The aim of the Main Competition<\/strong> is to present films with unique visual appeal which will then be evaluated by International Jury who will choose and award the authors of the best cinematography.<\/p>\n Also this year we will present the most interesting phenomena of world’s cinematography, distinctive in terms of creative use of the image in film narration.<\/p>\n <\/p>\n \n AMUNDSEN<\/span><\/strong><\/span><\/p>\n \n Nowadays, almost everyone has heard Roald Amundsen\u2019s name at some point in their lives, even if many people would not be able to tell that he was the pioneering explorer who passed through the grizzly Northwest Passage and led the first expedition to the South Pole. The film does not focus on a precise recreation of the Norwegian\u2019s famous journeys into the unknown, but instead tries to explore who Amundsen was before and after, and also what made him push the limits of what seemed possible at the turn of the 20th century. We observe many events from his life that shaped his character and physicality, but also broke him psychologically and made him a somewhat bitter man to the very end of his life. We get to know Amundsen both through his bitter-sweet relationship with his brother Leon, who financed his subsequent expeditions, as well as his romantic dealings with Canadian citizen Bess Magids. We see what kind of man he was in private, and how he changed and reacted to the dangers awaiting on the high seas when given the command of a ship.<\/p>\n Director:<\/strong> Espen Sandberg \n BOLDEN<\/span><\/strong><\/p>\n Charles \u201cBuddy\u201d Bolden was a talented musician and cornetist who gained fame in New Orleans at the turn of the 20th century with his band. He presumably did not need notes, as he played from memory and from the heart, while inspiring a number of musicians to experiment and improvise \u2013 which later gave birth to jazz as we know it today. Bolden is a character surrounded by myth and mystery, because although his existence and talent were confirmed by many sources, there are no recordings of him playing. This film, however, is not about the legend, but a fragile human being at its heart, a man in love with his life and the magic of sound, who was unstoppable when on stage. Unfortunately, he was also unstoppable when it came to alcohol, drugs, and sex, which ultimately ended his promising career prematurely, to the extent that we find him in a mental institution, listening to the development of the music he pioneered. Today, Bolden is a legend, but one cannot forget about the human being hidden beneath all of the myths.<\/p>\n Director:<\/strong> Dan Pritzker \n FORD V FERRARI<\/span><\/strong><\/p>\n \n In the world of 1960s international car racing, there was only one champion: Ferrari. It was obvious in many areas, but the most prestigious one was the legendary 24-hour-long Le Mans race. The film starts with the Italian company\u2019s dominance being challenged by Henry Ford II, the owner of the behemoth of the automotive industry \u2013 Ford Motor Company. He hires for that purpose a visionary and ex-racing driver, Carroll Shelby, who won Le Mans in 1959, the last person to do so before Ferrari\u2019s reign. Shelby, in turn, goes to spirited and unpredictable, though seriously talented driver, Ken Miles to form a team, to be the best of the best. While being constantly pressured by the company\u2019s management that wants to see some results and does not accept even a hint of failure, Shelby and Miles have to make professional and personal compromises to go the distance, but they never depart from their ground-breaking vision. That is how the Ford GT40 came into existence. Its first real test: 1966 Le Mans.<\/p>\n Polish title:<\/strong> Le Mans \u201966 \n IRISHMAN, THE<\/span><\/strong><\/p>\n If you need to kill someone \u2013 either quietly, without all the fuss and additional red tape, or making a statement out of it \u2013 there is no better man to do the job than Frank \u201cThe Irishman\u201d Sheeran. An old-school hitman, Frank was trained in taking lives during the murderous Italian campaign of World War II, and after returning to the United States, he quickly rose in prominence in the eyes of some of organised crime\u2019s most notorious families. Especially the Bufalino family, for which he killed a number of undesirable people, including his long-time friend Jimmy Hoffa, the legendary labour union leader whose disappearance had been, for decades, considered one of the greatest American mysteries. When Frank reaches old age and sits silently in a wheelchair, the only thing he can do is reflect on his colourful life as a criminal. The man wonders if he had really helped to shape the way the second half of the 20th century turned out, or if he was just another small cog in the machine that devoured his soul.<\/p>\n Polish title:<\/strong> Irlandczyk \n JOKER<\/span><\/strong><\/span><\/p>\n Arthur Fleck\u2019s life resembles an evolving nightmare. The man tries to earn money while dressed as a clown, but time and time again he comes up against society\u2019s ostracism, including cases of physical violence. While he tries to laugh his misery out on stage, as he would like to become a successful stand-up comedian, the audience, for some reason, does not like his jokes. It sometimes happens that when Arthur takes the bus home, he loses control of his laughter, while people sitting next to him cannot comprehend that this is a medical condition that he has to battle every single day. His refuge is his apartment, where he lives with his dear mother, who strongly believes that her former employer, Thomas Wayne, will someday give them a helping hand. Arthur\u2019s favourite part of the day is watching TV shows onto which he can project his hopes and dreams of becoming a funny guy, appreciated for what he really is. Cruel fate will give the poor man an opportunity to perform his wildest fantasies in real life, but then, laughing will be the last thing to do.<\/p>\n Director:<\/strong> Todd Phillips \n LAST BLACK MAN IN SAN FRANCISCO, THE<\/span><\/strong><\/p>\n Huge cities never go to sleep but, what is more, they are in a constant flux, undergoing numerous social and political changes that make them sometimes unrecognisable, even to the very people who grew up and spent their dreams in them, and went on from idealistic teenagers to be cynical adults. The film tells the story of two Afro-American friends, Jimmie and Montgomery, who love San Francisco and know the city like the back of their hand, but they are not able to stop its changing into an irritating tourist attraction, nor the gentrification of the areas they once called home. When an unexpected incident makes Jimmie\u2019s family home, owned for some time by white inhabitants, available on the market again, the boys build a charming utopia in there, just to preserve the memories of the city they knew and the world they were a part of. It is a utopia that cannot last long in the desensitised modern reality, but one that makes room for personal satisfaction, stemming from the beautiful and universal act of remembering.<\/p>\n Director:<\/strong> Joe Talbot \n MOTHERLESS BROOKLYN<\/span><\/strong><\/p>\n \n Lionel Essrog is one of New York\u2019s private eyes, on the one hand blessed with a brilliant memory, but on the other, cursed with Tourette syndrome which makes him a social recluse. His only real friend, as well as mentor, is one Frank Minna, for whom Lionel works. When Frank gets involved in some shady business deal with the sort of people whose faces always stay in the shadows, he quickly ends up six feet under. Lionel, distraught with grief, swears to find the killers, regardless of the price he will have to pay to do so. The man does not suspect that a clue he accidently discovers one day will lead him to uncover a shocking affair involving New York\u2019s finest officials and the city\u2019s \u00e9minence grise. The stakes are so high that, in the beginning, he does not even comprehend what they might be, but Lionel will have to stand up to the people who are capable of destroying the dreams and prospects of thousands of citizens just to satisfy their ambitions. The battle between the eccentric David and the ever-powerful Goliath begins.<\/p>\n Polish title:<\/strong> Osierocony Brooklyn \n MR. JONES<\/span><\/strong><\/p>\n It is 1933, and traumatised Europe is still unable to return to its former, pre-World War I glory. Everyone looks in horror at Germany\u2019s social and political upheavals, while the old monarchies see hope in the unprecedented economic expansion of the Soviet Union. However, Welsh journalist Gareth Jones predicts that both countries will be dangerous in years to come. Firstly, he uses deceit to interview the new German chancellor, Adolf Hitler, and then he sets his sight to Moscow, to question Stalin about his plans and promises. When he realises the interview will be impossible to organise, he begins to search for the truth on his own, peeling back the subsequent layers of the intricate Soviet illusion, designed to promote communism throughout the West. One day, he goes on a journey to Ukraine to observe the economic marvel with his own eyes, but what he experiences there is death, suffering, and hunger turning human beings into the literal living dead. When he tries to report all of this to the rest of the world, he is silenced by influential people, for whom the truth is only a matter of perspective.<\/p>\n Polish title:<\/strong> Obywatel Jones \n NEVER LOOK AWAY<\/span><\/strong><\/p>\n Young Kurt\u2019s education begins just before the hell of World War II breaks loose, when he goes to see an exhibition of art pieces considered dangerous and degenerate by the new rulers of the German world. Several months later, the boy witnesses the arrest of his older cousin Elizabeth, not being aware of the fact that thousands of others will join her in years to come. After the war, Kurt begins his formal education as a painter in Dresden, although he is soon forced to comply with the ideas of socialist realism in his work, promoted by the new rulers of his and others\u2019 worlds. While struggling with outside pressure, he tries his best not to be yet another skilled craftsman with no voice of his own. He starts losing hope that it will ever change. The story of a young man\u2019s troubled growing up to fulfil his creative potential, to be an artist who conveys ideas through his art, intertwined with a tale of social, political and humanist perturbations Germany endured first during the days of the Third Reich, and then after the division into East and West Germany.<\/p>\n Original title:<\/strong> Werk Ohne Autor \n OFFICER AND A SPY, AN<\/span><\/strong><\/p>\n \n An Officer and a Spy<\/em> tells a story based on the life of Alfred Dreyfus, a French officer sentenced to life imprisonment for treason, and sent into exile. Soon after Dreyfus’ imprisonment, Georges Picquart, the new head of intelligence, discovers that the evidence against the convict has been fabricated. Opposing his superiors, Picquart decides to reveal the truth at all costs. What is at stake is not only Picquart’s brilliantly-started career, but also a great international scandal that would change the course of history. Roman Pola\u0144ski tells the story of one of the biggest scandals in history. The perfectly narrated intrigue shows a system in which the self-winding hate spiral begins to resemble current times. An Officer and a Spy is a film about how history repeats itself, and how one man fighting for justice against everyone else can change the course of history.<\/p>\n Original title:<\/strong> J’accuse \n PAINTED BIRD, THE<\/span><\/strong><\/p>\n A nameless boy without an identity (although some think he must be a Jew) wanders around unnamed villages of Eastern Europe, seeing with his own eyes the cruelty and horrors than no human being should ever be forced to see. The dehumanisation is so complete that it may seem that the film takes place sometime during the dark Middle Ages. What other way is there to explain ripping out people\u2019s eyeballs, hideous psychosexual perversions, or setting live animals on fire? Nevertheless, the film is set in the 20th century, during World War II, and the boy experiences first-hand human beings\u2019 capability to unleash sheer terror on each other, to the extent that it is difficult to decide what is more petrifying: watching silently through torture, paedophilia and killing for pleasure, or the attitude of brainless ignorance that most characters the boy meets on his way represent, along with the susceptibility to superstition and thinking that if someone believes in something different, he or she has to be some kind of hellish creature ready for annihilation.<\/p>\n Polish title:<\/strong> Malowany ptak \n SHADOW<\/span><\/strong><\/p>\n Set in the 2nd century Kingdom of Pei, a great Commander battles to regain his Kingdom\u2019s ancient capital from an occupying army. Wounded, he goes into hiding and deploys a double in public and private as he schemes to win revenge. Secret desires, enchanted weapons, and cunning battles shift players and pawns. Who knows the truth? The duplicitous King? The Commander\u2019s wife? Who is the player and who is being played?<\/p>\n Original title:<\/strong> Ying \n TWO POPES, THE<\/span><\/strong><\/span><\/p>\n When two witty, intelligent, deeply religious old men, extremely different in their opinions and worldviews, begin to discuss the world they have to live in, as well as the future of the scandal-ridden Roman Catholic Church, their conversations could form the basis for many fascinating reflections. However, consider the fact that these men are the traditionalist Joseph Ratzinger, who is still Pope Benedict XVI in the film, and the progressive Argentinian cardinal Jorge Mario Bergoglio, who will become Pope Francis in a few years\u2019 time, and it is quite obvious that their conversations become even more valuable and interesting. The film starts with a meeting during which Pope Benedict refuses Cardinal Bergoglio\u2019s permission to retire, and then, throughout their subsequent conversations, he tries to find out if the man whose moral code he does not completely understand will be able to finish the work started centuries before by their predecessors, the work that he himself is unable to continue in any meaningful manner.<\/p>\n Polish title:<\/strong> Dw\u00f3ch papie\u017cy <\/p>","protected":false},"excerpt":{"rendered":" The Main Competition with the Golden Frog Award has been the most important part of the EnergaCAMERIMAGE Festival from its…<\/p>\n","protected":false},"author":3,"featured_media":21087,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[469],"tags":[],"class_list":["post-21103","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-wiadomosci-energa-camerimage-2019"],"acf":[],"_links":{"self":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/21103"}],"collection":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/comments?post=21103"}],"version-history":[{"count":3,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/21103\/revisions"}],"predecessor-version":[{"id":21307,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/21103\/revisions\/21307"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media\/21087"}],"wp:attachment":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media?parent=21103"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/categories?post=21103"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/tags?post=21103"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/10\/amundsen-2-1024x429.jpg\")
<\/p>\n
\n Cinematographer:<\/strong> P\u00e5l Ulvik Rokseth
\n Produced by:<\/strong> Motion Blur Films
\n Country and year:<\/strong> Norway, 2019<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/10\/buddy-rockstar_hi-res-1024x577.jpeg\")
<\/p>\n
\n Cinematographer:<\/strong> Neal Norton
\n Produced by:<\/strong> King Bolden LLC
\n Country and year:<\/strong> USA, 2018<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/10\/ford-v-ferrari-1024x682.jpg\")
<\/p>\n
\n Director:<\/strong> James Mangold
\n Cinematographer:<\/strong> Phedon Papamichael
\n Produced by:<\/strong> Chernin Entertainment, Twentieth Century Fox
\n Polish distributor:<\/strong> Imperial CinePix Sp. z o.o.
\n Country and year:<\/strong> USA, 2019<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/10\/irishman_unit_firstlook_1-1024x685.jpg\")
<\/p>\n
\n Director:<\/strong> Martin Scorsese
\n Cinematographer:<\/strong> Rodrigo Prieto
\n Produced by:<\/strong> F\u00e1brica de Cine, Sikelia Productions, STX Entertainment, Tribeca Productions
\n Country and year:<\/strong> USA, 2019<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/10\/rev-1-jok-02954_high_res_jpeg-1024x682.jpg\")
<\/p>\n
\n Cinematographer:<\/strong> Lawrence Sher
\n Produced by:<\/strong> Creative Wealth Media Finance, DC Comics, DC Entertainment, Joint Effort, Warner Bros.
\n Polish distributor:<\/strong> Warner Bros. Entertainment Polska Sp. z o.o.
\n Country and year:<\/strong> USA, Canada, 2019<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/10\/last-black-man-in-san-francisc-1024x682.jpg\")
<\/p>\n
\n Cinematographer:<\/strong> Adam Newport-Berra
\n Produced by:<\/strong> A24 Films, Plan B Entertainment
\n Country and year:<\/strong> USA, 2019<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/10\/motherless-brooklyn-warner-bro-1024x680.jpg\")
\n Still from “Motherless Brooklyn,”<\/em>
\n courtesy of Warner Bros.<\/em><\/p>\n
\n Director:<\/strong> Edward Norton
\n Cinematographer:<\/strong> Dick Pope
\n Produced by:<\/strong> Class 5 Films, Warner Bros. Pictures
\n Polish distributor:<\/strong> Warner Bros. Entertainment Polska Sp. z o.o.
\n Country and year:<\/strong> USA, 2019<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/10\/obywalet-jones_r-palka_170318--1024x576.jpg\")
<\/p>\n
\n Director:<\/strong> Agnieszka Holland
\n Cinematographer:<\/strong> Tomasz Naumiuk
\n Produced by:<\/strong> Film Produkcja Sp. z o.o.
\n Polish distributor:<\/strong> Kino \u015awiat Sp. z o. o.
\n Country and year:<\/strong> Poland, UK, Ukraine, 2019<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/10\/work_without_author_copyright_-1024x659.jpg\")
<\/p>\n
\n Polish title:<\/strong> Obrazy bez autora
\n Director:<\/strong> Florian Henckel von Donnersmarck
\n Cinematographer:<\/strong> Caleb Deschanel
\n Produced by:<\/strong> Pergamon Film, Wiedemann & Berg Film GmbH & Co. KG
\n Polish distributor:<\/strong> Aurora Films
\n Country and year:<\/strong> Germany, Italy, 2018<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/10\/jac0298b-copie1-1024x690.jpg\")
\n Still from “An Officer and a Spy,”<\/em>
\n courtesy of Gutek Film<\/em><\/p>\n
\n Polish title:<\/strong> Oficer i szpieg
\n Director:<\/strong> Roman Pola\u0144ski
\n Cinematographer:<\/strong> Pawe\u0142 Edelman
\n Produced by:<\/strong> Canal +, Eliseo Cinema, France 2, France 3, Gaumont, Legende Films, Rai Cinema
\n Polish distributor:<\/strong> Gutek Film
\n Country and year:<\/strong> France, Italy, 2019<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/10\/painted-bird2-1024x734.jpg\")
<\/p>\n
\n Director:<\/strong> V\u00e1clav Marhoul
\n Cinematographer:<\/strong> Vladim\u00edr Smutn\u00fd
\n Produced by:<\/strong> Silver Screen
\n Country and year:<\/strong> Czech Republic, 2019<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/10\/shadow2-1024x657.jpg\")
<\/p>\n
\n Director:<\/strong> Yimou Zhang
\n Cinematographer:<\/strong> Xiaoding Zhao
\n Produced by:<\/strong> LeVision Pictures, Shanghai Tencent Pictures Culture Media, Perfect Village Entertainment HK Limited
\n Country and year:<\/strong> Hong Kong, China, 2018<\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/10\/two-popes_unit_09129-1024x682.jpg\")
<\/p>\n
\n Director:<\/strong> Fernando Meirelles
\n Cinematographer:<\/strong> C\u00e9sar Charlone
\n Produced by:<\/strong> Netflix
\n Country and year:<\/strong> UK, Italy, Argentina, USA, 2019<\/p>\n