Independent cinema once again found its home in Gibara. The twentieth edition of the International Low-Budget Film Festival closed with the Lucía Awards ceremony. In a day that reaffirmed the creative vitality of contemporary audiovisual production and the inclusive nature of the event.
The top award in fiction went to the feature film “Arcoíris (Ranginkaman).” By director Saleh Alavizadeh (Iran–Czech Republic–Germany / 2025). A co-production that stood out for its aesthetic strength and narrative depth. In the short film category, the award for best fiction short film went to “El último juego” (The Last Game), by Cuban director Daniel Chile (Cuba / 2025). A testament to emerging talent within the national scene.
Documentary films also featured prominently in the awards. The Lucía Award for Best Feature Film went to “Lorca in Havana,” by Spanish filmmakers José Antonio Torres and Antonio Manuel (Spain / 2025). While the award for Best Short Film went to “Sunday,” by Italian director Giuliani Tonicelli (Italy / 2025). In animation, the award was given to “Sana,” by Peruvian director Manu Larios (Peru / 2025), a work praised for its sensitivity and visual style.
One of the highlights of the awards ceremony was the presentation of the Humberto Solás Award for films in progress. Which was given to “In the Middle of the Storm,” by Colombian director Edna Sierra (Colombia / 2025). A reflection of the creative dynamism that characterizes contemporary Latin American cinema.
Furthermore the jury also awarded special mentions to several other productions. In fiction, the awards went to “Anonymous Neurotic” by Jorge Perugorría (Cuba / 2025) and “First Lesson” by Aria Sánchez and Marina Meira (Cuba–Spain / 2025). In documentary, “The Most Wonderful Thing” by Mauricio Centurión (Cuba–Argentina / 2024) stood out. In animation, “The Monster of Fear (Medo Monstro)” by Eduardo Padrão and Andrew Gledson (Brazil / 2025) and “The Girl and the Sea” by Ray Ortega Moreno (Cuba / 2025) received honorable mentions.
Likewise, the Youth Jury awarded its collateral prize for best fiction film to “Anonymous Neurotic,” highlighting the impact of this film within the festival.
Once again, Gibara solidifies its position as a meeting point for filmmakers from diverse backgrounds. Also where perspectives, styles, and discourses converge, all committed to authentic, engaged, and profoundly human cinema.
By: Daimy Peña Guillén
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