess, we recognise. Why this mode of appearance?

It seemed to me that this very indirect approach—through reflection and through the night—gave the impression, the superimpression, that the violence came from our deepest, most anxiety-ridden night.

Why does that hand appear, placing itself on the screen, its silhouette outlined?

It was a spontaneous, unplanned gesture. I hadn’t thought of it. My hand was drawn to the image, as if magnetised. As if it could stop the war.

Still Life—silent life. In terms of sound, the film is dominated by a silence that seems to be one of solitude—including the sound of the washing machine—but also of contemplation. Yet the film opens and closes with music, the source of which you reveal in the credits: Eyeless in Gaza. How did you work with sound in the film? Is all the sound direct?

Amid the wonder of spring—which plants, animals and humans all enjoy—bombs fall in the distance and echo inside the head. No real silence, no rest!
The British band Eyeless in Gaza appeared in the 1980s, and I’ve never stopped listening to them. In the film, you hear them like fragments of a refrain—one from my own story, which crosses through History. Sound, music, silence and noise (those everyday sounds that escape us)—I worked on them on the same level as the image, at the same time, in the same immobile gesture of contemplation.

Interview by Cyril Neyrat

Technical sheet

  • Subtitles:
    -
  • Script:
    Pierre Creton
  • Photography:
    Pierre Creton
  • Editing:
    Pierre Creton
  • Sound:
    Pierre Creton
  • Production:
    Pierre Creton (MAISON LAMBERT)
  • Contact:
    Pierre Creton

Filmography

  • Pierre Creton

    • Paysage imposé, 2006, 51'
    • L’arc d’Iris, souvenir d’un jardin, 2006, 30'
    • Les vrilles de la vignes, 2007, 10'
    • Mètis, 2007, 32'
    • L’heure du Berger, 2008, 39'
    • Maniquerville, 2009, 84'
    • Papa, Maman, Perret et moi, un appartement pour témoin, 2009, 30'
    • Le paysage pour témoin, rencontre avec Georges-Arthur Goldschmidt, 2009, 43'
    • Aline Cézanne, 2010, 20'
    • Deng guo Yuan, in the garden, 2010, 24'
    • N’avons-nous pas toujours été bienveillants ? (recueil), 2010, 117'
    • Le grand cortège, 2011, 59'
    • Coté jardin, 2011, 4'
    • Le Marché, petit commerce documentaire, 2012, 31'
    • Sur la voie, 2013, 85'
    • Petit traité de la marche en plaine, 2014, 26'
    • Simon at the crack of dawn, 2016, 9'
    • Sur la voie critique, 2017, 150'
    • Va, Toto !, 2017, 92'
    • Introduction, 2018, 2'
    • Le bel été, 2019, 80'
    • Un dieu a la peau douce, 2019, 6'
    • L’avenir le dira, 2020, 26'
    • La cabane de dieu, 2020, 18'
    • House of love, 2021, 21'
    • Le Horla, 2022, 30'
    • Un prince, 2023, 80'
    • Sept promenades avec Mark Brown, 2024, 110'
    • Au bord du naufrage, 2024, 10'
    • Ex-voto expliqués aux enfants, 2024, 10'