BISFF2025｜国际竞赛奖项International Competition Award
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国际竞赛·评审团奖项
International Competition - Jury Awards
BEST FILM 最佳影片
河流之境
Sofie Blom
索菲·布洛姆
2025｜0:12:22｜Netherlands｜English｜World Premiere
With a gently unfolding poetic narration that weaves together intergenerational legends of the Merwede River, the film mobilizes archival footage across multiple registers. The sensory qualities embedded in its materiality—together with the intimate viewpoints and emotional memories carried by family footage—at moments grow estranged and distant, as they are refracted through the filmmaker’s dual perspective as both author and viewer. In this shifting dynamic, the archival images become raw material for speculation and conceptualization. Through a lyrical, essayistic voice and an anthropological sensitivity to the materials at hand, the filmmaker explores her evolving relationship to the archives she gathers and reanimates, seeking a narrative mode—and a calibrated distance—capable of sustaining the stories she hopes to set back in motion. - TANG Hongfeng
伴随娓娓叙说的诗意旁白所编织起的梅尔韦德河域代代相传的传说，影片对档案影像的运用呈现出多重面向，物质性所承载的感官经验与家庭档案常常所挟带的亲密的视角与情感回忆，倏尔又在作者自身同时作为观看者的视点中变得陌异且疏离，成为思辨与构想的质料。作者以抒情散文式的叙说语调与切入议题的人类学视角探索了自身与所获取、调用的档案素材的关系，并为其意图重新激活的叙事寻找到熨帖的叙述方式与距离。- 唐宏峰
正しいの反対は左｜正确的反面是左
Yongha James Hwang
黄勇夏
2025｜0:11:02｜Japan｜Korean, Japanese｜International Premiere
The film carries a classically experimental spirit: intimate, ecological in scale, direct in its approach, yet constantly pushing the edges of the visible—stretching time, bending form. Its attention is directed toward the open, understood as a terrain where encounters with the unusual, the dreamlike, and the non-anthropocentric take shape. A film as experience, rather than representation. - Giuseppe Boccassini
影片承载着一种经典的实验精神：亲密而生态的尺度，直接的方式，却不断拓展可见的边界——延展时间，扭曲形态。其关注点指向开放的领域，在此被理解为非同寻常、梦境与非人类中心主义相遇的疆域。这是一部体验而非再现的电影。 - 朱塞佩·博卡西尼
Desde la montaña vemos la montaña｜山中望山
Julián García Long
胡利安·加西亚·朗
2025｜0:31:43｜Belgium｜Spanish｜Asian Premiere
From the Mountain We See the Mountain is an elegy for the Patagonian Andes and the Indigenous communities that dwell in relation to it. Through imagery that is both quiet and abundant, the film conjures the region’s grasses, forests, and drifting clouds, together with the human activities that move within this landscape. It brings together cinematic composition, the sensibilities of ethnographic documentary, and the narrative tension introduced by the unresolved mystery of a forest fire, ultimately forming a captivating visual poem. - TANG Hongfeng
《山中望山》是巴塔哥尼亚安第斯山脉和与之共存的原住民的一首挽歌。影片用沉静而又丰厚的画面展现出草木山林与云气，和人在其中的活动。影片使用了电影化的镜头语言，也包括民族志纪录电影的风格，还有火灾谜团带来的叙事要素，这些共同成就了一首迷人的视觉之诗。- 唐宏峰
恋爱中的卡夫卡
Zane Oborenko
扎内·奥博连科
2024｜0:10:11｜Latvia, Czech｜German｜Chinese Mainland Premiere
Words flow into one another. / Unattainable image fades away. / It will never be like this, / It cannot possibly be any other way. - Sergei Loznitsa
语词渐次流转。 / 不可及的影像倏尔消却。/ 它永远不会如你所期， / 也必然只能如其所是。 - 谢尔盖·洛兹尼察
La vie avec un idiot｜与愚者同居
Theodore Ushev
西奥多·乌舍夫
2025｜0:18:00｜France｜French｜Chinese Mainland Premiere
In a clouded mind, / Absurd yet logical, / Lives an enlightened image / Within an ultimate madness. - Sergei Loznitsa
在迷蒙的心境之中，/ 荒诞却合乎逻辑，/ 澄明的影像存在于 / 极致的疯狂里。 - 谢尔盖·洛兹尼察
JURY SPECIAL MENTION 评审特别提及
行动序列
Chanasorn Chaikitiporn
查那松·猜吉提蓬
2024｜0:37:00｜Thailand｜Thai｜Chinese Mainland Premiere
The film brings together a visual experience and an in-formative one. It conveys knowledge while opening itself as a perceptual landscape in which movement remains possible—never confined to the mere processing of information or literacy through the precious archive we are asked to engage with. It is both analytical and affective. A gesture of cinema, and toward film in its most genuine sense. - Giuseppe Boccassini
将视觉体验与认知启迪融为一体，影片在传递知识的同时，更将其自身展开为一片感知之境，其中运动始终可能——绝不局限于对珍贵档案的单纯信息处理或文字解读。它既具分析性又富情感性。这既是电影的姿态，亦是对电影最本真意义的致敬。 - 朱塞佩·博卡西尼
国际竞赛单元·组委会奖项
International Competition - Committee Awards
Outstanding Art Exploration Award 杰出艺术探索
余白
Clara Becking
克拉拉·贝金
2025｜0:23:00｜Germany｜No Dialogue｜World Premiere
Margins invites the viewer into a drifting field of meaning, asking for a more open way of seeing, experiencing, and listening. It is an attempt to make distance perceptible in order to bridge what lies in-between, an off-kilter counterpoint that keeps shifting. Its sound–image relations function not merely to create a sense of estrangement but to open a passage into deeper currents of lived experience, reaching toward moods that slip beyond the grasp of language. - BISFF Committee
《余白》在语义的漂流中邀请观者以更开放的姿态去观看、体验、倾听，这是一次通过呈现“距离”以弥合“间隙”的尝试，一次“蹊跷”且指向流动的对位法，声画关系的设计在影片中不单是一种营造疏离氛围的技法，更是一条连通更深层次的生命经验的管道，以抵达语词难以触及之心境。- 北京国际短片联展组委会
