„Whisper My Name“ is a deeply human story that reminds us: The struggles and joys that shape our lives are universal—so do not believe those who try to divide us. Director Rasoul Sadrameli captures a father's love for his daughter and his desperate attempt to make up for his mistakes and all the lost years. His attention to detail is remarkable—from the raindrops pattering against the bus window during Ziba's reunion with her mother, to the slow disintegration of Khosro's mental state as he is on the run without his medication. Khosro is on a kamikaze mission, ready to risk everything for his daughter's future, regardless of the cost to himself. This film offers everything: a breakout from a psychiatric hospital, family drama, a coming-of-age story, the struggle of women, political resistance, a merciless manhunt, and that unforgettable scene at the crane. „Whisper My Name“ is a complete menu—proof that powerful stories know no borders.

-English version-

Whisper My Name is a deeply human story that reminds us: the struggles and joys that define our lives are universal- so don’t believe those who try to divide us. Director Rasoul Sadrameli captures a father’s love for his daughter and his desperate effort to make amends for his mistakes and all the years he missed. His attention to detail is remarkable, from water droplets hitting the bus window during Ziba’s reunion with her mother, to the slow unraveling of Khosro’s mental state as he’s on the run without his medication. Khosro is on a kamikaze mission, willing to risk everything for his daughter’s future, no matter the cost to his own. This film delivers it all: a jailbreak from a mental institution, family drama, a coming-of-age tale, women’s struggles, political defiance, a relentless manhunt, and that unforgettable scene on the crane. Whisper My Name is a full meal, proof that powerful stories know no borders.

„Pizza Under Fire“ proves that even pizza and war have something in common: both burn under the heat and fire kindled by humans. Director Adrian Pennink uses something as simple and joyful as pizza to give Ukrainians under siege a brief respite from years of relentless conflict. More than just a bite, the film offers community, laughter, and the reminder that there are still people who cared enough to risk their lives and bring a little comfort. For those of us fortunate enough not to live with war on our own doorstep, Pennink’s pizza serves as a „gateway drug“ to help us grasp the human cost of the conflict. His footage shows soldiers on the front lines, their families, and the communities they left behind, and everything in between—thus offering a raw perspective rarely seen in the news. At the same time, the film reveals the psychological toll on volunteers who gave up their safety to bring love and kindness to people largely forgotten by the world.

-English version- 

Pizza Under Fire proves that even pizza and war have something in common: both burn under heat and fire orchestrated by man. Director Adrian Pennink uses something as simple and joyful as pizza to give Ukrainians under siege a brief respite from years of relentless conflict. Beyond the bite, it delivers companionship, laughter, and the reminder that people still care enough to risk their lives to bring a little comfort. For those of us fortunate enough not to live with war at our doorstep, Pennink uses the pizza pie as an ‘entry drug’ to help us grasp the human cost of conflict. His footage captures soldiers on the front lines, their families and communities they left behind, and everything in between; showing a raw perspective rarely seen on the news. It also reveals the psychological toll on volunteers who left safety behind to spread love and kindness to people the world has largely forgotten.

Interestingly, in the evaluation by the jury of this year's submissions, this stop-motion short film took the highest place across all categories. Looking at the texture, technique, and creativity of „Winter in March,“ it is easy to understand why. Through stop-motion animation, director Natalia Mirzoyan evokes emotions by transforming everyday objects and materials into an imaginative, twisted fantasy world that reflects the horrific reality for many people affected by the Russia-Ukraine war. The film visualizes the fears and realities of war in a way that is beautiful to look at, yet hard to bear. The familiar textures and objects used in unexpected ways only heighten the surrealism of the images on screen. „Winter in March“ also shows that happy endings do not always have to be perfect, but life goes on with the prospect of a new spring.

-English version-

Interestingly enough, this stop-motion short film ranked the highest by the judges of this year’s submissions across all categories. Looking at the texture, technique, and creativity of Winter in March, it’s not hard to see why. Through stop-motion animation, director Natalia Mirzoyan evokes emotion by repurposing everyday objects and materials into an imaginative, twisted fantasy that reflects the horrible reality for many people affected by the Russia-Ukraine war. The film visualizes the fears and realities of war in a way that is beautiful to watch, yet hard to stomach. The familiar textures and objects used in unexpected ways only heighten the surrealism of the imagery on screen. Winter in March also shows that happy endings aren’t always perfect, but life goes on with the promise of a new spring.

„RUN (KIMA)“ is a powerful and highly relevant drama from the Democratic Republic of Congo that centers on a woman who finally finds the strength to leave her abusive husband. Director Laila Mfulu Kulungu tells a story of emotional survival and self-determination with quiet strength and honesty. In just 88 minutes, the film captures the courage it takes to reclaim one's life and conveys a message that resonates far beyond its setting. It is a reminder that the struggle for personal freedom is universal and that sometimes the most radical act is simply to run away.

-English version- 

RUN (KIMA) is a powerful and timely drama from the Democratic Republic of the Congo that centers on a woman who finally finds the strength to leave her abusive husband. Director Laila Mfulu Kulungu tells a story of emotional survival and self-determination with quiet force and honesty. In just 88 minutes, the film captures the courage it takes to reclaim your life, delivering a message that resonates far beyond its setting. It’s a reminder that the fight for personal freedom is universal, and that sometimes the most radical act is simply to run.

A stylish station wagon drives through a barren mountain landscape. Inside sits a stylish married couple with their equally stylish daughter. Next to them is Maricel, a young woman with sad eyes and a blue mask. She has just passed an aptitude test and is now about to start her new job as
Start as a domestic helper for the husband's frail parents. The young woman comes from the Philippines. The elderly couple lives in a secluded village in Cyprus. The story could take place anywhere in the world: Philippine migrant workers are forced by economic pressure at home to do poorly paid care work in
to provide in an often unprotected environment.
Things are also headed for trouble with Maricel from the very beginning. She gets carsick on the drive. Her new home is in a wretched condition; the fridge stinks, the walls of the laundry room are moldy, and the windows in her room won't open. The bitter old woman wants to get rid of her on the spot, but by then the chic family has already taken off again
made of dust, back to the city. Now Maricel is stuck and being harassed from all sides. The Greek director Elias Demetriou plunges his main character into a messed-up family web and presents us viewers—sometimes painfully, sometimes comically—with all possible varieties of harassment, exclusion, and hurting, but also of loneliness, steadfastness, and inner resistance. The wonderful actress Zar Donato plays this foreign body in a rigid environment with stoic tension. Bad Ghosts, Marciel says once, do not
exist, only bad people. The Rotary Club Frankfurt/Main-International is awarding the 3rd Integration Award to the great
and the touching film Maricel by Elias Demetriou.

-English version- 

A stylish station wagon drives through a barren mountain landscape. Inside sit a chic couple and their equally fashionable daughter. Beside them is Maricel, a young woman with sad eyes and a blue face mask. She has just passed an aptitude test and is about to start her new job as a domestic helper for the elderly, frail parents of the husband. Maricel comes from the Philippines. The older couple lives in a remote village in Cyprus. Yet this story could take place anywhere in the world: due to economic pressure at home, Filipino migrant workers are forced to take on low-paid care work, often in vulnerable and unprotected conditions.

From the very beginning, things look difficult for Maricel. During the car ride, she feels sick. Her new home is in a deplorable state: the refrigerator smells, the walls of the laundry room are moldy, and the windows in her room cannot be opened. The bitter, elderly woman wants to get rid of her immediately, but by then the chic family has already left, heading back to the city. Now Maricel is stuck, harassed from all sides.

Greek director Elias Demetriou places his protagonist within a dysfunctional family structure and shows us, the audience, sometimes painfully, sometimes comically, every possible form of harassment, exclusion, and hurt—as well as loneliness, resilience, and inner resistance. The wonderful actress Zar Donato portrays this outsider in a frozen environment with stoic tension. “Bad ghosts,” Maricel says at one point, “do not exist, only bad people.”

The Rotary Club Frankfurt/Main-International presents the 3rd Integration Award to the outstanding and moving film Maricel by Elias Demetriou.