Visions du Réel Crowns ‘The Prince of Nanawa' as Grand Prix Winner, ‘The Vanishing Point' Claims Burning Lights Award
Clarisa Navas' 'The Prince of Nanawa' claimed Swiss doc fest Visions du Réel's top prize, while Iranian filmmaker Bani Koshnoudi's 'The Vanishing Point' took the top Burning Lights honor.
Clarisa Navas' 'The Prince of Nanawa' has taken home the Grand Prix at international Swiss doc fest Visions du Réel, while Bani Koshnoudi's 'The Vanishing Point' earned the top award in the Burning Lights section.
More from Variety
Raoul Peck on His Cannes-Bound George Orwell Documentary and the Threat of Dictatorship: 'Terror Comes Slowly'
'The Golden Swan' Director on Bringing to Screen Her Brother's 'Journey From Hate to Reconciliation' Before Murder by Terrorists
Rosie O'Donnell's Doc 'Unleashing Hope: The Power of Service Dogs for Children With Autism' Sets April Debut on Hulu (EXCLUSIVE)
Argentina's Navas, best known for her 2020 San Sebastián-winning film 'One in a Thousand,' spent a decade filming 'The Prince of Nanawa.' The documentary follows the story of Ángel, a charismatic boy with fierce love for his Guarani roots and a vision for his Paraguayan hometown of Nanawa. With a camera in hand, Ángel helps craft his own story.
The jury, comprising Japanese film festival director Hama Haruka, U.S. filmmaker Eliza Hittman ('Never Rarely Sometimes Always,' 'Beach Rats') and Greek director Athiná-Rachél Tsangári ('Attenberg,' 'Chevalier,' 'Harvest'), praised the film as 'a work that straddles autofiction, fiction and non-fiction with confidence and humility… The camera becomes a communal, familial instrument that passionately records the microcosm of youth as it negotiates borders and boundaries. The filmmaker's gaze is hospitable and tender – without ever sentimentalizing or othering their subject.'
The Grand Prix comes with a 20,000 CHF ($24,000) cash prize.
The Special Jury Award in the same section went to 'To Use a Mountain' by Casey Carter, which investigates the six rural U.S. sites once considered for nuclear waste disposal. Marie Voignier's 'Anamocot,' which chronicles a French scientist's lifelong search for the mythical Mokélé-Mbembé, received a Special Mention.
Koshnoudi, an exiled filmmaker and visual artist whose work has been shown in exhibitions around the world, picked up the festival's second most prestigious award for 'The Vanishing Point,' which breaks her family's decades-long silence about a disappeared cousin executed during the 1988 purges in Iran.
In their citation, the jury, made up of U.S. filmmaker Scott Cummings ('Realm of Satan,' 'Never Rarely Sometimes Always'), French producer Thomas Hakim ('All We Imagine as Light'), and Georgian-Swiss director Elene Naveriani ('Blackbird, Blackbird, Blackberry') called it 'a bold and radical exploration of shared pain and collective resistance,' commending how the filmmaker 'opens her family history to unlock a kaleidoscope of materials, both personal and political, past and present, that culminates in a manifesto of resistance against the regime.'
The award comes with a 10,000 CHF ($12,000) cash prize.
David Bim's 'To the West, in Zapata' had a strong showing, picking both the Burning Lights Special Jury Prize and the International Critics' Prize – Prix FIPRESCI.
A Special Mention also went to 'Fierté nationale: de Jéricho vers Gaza' by Sven Augustijnen, which follows a Palestinian diplomat's journey from the occupied West Bank to Gaza's border.
In the National Competition, 'The Multiple Lives of Andres' ('Les Vies d'Andrès') by Switzerland's Baptiste Janon and Belgium's Rémi Pons claimed the top prize. Inspired by a novel about an early 20th century cart driver, the film depicts his contemporary twin, a truck driver navigating a contemporary Europe obsessed with profit. The prize comes with 15,000 CHF ($18,000).
Laura Coppens' 'Sediments' picked up the runner-up Special Jury Award, and 'Toute ma vie' by Matias Carlier received a Special Mention.
The audience award went to Sundance Grand Jury Prize winner 'Cutting Through Rocks' by Mohammadreza Eyni and Sara Khaki.
Visions du Réel's artistic director Émilie Bujès praised the 2025 selection as 'a true bulwark against the standardization of both cinema and ideas.'
'The 154 films presented at the 2025 festival offer a myriad of prisms through which to explore contemporary documentary cinema and to discover bold, personal, and singular cinematic voices. I'm delighted to see that this year's awards reflect this ambition, notably including films created over extended periods of time. This confirms our deep commitment to offering powerful and original cinematic experiences,' she said.
All winning films had their world premieres at Visions du Réel.
The festival runs until Sunday evening, with its curated online selection available until 20 April.
Find all the awards for Visions du Réel 2025 here:
International Feature Film CompetitionGrand Jury Prize'The Prince of Nanawa' by Clarisa Navas
Special Jury Award'To Use a Mountain' by Casey Carter
Special Mention'Anamocot' by Marie Voignier
Burning Lights Competition'The Vanishing Point' by Bani Khoshnoudi
Special Jury Award'To the West in Zapata' by David Bim
Special Mention'Fierté nationale: de Jéricho vers Gaza' by Sven Augustijnen
National Competition'Les Vies d'Andrès' by Baptiste Janon and Rémi Pons
Special Jury Award in the National Competition'Sediments' by Laura Coppens
Special Mention'Toute ma vie' by Matias Carlier
International Medium Length and Short Film CompetitionJury Prize for the Best Medium Length Film'Les Voyageurs' by David Bingong
Jury Prize for the Best Short Film'Another Other' by Bex Oluwatoyin Thompson
Special Youth Jury Award for a Medium Length Film'Objects Don't Randomly Fall From the Sky' by Maria Estela Paiso
Special Youth Jury Award for the Best Short Film'The Town That Drove Away' by Grzegorz Piekarski and Natalia Pietsch
Special Mention from the Jury of the International Medium and Short Film Competition'Khmerica' by Thibaut Amri, Antoine Guide and Lucas Sénécaut
Wide AngleAudience Award in the Wide Angle Competition'Cutting Through Rocks' by Mohammadreza Eyni and Sara Khaki
International Critics' Award – FIPRESCI AwardFirst feature film presented in the International Feature Film Competition or the Burning Lights Competition'To the West, in Zapata' by David Bim
Interreligious AwardFeature film of the International Competition that highlights questions of meaning and human solidarity'Nuit obscure – 'Ain't I a Child?'' by Sylvain George
Perception Change Project AwardPrize awarded to a film that sheds light on the current issues that will define the world of tomorrow'The Family Approach' by Daniel Abma
Zonta AwardThe ZONTA Creation Support Award rewards a female filmmaker whose film, selected in the Burning Lights or National Competition sections, reveals mastery and talent and calls for support for future creations.'And the Fish Fly Above Our Heads' by Dima El-Horr
Best of Variety
Emmy Predictions: Cristin Milioti, Jenny Slate and Paul Giamatti Make Big Moves in the Limited Races
Emmy Predictions: Supporting Actress (Limited/TV Movie) — Netflix Boasts Multiple Standouts With Erin Doherty, Emma Corrin, and Fatima Bojang
Emmy Predictions: Supporting Actor (Limited/TV Movie) — Will 'Adolescence' Young Breakout Star Owen Cooper Make History?
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Vogue
10 minutes ago
- Vogue
Bally Spring 2026 Menswear Collection
Bally has been linked to sports since the beginning of the Swiss brand, in 1851. Technical footwear has long played a role, too, including Bally's first tennis shoe in 1937, along with various shoes made for horse riding and golf, and the hiking boots used in the 1950s for the first ascent of Mount Everest. Today's Tennis collection for spring 2026 nodded to that history with a mixture of tradition and reinterpretation. Its starting point was the Competition sneaker, originally launched in 1983, now reissued to become more contemporary and sleek, as a celebration of a shoe worn by the Swiss 1992 French Open champions. This Tennis collection—designed by the internal creative team—was not conceived for playing, but instead as an homage to the aesthetics of the sport, which were also evoked through the clothes. The preppy proposals were presented in a white, red, and blue palette that explored late 1930s silhouettes with ample white pants, blue blazers, and spongy polos. The sweatshirts were more ironic, with tennis-related patches and vintage-inspired logos. Knitwear was an off-duty reinterpretation of braided twin-sets. An archival print of small tennis balls was widely used—also in a bright green accent—for short-sleeved shirts and lightweight scarves; the white and burgundy Bally ribbon was reprised, especially for accessories. Retro travel bags, themed canvas totes, and shoulder strap bags in perforated leather—the Bally signature Beckett model—were among the main accessories, together with more playful ones such as the cylindrical (and unconventional) clutch, the racket holder and a micro-tennis-ball-shaped keychain.


Elle
an hour ago
- Elle
Will There Be a ‘We Were Liars' Season 2?
Season 1 of We Were Liars, based on the E. Lockhart novel of the same name, just wrapped. The YA bestseller was adapted for screen by showrunners Julie Plec and Carina Adly MacKenzie into eight episodes, and the season finale seemed to be setting up more intrigue ahead. So, will there be a season 2? Here's what we know so far. Not yet. The second season just finished airing, and it may take a while for Prime Video to decide to renew. Plec and MacKenzie told The Wrap that they've had 'endless conversations' with the streamer on the topic. 'They are very supportive and just waiting on whatever data it is these algorithmic creators need to have before they write big check, so we're looking forward to the data working in our favor,' Plec said. 'We are, as usual, at the mercy of the robots,' MacKenzie added. While talking to Variety, MacKenzie said, 'The great thing about this show is that the first season has a satisfying, powerful ending. So I want people who generally don't tune in to the first season because they're afraid it's going to get canceled, to know that they're safe to watch this show, and if it doesn't get a second season, you've still got a whole story. But also, Emily wrote three books and we love this world. We love our cast. We'd love the opportunity that exists for more story, so we're hopeful that we'll get to come back and do more. But also, should this be a limited series, I think it's a beautiful story.' The show follows the teen members of the wealthy and elite Sinclair family, Cadence, Johnny, Mirren, and their friend Gat, across two summers. The first summer involves traumatic loss and the second summer sees Cadence dealing with the loss of her siblings and their ghosts' struggles to move on to the other side. Johnny ends the season still earthbound and seemingly tied to his mother, Carrie. That means a second season could center around their relationship and the older Sinclairs. In an interview with The Wrap, Julie Plec shared, 'The best gift that Emily Lockhart gave us as we were sitting down to write We Were Liars was she published Family of Liars, which was a prequel about the Sinclair sisters when they were teenagers. The book opens with Carrie telling the story of a very dark time and a very bad summer to her dead son.' 'We just wanted the audience to know that there's still more story to tell, and we're really looking forward to the opportunity to be able to do it,' she added. It's unclear if the released spirits would return, but season 1 starred Emily Alyn Lind, Esther McGregor, Joseph Zada, Shubham Maheshwari, and Mamie Gummer. This post will be updated.


San Francisco Chronicle
2 hours ago
- San Francisco Chronicle
‘Your client does not own this concept': Bay Area filmmaker fires back at plagiarism accusations
With the high-stakes release of the horror film 'Together' looming, lawyers representing Bay Area filmmaker and actor Dave Franco and his wife and co-star Alison Brie are hitting back against a copyright infringement lawsuit over their buzzy Sundance Film Festival favorite. According to a letter sent to lawyers representing the production company of 'Better Half,' a 2023 film written and directed by Patrick Henry Phelan, attorney Nicolas Jampol asserts that 'Together,' written and directed by Michael Shanks and starring Brie and Franco, is 'not remotely similar.' Both films are about a couple who hook up then become fused together, though 'Better Half' is a romantic comedy, and 'Together,' due for release on July 30, is a body horror film. 'Your client does not own this concept,' Jampol wrote in the May 21 letter, which was obtained by Variety. 'Neither do our clients. It is an unprotectable idea, one that predates all of our clients and has been explored in many films, television shows and other fictional works.' The suit, filed May 13 in U.S. District Court in Los Angeles, called 'Together' a 'blatant rip-off' of 'Better Half,' complete with a Spice Girls reference and a 'near verbatim' reference to Plato's 'Symposium.' In addition, the plaintiff, StudioFest, alleges that the casting director of 'Better Half' sent the script to Franco and Brie's agents at WME in August 2020 with an offer to star, but were turned down. But in the letter, Jampol noted that Shanks registered a completed draft with the Writers Guild of America in 2019. He also wrote that the reference to the Spice Girls song '2 Become 1' was not surprising, and that the coincidence is unprotectable. In a response to Jampol's letter on Monday, June 9, plaintiffs' attorney Daniel Miller, said that defense 'borders on the ridiculous.' Aside from Franco and Brie, who is also a producer on the project, defendants listed in the suit include Shanks, William Morris Endeavor Entertainment — which represents Franco and Brie — and Neon, the distributor which acquired 'Together' for $17 million out of Sundance. Franco, 39, is the brother of actor James Franco and is an alum of Palo Alto High School. He married Brie, 42, in 2017, and they have co-starred in four movies.