Sunday, June 11....At a gala Awards Ceremony at the Forum Luisa Todi last night, the 22nd edition of the Troia International Film Festival came to a conclusion with the announcement of Fetival Awards in a number of competitiom categproes.

An analysis of the films and the awards will follow, but here is the list of award winners.

FESTROIA – FESTIVAL INTERNACIONAL DE CINEMA
SPECIAL AWARDS

AUDIENCE AWARD To the film THE WEDDING PARTY, by Dominique Deruddere (Belgium/Germany)

PRIZE MAN AND HIS ENVIRONMENT To the film THE CAVE OF THE YELLOW DOG, by Byambasuren Davaa (Mngolia/Germany)

PRIZE CITY HALL OF SETÚBAL – AMERICAN INDEPENDENTS Best Film for THINGS THAT HANG FROM TREES, by Ido Mizrahy (USA)

FIRST WORKS AWARD To the film MAN PUSH CART, by Ramin Bahrani (Iraq/USA)
SPECIAL MENTION To the film AHLAAM, by Mohamed Al-Daradji (Iraq/England/Holland)

FIPRESCI PRIZE To the film IN BED, by Matias Bize (Chile)

SIGNIS PRIZE To the film WHAT A WONDERFUL PLACE, by Eyal Halfon (Israel)
SPECIAL MENTION To the film THE CHILDREN OF LENINGRADSKY, by Hanna Polak and Andrzej Celinski (Poland)

CICAE PRIZE To the film GRAVEHOPPING, by Jan Cvitkovic (Slovenia)

FESTROIA – FESTIVAL INTERNACIONAL DE CINEMA
FESTROIA DOLPHIN AWARDS

BEST FILM - GOLD DOLPHIN WHAT A WONDERFUL PLACE, by Eyal Halfon, Israel

SPECIAL JURY PRIZE – SILVER DOLPHIN GRAVEHOPPING, by Jan Cvitkovic, Slovenia.

BEST DIRECTOR – SILVER DOLPHIN To Eyal Halfon, for WHAT A WONDERFUL PLACE

BEST ACTRESS – SILVER DOLPHIN To MARIA LUNDQVIST, for MOTHER OF MINE

BEST ACTOR – SILVER DOLPHIN To TOPI MAJANIEMI, for MOTHER OF MINE.

BEST SCRIPT – SILVER DOLPHIN To DAGUR K

Saturday, June 10---When screenwriter Barry Stringfellow was pitching his original screenplay of a teenage boy dying of cancer whose final wish is a date with a blonde supermodel, he was repeatedly asked how to much the film more "upbeat". Well cancer is never very upbeat, but, as Virginia Woolf famously said, "a character needs to die so that the other characters can value life".

That is the sentiment and the message of Stringfellow's alternately moving and hilarious ONE LAST THING, directed by Alex Steyermark. The film follows the final weeks of its determined teenage protoganist, as he deals with an overprotective mother, lunkish friends and the supermodel of his dreams, who is on her own course of self-destruction. The film's spiritual overtones and its honest and refreshing view of death and dying have touched audiences here at the Troia International Film Festival.

The film, produced in high definition television format by HDNet Films, was released last month in the US by Magnolia Pictures in a controversial strategy that allowed for a limited theatrical release immediately followed by the film's availability on dvd. The distribution experiment is suddenly en vogue in the distribution community, yet remains controversial for the film's artistic contributors.

Sandy Mandelberger sat down with Barry Stringfellow to discuss his inspiration for making the unique film and his plans for future projects.

Sandy Mandelberger: What inspired you to create your film project?
Barry Stringfellow: The spark for the story came from a story about a sixteen-year-old boy from South Dakota whose final wish was to shoot a bear. The poor kid suddenly found himself in the middle of a controversy (like he didn’t already have enough to deal with). I felt bad for him. This was a rite of passage in his part of the world that he’d never get to experience. I thought about what I’d ask for if I had the cojones to be that honest. What started out as a broad premise tapped into a wellspring of emotion I’d been carrying around for six years since my father’s death.

SM: What was the greatest challenge in realizing your film project?
BS: Major studios and production companies all met with me and praised the script and then told me why they’d never make it. Some passed because they didn’t think a sixteen-year-old boy could carry a film. One said they could move forward if the kid didn’t die. I explained this would be like Dorothy staying in Oz and saying “Screw Kansas.

Saturday, June 10----An Israeli director for a Southern Gothic story set in 1960s Florida may seem like an odd choice, but for Ido Mizrahy, the director of the American Independent film THINGS THAT HANG FROM TREES, his foreigness allowed him to bring subtle observations to this story of small town life.

The film, which is screening in the American Independents Competition here, is written and based on the autobiographical novella of Aaron Louis Tordini. Tordini grew up in St. Augustine, Florida, which has the distinction of being the oldest town settled by Europeans in America (founded in 1540 by the Spanish). However, by the 1960s, when the story takes place, the town is a rather neglected place filled with eccentric characters and decaying homes.

The story's lead is a strange young boy, who is mistakenly thought of as being retarded but actually is intuitive and slow to respond. His mother is the town scandal, since she owns a lingerie shop and likes to pose, mannequin-like, in the store's picture window. His father is a n'er-do-well who is drunk and abusive, and mostly not on the scene. Mizrahy brings a moody quality found in the Southern novels of Carson McCullers, Flannery O'Connorand Harper Lee to this engaging coming-of-age story.

Sandy Mandelberger sat down with director Ido Mizrahy to discuss the film.

Sandy Mandelberger: What inspired you to create your film project?
Ido Mirahy: It was mostly the foreignness of the story. Growing up in Israel I was fascinated with American culture, which I was exposed to through books, Film and television. I was born in the US (in the south), but had no real connection to America other than the cultural representations of it that flooded Tel Aviv, where I grew up. I enjoy being on the outside looking in.

SM: Did you have a special way that you worked with your actors?
IM: Actors come from different schools, different acting backgrounds. I found it easier to let them show me how they like to be directed, what kind of notes they respond to better than others. And mostly when it’s time for me to shut up. The one thing we did that was interesting and unusual was workshop the film as if it was a play. Many of the actors who are in the film are New York actors who do a lot of stage work. For two years leading up to production we would get together every few months and read the latest version of the screenplay. We were able to iron out certain things and have discussions that are so scarce on the set because of the lack of time.

SM: How much time passed from when you preparing for the film and when you did the final edit? What kept you motivated and focused during this period?
IM: We went into pre-production in March of 2005 and finished editing by the end of July 2005. Once we got green lit everything went very quickly. The effort required from me on a daily basis kept me very focused. It was harder to stay focused when we were waiting for the film to get green lit. That was torture at times, but it forced Aaron (writer) and I to go back to the script and make it better. That ended up being the biggest (the on (...)

Friday, June 9---One of the most consistently popular sections at the annual Troia International Film Festival is devoted to American Independents. This year, six films, most having their European premieres at the event, will compete for the Dolphin Award.

The films are quite diverse in their genres, directorial styles and use of their regional base. In Anthony Ng’s 212, which had its world premiere at the 2005 Sundance Film Festival, a diverse group of twenty-something New Yorkers grasp for love and intimacy in an age of cel phones and computers that are meant to foster communication but often result in reinforcing isolation. Ng’s film features an appealing cast of New York theater actors and a funny, endearing screenplay that goes into the dark heart of loneliness and longing in contemporary Manhattan.

The city is also the backdrop for Jeff Lipsky’s FLANNEL PAJAMAS, a 2006 Sundance sleeper. The film follows the courtship, marriage and eventual breakup of what seems to be a dream couple. However, the subtle cruelties of neglect, loneliness and inability to bridge the gap of expectations creates a wistful atmosphere of lost opportunity and the difficulty of keeping love alive in a modern metropolis. Lead actors Justin Kirk (ANGELS IN AMERICA) and Julianne Nicholson get it just right as ambitious New Yorkers who long for love but often don’t have the patience or will to nurture it.

A moving and disturbing look at how hatred can turn a sympathetic soul into an avenging angel is the subject of director Joseph Castello’s THE WAR WITHIN. Hassan is a Pakistani who has been educated in the West, whose heart turns hard when he attempts to avenge the brutal death of his brother, by agreeing to become a suicide bomber. His target? New York’s historical Grand Central Station, a bustling train terminal that is at the epicenter of the city’s fast-paced commuter experience. Hassan, wonderfully played by actor Ayad Akhtar, undergoes a crisis of conscience the longer he stays in the New Jersey home of his best friend, an assimilated Pakistani doctor who has benefited from the American dream. Like the similary themed PARADISE NOW, the film has no easy answers, other than recognizing the futility of violence to solve social ills.

Psychological terror is also at the heart of ROOM, director Kyle Henry’s metaphysical drama about a suppressed and unfulfilled woman who has disturbing visions that eventually lead her from her Houston home to New York City, to confront her demons. The film had its international premiere at the 2005 Cannes Film Festival in the Quinzaine des Realisateurs section, which led to its pickup by powerhouse distributor Celluloid Dreams. Theater actress Cyndi Williams received an Independent Spirit Award nomination as (...)

Thursday, June 8---Ali Selim is a softspoken man from Minnesota with an expressive face and an obvious passion for filmmaking. His first film, SWEET LAND, which is the only American film included in the First Works competition at the Troia International Film Festival, has the scope, integrity and humanity of a John Ford epic.

The film captures the limitless landscapes of the Minnesota plains in the period just after World War I, when immigrants from Scandinavia began to exert their cultural heritage on the American Middle West. The film is beatifully shot and acted, with an ensemble cast that includes Alan Cumming, Ned Beatty, Lois Smith, John Heard, Tim Guinee and Paul Sand. The film perfectly captures the rhythms and speech patterns of a simpler era, while also relying as much on the beautiful visuals as the script to tell its story.

A German mail order bride, played by the incadescent Elisabeth Reaser,arrives in rural Minnesota to wed a local farmer of Norwegian heritage. Her "European" style and progressive thinking makes her a social outcast in the tightly knit farmer community. Eventually however, her integrity, honesty and compassion for the plight of others transforms her stoic husband-to-be, and motivates him to take a stand against the conservative banker who threatens to destroy the simple dreams of the immigrant farmers. The film offers a telling portrait of an America that is both welcoming and disdainful of the strangers in its midst.

SWEET LAND won praise at its world premiere at the Hamptons International Film Festival, winning the Best Feature Film prize. It is having its international premiere at the Troia International Film Festival, where it is in competition for a Dolphin Award as Best First Work.

Sandy Mandelberger sat down with director Ali Selim to discuss his impressive feature debut.

Sandy Mandelberger: What inspired you to create your film project?
Ali Selim: In 1990 I read a short story entitle A GRAVESTONE MADE OF WHEAT which was published in the Minneapolis Star and Tribune Sunday paper. Not only did it speak to me thematically – love, courage, desire, heritage – but I also thought the simplicity of it meant it would be easy to make. I had started directing commercials a year prior and really wanted to make a feature. Lo these fifteen years later…

SM:What was the greatest challenge in realizing your film project?
AS: The challenge that took the L (...)

Thursday, June 8-----Every major film festival has its specific focus. At the Troia International Film Festival, first works by up-and-coming directors is a major part of the Festival, having its own competition section named Primeiras Obras.

This year, the section boasts 13 films of diverse genres and geographic origins. Films from Europe represents the lion’s share of the section. A SOAP is an unusual love story between an independent woman who has just split with her longtime boyfriend and her transvestite neighbor who is awaiting a sex change operation, directed by Danish tyro Pernille Fischer Christensen. LOVE + HATE, by UK director Dominic Savage, also explores a forbidden relationship between two teenagers, one white, the other Muslim, who defy local convention in their small town in the north of England.

In GO WEST, by Bosnian director Ahmed Imamovic, a gay couple, one Muslim, the other Bosnian, experience the hazards of war and racism when the Serbian army invades Sarajevo in the mid 1990s. The politics of individuality versus autocratic rule is also the theme of CHARITON’S CHOIR, a comedy/drama by Greek director Grigoris Karantinakis, which stars Greek superstar George Corraface as a bohemian school principal whose free-thinking spirit will not be crushed by the fascistic military after their 1970’s coup d’etat.

In the Norwegian film KISSED BY WINTER, director Sara Johnsen tells the moving story of a successful physician with a secret in her past, who moves to a small rural village to escape a tragedy she caused, only to be confronted by memories of the past.The inescapability of one’s past is also the theme of KONTAKT by Macedonian director Sergey Stanojkovski. In this finely acted drama, two mentally unstable people, recently released from institutions, find their own way in the world, while dealing with the abuse they suffered as young adults.

Switzerland’s Stiona Werenfels’ cynical film GOING PRIVATE looks at modern marriage as a business contract, as it explores the imploding relationship between an arrogant investment banker and his wife.

Two Spanish-language films are included in the First Works section. HERMANAS (Sisters), a Argentina-Spain-Brazil co-production directed by Julia Solomonoff, explores the highly emotional reunion of two sisters, one of whom left Argentina at the height of the military dictatorship’s “secret war

Wednesday, June 7---The political thriller THE WAR WITHIN, which is being shown as part of the American Independents competition at the Troia International Film Festival, has been generating controversy and much discussion.

The film, directed by Joseph Castelo, tells the unsettling story of a young Pakistani man who is sent to New York City to be a suicide terrorist. His target is New York's beautiful Grand Central Station, a Beaux Arts train station right in the heart of Manhattan.

The Pakistani, who has been educated in America, is first shown being kidnapped off the streets of Paris, and systemtimatically tortured by an unnnamed terrorist group, who uses the death of the man's brother to stir his hatred against America. The film shows how even highly educated, rather Westernized Muslims can be indoctrinated into becoming martyrs for the terrorist cause.

In America, he stays in the home of a Pakistani doctor who has embraced the values of his new country, along with the hopes that his son will become a good American. The doctor's sister forms a strong attraction for him and the more he stays with the family, and meets more normal Americans, the more ambivalence creeps into his mind.

Director Castelo does a wonderful job in bringing the audience into the conflicted mind of the would-be terrorist, as he struggles between his perceived sense of duty and his own growing conscience at being an instrument of death and destruction.

The tension grows as we become less and less sure if he will be able to carry out his mission, and how those innocents who have harbored him will be treated by the government and the FBI. The film makes a strong case against governmental blindness in implicating even the Pakistani doctor who turns in his friend, as America feverishly throws the innocent in with the guilty in a web of suspicion.

The film generated lively discussion among the Portugese and international directors, producers, film critics and festival programmers who attended the screening. Some saw the film as pure propoganda, but most were impressed with the razor sharp direction, insightful writing and the heartfelt performances of the leads.

THE WAR WITHIN, like the similarly themed PARADISE NOW, attempts to understand the depths of pain that motivates a terrorist to give up the most precious thing any person can have....his life.

Sandy Mandelberger
INTERNATIONAL MEDIA RESOURCES

Tuesday, June 6---New York filmmakers always have the added advantage of shooting in a city that is in itself a major character in their films. No matter the genre, or even the time period, shooting on the New York streets offers an ambience that is instantly recognizable to a world audience (and sorry, cannot be faked on the too-clean streets of Toronto, Chicago or, God forbid, Los Angeles).

Anthony Ng, born and raised in Hong Kong, went to the famed New York University Film School, and instantly fell in love with the Big Apple. His film, 212, a story of twenty-something New Yorkers trying to find their way in life, makes a strong comment on the lack of communication that is somehow part of our sophisticated communication age. Everyone is always reachable via cel phone, digital pager, internet, but oftentimes, it is hard to really communicate. The film has its European premiere this evening as part of the American Independents competition at the Troia International Film Festival.

Sandy Mandelberger sat down with Anthony Ng to discuss the making of his film and his hopes for its future.

Sandy Mandelberger: What inspired you to create your film project?

Anthony Ng: “212

Tuesday, June 6----The Troia International Film Festival is presenting a celebration of the 100th anniverary of Norwegian cinema. The program, which is sponsored by the Norwegian Film Institute in cooperation with the
Norwegian Embassy

in Portugal, is showcasing 10 films, which range from an early silent gem to two films from the current Norwegian auteur Bent Hamer.

The Tribute program began on the Festival opening night, with the rare screening of the 1917 silent film TERJE VIGEN, directed by auteur Victor Sjostrom. Based on an epic poem by Henrik Ibsen, the movie tells the story of a sailor who settles down to a life of blissful domesticity until his world is thrown into chaos with the Napoleonic Wars. The film was presented with an original score by famed Norwegian composer Ketil Bjornstad.

The program then shifted 100 years to the Portugese premiere of FACTOTUM, the lastest work from Norwegian rising star Bent Hamer. The film, based on the writings of American bohemian poet Charles Bukowski, stars Oscar-nominated actor Matt Dillon as a boozy writer (based on Bukowski), who finds solace with wine, women and song. The film premiered at the Cannes Film Festival and is making the rounds of the Festival circuit.

Hamer's first film, the acclaimed KITCHEN STORIES, is also being screened. The film is an absurdist comedy about government surveillance and intervention in our lives, as inspectors of the ficituious Home Research Institute silently observe the kitchen routines of single men. The film won an Amanda Award as Best Film in 2003 (the Norwegian Oscar), with Hamer winning Best Director honors at both the Copenhagen and Sao Paolo Film Festivals that year.

Other Norwegian films screening in the program, include: HOLD MY HEART, a heart-rending drama about a divorced man who kidnaps the young daughter that he is never allowed to see, directed with great sensitivity by Trygve Allister Diesen; ZERO KELVIN (director, Hans Petter Moland) based on a famed Danish novel, takes place in the austere beauty of East Greenland in 1928; BURNT BY FROST (Knut Erik Jensen), is set during and after World War II in the Norwegian areas that were occupied by the Nazis and liberated by the Soviet Red Army; and THE PROMPTER (Hilde Heier), a relationship drama set in the world of the opera.

Other films in the program include: I AM DINA (director, Ole Bornedal), a period drama set in the 1860's, about an eight year girl, who accidentally kills her mother and loses the love of her father, who eventually grows into a fiery woman with an indomitable lust for life, a rol (...)

Monday, June 5----One of the more anticipated programs at the TROIA INTERNATIONAL FILM FESTIVAL is its annual competition for American Independent films. The Festival, over the past 22 years, has been an important showcase for films made outside the Hollywood studio system. This year, six worthy films are competing for the award. The first of them kicks off the section this evening.

FLANNEL PAJAMAS, which had its world premiere at the Sundance Film Festival, is unique in two important ways. It is a film that attempts to deepen a genre that Hollywood churns out almost in its sleep. The romantic comedy-drama is a Tinseltown staple, but rarely does it have the depth of feeling or inherent truth that director Jeff Lipsky brings to his second film feature.

The other unique point to mention is that Lipsky, now into his second career as a writer-director, was one of the prime movers in the independent film world of the 1970s and 1980s. Together with Bingham Ray, he founded October Films, which distributed many seminal independent and international titles in the United States (that company eventually evolved into USA Films and its current monicker Focus Features). Lipsky's experience in the distribution trenches informs his instincts as a filmmaker, while emboldening him to push the envelope in a film genre that has been popular since Hollywood's heyday.

Sandy Mandelberger sat down with director Jeff Lipsky on the day of the European premiere of his film for a frank interview.

Sandy Mandelberger: What inspired you to create your film project?

Jeff Lipsky: Few filmmakers today aspire to tackle the themes most common to people in any society, those themes embraced by that quartet of filmmakers who are my heroes – John Cassavetes, Woody Allen, Ingmar Bergman and Mike Leigh. I also wanted to honor my screenwriting idols. I really feel that in this age of the democratization of filmmaking, the art of screenwriting is all-too often lost. So, I dedicate my film to Herman J. Mankiewicz, Paddy Chayefsky, Ernest Lehman, Penelope Gilliatt, and Eric Rohmer.

SM: What was the greatest challenge in realizing your film project?

JL: Strangely, and I know it sounds ingenuous, the only challenge was in keeping a lid on the daily exuberance and childlike excitement I felt each and every day I got to write, direct, and edit the film. I suppose the only challenges, or frustrations, were confronted in the editing room – we cut fifty two scenes from the film which we’d shot, most of which were beautiful scenes containing wonderful performances.

SM: Did you have a special way that you worked with your actors?

JL: The cornerstone in working with my actors was trust, to establish trust, and to develop the same acute intimacy between director and actor as there needed to be between my two principal characters, characters who, essentially, appear in every scene (...)

Sunday, June 4---Remember the good old days right after 9/11 when everyone was afraid to ride on airplanes, and those of us intrepid (or stupid) enough to continue flying off to film festivals always had empty seats around us? And airlines left on time? And the airline personnel were so happy to see a customer that you got treated like you were in first class (even though you were inevitably in the cheapo seats)?

Well, I am here to tell you, brothers and sisters, that those times are long gone. My flight from New York to Lisbon was PACKED (go figure) and there was barely room for me, my laptop computer, my Sunday New York Times and my Pringles potato chips. When I confirmed my seat online the morning of my departure, there seemed to be two empty seats next to me. No such luck. Two not very trim people were there, having a non-stop debate (about which I'm not sure, since it was in Portugese) that kept them (and me) up all night.

As far as airline courteosy, or the typically sumptious meals one was once served on overseas flights, they also are gone with the wind. The airline stewards on my flight (and they were mostly men) seemed like frat boys itching to take off their uniforms and seriously start their drinking once the plane had barely landed. The dinner meal served consisted of chicken that looked like rubber and tasted like cardboard, with clumpy white rice and mystery vegetables.

Of course, the first class revelers were treated much better, and I assume had a superior culinary experience, but film festivals tend not to use their hard-pressed budget on first class tickets for lowly journalists like myself.

Hey, don't get me wrong. The travel is secondary to the destination, and in that regard, Portugal does not disappoint. The sun was strong but not yet impressive when I landed on Sunday morning, bathing the flowering trees, modern buildings and remnants of historical edifices with a beautiful light and an intoxicating glow. After the cardboard chicken, the cramped seats, the crying babies, the frat boy stewards, it was nice to take a deep breath and inhale the pungent sea air that permeates the landscape.

Traveling over the expanse of what is still referred to as "the new bridge" (built for the Lisbon Expo in 1997), the azur waters of the Tagus River that spills into the Atlantic Ocean a sea of glowing diamonds in the sun, it is clear why this country was such a pioneer in naval exploration. The sea is everything in Portugal, and the land that hugs it is made all the more beautiful for its proximity to it.

Setubal, the coastal town that hosts the Troia International Film Festival (which I have visited several times before) is a sleepy kind of place, a former fishing village that now still has most of its industry connected to the sea. The breezes blow through the beautiful oaks and palms in the Bonfim Park directly across from the Festival hotel headquarters. The old town, only a few minute walk away, is an atmospheric maze of narrow streets that lead to impressive town squares,distressed edifices and tiled walkways. It being a Sunday, most shops were closed, although the various ice cream parlors were doing a bang-up business, as the thero (...)

Saturday, June 3----FESTROIA: The Troia International Film Festival, will present nearly 180 films, representing 48 countries, with a strong predominance of European cinema, during its 22nd annual showcase. The Festival, the oldest and most prestigious in Portugal, has several competition sections in its wide-ranging program.

The Official Section, in competition for the Golden Dolphin Award, is made up of 14 films, from nations that produce fewer than 30 films per year. This is a unique approach, allowing films from smaller countries a chance to compete for a top international prize, without going head to head with films from the United States, the United Kingdom, France, India or China. A more even playing field in terms of film budget and demands of film production.

The Official Section began its screenings on Friday, with the Opening Night Film FACTOTUM, by Norway's Bent Hamer. Other films competing for the Festival's top prize include: CHINAMAN (Henri Ruben Ganz, Denmark), DARK HORSE (Dagor Kari, Iceland), EN LA CAMA (Matias Bize, Chile), FROZEN LAND (Abu Louhimasos, Finland), and GRAVEHOPPING (Jan Cuitkovic, Slovenia.

Rounding out the list are: ILLUMINADOS POR EL FUEGO (Tristan Bauer, Argentina), MAGIC EYE (Kujtim Casblau, Albania), MOTHER OF MINE (Klaus Haro, Sweden), THE COLLECTOR (Feliks Falk, Poland), THE WEDDING PARTY (Dominique Deruddere, Belgium), VITUS (Fredi Morer, Switzerland), WHAT A WONDERFUL PLACE (Eyal Halfon, Israel) and WRONG SIDE UP (Petr Zelenka, Czech Republic).

The International Jury assembled for the Official Section includes:
Slavko Stimac (Actor, Serbia)
Voula Georgakakou (Director, Greek Film Insitute)
Sandip Ray (Director, India)
Jelka Stergel (Festival Director, Lubliana Film Festival, Slovenia)
Fernando Vendrell (Director, Portugal)
Io Appolloni (Actress, Portugal)
Luis Filipe Costa (Director, Portugal)

Films in the Official Section will be screened in Setubal, the coastal resort that is the hub for the Festival, as well as additional screenings in the capitol city Lisbon. The Golden Dolphin award will be announced at the Gala Awards Ceremony on Saturday, June 10.

Sandy Mandelberger
International Media Resources