I arrive at the reception and am greeted with apple and elderflower cocktails provided by the sumptuous sponsor, Courvoisier, and canapés courtesy of sushi kings Itsu. I take a seat at one of the large draped tables and peruse my canvas goodie bag, laced with Calvin Klein and chocolaty delights.
The proceedings kick off with a slickly edited preview of the festival’s entries, and a word from the festival manager, who promptly hands the Master-of-Ceremonies baton to DJ Goldierocks, the presenter of the show. On the trestle table at the back of the stage the awards are lined up – black and gold canaries commissioned by artist Jo Shaw.
The first award is the UK Canary Award, won by director Sophie Klevenow for her fascinating animated short Noesis. She has designed humanoid creatures resembling papier-mâché puppets, and through their characterisation she narrates a touching allegory of growing up. The score gives the short a haunting quality which is still resonating in my mind.
Time for a lamentably ill-timed toilet break which causes me to miss A Film About Poo, directed by Emily Howells, winner of the Sing Like a Carnary Award. The anally-fascinated child in me had rubbed my hands with glee on seeing this title in the brochure prior to the ceremony. I am assured when I return that it didn't disappoint.
Next up, the International Canary Award goes to Lluis Segura for his brilliant Nena!/ Baby! The short films two young children engaging in a game of house, recreating the final climactic argument between a couple in a failing relationship. It is funny in its parody, and enlivens the audience, but there's also something eerily uncanny about seeing children mimic adult mannerisms so accurately: their acting is staggeringly good. Certain moments are even shocking, as when the little girl screams at the boy ‘We never even fuck anymore'. This film was undoubtedly the right choice for the winner of the international category.
The Golden Canary award (i.e. best film) goes to Keith O'Shea for his observational documentary Dear Matthew. In it we meet Tim O'Reilly, an elderly gentleman whose son Matthew disappeared in 1999 and hasn't been seen since. We see Tim moving slowly round his home, revealing his son's paintings (which he now curates), letters written by his desperate wife and photographs of happier times. It is an intimate portrayal of loss which silences all irreverent chit chat in the audience. The camera work is slow and close, and makes use of unsettling angles. It is a profound conclusion to the festival.
The final word goes to Eran Creevy (filmmaker, CWFF 09 Ambassador and Isle of Dogs resident), who speaks of the importance of CWFF as a creative centre in the predominantly corporate environment of Canary Wharf, 'The Isle of Dogs is a growing community with a wealth of talented and creative residents and this home grown festival is a product of that'.
Some video blogging from the awards courtesy of spooner Meg
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