Prix Jean Vigo

The Prix Jean Vigo is an award in the Cinema of France given annually since 1951 to a French film director in homage to Jean Vigo.

This award is usually given to a young director, for his or her independent spirit.

Winners

*1951: "La Montagne est verte" (short) by Jean Leherissey
*1952: "La Grande Vie" by Henri Schneider
*1953: "Crin Blanc" (short) by Albert Lamorisse
*1954: "Les statues meurent aussi" (short) by Alain Resnais
*1955: "Émile Zola" (short) by Jean Vidal
*1956: "Nuit et brouillard" (short) by Alain Resnais
*1957: "Léon la lune" (short) by Alain Jessua
*1958: "Les Femmes de Stermetz" (short) by Louis Grospierre
*1959: "Le Beau Serge" by Claude Chabrol
*1960: "À bout de souffle" by Jean-Luc Godard
*1961: "La Peau et les os" by Jean-Paul Sassy and Jacques Panuel
*1962: "La Guerre des boutons" by Yves Robert
*1963: "Mourir à Madrid" by Frédéric Rossif
*1964: "La Belle Vie" by Robert Enrico
*1965: "Coaraze" (short) by Jules Engel
*1966: "La Noire de..." by Ousmane Sembène
*1967: "Who Are You, Polly Magoo?" by William Klein
*1968: "O Salto" by Christian de Chalonge
*1969: "L'Enfance nue" by Maurice Pialat
*1970: "Hoa Binh" by Raoul Coutard
*1971: "Remparts d'argile" by Jean-Louis Bertucelli
*1972: "Continental Circus" by Jérôme Laperroussaz
*1973: "Absences répétées" by Guy Gilles
*1974: "Un homme qui dort" by Bernard Queyssanne and Georges Perec
*1975: "L'Histoire de Paul" by René Féret
*1976: "L'Affiche rouge" by Frank Cassenti
*1977: "Paradiso" by Christian Bricout
*1978: "Bako-l'autre rive" by Jacques Champreux
*1979: "Certaines nouvelles" by Jacques Davila
*1980: "Ma blonde entends-tu dans la ville ?" by René Gilson
*1981: "Le Jardinier" by Jean-Pierre Sentier
*1982: "L'Enfant secret" by Philippe Garrel
*1984: "Vive la sociale!" by Gérard Mordillat
*1985: "Le Thé au harem d'Archimède" by Medhi Charef
*1986: "Maine Océan" by Jacques Rozier
*1987: "Buisson ardent" by Laurent Perrin
*1988: "La Comédie du travail" by Luc Moullet
*1989: "Chine ma douleur" by Sijie Daï
*1990: "Mona et moi" by Patrick Grandperret
*1991: "Le Brasier" by Eric Barbier
*1992: "Paris s'éveille" by Olivier Assayas
*1993: "Les histoires d'amour finissent mal... en général" by Anne Fontaine
*1994: "Trop de bonheur" by Cédric Kahn
*1995: "N'oublie pas que tu vas mourir" by Xavier Beauvois
*1996: "Encore" by Pascal Bonitzer
*1997: "La Vie de Jésus" by Bruno Dumont
*1998: "Dis-moi que je rêve" by Claude Mourieras
*1999: "La vie ne me fait pas peur" by Noémie Lvoski
*2000: "Saint-Cyr" by Patricia Mazuy ex-æquo avec "De l'histoire ancienne" by Orso Miret
*2000: Les filles de mon pays (short) by Yves Caumon
*2001: "Candidature" by Emmanuel Bourdieu ex-æquo with "Ce vieux rêve qui bouge" by Alain Guiraudie
*2002: "Royal Bonbon" by Charles Najman
*2003: "All the fine promises" by Jean-Paul Civeyrac
*2004: "Quand je serai star" by Patrick Mimouni
*2005: "Les Yeux clairs" by Jérôme Bonnell

Prix Jean Vigo in Spain

The Spanish documentary film Punto de Vista International Documentary Film Festival [http://www.cfnavarra.es/puntodevista 1] presents, for the first time in Spain, the Premio Jean Vigo al mejor director ("Jean Vigo Prize to the best director").

The new award aims to strengthen both the spirit which inspired the festival in the first place and its commitment to the work of Jean Vigo. The creation of this prize has been made possible thanks to the close ties between [http://www.cfnavarra.es/puntodevista Punto de Vista] and the family of the great French filmmaker.

[http://www.cfnavarra.es/puntodevista Punto de Vista] paid tribute to the director of Zero de Conduite on the centenary of his birth in 2005. Luce Vigo, film critic and daughter of Vigo and Elizabeth Lozinska, attended that year. The festival provided an opportunity to look back on Vigo’s entire filmography and also represented the first step in a relationship which has now fructified in the form of this award. The Festival took its name, [http://www.cfnavarra.es/puntodevista Punto de Vista] (Point of View), as a tribute to Vigo, the first director to refer, back in the 30’s, to a “documented point of view” as a distinctive sign of a form of filmmaking which commits the filmmaker.