The International Jury of the 54th DONOSTIA-SAN SEBASTIAN INTERNATIONAL FILM FESTIVAL consisting of the members

• JEANNE MOREAU. (Chairwoman)
  
• BRUNO BARRETO
• ISABEL COIXET
  
• SARA DRIVER
  
• BRUNO GANZ
  
• MANUEL GÓMEZ PEREIRA
• JOSÉ SARAMAGO

at a meeting on 30th September 2006, has decided by majority to grant the following awards:

• JURY PRIZE FOR BEST SCREENPLAY
  Tom DiCillo for “DELIRIOUS” (EE.UU.)
  
  
• JURY PRIZE FOR BEST PHOTOGRAPHY
  Nigel Bluck for “NIWEMANG / HALF MOON” (Irán – Irak – Austria - Francia)
  
  
• SILVER SHELL FOR BEST ACTOR
  Juan Diego for “VETE DE MÍ” (España)
  
  
• SILVER SHELL FOR BEST ACTRESS
  Nathalie Baye for “MON FILS À MOI” (Francia)
  
  
• SILVER SHELL FOR BEST DIRECTOR
  Tom DiCillo for “DELIRIOUS” (EE.UU.)
  
  
• SPECIAL JURY PRIZE
  “EL CAMINO DE SAN DIEGO” by Carlos Sorin (Argentina)
  In this strange world we live in, this film talks about the extraordinary power of dreams and hope. Without them, we are nothing. 
  
  
• CGOLDEN SHELL FOR BEST FILM ex-aequo
  “NIWEMANG / HALF MOON” by Bahman Ghobadi (Irán – Irak – Austria - Francia) y “MON FILS À MOI” by Martial Fougeron (Francia)

• Gold Shell for the best film
• Special Jury Prize
• Silver Shell for the best director
• Silver Shell for the best actress
• Silver Shell for the best actor
• Jury Prize for the best photography
• Jury Prize for the best screenplay

Jury Prize for any other technical or artistic aspect considered appropriate by the Jury.
Only one of these prizes can be awarded ex-aequo. No one film can receive more than two prizes.

• Rules (2006). Official Section

The French actress Jeanne Moreau is one of the few performing artists who both epitomize and transcend their eras by the originality of their work.
Jeanne Moreau was born in Paris on January 25, 1928. Her father, Anatole Désiré Moreau, was the proprietor of a Montmartre bistro. Her mother, Kathleen Sarah Buckley, left Lancashire, England, at the age of seventeen to dance at the Folies-Bergère. After honing her craft as a principal member of the Comédie-Française and the Théâtre National Populaire, Moreau played supporting roles in many French literary adaptations, and policiers and séries noires (detective and crime novels) during the 1950s. Four of the more notable of these films were Jacques Becker’s Touchez pas au grisbi (1955), Jean Dréville’s La reine Margot (The Queen Margot) (1953), Edouard Molinaro’s Le dos au mur (Back to the Wall) (1957), and Louis Malle’s Ascenseur pour l’échafaud (Elevator to the Gallows/Lift to the Scaffold/Frantic) (1957).
It was with the 1958 release of Malle’s Les amants (The Lovers) that audiences around the world took note of an actress uniquely capable of suggesting seductiveness, sorrow, ennui, and youthful recklessness. Regarded by François Truffaut as his muse inspiratrice, Moreau became the signal star of the French New Wave, working closely with Truffaut, Malle, Jacques Demy, Jean-Louis Richard and Roger Vadim. She is perhaps best remembered as the enigmatic Catherine in Jules and Jim,Truffaut’s “hymn to life and death”.
Jeanne Moreau chooses directors, not films. The 1960s marked her belle époque, with starring roles in films by many of the cinema’s giants, including Orson Welles, Luis Buñuel, Michelangelo Antonioni, Jean Renoir, Joseph Losey, Peter Brook and Tony Richardson. In the 1970s and 1980s she collaborated with Marguerite Duras, Carlos Diegues, André Téchiné and Rainer Werner Fassbinder. In the 1990s, Moreau won a César, France’s Oscar, for Best Actress in 1992, for her role in La vieille qui marchait dans la mer (The Old Lady Who Wades in the Sea) (1991), and starred alongside Alec Guinness, Lauren Bacall, and Leo McKern in Charles Sturridge’s A Foreign Field (1993).
Encouraged by Orson Welles, Moreau made her directorial debut in 1976 with Lumière, a critically praised portrayal of the intimate relationships among four women. The following year she directed Simone Signoret in L’adolescente. She has also turned her sensitive camera to a biography of Lillian Gish (1982).
The list of awards and recognitions received by Jeanne Moreau is impressive. To name but a few: Best Actress at Cannes Festival in 1960 for Moderato cantabile; a homage and retrospective at Florence Festival (1985); the Golden Lion at Venice Festival in 1992 by way of a Lifetime Achievement Award; César for Best Actress for La vieille qui marchait dans la mer (The Old Lady Who Wades in the Sea, 1992); a retrospective at the MoMA in New York (1994); an Honorary César (1995); the Fellowship granted by the British Academy of Film and Television Arts; a Lifetime Achievement Award from the European Film Academy (1997); the Tribute paid by the Academy of Motion Picture Arts and Sciences (1998), the most important distinction granted by the Academy to an international actress; the homage paid at Créteil Festival (1999); the Golden Bear at Berlin Festival by way of a Lifetime Achievement Award; the Honorary Golden Palm at Cannes Festival (2003); and, of course, the Donostia Award at San Sebastian Festival in 1997.
She also holds the highest French official distinctions: Commandeur des Arts et des Lettres, Officier de l’Ordre National de la Légion d’Honneur and Commandeur de l’Ordre National du Mérite. She was the first woman to hold a chair at the Audiovisual Section of the French Fine Arts Academy (2001).
She was Jury Chairwoman at Cannes (1975 and 1995), Avoriaz (1981), Berlin (1983), New Delhi (1985 and 1996), Montreal (1996) and Angers (2001).
Moreau’s biographer and friend Jean-Claude Moireau has written of her: “If her career as a performer has been exemplary, it’s because it has always been founded on profound integrity. What draws together the qualities that she has embodied on the stage and screen with the woman that she really is is a natural gift for metamorphosis. So emotive and malleable is her face that no label can ever justly be applied to her. Jeanne Moreau touches us because she is so extraordinarily human”.

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We could say that Bruno Barreto (Rio de Janeiro, 1955) is a born filmmaker, given his familiarity with the camera since childhood, when he made several shorts (he was only eleven when he made Os três amigos, winner of the Best Young Director Award at the Brazilian Amateur Film Festival). This early vocation produced the biggest Brazilian cinema hit ever: Dona Flor e seus dois maridos (Dona Flor and Her Two Husbands, 1978). He has also directed other Brazilian cinema box-office hits, including A estrela sobe (1974), Amor bandido (1981), O romance da empregada (The Story of Fausta, 1988), O Que é Isso, Companheiro? (Four Days in September, 1996), nominated for the Oscar for Best Foreign Language Film in 1998, and Bossa Nova (1999). He continues to be one of the most popular
Brazilian directors, as demonstrated by the success of his latest movies, O casamento de Romeu e Julieta (2005) and Caixa 2 (2006).
He spent part of his career working in the USA, where he directed A Show of Force (1990), Heart of Justice (1992), Carried Away (1995), One Tough Cop (1998) and A View From the Top (2002), leading to his international fame.
His filmography as a director is rounded off with Tati-A garota (1972), Gabriela (1982), Menino do Rio (1983), O beijo no asfalto (The Kiss, 1984) and Além da paixão (Beyond Passion, 1986). He was also the producer and scriptwriter of several of his own films and wrote the screenplay for Kiss Me Goodbye (1982), directed by Robert Mulligan.
He also directed John Patrick Schanley’s play, Dúvida (Doubt, 2006).

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Isabel Coixet (Barcelona, 1962) holds a degree in Contemporary History and is a film director, producer and screenwriter. She has directed the films Demasiado viejo para morir joven (1986, screened in Zabaltegi at San Sebastian), Cosas que nunca te dije (Things I Never Told You, 1995), A los que aman (Those Who Love, 1998), My Life Without Me (2003) and The Secret Life of Words, (2005), with which she has landed numerous awards and international recognition. She has also participated in the collective films Hay motivo (2004) and Paris, je t’aime (2006). She has directed several documentaries, including Viaje al corazón de la tortura (2002) and Cartas a Nora (2006), and is currently working on another about domestic violence, to be entitled Me duele más a mí.
The Secret Life of Words landed the Goya 2006 for Best Film, Best Director, Best Original Screenplay and Best Production Design, the Sant Jordi and the Silver Fotogramas, among many other awards. My Life Without Me won the Goyas for Best Adapted Screenplay and Best Song, the Guild of German Arthouse Cinemas Award at Berlin Festival, the Sant Jordi, the Premi Nacional de Cinematografia from the Generalitat of Catalonia, the Best Canadian Film Award at the Atlantic Festival in Canada, the Genie Award for Best Actress (Sarah Polley) and many others. Those Who Love won the Best Film Award at the San Francisco Latino Film Festival and the Ciutat de Barcelona from Barcelona City Council. Things I Never Told You  landed the Silver Fotogramas, the Sant Jordi, the Special Jury Prize at Thessaloniki Film Festival and the Golden Golem at Prague Festival.
Coixet also founded and was creative director for the Target agency and of the Eddie Saeta production company, obtaining the most prestigious prizes for her advertising work. In 2000 she created the Miss Wasabi Films production company, from which she has produced remarkable music videos and documentaries.
In theatre directing, Isabel Coixet has debuted with 84 Charing Cross Road, based on a work by the American Helen Hannf.

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It must be a bummer to be a woman surrealist, a tradition that is rarely acknowledged to exist, at least among American and European writers and filmmakers. In Mexican painting, there’s Frida Kahlo and Remedios Varo. But when it comes to fiction writers like Shirley Jackson or Flannery O’Connor, other affiliations such as “gothic” or “southern” always take precedence, much as “feminist” does when it comes to Jane Campion, Chantal Akerman, or Leslie Thornton. Possibly all of this is due to the abiding sexism of André Breton, Luis Buñuel, Salvador Dalí and other talented, macho Latin ideologues, but it seems in any case that David Lynch and Raul Ruiz are automatically deemed honorary members of the club, while Sara Driver is usually deprived of any tradition at all, except maybe “weird” and “independent”.
I have to admit, though, that she makes things difficult – and difficult in the best sense– by being so contrary, even when it comes to only three extended narrative films to date [You Are Not I (1982), Sleepwalk (1986) and When Pigs Fly (1993)]. While we can readily speak about the surrealist “worlds” of a Buñuel, a Lynch, or even an Akerman (at least if we think of Belgian surrealism), the three films of Driver, even if we can easily call them all surrealist as well as “Driveresque”, clearly take place in three distinctly different worlds. That doesn’t mean that there aren’t various stylistic, thematic, and temperamental connections between them going well beyond the recurrence of various collaborators. Think of the dense and hyperactive soundtracks of all three, the downscale milieus, the trancelike rhythms, the layered relation of distant past to present (bringing to mind the fact that Driver spent her junior year in college abroad, studying archaeology in Athens), the depictions of bullying power-mongers and solitary children, the dreamy passivity of seemingly hapless protagonists and the prominent attention given to their dreams, and chaotic
eruptions of various kinds occurring in the midst of their compulsive routines, leading to the major plot developments in all three cases.
Excerpt from Sara Driver’s Dream Dog, by Jonathan Rosenbaum.

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Born in Zurich in 1941. Having spent a short time in Paris, he studied acting at the Zurich Bühnenstudio (now the Schauspiel-Akademie). He played his first parts in Swiss films of the 60s, following which he started working as an actor in different European theatres: Junges Theater in Göttingen, Theater am Goetheplatz in Bremen... In 1967 he acted in the first production directed by Peter Stein and in 1970 had already become the soul of the Schaubühne am Halleschen Ufer company in West Berlin.
He started working regularly in films in 1975, and from the next year on almost exclusively dedicated his time to cinema, although in 1982 he returned to the stage of the Theater am Leniner Plaz in Berlin with Hamlet, directed by Klaus Michael Grüber and, in 1984, performed in Oberon in der Park, directed by Peter Stein.
He has starred in numerous films under different international directors, such as Die Fälschung (Circle of Deceipt, 1980), by Volker Schlöndorff, Dans la ville blanche (In the White City, 1983), by Alain Tanner, Der Himmel über Berlin (Wings of Desire, 1987), by Wim Wenders, Mia aioniotita kai mia mera (Eternity and a Day, 1998), by Theo Angelopoulos, Pan e tulipani (Bread and Tulips, 1999), by Silvio Soldini, The Manchurian Candidate (2004), by Jonathan Demme, and Der Untergang (Downfall, 2004), in which he plays a superb Hitler earning him international recognition, including the Best Actor Award from the European Film Academy.
His most recent works include Vitus (2006), by Fredi M. Murer, which will be screened in the Pearls chapter of the Zabaltegi section at San Sebastian Festival.

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Born in Madrid in 1953, he studied Architecture and holds a degree in Communications. He started his professional career in television, moving to cinema as an assistant director until 1991, the year he made his first film, Salsa rosa (Pink Sauce). He was a founding partner of the BocaBoca production company and is considered in Spain to be one of the most successful comedy directors. Thanks to the modernity of his subjects and the elegance of his mise-en-scène, his films have been released in many countries through companies as prestigious as Miramax, Fortissimo Films or Lucky Red.
In 2005 he created his own production company, Lenon, with which he is working on El juego del ahorcado, based on the novel of the same name by Imma Turbau, the screenplay for which was written by Salvador García Ruiz.
All of his films have been box-office hits and have garnered important awards. He was nominated for the Goya for Best New Director for Salsa rosa (1991). ¿Por qué lo llaman amor cuando quieren decir sexo? (Why Do They Call It Love When They Mean Sex, 1993) landed the Goya for Best Supporting Actress (Rosa María Sardá). Todos los hombres sois iguales (All Men Are the Same, 1994) won the Goya for Best Original Screenplay and for Best Actress (Cristina Marcos). Boca a boca (Mouth to Mouth, 1995) obtained the Goya for Best Actor (Javier Bardem). El amor perjudica seriamente la salud (Love Can Seriously Damage Your Health, 1996) landed the Audience Award at Hamptons. Entre las piernas (Between Your Legs, 1999) competed at Berlin Festival. Cosas que hacen que la vida valga la pena (2004) bagged the Audience Award at Malaga Festival. Reinas (Queens) won the Hamilton Award for Best Artistic Director at San Sebastian Festival.
His filmography is rounded off with Desafinado (Off Key, 2001) and Yak 42, a segment of the collective movie Hay motivo (2004).

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José Saramago was born in Azinhaga, Portugal, in November 1922, although he spent most of his adult life in Lisbon, to which his parents moved for economic reasons. Professionally, he was a locksmith, mechanic, clerk, translator, literary critic and publisher. He wrote a novel at the age of 23, but decided that he had nothing to say and proceeded to publish nothing for the next 20 years. Later, middle-aged, he wrote poetry, a travelog (Journey to Portugal), plays and, finally, novels when he was about to turn 60, the age at which others are normally considering retirement. Ever since publishing Picked Up from the Ground, he has continued to write regularly, tackling, with his peculiar and transgressive style, widely ranging subjects, always starting with an impossible situation that finally lodges itself in the reader’s imagination.
Saramago separated the Iberian peninsula from Europe, set a dead Fernando Pessoa dialoguing with his living Ricardo Reis heteronym, had Jesus Christ reflecting on power and guilt and planning to flee the designs of a boring God, blinded all of the inhabitants of a city or made all of the inhabitants of a city, perhaps the same one, cast blank votes in an unprecedented display of citizenry. He is currently writing the memoires of his childhood and teenage years.
His works have been translated into over 40 languages and published in practically every country in the world. He has also written, in collaboration with the Italian musician Azio Corghi, three operas performed in Germany, Milan
and Portugal. Some of his novels have been or are being taken to the big screen, although Saramago considers that literary and cinematographic discourse don’t gel, that they follow parallel paths.
He won the Nobel Prize in Literature in 1998.
A staunch left-winger, he is always prepared to speak up for those who need a different world in order to be able to live with dignity. Of himself, he has said: “The older I get, the freer I get, and the freer I get, the more radical I get”.

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