War on Screen welcomes all languages of the moving image and every type of screen, be it television, Smartphone, computer, maintaining its role as both pioneer and “Big Brother”. Yet the cinema has long been considered a minor art and its value as a documenter of history little recognised until the 1960s and the Nouvelle Vague, when it was finally accepted as having its own message and view of history.
However, while cinema has maintained its position as a conveyor of history it has, since the 1990s, found its greatest competitor to be television. Non-stop news channels have cemented this supremacy, flooding our screens daily with an uninterrupted flow from every corner of the globe, bombarding us with its version of the truth. Yet this flood of news means that in fact the world has never been so badly informed, the sudden arrival of internet channels reinforcing this phenomenon.
The cinema is joining the resistance against the new media. The long and reflective rhythm of the cinema invites us, like a window on to the world, to better observe and understand our history, past, present and sometimes future, and often incredibly complex. Almost as a political act, the cinema records the memory of time and of mankind. The recent commemorations of the centenary of World War I and also the dramas of the present day constantly reactivate filmmaking, not all of equal quality, but rich and dedicated to giving a narrative to men and women and building another story, more unusual, free and artistic.
With its international competition, presenting 10 unreleased films, the WOS Festival strives each year to move its audience and present the opportunity to perceive and read differently the imagery, to better unravel the meaning of the world around us, and equally the world surrounding our ancestors. The 10 films selected this year document some major conflicts of the past (World Wars I and II, the Yugoslav conflict), of the present (Syria, Afghanistan, the refugee drama) and also explore, at times with humour, less well-known conflicts of the past (Mozambique and Lebanon).
Philippe Bachman & Hervé Bougon
A GOOD WIFE, Mirjiana Karanovic (2016) Serbia/Bosnia/Croatia
CEASEFIRE, Emmanuel Courcol (2016) – France
FOREIGN AFFAIRS, Pasha Rafiy (2016) - Luxembourg
FUOCOAMMARE, Gianfranco ROSI (2016) – Italy/France
THE TRAIN OF SALT AND SUGAR, Licinio de AZEVEDO (2016) – Portugal/Mozambique, France/South Africa/Brazil
LAND OF MINE, Martin ZANDVLIET (2016) – Germany/Denmark
DEATH IN SARAJEVO, Danis TANOVIC (2016) – France/Bosnia Herzegovina
THE LAND OF THE ENLIGHTENED, Peter-Jan De Pue (2016) – Belgium/Ireland
HEAVEN SENT, Wissam CHARAF (2016) – France/Lebanon
TRAMONTANE, Vatche Boulghourjian (2016) - Liban/France/Qatar/United Arab Emirates
- THE GRAND JURY PRIZE, AWARDED TO THE MOST MEANINGFUL MOTION PICTURE
- THE SPECIAL MENTION OF THE JURY, AWARDED FOR SOME OUTSTANDING FEATURE OF A PARTICULAR FILM
- THE BEST DIRECTOR AWARD
- THE STUDENT AWARD
The public will also have their chance to award their favourite film with the AUDIENCE PRIZE by voting at the end of the screening.