They sing both beautifully and crookedly: “Tell me again, I love you,” the three women sing in the German feature film “When are you coming to kiss my wounds.” And the audience at the Munich Film Festival loved her, they drew the tragi-comic film by Hanna Doose with that of the Süddeutsche Zeitung and Bayern 2 audience award.
The film festival also came to an end on Saturday evening with the award ceremony: 50,000 spectators were counted on ten festival days in the festival cinemas and special locations (including the open-air cinema “Kino, Mond und Sterne”). 10,000 guests attended the public talks in the America House, the panels, parties and receptions. “I’m very happy that the films, the new formats and locations have been so well received,” says Diana Iljine, director of the film festival. However, the numbers are difficult to interpret: Before the pandemic, in the summer of 2019, around 70,000 people came to the festival cinemas. The film festival was canceled two years ago, in 2021 there was only a “festival light” with fewer performances, mostly in the open air and 25,500 spectators. This year more was possible again, the number of viewers has almost doubled. This is also why Iljine draws a positive conclusion: “We very much hope that the cinemas can take this momentum into summer and autumn.”
Best International Film: The South Korean drama “Broker” by star director Hirokazu Kore-eda received the Arri Award.
(Photo: Munich Film Festival)
Not all of the 120 films shown are regularly shown in cinemas, many of them are festival films. The audience award winner “When are you coming to kiss my wounds” already has a film distribution, it is expected to start in January 2023. The culture clash comedy “Not quite kosher – A divine comedy” (awarded the One Future Prize) is also coming to the cinema, as is “Räuber Hotzenplotz”, which won the Children’s Film Audience Prize. The South Korean drama “Broker” by star director Hirokazu Kore-eda won the Arri Award for best international film on Saturday evening, while the Cinevision Award went to Charlotte Wells for her father-daughter drama “Aftersun”. The Cinekindl Award for the best children’s film (“Comedy Queen” from Sweden) and the Cinerebels Award (“Cook F**k Kill” from the Czech Republic) were presented for the first time. The documentary “Elfriede Jelinek – Letting the language off the leash” received the Fipresci Critics’ Prize.
The New German Cinema sponsorship prizes were already awarded on Friday evening in the HFF: Sophie Linnenbaum’s original satire “The Ordinaries” was honored with two awards, for the best production and direction. Florian Plumeyer and Katharina Woll received the script prize for “Everyone wants to be loved”, the acting prize went to Lena Schmidtke, who plays a woman searching for herself in “Rage on Cuba”.