When Wallimage/Bruxellimage decides to co-finance films such as Marina or Het Vonnis, it is first of all because they give work to many Walloons and Bruxellois. Yes, despite the fact that their budgets are often very limited, these productions spend a lot of money here.
As soon as we read the scripts and the files, it seemed obvious that each of these works, in its own field, could capture the attention of a large audience. At least in Flanders and Brussels. For an investor, this is always an asset.
On this last point, Marina, het Vonnis and even De Behandeling did not disappoint. The three feature films have attracted a total of nearly one million spectators in Belgium: figures that make all French-speaking producers fantasize. But the purpose here is not to go back over the specificities of the different Belgian audiences.
The journey of a film usually ends with the national awards: the Magritte in Brussels and the Ensors in the north of the country. A very nice cherry on the cake for the director, the actors, the technicians, the producers… and for all those who chose to support the project. And no one at Wallimage and Bruxellimage intends to sulk about this little extra pleasure.
So it was a long-awaited date for the 20th of September in the Casino of Ostend where the Ensors (ex-Vlaamse filmprijzen) were awarded on the last day of the Film Festival. How many of these 24 nominations could be turned into statuettes?
(photo by Maryline Laurin)
At 10:15 pm, the atmosphere is inevitably euphoric: with five Ensors and two additional awards, Marina de Stijn Coninx is the big winner of the year. After its incredible schlem in theaters (more than 500,000 spectators), this fictionalized biopic of Rocco Granata also seduced the jury in charge of choosing the winners.
Chaired by director and screenwriter Bart De Pauw, it was composed of producer Dries Phlypo, filmmaker and TV presenter Erik Van Looy, screenwriter Christophe Dirickx, director Stijn van der Veken, costume designer Kristin Van Passel, actor and director Tom Van Dyck, critic Stefaan Werbrouck, singer Geike Arnaert and actress Anemone Valcke.
Voted best film of the year, Marina also earned Stijn Coninx two other awards: best director and best script, which he co-wrote with Rik D’Hiet. Hubert Pouille received the Ensor for best artistic direction and Catherine Marchand for best costumes. A nice double after the Magritte won for his work on Vijay and I.
To complete the raid, Marina received the Industry Award from the Flemish professionals and the Audience Award from Telenet, which broadcast the ceremony for the first time via the Star Prime channel.
Faced with this tsunami, Het Vonnis the other favorite of the evening, also produced by Peter Bouckaert for Eyeworks, had to be satisfied with three prizes: Frank Van Den Eeden (also awarded by the Flemish Ministry of Culture for his entire body of work) was named “best cinematographer of the year” while Philippe Ravoet inherited the title of best editor.
Ultimate satisfaction, and it is important: Koen De Bouw, who carries the whole film on his shoulders, is, quite logically, elected best actor of the year. A beautiful return to the forefront for this great actor, star of blockbusters such as Zaak Alzheimer, Dossier K, Loft and Inringer.
Johan Van Assche, finally, won best actor in a supporting role for his performance in De Behandeling. Still produced by Eyeworks.
This shower of awards could have already filled us, but to be complete, we must add two Ensors to the prizes received by Wallimage/Bruxellimage: Spencer Bogaert, the young hero of Labyrinthus was elected best hope (mixed) of the year while Two Days, One Night by Jean-Pierre and Luc Dardenne won the Ensor for the best co-production with Wallonia.
The film that will represent us at the Oscars was co-produced in Flanders by Eyeworks (Peter Bouckaert) with the Brothers’ River films. That is to say the duo that is also (in reverse order) behind Marina. A beautiful story, no?
