For a movie about a superhero who can literally climb walls, Spider-Man: Brand New Day is seemingly interested in what happens when Peter Parker (Tom Holland) puts them up himself. Still reeling from the loss of the people closest to him, Peter has convinced himself that being alone is the price of being Spider-Man, and production designer Charles Wood had the task of making that isolation visible.

That meant giving Peter a new apartment that could feel like both a refuge and a prison, with a view of the New York life he can see but can’t quite join. Elsewhere in the concrete jungle, Wood and his team also had to build and stylize another part of New York through Yelena’s (Florence Pugh) elaborate bathhouse, built from scratch and based on spaces Wood discovered while scouting the city.  And it meant creating Jean Grey’s (Sadie Sink) containment unit as a room that initially feels almost domestic before revealing itself to be something much more sinister.

Wood, whose production-design credits include several MCU projects such as Doctor Strange, Black Widow and both Avengers: Infinity War and Endgame, also had to account for Holland’s famously immersive approach to his performance by creating sets and props that didn’t just look real, but actually worked just as Peter Parker would hope.

Below, Wood spoke to Deadline about the making of Brand New Day and the web-crawling details hidden within its narrative walls.  

DEADLINE: What was the briefing from Destin Daniel Cretton about what this Spider-Man world should feel like?

CHARLES WOOD: I think he wanted it very street level. It’s a very grounded feel. Everywhere we went into this place we created, he wanted the audience to feel that Peter Parker could really be around the corner. So, in the creation of New York in the U.K., he wanted to make sure it felt natural. Given that this is based on fantastic comics, there’s a twist of that sort of graphic iconography applied to it.

DEADLINE: Let’s jump into a few locales now. First and foremost, this bodega that Peter constantly visits. Talk about creating that New York bodega, and did you have to import all those American snack goods?

WOOD: We might have flown some things in, but I’m not entirely sure. There are actually quite a lot of American products available in London because many Americans live there. But there’s also a bit of product placement here [laughs]. Honestly, we did an awful lot of research on that. I went to New York a lot, and the team photographed a lot of bodegas because places like this you really have to work hard to try and be as authentic as you can, because you can lose the audience if it doesn’t work. And we had an awful lot of Americans coming in and looking at these sets—a tough bunch [laughs].

DEADLINE: What was the flavor profile of creating Ned and MJ’s shared apartment?

WOOD: Destin and I went back and forth on whether or not it would be set in Astoria or Queens. We ultimately wanted to say that it was Queens above a shop, and we wanted it set in an old tenement building. So we gave the set a lot of history – like maybe this building was around a hundred years old. It’s supposed to be set in a well-trodden, fun neighborhood, but not in one that depicts huge wealth.

DEADLINE: I don’t think we ever get to see MJ’s room. Did you all have any discussions about what her room would look like?

WOOD: There is actually a little bedroom for her in there. When Tom first enters the apartment, I mean, to be really prescriptive here, on the left. I don’t even know if it made it into the movie, but there was a little bedroom for her. It just wasn’t a place where the story naturally played out. Even on the day we were changing things around, when Tom came in and wanted to work on it to make it work for them both. And then, quite frankly, the rest of the apartment was really more about the idea that it was just somewhere they could all come together – which was by the window.

MJ’s room, I believe, had something to do with stuff from her past and education, but I can’t quite remember [laughs].

DEADLINE: Was Yelena’s bathhouse a location or built set?

WOOD: That’s a built set. There’s a nice story there, because I went to New York with Destin, Brett Pawlak, the cinematographer, Jerome Chen, the visual effects supervisor, and David Kane, our producer. We happened to go to a place called Brighton Beach, and there was this building that we thought could have been an old bathhouse. Then when we thought we were going to film in Manchester, we found this old Victorian bathhouse that felt right. So, we took the ideas from that.

The guys built this really beautiful, hand-tiled set, and the pool was also all made.

DEADLINE: I don’t know how online you are, but –

WOOD: Not at all, they would eat me alive on there.

DEADLINE: I want to ask on the fans’ behalf—the water. There’s a running joke about the MCU having the most magical water that clouds everything.

WOOD: Ultimately, we needed to cloud the water.

DEADLINE: Right.

WOOD: Florence obviously wears a bodysuit, so there’s nothing there. But, I mean, we have to do these things because of the ratings.

DEADLINE: Of course. The question is less about that and more about the water’s composition. For example is it like 15% soap suds, 30% dye, 40% milk, etc?

WOOD: It’s a type of dye, I think. In the old days, when I first started in the business, you used milk because it worked very quickly to cloud something. But, interestingly enough, we ran all sorts of tests to figure out the right consistency. And ultimately that’s what we came up with. Also, it was all heated and very comfortable, with lots of benches underwater that Tom was floating around on, and it was funny. I love that sequence, a very good scene.

I should also mention that we spent a lot of time chipping tile and making sure the grout matched to bring that level of reality to it. These characters are big, so if you drop the ball, you don’t make these spaces feel truly real. And if you can do that, then I think that’s a good place to be in because it’s all about the performance. If you produce a set which feels like a set, you can pull the audience away from that. So it’s an important thing. We spend a lot of time, a lot of money, a lot of effort to bring authenticity to these places.

DEADLINE: What was the biggest challenge in designing this Spider-Man movie?

WOOD: Making New York, because it is a fabulously interesting city.  It’s incredibly layered. It’s so interesting culturally. Its heritage is extraordinary. And as a non-New Yorker, but as someone who, for instance, lives in London and has spent a lot of time there, bringing all of that detail, cultural realism, and history to a place in London, in England, is really difficult. And we spend an awful lot of time photographing. I spent a lot of time photographing New York, getting a lot of advice from New Yorkers, and trying to make it feel natural. That was the biggest challenge in that movie.

DEADLINE: What is your favorite prop that you built for a set?

WOOD: The fabricator, I suppose. That’s a big prop because it’s the machine that built the inhibitor. Like Peter, we felt like we needed to apply a lot of mechanical detail too. We wanted to create something that could have come in 500 Amazon boxes, but that was also something you could build and a great mind could build. And we wanted it to be very tactile. It worked, it buzzed, it did all the things. It actually was this mad kind of almost sewing machine. We wanted everything to be tactile.

It helped because Tom is completely immersive. Once he gets into a space, he starts to understand what his world is, and he then wants to react with it. We try to do all of those things to make that interesting for him.

DEADLINE: Jean Grey’s containment cell was pretty massive, it seems. What went into making that room within a glass containment?

WOOD: The whole idea of it was that Jean’s sister was taken to this room by Damage Control. We looked at all these strange rooms from all sorts of places. We found this wooden space. And we wanted it to be odd enough to not sit well with you, but real enough to say, “This is clearly where she is and is it her bedroom, question mark, because all of her stuff’s near, but why are the walls glassy?” So, when you are first in there, if you look at the walls, they are actually glass. There’s glass in front of them. And then it became this idea where actually at some point during the sequence, we realize the room isn’t the room. It’s actually a glass cell that is housed within a larger room.

And then we decided to actually do this reveal because it was all in camera; that’s not visual effects. All the walls lifted to reveal this much larger space where she was housed.

DEADLINE: What was your favorite set to build?

WOOD: Probably the New York backlot. We built two or three city blocks of New York: 40 big buildings. I love building the rooftops. I like the Silver Cup rooftop because we built that big sign and the big rooftop. I always love doing those wells above New York. I think that’s a really interesting thing to do. But people don’t generally go. And being in New York and having access, it’s a lovely thing about my job to all of these brilliant buildings and actually getting up top, going out some fire escape somewhere many hundreds of feet up in the building was brilliant. And recreating those worlds to display the historical nature of them…lots of things are forgotten on New York rooftops, and I loved getting into all of that; the eccentricity was really interesting.

DEADLINE: What was an environment that looked ordinary on screen, but was incredibly complicated to build?

WOOD: Peter’s apartment was complicated, believe it or not. There were a lot of surfaces. There’s a lot in that place, and that was with all the skylights and all the different finishes and the history. We really wanted to come up with some crazy old pad. It was tricky because we had to think about New York, because everywhere’s valuable. Everywhere’s worth something and most places are worth an awful lot. And so it was odd coming up with a cinematically interesting place, but didn’t look as though it was worth a few million. So we had to sort of play with it quite a lot to make it feel really neglected. But not so neglected that it felt non-authentic or you couldn’t have a place like that. It was difficult to find the sweet spot.

And when he walks in, and it’s all full of that junk, and we’ve cleared the junk away, we wanted something to be there but not trying to grandstand anything. But you could feel its history and neglect, which, in a way, very much suited the scene we were trying to convey.

From a narrative viewpoint, we wanted to do something where Peter had these great big windows, but actually, if you were to look at the windows just beyond, we were actually on the other side of the East River. And in the distance, we did have these lights on these big backings where you could see New York and the Queensboro Bridge. The idea was all about being somewhere he had this view of the city he could never join. He could look at families across the way, but he could never be part of that. This place represented a barrier between him and, in a sense, the happiness, all the togetherness he missed.

Then the way it was designed with materials, you wanted the rain to hit the skylight above him, the clitter clatter and all the awnings which gave different lighting moods, and the coldness of the brick and the heat of the pipes. Then there was us having the clattery old washing machine that wasn’t quite working.

Frankie Valli has a message for anyone predicting his imminent retirement: Not so fast.

After Bobby Valli, the Four Season singer’s brother, recently posted a Facebook message announcing the ailing Frankie’s retirement, the 92-year-old pop icon slapped back. Yesterday, Frankie posted a short and sweet Instagram message: “In spite of what you might have heard, I am not retired. – Frankie.”

The confusion follows Frankie Valli’s decision in May to cancel a 2026 farewell tour due to his ongoing health challenges. He announced at the time, “I’m so sorry to disappoint the folks who have purchased tickets to my shows but I have decided to take the rest of the year off from touring to focus on my health. I’m looking forward to getting healthy and seeing you all again soon. Thank you for all your good wishes.”

Photos of the frail looking singer have since done viral on social media.

Earlier this week, Bobby Valli posted a Facebook message, alongside a 2025 photo of the two brothers, stating, “He has millions of fans who love him dearly. He is now 92 years old. In his illustrious career, he has sold over 100 million records, R&R Hall of Fame. He will now retire. We will always have special memories of Frankie Valli. He has reached a place in his life where his family is there to love, cherish and to be there for him.”

A short time later, Bobby had amended the message, changing “He will now retire” to “In my humble opinion there is the possibility he will stop touring.” The line now reads, “We are all hoping for a speedy recovery and that he can continue to tour and perform his music around the world.”

Yesterday, Bobby posted a message on his now-private Instagram page saying, “I apologize. I was misinformed. I was under the impression my brother Frankie was retiring. Hoping for him to have a speedy recovery to continue his illustrious career!”

All three versions of Bobby’s Facebook messages end with, “He has reached a place in his life where his family is there to love, cherish and to be there for him. We appreciate your love and concern.”

The exact nature of Valli’s health challenges has not been disclosed.

Frankie Valli has been performing for 75 years, reaching his most sustained and widespread success in the 1960s as the lead singer for the hit-making The Four Seasons (“Sherry,” “Walk Like a Man,” “Big Girls Don’t Cry,” among many others songs). The group’s rags to riches story and music was depicted and celebrated in the hit Broadway stage musical Jersey Boys and its subsequent 2014 film adaptation directed by Clint Eastwood.

The Pardo d’Oro at the 79th Locarno Film Festival has gone to Florin Șerban’s drama You Don’t Belong Here (Nu E Locul Tau Aici). Scroll down for full list of winners.

The film marks the acclaimed Romanian director’s return to feature filmmaking after eight years. A father-and-son drama, the film was awarded the Pardo d’Oro by the Official Concorso Internazionale Jury “for the strength of its writing, the singularity of its vision, and its exceptional command of cinematic language.”

The movie follows a physician who is crushed when police suspect his teenage son of murdering an old Romani man. He then discovers his son has a secret life vandalizing cars with masked vigilantes.

Meanwhile The Riverbank (A Margem do Rio) by Matheus Farias and Enock Carvalho won the Special Jury Prize, while the Pardo for Best Direction went to Hong Sangsoo for Nowhere to Lay My Eyes (Nun Dul Dega Eomne).

The two Best Performance Awards were given respectively to Kim Minhee for Nowhere to Lay My Eyes and to Monica Bellucci for Ketticè by Giovanni Tortorici. The Pardo d’Oro in the Concorso Cineasti del Presente and the Swatch First Feature Award were both awarded to The Illusion of an Everlasting Summer (La Iusión de un Verano Sin Fin) by Alessandra Sanguinetti.

Giona A. Nazzaro, Artistic Director of the festival, said: “A vital and contemporary slate of awards, in close dialogue with the transformations in the industry and in our world today. Whether in highlighting the Romania of You Don’t Belong Here, or the Brazil of The Riverbank, or the South Korea of Nowhere to Lay My Eyes, the jury upheld the primacy of form and of language, while remaining, in its choices, completely accessible, as the packed and engaged screenings of all competitions demonstrated throughout the festival.”

The closing night in Piazza Grande, on Saturday August 15, will be rounded off with the ceremony for the Prix du Public UBS before the screening of the closing film Ni Vue, Ni Connue (All About Corinne) by Marc Fitoussi with Isabelle Huppert and Sandrine Kiberlain.

This year’s international competition jury was overseen by Belgian filmmaker Fabrice Du Welz.

The 80th Locarno Film Festival has been set to take place from 4 to 14 August 2027.

Full list of Locarno winners (as provided by the festival)

Official Awards
 
LOCARNO79 OFFICIAL SELECTION
 
Concorso Internazionale
Concorso Cineasti del Presente
Pardi di Domani
Locarno Kids Screenings
 
CROSS-SECTION AWARDS
 
Swatch First Feature Award
 
Pardo for Change
 
Independent Juries Awards
 
Ecumenical Jury Prize
FIPRESCI Prize
Europa Cinemas Label
Junior Jury Awards
Semaine de la Critique Awards

Concorso Internazionale
 
The official Concorso Internazionale Jury of the 79^th Locarno Film Festival composed of:
 
Jury President
Fabrice Du Welz, Director (Belgium)
 
Jury Members
Marco Alessi, Producer (Italy)
Lolita Chammah, Actress (France, Italy)
Paulina García, Actress (Chile)
Olivier Père, Executive Director – ARTE France Cinéma and Head of the Cinema Unit – ARTE France (France)
 
awarded the following prizes:
 
Pardo d’Oro – Grand Prize of the Festival and City of Locarno
CHF 75,000 to be shared equally between the director and the producer, to:
NU E LOCUL TAU AICI (YOU DON’T BELONG HERE) by Florin Șerban, Romania
 
Special Jury Prize – Cities of Ascona and Losone
CHF 30,000 to be shared equally between the director and the producer, to:
A MARGEM DO RIO (THE RIVERBANK) by Matheus Farias, Enock Carvalho, Brazil/Germany
 
Pardo for Best Direction – City and Region of Locarno
CHF 20,000 to the director, to:
Hong Sangsoo for NUN DUL DEGA EOMNE (NOWHERE TO LAY MY EYES), South Korea
 
Pardo for Best Performance
to Kim Minhee for NUN DUL DEGA EOMNE (NOWHERE TO LAY MY EYES) by Hong Sangsoo, South Korea
 
Pardo for Best Performance
to Monica Bellucci for KETTICÈ by Giovanni Tortorici, Italy
 
Special Mention
to Xavier Bergeron for VIOLENCE DU CORPS DE L’AUTRE by Denis Côté, Canada
 
Special Mention
to Teodor Butănescu for NU E LOCUL TAU AICI (YOU DON’T BELONG HERE) by Florin Șerban, Romania

Concorso
Cineasti del Presente
 
The official Concorso Cineasti del Presente Jury of the 79^th Locarno Film Festival
 
composed of:

Jury Members
Afef Ben Mahmoud, Actress, director, producer (Tunisia)
Radovan Síbrt, Producer and director (Czech Republic)
Margherita Spampinato, Director, screenwriter, editor (Italy)
 
awarded the following prizes:
 
Pardo d’Oro – Concorso Cineasti del Presente
CHF 35,000 to be shared equally between the director and the producer, to:
LA ILUSIÓN DE UN VERANO SIN FIN by Alessandra Sanguinetti, Argentina/USA
 
Best Emerging Director Award – City and Region of Locarno
CHF 20,000 to the director to:
Beatrice Gibson for AT NIGHT, United Kingdom/France
 
Special Jury Prize CINE+OCS
A promotional campaign to the value of CHF 25,000 on CINE+OCS channels at the time of its theatrical release in France, to:
REVOLUTIONARIES NEVER DIE by Mohanad Yaqubi, Palestine/Belgium/Qatar
 
Pardo for Best Performance
to Idrissu Tontie Jr. for EGO REACH WE ALL (OUR TIME WILL COME) by Amartei Armar, Ghana/France/Saudi Arabia
 
Pardo for Best Performance
to Manal Issa for L’ESTIVE by Naël Khleifi, Lisa Debauche, Belgium/France
 
Special Mention
to LOS DÍAS LIBRES by Lucila Mariani, Argentina/Brazil/Mexico/France
 
Special Mention
to HANABI by Ana Vaz, France/Brazil

 
Pardi di Domani
 
The official Pardi di Domani Jury of the 79^th Locarno Film Festival
 
composed of:
 
Jury Members
Mounia Akl, Director (Lebanon)
Steven Markovitz, Producer (South Africa)
Antonio Piazza, Director (Italy)
 
awarded the following prizes:
 
Concorso Corti d’Autore
 
Pardino d’Oro WePresent by WeTransfer for the Best Auteur Short Film
CHF 15,000 to the director, to:
THE BOVINE COMEDY by Ratchapoom Boonbunchachoke, France
 
Special Mention
to ET SI THUY N’EXISTAIT PAS by Carlo Francisco Manatad, Philippines/France/Indonesia
 
Concorso Internazionale
 
Pardino d’Oro Arts3 Foundation for the Best International Short Film
CHF 10,000 to the director, to:
MELK by Filip Anthonissen, Belgium
 
Pardino d’Argento Arts3 Foundation for the International Competition 
CHF 5,000 to the director, to:
KHUFU by Mahmoud Assi, Egypt/France/Sweden/Canada
 
Pardino for the Best Direction WeShort for the International Competition
CHF 5,000 to the director, to:
MUTRION by Marco Cavazzin, Italy
 
Locarno Short Film Candidate for the European Film Awards
to MELK by Filip Anthonissen, Belgium

Special Mention
to LAS DAMAS by Camille Zéhenne, France
 
Concorso Nazionale
 
Pardino d’Oro SRG SSR for the Best Swiss Short Film
CHF 10,000 to the director, to:
TYPHOON MAMBO by Domenico Singha Pedroli, Switzerland/France/Thailand
 
Pardino d’Argento SRG SSR for the National Competition
CHF 5,000 to the director, to:
ALLES GUTE by Patricia Strübin, Switzerland
 
Best Swiss Newcomer Award
which provides equipment and services offered by Downtown Studio (CHF 10,000) and Taurus Studio (CHF 2,000), to:
RESPIRER UNE FOIS SUR TROIS by Charlyne Genoud, Switzerland

Locarno Kids Screenings
 
The official Locarno Kids Screenings Jury of the 79^th Locarno Film Festival composed of:
 
13 young Jury Members aged between 11 and 15
Carolina Bubba
Maeva Caterino
Leone Cofrancesco
Teresa Faré
Massimo Keller
Elia Longhi
Serena Lydon
Valentina LydoGiacomo Perrone
Mikaela Riaboshtan
Jacopo Rigoni
Viola Rigoni
Anna Zitarelli
 
awarded the following prizes:
 
Locarno Kids Award la Mobiliare
CHF 15,000 to the director, to:
PARADEISA by Marleen Valien, Germany
First Feature
 
 
The official First Feature Jury of the 79^th Locarno Film Festival
 
composed of:
 
Jury Members
Matthieu Darras, Film lab director (France)
Sung Moon, Programmer (Republic of Korea)
Klaudia Reynicke, Filmmaker (Switzerland/Peru)
 
awarded the following prizes:
 
Swatch First Feature Award
CHF 15,000 to the director, to:
LA ILUSIÓN DE UN VERANO SIN FIN by Alessandra Sanguinetti (Argentina/USA)

Pardo for Change
Founded together with WWF, supported by ARX and Wyss Academy For Nature
 
The official Pardo for Change Jury of the 79^th Locarno Film Festival
 
composed of:
 
Jury Members
Gianluca Grossi, Reporter and writer (Switzerland)
Mo Harawe, Filmmaker and screenwriter (Somalia/Austria)
Seta Thakur, Head of Communications and Social Innovation,
Wyss Academy for Nature (Switzerland)
 
awarded the following prize:
 
Pardo for Change
CHF 20,000 to the director, to:
EGO REACH WE ALL (OUR TIME WILL COME) by Amartei Armar, Ghana/France/Saudi Arabia
 
Special Mentions (Feature Film)
to LOS NUEVOS by Rodrigo Plá, Mexico/Spain
 
Special Mentions (Short Film)
to PRIVATE PROPERTY by Deepak Rauniyar, USA/Nepal/France/Australia
 
Independent Juries and Awards

Ecumenical Jury Prize
 
Jury Members
Viera Pirker, Jury President (Germany)
Jean-Luc Gadreau (France)
Juha Rajamäki (Finland)
Sarah Stutte (Switzerland)
 
The Ecumenical Jury awarded its prize, offered by the Reformed Churches and the Catholic Church of Switzerland, to the value of CHF 10,000 to the director:
Hong Sangsoo for NUN DUL DEGA EOMNE (NOWHERE TO LAY MY EYES), South Korea
  
FIPRESCI Prize
(International Federation of Film Critics)
 
Jury Members
Sona Karapoghosyan, Jury President (Armenia)
Mihai Fulger (Romania)
Virat Nehru (Australia)
Georgios Papadimitriou (Greece)
Anne-Sophie Scholl (Switzerland)
 
The International Federation of Film Critics awarded the International Critics’ Prize (FIPRESCI Prize) to:
LEJOS DE LOS ÁRBOLES (FAR FROM THE TREES) by Meritxell Colell Aparicio, Spain/Peru/Italy
 
Europa Cinemas Label
 
Jury Members
Züleyha Azman (The Netherlands)
Erika Borsos (Austria)
Joyce Palmers (Belgium)
Tomasz Poborca (Poland)
 
The Jury has awarded the Europa Cinemas Label, intended to enhance the circulation of a European film chosen amongst those of the Concorso Internazionale and the Concorso Cineasti del Presente on the screens of the Europa Cinemas network, to:
NU E LOCUL TAU AICI (YOU DON’T BELONG HERE) by Florin Șerban, Romania
 
Junior Jury Awards
 
The jury members are selected from the participants in the Cinema & Gioventù initiative, organized by Bellinzona’s Castellinaria Festival del cinema giovane on behalf of the Dipartimento dell’educazione, della cultura e dello sport (DECS) of the Canton Ticino.
 
The first Junior Jury, composed of Vittorio Di Angelo, Francesco Maria Ippoliti, Virginia Barbacini, Alessia Nunziante, Vittoria Soldaini, Julian Muller, Edoardo Ravina, awarded the following prizes to the three best directors in the Concorso Internazionale:
 
First Prize (CHF 6,000)
NU E LOCUL TAU AICI (YOU DON’T BELONG HERE) by Florin Șerban, Romania
 
Second Prize (CHF 4,000)
VIOLENCE DU CORPS DE L’AUTRE (NOBODY’S VIOLENCE) by Denis Côté, Canada
 
Third Prize (CHF 2,000)
MANHUNT by Wayne Wapeemukwa, Canada
 
“The Environment is Quality of Life” Prize (CHF 3,000)
offered by the Ticino Department of Internal Affairs:
I RARELY WAKE UP DREAMING by Isabelle Stever, Germany/Ukraine
 
Special Mention
to D’ICI LÀ by Sarah Leonor, France
 
The second Junior Jury, composed of Ginevra Gennari, Valentina Verre, Elia Privet, Linda Jam, Maïa Monnet, Clement De Castelberg, Letizia Marrone, assigned a prize of CHF 2,000 to the best film shown in the section Concorso Cineasti del Presente, to:
TEAR GAS by Uta Beria, Georgia/France/Germany
 
Special Mentions
LA ILUSIÓN DE UN VERANO SIN FIN (THE ILLUSION OF AN EVERLASTING SUMMER) by Alessandra Sanguinetti, Argentina/USA
 
The third Junior Jury, composed of Ilaria Bosco, Amy Negro, Tania Bignasca, Zoe Thunman, Veselina Tchimova, Beatrice Cereda, awarded the following two prizes, worth CHF 1,500, to the best short films in the Concorso Internazionale and in the Concorso Nazionale of the Pardi di Domani section, one prize to the best short film in the Concorso Corti d’Autore, and the “The environment is quality of life” Prize – worth CHF 2,000 and offered by the Ticino Department of Internal Affairs of the Cantone Ticino – to a short film in the section Open Doors Screenings to:  
 
Pardi di Domani
 
Concorso Internazionale
HERSHEWE FAZANAWERD (FORGOTTEN SPACEMAN) by Elham Ehsas, United Kingdom/Afghanistan
 
Concorso Nazionale
RESPIRER UNE FOIS SUR TROIS by Charlyne Genoud, Switzerland
 
Concorso Corti d’Autore
ÃSHEGHETAM by Filmsaazs, France/Switzerland/Iran
 
Special Mention – Concorso Internazionale
PREMIER FEU by Blanca Camell Galí, France/Spain
 
Special Mention – Concorso Corti d’Autore
THE BOVINE COMEDY by Ratchapoom Boonbunchachoke, France
 
Open Doors Screenings
 
“The Environment is Quality of Life” Prize
CONCRETE MOVES by Fagamou Fama Ndiaye, Senegal
 
Semaine de la Critique Awards
 
Jury Members
Olmo Cerri (Switzerland)
Barbara Miller (Switzerland)
Bettina Oberli (Switzerland)
 
The Jury has awarded the following prizes:
 
Grand Prix Semaine de la Critique – Prix SRG SSR
CHF 5,000 to the director and the producer, to:
A TERAZ WIOSNA (BLOSSOMING) by Kamila Serwicka, Poland
 
Marco Zucchi Award
CHF 2,000 to the formally and most aesthetically innovative documentary, to:
SEUL LE SERPENT SAIT (ONLY THE SERPENT KNOWS) by Olivier Séror, Martin Verdet, France