Mondes en regards Prize (Jean Rouch Festival)

2023: Adeus, Capitão by Vincent Carelli and Tatiana Soares Almeida (France, Brazil) for the preservation of indigenous languages and the cultural identity of the Gavião people. Intergenerational transmission questions the coexistence between tradition, through language, family, rites, attachment to the land of ancestors, and modernity. The jury underlines the director's commitment with the Captain to rebuild the memory of his people, lest it disappear.

2022: La combattante by Camille Ponsin (France) for its profound social necessity and human qualities. The members of the jury were moved by the character's commitment and hope that her fight with and for the victims of Darfur can also impact the audience at Inalco, an institute whose values and commitments around contemporary migration issues resonate strongly with the film.

2020: Diyalog by Selim Yildiz (Turkey) and The Marriage Project by Atieh Attarzadeh and Hesam Eslami (Iran) tied for their human qualities and their art of inserting the small into the big Story. Two moving examples of couples in search of the realization of a dream, embodied by women with poignant portraits.

2019: When Tomatoes Met Wagner by Marianna Economou (Greece) for highlighting, with sensitivity and humor, human relationships within a village disrupted by the rural exodus. The director invites viewers to share the protagonists' hope.

2018: I see redby Bojina Panayotova (France, Bulgaria)
The jury members were won over by the director's approach, which, through a personal quest and a family story, reveals part of the history of Bulgaria and the Communist regime's political police. The jury would also like to highlight the artistic quality of the film, and in particular the way in which the director directs herself, as well as the skilful use of the codes of the spy film and the documentary film.

2017: MIRR by Mehdi Sahebi (Switzerland) for its ethnographic and ethical quality, which emerges from a collaborative approach involving the population in the film's becoming. Taking as its backdrop the problem of the dispossession of Bunong peasants from their farmland, MIRR narrates jostling life stories, while revealing the Bunong oral tradition through an innovative scripting device. Platskart by Rodion Ismailov (Russia) for the original plot around the train journey across Siberia and the encounters around the characters becoming more and more intimate and close, a journey that reveals multiple human realities to us.

2016: A Walnut Tree by Ammar Aziz (Pakistan)
A Walnut Tree, is a film of great strength. Through a masterful ethnographic approach, Ammar Aziz enters, with sensitivity and respect, into the deeply moving intimacy of a Pakistani family displaced to a UN camp following the destruction of their village by the Taliban. It thus raises eminently topical issues, those of migration and its international stakes, and takes a critical look at the role of international organizations.

2015: Coming of Age by Teboho Edkins (South Africa)

2014: Abu Haraz by Marciej J. Drygas (Poland) both for its aesthetic qualities and for its very concrete depiction of the difficulties a community can face in preserving its cultural identity and territorial integrity.

<2013: Ningal Aranaye Kando ? by Sunanda Bhat (India) for its anthropological interest as it deals with the impacts of economic change on nature and society, with the narration of the place's origin myth in the background. A film with a great aesthetic sense that challenges us on the fragility of oral knowledge about nature.

2012: The Tundra Book. A Tale of Vukvukai, the Little Rock by Aleksei Y. Vakhrushev (Russia)