º»¹® ¹Ù·Î°¡±â ¸Þ´º ¹Ù·Î°¡±â
Awards

Grand Award

Cash Prize of KRW 12,000,000 (Approx. USD 9,000 equivalent) with trophy (1 film)

Excellence Award

Cash Prize of KRW 6,000,000 (Approx. USD 4,550 equivalent) with trophy (1 film)

Jury of Finals
  • E.oni

    Filmmaker

  • TRAN Thi Bich Ngoc

    Producer

    Tran Thi Bich Ngoc has extensive nearly 30 years working in movies industry in Viet Nam. Ngoc also is co-founder of Autumn Meeting, an international cinema workshop and event which began in 2013 in Viet Nam as a platform to support young filmmakers in Viet Nam and across the Southeast Asia. She was named one of Forbes Magazine¡¯s ¡°50 Most Influential Women¡¯s¡± in recognition of her efforts to support young filmmakers and help bring Vietnamese cinema to the world.

  • Stefanie GÖRTZ

    Senior Programmer, IFFF Dortmund + Köln

    She studied theatre, film and television, media & communication and economics and has been working for almost 30 years as a curator, press officer and journalist in the fields of film and culture. Central to her work is her long-standing feminist involvement with the IFFF Internationales Frauen Film Fest Dortmund + Köln, where she heads the International Feature Film Competition and the press department, and shares responsibility for the international industry gathering during the Berlinale and other special programmes.

Preliminary Committee
  • SON Sinae

    Programmer, SIWFF

    Son Sinae debuted as a film critic after winning the Rookie of the Year Award from the Korea Film Critics Association in 2016. She is a contributor of the film webzine REVERSE and the magazine FILO, and a member of the Criticism Division of the Korea Independent Film Association.

  • SONG Hyojoung

    Programmer, SIWFF, Associate Professor, S-LAC, Daegu University

    After winning the 12th CINE21 Film Critic Award, Song Hyojoung has continued her work in journal criticism and has been active as a writer and programmer with the Independent Film & Video Makers' Forum. As a researcher, she focuses on the cultural order in Korea during the colonial, liberation, and Cold War periods, and engages with representational systems as a film critic.