At the Karlovy Vary Film Festival, Miro Remo’s captivating blend of documentary and fiction, “Better Go Mad in the Wild,” clinched the prestigious Grand Prix on Saturday. The award came with a $25,000 prize, to be shared between the director and the producers.
The film, which tracks the lives of reclusive twins František and Ondřej Klišík, was inspired by a book written by Aleš Palán. Remo explained, “After reading Aleš’s book, I reached out to him immediately and he introduced me to the twins’ unique world. I was instantly enamored by their distinct way of life and the enchanting magic of their surroundings.”
The jury, comprising Nicolas Celis, Babak Jalali, Jessica Kiang, Jiří Mádl, and Tuva Novotny, praised the film as “a uniquely delightful documentary and a humorous ode to authenticity”. They noted that although the twins live on a rundown farm, they could be considered “the most sane individuals in our chaotic world.”
The jurors elaborated that watching the film was akin to “breathing fresh, forest air, or taking a brisk swim in a natural pond, or even pausing to watch a cow nibble on your beard – it’s essentially about embracing freedom.”
Guy Lodge from The Bangin Beats also expressed admiration for the film, describing it as a “touching, everlasting portrayal of lives spent largely away from societal norms and authority oversight.”
Remo, thrilled by the recognition, remarked, “Had I known the event would be this monumental, I would have worn a bowtie. This is the most significant accolade I’ve ever received.”
The Iranian drama “Bidad” directed by Soheil Beiraghi won the Special Jury Prize. During his acceptance, Beiraghi asked the audience to applaud Iranian women for their bravery, which also inspired him to face his fears.
Describing “Bidad,” the jury commented, “The film brilliantly transitions from a social-injustice thriller to a family melodrama and finally into an uplifting tale of overcoming adversity, all while maintaining a raw, punk spirit and a complex romantic storyline, leaving viewers hopeful amidst the chaos of life.”
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Beiraghi, who attended the festival alone as his team couldn’t join him, stated to The Bangin Beats, “I stand by my work and show that I am in control of my actions. What happens post-festival is uncertain; we have no control over it.”
In his film, Beiraghi portrays an aspiring singer who begins to perform on the streets after getting tired of being silenced. The festival delayed the film’s announcement to protect the crew.
“I am committed to this film, regardless of the consequences or risks. And for what comes next… I’ll think about it later. Iran is my home, and I will return because no one can exile us from our own land,” he declared.
In a notable decision, the Best Director Award was shared by Vytautas Katkus for his gentle dramedy “The Visitor” and Nathan Ambrosioni for “Out of Love,” which stars Camille Cottin as a woman who unexpectedly has to care for her niece and nephew.
The Best Actress Award was presented to Norway’s Pia Tjelta for her bold performance in Nina Knag’s “Don’t Call Me Mama,” portraying a mature woman who begins a relationship with a young refugee. An emotional Tjelta thanked her director, saying, “You’ve profoundly impacted my life just by the way you navigate through it. I hold immense admiration for you.”
The jury described her role as “a compelling depiction of vulnerability, ego, and self-deception, portrayed with such authenticity and ease by Tjelta.” They also acknowledged Àlex Brendemühl, who plays a father dealing with the aftermath of his daughter’s sexual assault in “When a River Becomes the Sea” by Pere Vilà Barceló.
Barceló aimed to highlight that sexual violence deeply affects not just the victims but also their fathers, brothers, and partners. He portrayed a version of masculinity that is compassionate rather than toxic. “As a father, he may lack the emotional tools, but he chooses to support his daughter in a quiet, yet profoundly powerful way. Men must also engage in the fight for equality, which begins by caring deeply for our loved ones. This is a universal issue that should concern everyone, regardless of gender,” he explained.
Special Jury Mention was awarded to newcomer Kateřina Falbrová for her role in “Broken Voices” by Ondřej Provazník, a film inspired by a harrowing true story of prolonged abuse. Falbrová, reflecting on her unexpected rise, commented, “Who would’ve thought that the little girl from the casting would be here today? I hope my peers will watch this film.”
In the Proxima Competition, the jury chose “Sand City” by Mahde Hasan, rewarding it with $15,000 for its portrayal of cinema as “a vibrant exploration of the bizarre, forsaken, and intimate.” “Forensics” by Federico Atehortúa Arteaga and “Before/After” by Manoël Dupont also received commendations, earning the Proxima Special Jury Prize and Special Mention, respectively.
Renowned actor Stellan Skarsgård, notable for his recent criticisms of Ingmar Bergman, received the Crystal Globe for Outstanding Artistic Contribution to World Cinema. During the ceremony, Skarsgård humorously remarked, “Hold your applause—I’m not dead yet.” He continued, “I want to thank my parents for their fateful encounter back in 1951. They weren’t married yet and weren’t too particular about it, so thanks to them. And to my family, some of whom are here and others scattered around the globe. There are quite a few of us,” he joked, praising the festival as a “magnificent tribute to the art of filmmaking, keeping it alive even in these challenging times.”
The Festival President’s Award for Contribution to Czech Cinematography was bestowed upon editor Jiří Brožek, who paid tribute to the late Jiří Bartoška. “I wanted to thank Bartoška for arranging this award for me,” he quipped.
The host, Czech actor and TV presenter Marek Eben, noted that the festival was not overshadowed by sadness despite Bartoška’s passing. “It was actually quite the opposite. Thanks to Jiří, we all had lovely memories to share about him, which made this event rather joyful. You would see people sitting together, laughing as they remembered him. That’s a true gift. If people can smile while remembering you, that’s more than enough.” He added, quoting the event’s maintenance man, “I’m going to miss him. He had a unique way of telling us to bugger off—a perfect example of how vulgarity can be endearing and poignant.”
The 59th Karlovy Vary Film Festival saw 9,949 accredited attendees and featured 175 films, including 108 feature fiction films, 23 feature documentaries, and 44 short films, with 36 films having their world premiere.
Full list of awards:
Crystal Globe Competition
GRAND PRIX – Crystal Globe
“Better Go Mad in the Wild” (“Raději zešílet v divočině”)
Czech Republic, Slovak Republic
Directed by: Miro Remo
Special Jury Prize
Iran
“Bidad”
Directed by: Soheil Beiraghi
Best Director Award – ex-aequo
Vytautas Katkus for “The Visitor” (“Svečias”)
Lithuania, Norway, Sweden
Nathan Ambrosioni for “Out of Love” (“Les Enfants vont bien”)
France
Best Actress Award
Pia Tjelta for “Don’t Call Me Mama” (“Se meg”)
Norway
Directed by: Nina Knag
Best Actor Award
Àlex Brendemühl for “When a River Becomes the Sea” (“Quan un riu esdevé el mar”)
Directed by: Pere Vilà Barceló
Spain
Special Jury Mention
Kateřina Falbrová for the role in “Broken Voices” (“Sbormistr”)
Directed by: Ondřej Provazník
Czech Republic, Slovak Republic, 2025
Právo Audience Award
“We’ve Got to Frame It!” (“Musíme to zarámovat!)
(a conversation with Jiří Bartoška in July 2021)
Directed by: Milan Kuchynka, Jakub Jurásek
Czech Republic
PROXIMA COMPETITION
Proxima Grand Prix
“Sand City” (“Balur Nogorite”)
Bangladesh
Directed by: Mahde Hasan
Proxima Special Jury Prize
“Forensics” (“Forenses”)
Colombia
Directed by: Federico Atehortúa Arteaga
Special Mention
“Before/After” (“Avant/Après”)
Belgium
Directed by: Manoël Dupont
Crystal Globe for Outstanding Artistic Contribution to World Cinema
Stellan Skarsgård
Festival President’s Award for Contribution to Czech Cinematography
Jiří Brožek
Festival President’s Award
Vicky Krieps
Dakota Johnson
Peter Sarsgaard
The Ecumenical Jury Award
Grand Prize
“Rebuilding”
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With a knack for uncovering hidden gems, Blake dives deep into the world of indie films and underground cinema.

