endowed The prize money is awarded to the set designer or costume designer of the film. All full-length Austrian feature films of the Diagonale ’25 competition will be considered for the awards.<\/p>\n | FOR BEST SET DESIGN | Klaudia Kiczak<\/strong> <\/strong>Jury Statement: and<\/p>\n | FOR BEST COSTUME DESIGN | Monika Buttinger<\/strong> Jury Statement: <\/p>\n
\n\u20ac 3,000 each \u2014 donated by VdFS \u2013 the Film Industry\u2019s Collecting Society
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\n| from the Austrian Filmdesigners Association (V\u00d6F) |<\/strong><\/p>\n
\nPerla<\/p>\n
\nPerla<\/em> is a film that takes us on a sensuous and atmospheric journey, back to the early ’80s, on both sides of the Iron Curtain.\u00a0Initially pleasurable and mysterious, the film grows increasingly suffocating, ultimately leading to a village that seems lost in time. Here, fog, rock, and water become part of the stage and the trauma, and it becomes clear: to overcome the story, it must first be told.\u00a0The set design by Klaudia Kiczak creates spaces that make the inner turmoil of the characters palpable.<\/p>\n
\n| from the Austrian Filmdesigners Association (V\u00d6F) |<\/strong><\/p>\n
\nPerla<\/strong><\/p>\n
\nThe costume design in the historical drama Perla<\/em> skillfully highlights the geographical and social movements of the titular protagonist \u2013 Perla. Clothes make the man, and in Perla’s case, they mark the ascent of a single mother and art student into the bourgeois milieu of Vienna and her return to her past in communist Czechoslovakia. Monika Buttinger\u2019s costumes carry the characters through the turbulent narrative, dressing them without turning them into mere costumes.<\/p>\n