"We were surprised by the quality of the films in competition, and by the geographical and thematic scope of the selection. The films chosen for the Amnesty International prize deal in an original way with themes such as gender violence, the unresolved issues of post-colonialism, cultural and class discrimination, labour exploitation in the Global South or the complex realities of asylum seekers. The jury decided to award a film that tackles the theme of sexual abuse, and satellite problems such as the reproduction of oppressive gender role structures, mental health, macho violence and patriarchal hierarchy. Anchored in a web of generational silences, the family and community relationships in this narrative end up perpetuating the abuse. The film also surprised the jury with its artistic quality, particularly for its sound design, editing and photography. The story is punctuated by several analepses that not only lead the viewer to explore the roots of what is happening today, but also add a symbolic layer to the role of the main female characters. This metaphor launches a challenge to the new generation to dismantle the cycle of oppression."

"This film is no small feat. From a somewhat surreal opening beat - a death out of nowhere - the film evolves into a sudden complex narrative depicting a diverse social fabric, while proposing an idea of place, nation and family ties. It also deals soberly and thoughtfully with an often delicate topic without shying from the complexities of the situation. The sensible and sensitive direction makes for a compelling viewing experience and turns the film into a breath of fresh air - a refreshing, but deep and powerful, examination. The film presents us with a unique point of view and punctuates its otherwise heavy topic with surprising moments of grace. With courageous storytelling and striking cinematography the skillful filmmaker shows us a world of complicated family relations and ingrained traditions, going from a culturally specific narrative to universal themes in an elegant and original way."

"In a selection marked by diverse and ambitious work, this film distinguished itself through its formal precision, emotional depth, and narrative restraint. The jury was impressed by its immersive visual language, where every frame contributes meaningfully to the atmosphere of quiet reflection. The performances are understated yet deeply affecting, and the film's subtle use of humour and magical realism is always grounded in a clear sense of place and human experience. For its ability to evoke complex emotions through simplicity and for its cohesive artistic vision, we are pleased to award the Max Prize for Best Portuguese Feature Film to Hanami, by Denise Fernandes."

"Starting from a minimal visual motif, this film builds into an anthropological exploration of the unseen human work behind the development of AI technology. In doing so, it embodies the need to use contemporary tools to talk about contemporary realities, while exposing the discrepancies in the urban landscape along the North-South divide. Overall, it is a relevant meditation on how technology is shaping our perception of the world."

"Addressing one of the biggest challenges on the contemporary political scene, this film expresses a universal human need to have a home - and how easily it can be denied. As a jury, we particularly valued the film's earnest approach to the struggle of three men who seek asylum in Ireland. As it negotiates the current overflow of information, the film questions the concrete and symbolic borders that define present-day societies and reminds us of the need for action and solidarity."

"In a playful and clever use of cinematic techniques, this film depicts an inbetween space where life and death, fiction and documentary co-exist. Through a striking economy of means and a matter-of-factly humour, the film carries us on a transcendant journey. Maurilio and Fidela are waiting for us and, as spectators, we are delighted to meet them."

"We decided to split the award for two films which encompass the various roles of cinema: to explore, expand and stimulate the collective imagination - in poetry and in politics - two equally important facets of the human condition. This waking dream of a film invites us to an island where reality and fiction merge, shaped by language, performance, and elemental forces. Drawing from Shakespeare, Pirandello, Beckett and beyond, the film constructs a layered meta-narrative that illuminates the truths and dilemmas of existence, and gives shape to questions as old as humanity itself: do we have free will, what is the role of creator, are we all mere archetypes and can we escape? Embracing fragmentation, humour, and mystery, it offers not just a film, but a sensory and philosophical experience - one that invites us to feel, to question, and to surrender. For its conceptual daring and poetic vision, we are proud to honour Ariel by Lois Patiño."

"We decided to split the award for two films which encompass the various roles of cinema: to explore, expand and stimulate the collective imagination - in poetry and in politics - two equally important facets of the human condition. With deceptive simplicity and profound depth, the film places us at the precipice of civilization, tracing a path from dinosaurs to Hiroshima. Using minimal elements and a repetitive structure that mirror the cycles of history, it suggests that we are trapped in a loop of forgetting and repeating. Assuming the gaze of the "little boy" - both the bomb and the child within - it listens to the past to warn about the future, exposing the failures and hypocrisies of American idealism. By revealing how war, memory, and identity are constructed through models, myths, and mechanisms, it distills historical trauma into a radically personal and politically charged gesture, perfectly embodying the singular and rebellious spirit of the Silvestre competition, we are proud to honour Little Boy by James Benning."

"Through a radical practice of reconfiguring fragments of Iranian cinema, the artist confronts the ways in which women have been represented, erased, and controlled on screen. Often using fire-toned negatives that evoke the imagined burning of the Ministry of Culture, she transforms archival images into instruments of revolt. At its core, the film tells the story of two girls and Iran's first women's newspaper: a letter, a dream, a film that could never be made, and still cannot. Her tool is cinema, she makes cinema with the impossible cinema. Her voice is urgent, and for that, we are honored to award her the Honda Silvestre Prize for Best Short Film."