Članice žirija/Jury members:
Uhvati film Novi Sad
Iva Plemić Divjak, filmska i festivalska producentkinja/film and festival producer
Tatjana Stojšić Petković, aktivistkinja i psihološkinja/activist and psychologist
Ana Jovčić, aktivistkinja, studentkinj književnosti -activist (slepa osoba/blind person)
Najbolji film festivala/Grand prix:
MAMA SE VRAĆA – MOM IS GOING BACK
Pol; režija-dir. Mikołaj Janik
Film je članice žirija očinio, jednoglasno sme rekle da ovaj film zaslužuje nagradu, zaslužuje da ga vide svi. Često se srećemo sa stavom da mame koje imaju decu sa invaliditetom žalimo, jadikujemo nad njihovom sudbinom, zabrinuto društvo i okolina ali bez iskrene želje da zaista na tom polju nešto i promenimo. Ovo nije priča o mami koje menja društvo i okruženje, ne menja ni sebe ali menja sliku sebe u budućnosti, ne odustajući ni od svojih snova a ni od svoje ćerke. Mama je jednostavno TU i ova priča jednostavno pomera i čini od nas da se zapitamo šta je to hrabro i smelo što smo mi uradili za sebe. Slike, dijalozi, tišina su u ovom filmu celina kao što su jedna celina i mama i njeno dete. Bez patetike i bez predrasuda.
The jury unanimously agreed that this film deserves the award — it deserves to be seen by everyone. We too often witness the tendency to pity mothers of children with disabilities, to lament over their fate, with a society that feels “concerned,” yet rarely truly committed to changing anything.
This is not a story about a mother who changes society or her surroundings, nor does she radically change herself — but she changes the image of who she can be in the future. She refuses to abandon either her dreams or her daughter. The mother is simply there — and this story moves us and urges us to ask ourselves: what brave, bold step have we taken for ourselves?
The visuals, dialogues, and silences form a complete whole, just like the mother and her child are a whole — without pathos and without prejudice.
Za najbolji dokumentarni film/Best documentary:
Vibrations from Gaza – Vibracije iz Gaze Kan režija – dir: Rehab Nazzal
Da li je iko pomislio, kad misli o ratu, o Gazi, o užasima koji se dešavaju, u vremenu u kom živimo, o deci koja su sa invaliditetom…možda su ova deca bila sa invaliditetom i pre nego što je rat počeo a možda i nisu….Kako ona vide i osećaju svet oko sebe, kako doživljavaju vibracije u vazduhu, vodi, kako to osećaju njihova tela, njihova čula… Kako se mi osećamo posle ovog krajnje dokumentarnog, autentičnog i iskrenog filma… osećam potrebu da izrazim zahvalnost svima koji su snimali i učestvovali u stvaranju ovog filma. 16 minuta smo izmešteni iz naše stvarnosti ali čini mi se trajno sa osećajem da su VIBRACIJE IZ GAZE uništile mnoga detinjstv a indirektno i nas.
When thinking about war, Gaza, and the horrors unfolding in our time — do we ever think of children with disabilities? Some of these children may have lived with disabilities before the war, some may not have… How do they see and feel the world around them? How do they perceive the vibrations in the air and water — how do their bodies, their senses, respond?
How do we feel after this raw, authentic, deeply sincere film? There is a need to express gratitude to everyone who filmed and contributed to its creation. For 16 minutes, we are transported out of our reality — and yet we return changed, with the sense that the Vibrations from Gaza have shattered many childhoods, and indirectly, a part of us as well.
Nagrada za najbolju režiju i scenario/Best Directing and Screenwriting Award
Signs that hurt – Znakovi koji bole
Fr; režija-dir. Enzo Serripierri
Film „Znakovi koji bole“, bavi se jednom od najčešće prećutanih i najosetljivijih tema. Psihološko nasilje sa sobom nosi dugotrajne posledice, te je i proces oporavka veoma težak.
Kroz priču o Kloi, mladoj gluvoj ženi koja se suočava sa traumama iz detinjstva, film prikazuje koliko dubok trag mogu ostaviti reči, omalovažavanja i emocionalno odbacivanje od strane roditelja. Ljubav, nežnost i neodustajanje majke, pomogli su junakinji da, nakon godina truda i terapije, izgradi ispunjen život uz partnerku i sina. Valja istaći i činjenicu da je glavna junakinja filma imala pristup psihološkoj podršci, što nije uvek slučaj sa gluvim i nagluvim osobama usled nepoznavanja znakovnog jezika od strane zdravstvenih radnika i terapeuta.
Snaga ovog filma leži u mogućnosti da ohrabri i probudi empatiju kroz priču o suočavanju sa traumama jer: Znakovi bola ostaju u prošlosti, kada razumevanje i podrška postanu temelj za budućnost.
Signs That Hurt addresses one of the most overlooked and sensitive issues — psychological abuse, which carries long-lasting consequences and makes the process of healing deeply challenging.
Through the story of Chloé, a young Deaf woman confronting childhood trauma, the film shows how devastating a mark can be left by words, belittling, and emotional rejection from a parent. Love, tenderness, and a mother’s perseverance helped the protagonist, after years of therapy and effort, build a fulfilling life with her partner and son.
It is important to highlight that Chloé had access to psychological support — something Deaf and hard-of-hearing people often lack due to the absence of sign-language-proficient mental-health professionals.
The strength of this film lies in its ability to encourage and awaken empathy through a story of confronting trauma, because: the signs of pain remain in the past only when understanding and support become the foundation of the future.
Najbolje glumačko ostvarenje/Best Acting Award
The Power of Goodbye – Moć pozdrava
Fr; režija – dir: Audrey Sangla
Glumački tandem Chantal Liennel (Šantal Linel) i Anaïs Gardou (Anais Gardu) sa izuzetnom nežnošću i ubedljivošću igra jedan od najtežih perioda koji bi iko od nas mogao i da zamisli: razmatranje odluke o eutanaziji između majke i ćerke.
Bez ideje da nagrađivanjem ovog filma šaljemo poruku o opravdanosti ili neopravdanosti, ispravnosti ili neispravnosti njihove odluke (o čemu ni unutar žirija nismo imale konsenzus), žiri je želeo da ovim impresivnim filmom doprinese svesti o tome da je tema eutanazije izrazito kompleksna i da je upravo zbog toga, o njoj neophodno kontinuirano razgovarati iz aspekta društva, politike, medicine, mentalnog zdravlja, religije, porodice, pa samim tim i umetnosti.
The acting duo Chantal Liennel and Anaïs Gardou portray, with extraordinary tenderness and emotional truth, one of the hardest moments any of us could imagine: a mother and daughter contemplating the decision of euthanasia.
By granting this award, we are not sending a message about the justification or correctness of their decision — even within the jury, there was no consensus. Rather, we wish to acknowledge that euthanasia is an exceptionally complex topic. For that very reason, it demands continuous conversation from the perspectives of society, politics, medicine, mental health, religion, family — and, naturally, art.
Film koji menja perspektive/Film That Shifts Perspectives:
Closeness – Bliskost
Nem; režija – dir: Sebastian Bergfeld, Birte Rüster, Diana Staub, Aline Blum
Film Closeness na iskren, direktan i ogoljen način pokreće temu seksualnosti osoba sa invaliditetom. O ovoj temi se retko govori iako je univerzalna i veoma važna. Većina ljudi osobe sa invaliditetom infantilizuje i smatra aseksualnima. Stoga mnogima od njih pronalaženje emotivnih i seksualnih partnera predstavlja ogroman izazov. U većini zemalja, seksualna asistencija nije prepoznata kao legalna i neophodna usluga. Stoga su mnogi od njih zauvek uskraćeni za taj aspekt života. Nikada ne upoznaju svoja tela i ne dožive seksualnu povezanost sa drugim bićem.
Ovaj film, kroz priče Hane i Tomasa, bez zadrške i tabua, progovara o istraživanju sopstvenih tela, kao i onoga što im prija. Bez patetike i senzacionalizma, film Bliskost ohrabruje osobe sa invaliditetom da ne ćute o ovoj važnoj potrebi.
„Bliskost“ pokazuje da i tela drugačija od onih koja se u medijima plasiraju kao privlačna, mogu biti lepa i seksualno poželjna.
U konzervativnim društvima kao što je naše, u kojima je osobama sa invaliditetom otežan i samostalan izlazak iz kuće, treba da prođe još mnogo vremena i osvešćivanja kako bi se nešto po ovom pitanju promenilo. Film Bliskost čini hrabar i nežan iskorak ka tome. Kao žiri, nagradili smo ovaj film zbog njegove iskrenosti, topline i potencijala da pošalje snažnu poruku: Svaki čovek ima pravo na ljubav, bliskost i seksualnost.
Closeness confronts, directly and without embellishment, the topic of sexuality of persons with disabilities — a universal yet rarely discussed subject. Many people infantilize individuals with disabilities, assuming they are asexual. As a result, finding emotional and sexual partners becomes a profound challenge.
In most countries, sexual assistance is not recognized as a legal or necessary service, leaving many permanently excluded from this aspect of life. They never fully discover their bodies or experience sexual connection with another person.
Through the stories of Hana and Tomas, the film speaks openly, without taboos, about exploring one’s own body and desires. Without pathos or sensationalism, Closeness encourages people with disabilities not to remain silent about this important need.
It shows that bodies different from those portrayed in the media as “desirable” can also be beautiful and sexually appealing.
In conservative societies such as ours — where even leaving home independently is a challenge for many — deep awareness-raising and long-term change are needed. This film is a gentle yet courageous step forward. As a jury, we award Closeness for its honesty, warmth, and its powerful message: Every person has the right to love, intimacy, and sexuality.
Nagrada za izuzetnu angažovanost i društveni uticaj/Award for Outstanding Engagement and Social Impact
After us – Posle nas
Srb; režija – dir: Siniša Grahovac, UG Realno
na upečatljiv i emotivno snažan način otvara prostor za one čiji se glas u društvu retko čuje, prateći roditelje i mlade sa intelektualnim teškoćama u njihovoj svakodnevnoj borbi za elementarnu podršku. Kroz intimne priče, autori pokazuju koliko hrabrosti, ljubavi i istrajnosti stoji iza svakog pokušaja da se izbori dostojanstven život, a istovremeno jasno ukazuju na dramatičan nedostatak dostupnih servisa i na posledice koje mlade guraju ka institucionalizaciji uprkos njihovom trudu i potencijalu. „Posle nas“ tako postaje snažno društveno ogledalo i poziv na promene – na odgovornije javne politike i na priznavanje pune građanske ravnopravnosti osoba sa intelektualnim invaliditetom. Upravo zbog ovakve autentične angažovanosti i stvarnog društvenog odjeka, žiri Festivala Uhvati film dodeljuje filmu nagradu za izuzetnu angažovanost i društveni uticaj.
After Us opens a strong emotional and political space for those whose voices are seldom heard — portraying parents and young people with intellectual disabilities in their daily struggle to access even the most basic forms of support. Through intimate narratives, the authors show the immense courage, love, and perseverance behind every effort to secure a dignified life, while clearly revealing the dramatic lack of available services that pushes young people toward institutionalization despite their potential.
After Us becomes a powerful social mirror and a call for change — for more responsible public policies and the acknowledgment of full citizenship and equality for persons with intellectual disabilities. Because of its authentic engagement and real societal resonance, the Uhvati Film Festival jury awards this film for outstanding engagement and social impact.
Film koji afirmiše žensku snagu/ Film that Affirms Women’s Strength
Flying – Ona leti
Fr; režija – dir: Sandra Piquemal
Ni jedan film nisam imala potrebu da pogledam više puta sli ovaj film sam pogledala bar pet puta svaki put otkrivajući novi sloj, novu snagu, nove izazove koje kroz tako jednostavne scene i dijaloge ima ova tako neobična priča Devojka, koja je slepa i koja ima psa vodiča, majku i podršku porodice želi da nastavi sa jahanjem posle nastanka invaliditeta.Ovde se otvara priča o prihvatanju i neprihvatanju invaliditeta, o sportu, o seksualnosti žena sa invaliditetom ali o tome kako žene sa invaliditetom treba da budu “.super heroji” da bi bile primećene, da bi mogle da urade ono što žele….i ova priča nebi bila tako fantastična da devojka ne pristaje na nasilje, na diskriminaciju, ne pristaje na odustajanje i pruža podršku devojci koja prolazi kroz sličnu situaciju (devojka bez invaliditeta) …ovo je i priča o ženskoj podršci i razumevanju ali na prvom mestu je priča o samopoštovanju. Ovaj film jednostavno zaslužuje nagradu!!!!
I have never before felt the need to rewatch a film several times — yet I watched this one at least five, discovering a new layer each time: new strength, new challenges expressed through simple scenes and dialogues.
The story follows a young blind woman with a guide dog, supported by her mother and family, who wants to continue horseback riding after the onset of disability. The film opens questions about acceptance and non-acceptance of disability, about sports, about sexuality of women with disabilities — but also about the pressure placed on them to be “super-heroines” in order to be seen and allowed to pursue their goals.
This film would not be as powerful if the protagonist accepted violence, discrimination, or defeat — instead, she refuses all of it and offers support to another young woman without a disability who is going through a similar struggle. It is a story about solidarity and understanding between women, but above all a story about self-respect.
This film simply deserves an award.
