MUFF 14 Jury Prize-Winning Films

We are pleased to announce this year’s winners of the MUFF Jury Prizes. Thank you to jury members Mikaela Bobiy and Rosanna Maule for their time, careful consideration, and beautiful words about the films.




Arianna Lodeserto

Italie | 2018 | 18ʹ00ʺ | italien/stfr

The combination of archival footage, classical Italian cinema, and contemporary urbanity, upends the traditional documentary. No less political, this look at the housing crisis in Rome in the 1960s is both an elegy and a call to arms. The filmmaking is incisive, economical, and brilliant.

— Mikaela Bobiy

LES MAISONS QU’ON ÉTAIT addresses one of the most topical issues in urban dwelling today—the shortage and high cost of houses and the consequences of gentrification on lower income population—through a masterful montage of documentaries, TV reports, and independent films that reconstruct this phenomenon in postwar Italy. THE HOUSES WE WERE takes us into the past to comment on the present, through a constellation of striking images and testimonies. A dystopic panopticon of the modern city.

— Rosanna Maule




THE LAST SKATE (left image)

Sandy McLennan

Canada | 2018 | 4ʹ50ʺ | sans dialogue

THE LAST SKATE in a few short minutes conveys nostalgia for childhoods past, seasons past, and climates past. It is a sensorial treat: ice cracking, blades scratching, springtime thaw gurgling, images fluttering like a camera shutter.

— Mikaela Bobiy

THE LAST SKATE brings us skating memories through ice cracking and wintery landscape. Yet this is more than an immersive experimental film about skating: it’s a powerful synecdoche of the Big Thaw. The ice cracks that we hear are a warning: the last skate could be the last skate.

— Rosanna Maule


SCOTTISH CONCERT (right image)

Todd Fraser

Canada | 2018 | 3ʹ10ʺ | sans dialogue

SCOTTISH CONCERT hits you like a chaotic, Celtic watercolour. Like many good experimental films, the film plays with time—temporalities layered on top of each other like washed-out watermarks, the music pulling us along at a harried clip, until its elegiac-like finish. As with the best short films, it’s over before you can catch your breath.

— Mikaela Bobiy

This beautiful example of collage film spirals us into the world of Breton folk art and music, through an impeccable synthesis of sound and image.

— Rosanna Maule



Sarah Bliss

États-Unis | 2019 | 8ʹ23ʺ | anglais

Despite its relatively short running time, UNLESS YOU’RE LIVING IT evokes an indelible sense of time and place, with Bliss deftly mixing sight and sound to create afterimages of an invisible community.

— Mikaela Bobiy

The hallucinatory and alienating experience of being marginal in North American towns today, rendered through hyper-saturated, reflected images, and the voices of those who live on the margin.

— Rosanna Maule

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