Bravo!
Awards, speeches and thank-you's are on the program today, with not just one, but two awards ceremonies. First, at 3pm, at Warehouse C, there will be awards granted by the hard-working film experts from the following organizations: Fipresci (perfecting the art of film criticism across borders), Europa Cinemas (promoting open-minded film distribution), The Greek Film Critics Association (reflecting the opinions of the only group of people in Greece who do not see the sun) and Greek Union of Film and Television Technicians (reminding the rest of us that the devil is in the details.) That is when the Dewar's-sponsored Public's Choice award will also be unveiled. Then, at 7.30pm, at the Olympion Theatre, the moment of truth arrives, with the Festival's closing ceremony. At the no-nonsense event, Festival Director Michel Demopoulos will present each of the members of the Festival's International Film Jury, who will grant the lucky winners awards. Among the awards to be distributed among the festival's 14 International Competition entries are: the Golden Alexander and Silver Alexander prizes, as well as awards for Best Director, Screenwriting, Best Actor (a prize each for female and male protagonists), and Artistic Accomplishment.

Sher ("poetry").
The poetry of female poet Fourough Farokhsad heavily influenced the creation of Abbas Kiarostami's new "The Wind Will Carry Us". "If you have a perspective in life," Kiarostami explained, "it will be reflected in your films." When asked the perennial question about the director's freedom of expression within Iran, Kiarostami noted that because he was not interested in communicating with sex, violence and pornography, he did not miss any of these "forbidden" elements. However, at the same time, there have been promises of less censorship in other areas which have not yet become realised. With regards to the setting of his latest film, Kiarostami found the location in a remote area of Kurdestan. It was difficult to get people from the village to appear in the film, noted the director, whose film only ended up including one young boy from the village in its cast. The rest of the village, according to the director, viewed the film crew as "lazy people… who asked for directions." Kiarostami noted that it was a distinct pleasure to see his film screening filled with people, in comparison to the lower turnouts in 1992, when his work first arrived in the festival, as a relatively unknown element.

Chestitam ("congratulations")!
Hellenic Radio Television's (ERT) presence at the Thessaloniki Film Festival has been felt over 35 years (since ERT's inception). ERT's Yiannis Exarhos noted that the station will continue to be an active member in the attempt to carry Greek audio-visual expression into the realm of new technology. Another state organization that has close ties to the festival, The Hellenic Tourism Organization (EOT) underlined the importance of the city's relationship with the Festival, in yesterday's joint press conference. Toyota Hellas, Tsantalis and Bacardi Hellas spoke for private support of Thessaloniki's important cultural event, something Festival visitors may have felt in chances to win a free car, oodles of free wine, and an opportunity to voice their opinion about their favourite film.

Tres Froide ("very cold").
Yesterday "Romance" director Catherine Breillat explained that people (including distributors) usually expected over-heated passion in her film, and were surprised to discover the film's more frosty look at love. The director explained that she did not put a moral or aesthetic cap on her vision, but instead was concerned with accurately "expressing the times," something that the film's warm reception around the world indicates she managed to do. Breillat reminded the press that her film had a very important Greek connection, with the director of photography (Giorgos Arvantis), and several additional members of the crew being from this country.

Pedia ("kids").
The popular show-biz statement "never work with kids or animals" could not be further from the truth, as far as Greek directors Dimitris Stavrakas and Nikos Grammatikos are concerned. Both of them drew on the frequently-untapped potential of young people in order to make their latest films. The young star of Stavrakas' "The Canary Bicycle" spoke like a pro about the film, noting that the project was "his first picture," and something completely different from his experiences in commercials. As to why audiences should see the film, that will be out in Greek theatres (via distribution company Prooptiki) this year, the child noted: "It's got a nice message." Nikos Grammatikos, who showed his documentary at the Thessaloniki's new Documentary Festival back in the spring, indicated that since then the film (which is a humorous and tender film about a young blind man named Manolis and his friends) has travelled throughout the world. His major voyage with the film, for which he spent a lot of time blindfolded, was "venturing into the territory where images are silent." This risk paid off, as he captured the stories of the children featured in his film, and their effort to overcome the obstacles of a world centered on images.

Die Nacht ("night").
Bulgaria's Ivan Nichev told the press yesterday that "never have I felt so uncomfortable with the situation in my country's film production, as I do today. " He pointed out, that whereas ten years ago, 25 films for the cinema and 20 for television were produced each year, today, only two films a year are being made. Additionally, he noted that today, "it is madness to make a film that is not a co-production."

Amore ("love," what else).
The 40th Thessaloniki International Film Festival will end with gentle murmer of Portuguese, as Paulo Rocha's "The Island of Love" is the last film of the Festival.

Hasta la vista ("bye bye").
Everyone is looking forward to seeing the articles, the next films and special guests from around the world at the 41st Thessaloniki International Film Festival. It'll be here sooner than you think.

Quote/unquote:
"I'm not looking for some kind of new road. When I start a film, I don't think about what path it's going to end up taking. I allow the story to unfold by itself." A few words by Rosselini-influenced director Abbas Kiorastami.

Angelike Contis
First shot, #64, 21/11/1999