First held in 1997, Film and Art School Etudes Competition<\/strong> (formerly Student Etudes Competition) supports the development of novice filmmakers and provides unique opportunity to confront cinematic achievements of students from various parts of the world. Each year, a growing number of film schools submit their best etudes for consideration of the EnergaCAMERIMAGE<\/strong> selection committee. The winners are chosen by an international jury of prominent filmmakers and industry professionals.<\/p>\n The author of the best cinematography wins the coveted\u00a0L\u00e1szl\u00f3 Kov\u00e1cs Student Award – The Golden Tadpole<\/strong>. Silver<\/strong> and Bronze Tadpoles<\/strong> are awarded for the second and third place respectively. Additionally, Polish Filmmakers Association<\/strong> will award the winner of the Student Etudes Competition<\/strong> a cheque for PLN 10 000.<\/p>\n <\/p>\n <\/p>\n ABOUT A PRIEST ON RAIN BOOTS<\/strong><\/span><\/p>\n When the demented Jozias needs to get help for his wife, he ends up in an odyssey that only brings him further away from his home and from himself. Just as he is lost in the middle of a vast forest, he meets an armed young lady. Their encounter happens to be the start of an unexpected journey.<\/p>\n Original title: <\/strong>Over een Pastoor op Regenlaarzen \nBREATHING PAINTINGS A little girl comes to a gallery with her parents, but she doesn\u2019t just see ordinary characters in the paintings. Thanks to her childlike imagination, she invents interesting stories and connections. The images come alive before the little girl\u2019s eyes and she is drawn into the action herself, and we come face-to-face with characters from the most famous works of art.<\/p>\n Original title: <\/strong>D\u00fdchaj\u00face obrazy THE BULLFIGHTER A farcical comedy about ex-bullfighter, Felipe Fernando de la Fernand, a once extraordinary figure now trapped in an ordinary world. Since his retirement, he has struggled to maintain the heroism he once felt as a matador and uses a job as a flag-waving parking attendant to stage one last redemptive bullfight… actively triggering a past he\u2019s yet to reckon with.<\/p>\n Director:<\/strong> Giselle Bonilla \nCOWBOY<\/span> When Felix steals a leather jacket in a hotel, he bumps into Bianca. She confuses him for a callboy she booked. But instead of telling her, Felix decides to play along. Eventually the real callboy knocks at the hotel room door, and she realizes she took the wrong boy up to her room.<\/p>\n Director:<\/strong> Artur Althen CREMATION, OR THE QUARANTINE HOTEL<\/strong><\/span><\/p>\n Young woman returned from overseas and had to see her critically ill father for the last time. In the quarantine hotel, her isolated life was like being stranded on a deserted island, and memories of her father from childhood were intertwined. She set fire to the room, but the memories could never be removed.<\/p>\n Original title: \u7b2c\u4e03\u5929 <\/p>\n \nDIVE<\/span> Paul, an experienced deep sea \u2018saturation\u2019 diver, returns to the rigs following a personal tragedy.<\/p>\n Director: <\/strong>Will Peppercorn \nEISSPIN, THE OH SO TERRIBLE<\/span> The Alchemaster Eisspin offers the starving cat Echo to feed him the most delicious food for a month if he is allowed to slaughter him at the end of the month. After Echo agrees, he soon realizes that there is a deep trauma behind Eisspin\u2019s cruelty. Can Echo\u2019s love and affection pierce through the terrible mask of the Alchemaster?<\/p>\n Original title: <\/strong>Eisspin, der sehr Schreckliche <\/p>\n \nINC. A troubled office worker locks herself into their office late at night after running from an unseen personal conflict.<\/p>\n Director:<\/strong> Kazuo Chaed AN INTERIOR BODY<\/span> In the midst of political turmoil, a young woman undergoes a miscarriage in her Beirut apartment. As her despair and pain become overwhelming, she enters a surreal realm that allows her to accept what her body could not cope with and regain hope in nature\u2019s cyclical ways.<\/p>\n Directors:<\/strong> Liz Charky, Gus Reed \nLAMENT NO. 1<\/span> Crying is commonly considered an indispensable part of mourning. It brings solace and helps to accept the loss. Suppressing emotions is often frowned upon, especially among the closest relatives…<\/p>\n Original title: <\/strong>Lament nr 1 \nMETALLIC TASTE<\/span> A teenager leaves the basement where he hides with his sick mother to find water and food. Saving his closest loved one means an encounter with his greatest fear \u2013 the very thing they are hiding from.<\/p>\n Polish title<\/strong>: Metaliczny posmak PLASTIC TOUCH A sex doll called Lucy wakes up in the bedroom of a doll brothel. She lives with Mina, another doll. Together they watch TV: their window to the real world. They imagine themselves living far away. After a while, Lucy wants to escape. But Mina doesn\u2019t want to leave. Lucy has to choose between freedom and the doll she is in love with.<\/p>\n Director:<\/strong> Aitana Ahrens \nPOLAR BEARS A young wrestler has to lose four kilograms in one day in order to participate in a competition. The exhausting and difficult process is interrupted by an unannounced visit from his older brother, who makes an unusual proposal to the athlete.<\/p>\n Original title: <\/strong>Misie polarne POOR BOY LONG WAY FROM HOME<\/span> A cowboy ends up in a local pub after a fight with his ex gets out of hand. In search for his identity, he is soon immersed into the phantasmatic jungle of drunkenness, loneliness and sadness.<\/p>\n Original title: <\/strong>Arme Jongen Zo Ver Van Huis \nPRELUDE<\/strong><\/span><\/p>\n Helena is spending an evening with her family when someone knocks on the door. Unknown man confronts her with accusations towards her perfect family. Helena drives the man and the accusations away. But the seed of doubt has been planted.<\/p>\n Original title: <\/strong>Murtuma <\/p>\n \nSCENES OF SOUL AND BODY Max goes on a date with a stranger, where he experiences new sensations beyond the limit of reality. Will he leave as the same person he arrived?<\/p>\n Original title: <\/strong>Obrazy du\u0161e a t\u011bla \nSPLIT SECOND Sometimes a fraction of a second is all it takes to change the world forever. The film Split Second<\/em> tells the backstories of three of the most influential photographs in human history. In three intercut episodes, we follow the photographers who captured these historic moments in iconic pictures and made them visible to the world.<\/p>\n Director:<\/strong> Sinan Sevinc \nTHE TASTER<\/span> Near future. Europe has changed due to the extreme outcome of climate change. But the Danube delta is still a fertile place and therefore occupied. Here the young woman Ozana gets chosen by the occupiers to taste the food they suspect might be poisoned. But on her first day she gets into a conflict with their leader about who should live and who should die.<\/p>\n Director:<\/strong> Sophia Bierend THOSE WHO FOLLOW<\/span> Since joining the special forces, Mirko\u2019s life has been torn between his family and his unit. When the suspicion suddenly arises that his girlfriend Rabea might have reported a radical right-wing chat message from the unit to Internal Affairs, Mirko is in danger of losing both.<\/p>\n Original title: <\/strong>Mitlaeufer <\/p>\n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2019\/11\/SFP_eng.jpg\")
<\/a><\/p>\n<\/a><\/p>\n
\nDirector: <\/strong>Wessel van Wanrooij
\nCinematographer: <\/strong>Pauline Skoreng
\nSchool:<\/strong> Netherlands Film Academy (AHK)
\nCountry and year:<\/strong> Netherlands, 2022<\/p>\n
\n<\/strong><\/span><\/p>\n<\/a><\/p>\n
\nDirector:<\/strong> Radovan Hradil
\nCinematographer:<\/strong> Radovan Hradil
\nSchool:<\/strong> Tomas Bata University in Zlin, Faculty of Multimedia Communications
\nCountry and year:<\/strong> Czech Republic, 2023<\/p>\n
\n<\/strong><\/span><\/p>\n<\/a><\/p>\n
\nCinematographer:<\/strong> Sharon Pulwer
\nSchool:<\/strong> American Film Institute Conservatory (AFI)
\nCountry and year:<\/strong> USA, 2022<\/p>\n
\n<\/strong><\/p>\n<\/a><\/p>\n
\nCinematographer:<\/strong> Matthias Kofahl
\nSchool:<\/strong> University of Television and Film Munich (HFF Munich)
\nCountry and year:<\/strong> Germany, 2023<\/p>\n<\/a><\/p>\n
\nDirector:<\/strong> Ning Qian
\nCinematographer:<\/strong> Wen Lau
\nSchool:<\/strong> National Taiwan University of Arts (NTUA)
\nCountry and year:<\/strong> Taiwan, 2023<\/p>\n
\n<\/strong><\/p>\n<\/a><\/p>\n
\nCinematographer:<\/strong> Toby Elwes
\nSchool:<\/strong> National Film and Television School (NFTS)
\nCountry and year:<\/strong> UK, 2023<\/p>\n
\n<\/strong><\/p>\n<\/a><\/p>\n
\nDirector: <\/strong>Adrian Doll
\nCinematographer:<\/strong> Franz Zimmermann
\nSchool:<\/strong> Film University Babelsberg Konrad Wolf
\nCountry and year:<\/strong> Germany, 2023<\/p>\n
\n<\/strong><\/span><\/p>\n<\/a><\/p>\n
\nCinematographer:<\/strong> Luca Salvi
\nSchool:<\/strong> SAE Institute of Brussels
\nCountry and year:<\/strong> Belgium, 2022<\/p>\n
\n<\/strong><\/p>\n<\/a><\/p>\n
\nCinematographer: <\/strong>Liz Charky
\nSchool:<\/strong> American Film Institute Conservatory (AFI)
\nCountry and year: <\/strong>USA, 2022<\/p>\n
\n<\/strong><\/p>\n<\/a><\/p>\n
\nDirector:<\/strong> Jakub Jakubik
\nCinematographer:<\/strong> Bartosz B\u0142\u0119dowski
\nSchool:<\/strong> Lodz Film School
\nCountry and year:<\/strong> Poland, 2023<\/p>\n
\n<\/strong><\/p>\n<\/a><\/p>\n
\nDirector:<\/strong> Ivan Krupenikov
\nCinematographer:<\/strong> Dmitro Zinych
\nSchool:<\/strong> Warsaw Film School
\nCountry and year: <\/strong>Poland, 2023<\/p>\n
\n<\/strong><\/span><\/p>\n<\/a><\/p>\n
\nCinematographer:<\/strong> Celia Morales
\nSchool:<\/strong> The Madrid Film School (ECAM)
\nCountry and year:<\/strong> Spain, 2022<\/p>\n
\n<\/strong><\/span><\/p>\n<\/a><\/p>\n
\nDirector:<\/strong> Bartosz Stankiewicz
\nCinematographer: <\/strong>Szczepan Lewandowski
\nSchool:<\/strong> Lodz Film School
\nCountry and year:<\/strong> Poland, 2023<\/p>\n
\n<\/strong><\/p>\n<\/a><\/p>\n
\nDirector: <\/strong>Jonas Hollevoet
\nCinematographer:<\/strong> Tuur Oosterlinck
\nSchool:<\/strong> Sint-Lucas School of Arts, Brussel (LUCA)
\nCountry and year:<\/strong> Belgium, 2022<\/p>\n<\/a><\/p>\n
\nDirector:<\/strong> Arman Zafari
\nCinematographer:<\/strong> Mikael Ahtikari
\nSchool: <\/strong>ELO Film School of Aalto University
\nCountry and year:<\/strong> Finland, 2023<\/p>\n
\n<\/strong><\/span><\/p>\n<\/a><\/p>\n
\nDirector:<\/strong> Ond\u0159ej Ho\u0161ek
\nCinematographer:<\/strong> Marcela Mencelov\u00e1
\nSchool: <\/strong>Film and TV School of the Academy of Performing Arts in Prague (FAMU)
\nCountry and year:<\/strong> Czech Republic, 2022<\/p>\n
\n<\/strong><\/span><\/p>\n<\/a><\/p>\n
\nCinematographer: <\/strong>Christopher Behrmann
\nSchool:<\/strong> Filmakademie Baden-W\u00fcrttemberg
\nCountry and year:<\/strong> Germany, 2023<\/p>\n
\n<\/strong><\/p>\n<\/a><\/p>\n
\nCinematographer:<\/strong> Adam Graf
\nSchool: <\/strong>Film University Babelsberg Konrad Wolf
\nCountry and year:<\/strong> Germany, 2022<\/p>\n
\n<\/strong><\/p>\n<\/a><\/p>\n
\nDirector:<\/strong> Frederic Kau
\nCinematographer:<\/strong> Alexander Gruber
\nSchool: <\/strong>Hamburg Media School (HMS)
\nCountry and year:<\/strong> Germany, 2022<\/p>\n