Usually organized in June, the Jean Vigo Prize, postponed to October due to the pandemic, this year hailed the audacious comedy Huge. Signed Sophie Letourneur, it features the duo Jonathan Cohen and Marina Foïs, in an improbable farce.
Marina Foïs plays Claire, an internationally renowned pianist whose agent is her own husband, Frédéric, a handyman, funny and caring. But Frédéric suffers from not having children. By dint of replacing his pill with a sweetener, Frédéric manages to have a child behind Claire’s back. Nine difficult months follow for the mother-to-be.
The 40-year-old director was honored “For its insolent way of turning around clichés and inverting genres, of rubbing burlesque with documentary, for its trivial tenderness and invigorating rawness“, Underlined in a press release, the jury of the Prize which since 1951 has recognized independence of mind, quality and originality. The award was presented to him by Denis Lavant, at the Center Pompidou, Friday, October 9. Sophie Letourneur succeeds Stéphane Batut, consecrated last year for Quicksilver.
The director joins the prestigious line of winners crowned by the Jean Vigo Prize, the legendary Alain Resnais for Night and Fog in 1956 to Jean-Luc Godard for Breathless in 1960 via Yves Robert for The War of the Buttons in 1962.
As for the Short Film Prize, it was awarded to Mathilde Profit, for her first production, A goodbye, the story of a father who takes his daughter to study in Paris. A first one-on-one trip which will perhaps be the last. The jury’s decision was motivated by “Sensitivity, tact, but also a keen sense of space and time, with which the director deploys a universal equation,
this rite of passage which sees a young girl emancipate herself from the family cocoon. “
Finally, the Honorary Vigo was awarded to the Larrieu brothers. Between short, medium and feature films, the filmmaker brothers can be proud of a filmography comprising around fifteen films. In 2000, they directed Mathieu Amalric in Roland’s Breach, story of a family hike that turns into settling scores. This quirky charming medium-length film is very noticed at the Directors’ Fortnight during the Cannes Film Festival.
“Although sensitive to spaces, to nature, to the material of the world as much as to the disturbance of feelings, the cinema of the Larrieu brothers escapes naturalism. On the edge of the strange, sometimes dreamlike, their staging, all in a clear line, appears above all anxious to preserve the sensitive vibration that the camera can record and the veil of mystery they have arranged ”, underlined the jurors.