A Resonant Echo: 'Fiume O Morte!' Sweeps the Inaugural Adriatic Film & TV Awards

It seems some stories, particularly those woven deeply into the fabric of history, just beg to be told, to be revisited—and, frankly, to be celebrated. Case in point? Valerio Cilio’s powerful, often unsettling, historical documentary, 'Fiume O Morte!' (that’s 'Fiume or Death!' for those unfamiliar). This ambitious cinematic endeavor just didn't just participate in the very first Adriatic Film & TV Awards; it absolutely dominated, walking away with a staggering six prizes, including the coveted Best Documentary and Best Director.

You see, Cilio’s film isn't merely a dry recitation of facts. Not at all. It plunges us, quite dramatically actually, into a pivotal, utterly bizarre, moment of early 20th-century European history: Gabriele D’Annunzio’s audacious, almost operatic, occupation of Fiume—now known as Rijeka—between 1919 and 1920. But here’s the clever bit: it tells this wild tale through the eyes of the Italian legionaries who were right there, living it. And, honestly, it’s uncanny how its themes of fervent nationalism, the slippery slope of historical revisionism, and, well, the sheer force of charismatic populism, resonate with our world today. You could almost say it feels uncomfortably prescient, doesn’t it?

The sheer scale of its victory at the awards ceremony, held rather beautifully in Tirana, Albania, truly underscored its impact. Beyond Cilio’s well-deserved nod for direction, the film was also lauded for its breathtaking cinematography, thanks to Luca Coassin, whose lens brought that tumultuous era vividly to life. Antonio Fresa’s original score—a crucial element, truly—was also recognized, alongside Marco Fiumara’s masterful sound design and Giusi Santoro’s sharp, compelling editing. It’s a testament, one might argue, to a truly cohesive, talented team, where every single piece just clicks into place.

But let’s talk for a moment about the awards themselves. This wasn’t just another festival; this was the very first Adriatic Film & TV Awards. And what a debut it was! The entire initiative, brought to life by the Tirana Film Institute with significant backing from Italy’s Ministry of Culture and Albania’s National Cinematography Centre, is designed to be a bridge, fostering vital collaboration between filmmakers across the Balkan, Adriatic, and Central European regions. And that, in truth, is a magnificent goal, wouldn’t you agree? To bring diverse voices and stories together, creating a tapestry of shared cultural narratives.

While 'Fiume O Morte!' certainly stole the spotlight, the awards celebrated a diverse range of cinematic talent. Tudor Giurgiu’s 'Libertate' earned the top honor for Best Fiction Film, a powerful recognition. The Best Short Film went to Katarina Jazbec for 'Sisters,' while Antonela Caci was celebrated as Best New Talent—a truly promising start for any young artist. And, importantly, Boban Skerlic’s 'Clan' picked up Best Series, proving the small screen is very much part of this vibrant cultural landscape. Sharunas Bartas's 'Freedom' was recognized as Best European Co-production, highlighting international efforts, and the Audience Award, which always tells you something about popular sentiment, went to Artan Minarolli for 'A Cup of Coffee with Marilyn.' A special nod, a lifetime achievement, was also bestowed upon the venerable Fatos Kongoli.

So, as the dust settles on this inaugural celebration, one thing feels abundantly clear: the Adriatic Film & TV Awards have arrived, and they've made quite a statement. And in 'Fiume O Morte!,' we have a film that not only educates and captivates but also, rather importantly, forces us to look inward, to ponder history's enduring, sometimes uncomfortable, echoes. It’s a compelling win for cinema, for history, and, really, for us all.