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LUX Prize 2011 Final Three: Attenberg, Play and The Snows of Kilimanjaro

Posted by Eric Lavallee on Jul 26, 2011
Source: Lux Prize

Once they were ten. Now they are three. Athina Rachel Tsangari’s Attenberg, Robert Guédiguian’s The Snows of Kilimanjaro and Ruben Östlund’s Play have gone thru into the final round of the European Parliament LUX Prize.

Among the three chosen finalists we have a film about a women discovering her sexuality in an economically starved Greek town and more recently from Cannes, we have the perfectly executed crimes committed and "acted" by pre-teens in an otherwise very tolerant Swedish town. Two stunning features in my books that are indeed perfect examples of how cinema can examine social issues without suffocating itself with taking some by-the-books moral stance. I've yet to see Guédiguian’s The Snows of Kilimanjaro, but it to was presented at this year's Cannes Film Fest.

The award will be given out in mid-November, so you can check back with us - as we'll be curious to see who does claim the prize which will only allow for the given film to receive further exposure in other European nations subtitling financing into the 23 official languages of the European Union (EU).

Worth Noting: Previous winners include: Feo Aladag’s When We Leave (2010), Philippe Lioret's Welcome (2009), Dardenne's Lorna's silence (2008) and Fatih Akin's The Edge of Heaven.

Do We Care?: We feel invested in this award race, having admired and interviewed both Athina Rachel Tsangari’s (for Attenberg) and Ruben Östlund (for Play).



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Review: The Kid With a Bike

Review: The Kid With a Bike

"Despite the one-dimensionality of its anti-patriarchal theme (appeasing the knee-jerk expectations of European film fest audiences), the Dardennes avoid cheapening the story with ideological smugness, achieving an emotional resonance without easy sentimentality."


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Review: Wrong

"Encoded in the outlandish humor that pervades the film are bits of commentary on everyday life. The most overt is Dupieux's urging to appreciate the relationships around you, which is manifested in the dog kidnapping, but also in a subplot in which a woman from the pizzeria moves between men without even realizing they have changed. Another cultural critique is found in the rainy office, an instantly recognizable visual metaphor for how dreary a 9 to 5 job can be."


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