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Tragicomedy “The Favourite” has walked away with four craft prizes – cinematography, editing, costume design, and hair and makeup – of the European Film Awards. The craft awards were decided by a jury drawn from various below-the-line professions. The 32nd European Film Awards will take place on Dec. 7 in Berlin.

Robbie Ryan picked up the cinematography prize, with the jury saying that he and director Yorgos Lanthimos were “committed to stay as far away from the photographic conventions of a period drama as they could.”

The jury added that it is “both inspiring and encouraging to see how strong imagery and bold cinematographic choices did not take away from the drama, but reinforced it.” The film’s use of natural light and candlelight was “reminiscent of Kubrick’s masterpiece ‘Barry Lyndon,'” the jury said.

The film’s editor, Yorgos Mavropsaridis, won for editing the film in “a clever, new and inventive way, thus giving the film an easy and natural flow, playful like a game of checkers.”

Costume designer Sandy Powell’s costumes “give all nods needed to a period film but one that ultimately and refreshingly feels like a punk rock opera,” the jury said, adding: “Whilst we bounce off the period detail, there is an underlying contemporary tempo, which makes us believe that we are dancing in the mosh pit with Queen Anne and her courtiers.”

Hair and makeup went to Nadia Stacey, who “skillfully combines the ladies’ no makeup look with their three-quarter hairpieces, which makes them appear so much more natural compared to the extreme wigs and garish makeup of the male characters.” The “badger” look of Queen Anne is at the same time “hilariously funny but also carries with it a feeling of great sadness.”

The production design award was won by “Pain and Glory’s” Antxon Gómez, who constructs the universe of Pedro Almodóvar’s characters with “great audacity,” as reflected in his choices of color and design styles. His design was “eclectic and bold but always well-balanced,” and “leads us into the subtext, be it the troubled interior of the main character or the dreamlike memoirs of his childhood.”

The award for original score went to John Gürtler for “System Crasher” for music that is “modern, virtuosic, impulsive and surprising.” The jury said: “[Gürtler] has transformed the unspeakable into music. Where words are no longer possible, his film music manages to function as a nonverbal language, reflecting the inside of the protagonist and carrying the viewer along with it.”

The sound award went to Eduardo Esquide, Nacho Royo-Villanova and Laurent Chassaigne for “A Twelve-Year Night,” which is “about what we cannot see when we are held captive in a small and dark cell.” The jury added: “In a vivid and tactile way, it lets the audience experience how it is to be a prisoner.”

The visual effects prize was shared by Martin Ziebell, Sebastian Kaltmeyer, Néha Hirve, Jesper Brodersen and Torgeir Busch for “About Endlessness.” The jury said the visual effects “serve this film amplifying the required effects and thereby creating the special atmosphere required for the director’s vision.” The VFX get more space, and so is not only “supporting the message and visual identity of the film, but raising it to a much higher artistic level.”

The jury was composed of editor Nadia Ben Rachid, from France; Vanja Černul, a cinematographer from Croatia; Annette Focks, a composer from Germany; Gerda Koekoek, a Dutch hair and makeup artist; Eimer Ní Mhaoldomhnaigh, a costume designer from Ireland; Artur Pinheiro, a production designer from Portugal; Gisle Tveito, a sound designer from Norway; and István Vajda, a visual effects artist from Hungary.

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