A press conference presenting the LUX Film Prize, awarded annually by the European Parliament, was held on Thursday, 6 November 2014, at Warehouse C in the context of the 55th Thessaloniki International Film Festival. The Festival is screening the three finalists for this year's LUX Prize: Ida by Pawel Pawlikowski (Poland), Class Enemy by Rok Bicek (Slovenia) and Girlhood by Celine Sciamma (France).
Present at the event were the head of the European Parliament press office in Greece, Leonidas Antonakopoulos; emeritus professor at Aristotle University of Thessaloniki and former European Parliament Member (MEP) Chrysoula Paliadeli; film critic Michel Demopoulos — who is also a member of the film industry professionals comprising the selection panel — and actress Karidja Toure, who stars in Girlhood.
George Krassakopoulos was the moderator of the event.
In his remarks, Mr Antonakopoulos thanked the Festival on behalf of the European Parliament for including once again the three finalists in its screening programme, adding: “The European Parliament’s effort to promote quality cinema is carried out thanks to the festival circuit, and Thessaloniki’s Festival is a notable example. Our goal is to promote films that showcase European culture and the tolerance that characterises European thought. Through the understanding cultivated by the multicultural nature of cinema, we also strive to support open public debate.” Mr Antonakopoulos then elaborated: “the fact that the three films will be subtitled into the 24 official EU languages is by definition an initiative that cultivates this dialogue and communication between countries.”
Chrysoula Paliadeli talked about the importance of the LUX prize in politics at the EU level. “After I got elected to the European Parliament I immediately realised that this Prize is part of an arsenal that uses culture to support a European idea, through an institution run by industry experts.” She then commented that the whole process “can activate MEPs who ordinarily do not follow developments in the arts or the cinema.” On the themes evoked by the films, she said: “The films discuss topics that reflect the general atmosphere and reality in Europe, which is not all that pleasant. One such example is Philippe Lioret’s film Welcome, which focuses on immigration and deals with difficult issues of identity and had won the LUX prize in 2009. I had taken what proved a very successful initiative to bring the film to Thessaloniki for the 50th edition of the Festival. After consulting with Mr Eipides, I suggested that the three finalists are included in the 2010 Festival in the screening programme.” Ms Paliadeli also stressed that the LUX prize initiative has a strong democratic character, as it gives audiences the opportunity to vote their favourite film at the LUX prize website.
Mr Demopoulos commented on the selection criteria: “I am almost a founding member of the small team of people who instituted the LUX prize seven years ago. This team has now expanded to include critics, distributors, directors and actors, who are replaced by other industry professionals after serving some time as members of the selection panel. At the start of each year, our list includes 50 - 60 films. We select 10 of them, based not only on ideological or thematic criteria, but also on their aesthetic qualities. During the second stage of the process, seven films are eliminated and three finalists remain. The three finalists touch on social problems, like racism, communication problems and immigration, since our goal is for them to become part of a wider European cultural heritage. One month before the prize is awarded, the three finalist films start travelling to festivals across Europe, promoting the institution,” said Mr Demopoulos.
Karidja Toure, who made her debut in Girlhood, commented on the experience of starring in a film: “It was a wonderful experience, being part of a film that deals with adolescence and friendship. I was insecure at first, but our director, Celine Sciamma, helped me build up my confidence.” Ms Toure noted about the casting process: “I landed the part in quite an unusual way, largely because in France there are not all that many black actors. In Girlhood, the executive producer found the protagonists among ordinary people on the street. She approached us and then the final selection was made after some rehearsals.
