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European Production Designer NOMINATIONS 2011


Whether creating an elegant wedding, a plastic surgeon’s home or even behind the scenes at the Vatican, the work nominated in the production design category is highly ambitious


PAOLA BIZZARRI HABEMUS PAPAM Nanni Moretti’s sumptuous exploration of what happens behind the scenes at the Papal conclave involved meticulous recreation of the Vatican’s inner chambers,


and constructing the interior of the Sistine Chapel in Rome’s Cinecitta Studios in four- fifths’ scale. The story of a newly elected Pope paralysed by feelings of self-doubt and the atheist psychoanalyst called in to help him, Habemus Papam, screened in Competition at Cannes this year. Working with Moretti for the first time, Ital-


ian production designer Paola Bizzarri picked up a Silver Ribbon for best production design for Habemus Papam from the Italian National Syndicate of Film Journalists. With credits including Silvio Soldini’s Bread & Tulips and Days And Clouds, Bizzarri was previously nomi- nated for a European Film Award in 2010 for Carlos Saura’s historical drama I, Don Giovanni.


ANTXÓN GÓMEZ THE SKIN I LIVE IN (La Piel Que Habito) One of Pedro Almodóvar’s reg- ular collaborators, Antxón Gómez’s EFA nomination is one of two for The Skin I Live In, alongside Alberto Iglesias for European Composer.


Almodóvar’s 18th feature tells the story of an


eminent plastic surgeon (played by Antonio Banderas) who uses a mysterious, beautiful woman to create an entirely new skin. Central to the action is El Cigarral, the surgeon’s austere home which includes a full surgery, a laboratory and giant artworks adorning the walls. The Skin I Live In screened first in Competi-


tion at Cannes before going on to the Toronto and New York film festivals. In addition to his work with Almodóvar, the


Basque region’s Gómez has worked with Steven Soderbergh on the director’s Che films, and with Dominik Moll on The Monk. Gómez’s previous prizes include a Spanish Goya award in 2009 for best production design on Che: Part One and a Barcelona Film Award in 2006 for best art direc- tion for his work on Manuel Huerga’s Salvador.


38 n European Film Awards 2011


JETTE LEHMANN MELANCHOLIA Framing an apocalyptic disas- ter around a country-house wedding, Lars von Trier’s Mel- ancholia was shot at Trollhättan studios and at the imposing Tjolöholm Castle in Sweden.


Aesthetically, von Trier describes how he


wanted “a clash between what is romantic and grand and stylised and then some form of real- ity. The camera is handheld, for the most part. But the problem was that we had a magnificent castle in Sweden, and when you add a wedding with all the guests in gala and tux, it can hardly avoid becoming... beautiful.” Denmark’s Jette Lehmann has previously


worked with Lars von Trier on The Kingdom, and was production designer on 2005’s Dear Wendy, which was directed by Thomas Vinter- berg from a screenplay by von Trier. Lehmann has won three Danish Film Academy Robert awards: for Vinterberg’s It’s All About Love in 2004; for Ole Christian Madsen’s urban drama Nordkraft in 2006; and for Madsen’s Second World War drama Flame And Citron in 2009.


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