{"id":43976,"date":"2025-05-16T12:01:42","date_gmt":"2025-05-16T10:01:42","guid":{"rendered":"https:\/\/ecoprod.com\/?p=43976"},"modified":"2025-05-19T10:42:04","modified_gmt":"2025-05-19T08:42:04","slug":"2025-ecoprod-award-winners","status":"publish","type":"post","link":"https:\/\/ecoprod.com\/en\/2025-ecoprod-award-winners\/","title":{"rendered":"2025 Ecoprod Award Winners"},"content":{"rendered":"\n

On Friday, May 16, the Ecoprod Award was presented for the fourth time during the Cannes Film Festival. Created in 2022, the award honors feature films produced in the most
environmentally responsible way possible. Given the high quality of this year\u2019s submissions, the jury chose to present three awards. The ceremony was held at the Film France\/CNC pavilion in partnership with Film Paris Region and R\u00e9gion Sud.<\/strong><\/p>\n\n\n\n

Out of 18 films in competition\u2014twice as many as in 2024\u2014the jury selected three to spotlight.<\/p>\n\n\n\n

The 2025 Ecoprod Award was presented to:<\/p>\n\n\n\n

\u25cf Jeunes M\u00e8res by Jean-Pierre and Luc Dardenne, produced by Les Films du Fleuve (Official Selection)<\/p>\n\n\n\n

The Jury Prize went to:
\u25cf Laurent dans le vent by Anton Balekdjian, L\u00e9o Couture, and Matt\u00e9o Eustachon, produced by Mabel Films (ACID selection)<\/p>\n\n\n\n

A Special Mention was given to:
\u25cf Amour Apocalypse by Anne \u00c9mond, produced by M\u00e9tafilms productions (Directors\u2019 Fortnight)<\/p>\n\n\n\n

The jury, chaired by screenwriter and director Carine Tardieu, included filmmaker and actor Maurice Barth\u00e9lemy, climate justice activist Ad\u00e9la\u00efde Charlier, The Good editor-in-chief \u00c9milie Kovacs, green production coordinator Mathieu Thill, and G\u00e9raldine Toitot, production administrator and impact manager at Cin\u00e9france Studios. The jury praised the number of
selected films and the ambition behind their sustainable production efforts. <\/p>\n\n\n\n

Ad\u00e9la\u00efde Charlier : \u201cI was deeply impressed by the work done by all the productions applying for the Ecoprod Award. But I also noticed that most of them were smaller productions. I call on larger-scale films to also take part in this movement. The challenge is immense\u2014but necessary. Seeing all productions commit to environmental responsibility would send a
powerful message. Every film at Cannes should compete for the Ecoprod Award!\u201d<\/p>\n\n\n\n

“Cinema bears a huge responsibility in the face of the climate crisis. Through its narrative power and real-world impact, the industry can accelerate the transition\u2014provided it commits at every stage of production.\u201d \u00c9milie Kovacs, member of the 2025 Ecoprod Jury.<\/p>\n\n\n\n

ECOPROD AWARD : JEUNES M\u00c8RES<\/strong><\/h5>\n\n\n\n

The Ecoprod Award went to Jeunes M\u00e8res, directed by Jean-Pierre and Luc Dardenne and part of the Official Selection. The jury recognized the long-standing commitment of their production com<\/p>\n\n\n\n

This award also honors the Dardenne brothers\u2019 historical engagement with environmental and ethical filmmaking and highlights the critical role directors play in driving sustainability in the industry.pany, Les Films du Fleuve, which has implemented a comprehensive, cross-cutting green production strategy over the years\u2014and had another film in competition this year.<\/p>\n\n\n\n

Carine Tardieu: \u201cWe\u2019re rewarding this particular project, but truly, it\u2019s their entire body of work and production approach since the beginning that we\u2019re celebrating. I hope that if the
Dardennes receive another award at Cannes, they\u2019ll mention this one too\u2014and encourage others to follow their example.\u201d<\/p>\n\n\n\n

The Jeunes M\u00e8res team fully embraced green production practices, from pre-production onward. The shooting schedule was organized around a single main location to limit equipment transport and energy consumption, supported by a site security system. The production also collaborated with responsible suppliers, including a catering team that offered two vegetarian meals a week using seasonal and organic products.<\/p>\n\n\n\n

Minimal set construction was required, as the film was shot in a real mother-and-child shelter. This reduced material use, waste, and costs. The set designer, experienced in repurposing, reused set elements from previous productions. Props such as baby equipment and children\u2019s furniture were donated to the shelter and nearby daycare after filming.<\/p>\n\n\n\n

The Dardenne brothers\u2019 artistic choices align naturally with sustainable filmmaking\u2014particularly their minimalist use of artificial lighting, consistent with their realistic
aesthetic.<\/p>\n\n\n\n

Jeunes M\u00e8res was also awarded two stars under the Ecoprod Label, recognized by ADEME and audited by AFNOR Certification.<\/p>\n\n\n\n

Synopsis:<\/strong> Jessica, Perla, Julie, Ariane, and Na\u00efma are teenage mothers living in a shelter that helps them rebuild their lives. Together, they hope for a better future\u2014for themselves and their children.<\/p>\n\n\n\n

JURY PRIZE : LAURENT DANS LE VENT<\/strong><\/h5>\n\n\n\n

The jury was moved by the overall coherence of Laurent dans le vent\u2019s green production strategy. Presented in the ACID selection, the film was directed by three filmmakers\u2014Anton
Balekdjian, L\u00e9o Couture, and Matt\u00e9o Eustachon\u2014who were determined to make the film ethically, with respect for both their crew and the environment.<\/p>\n\n\n\n

Their goal was to approach filmmaking on a human scale, intentionally reducing their footprint and stepping away from conventional industry standards. The team worked with a small crew, no heavy machinery, minimal equipment, and all-natural locations. This light and intentional approach gave them great creative freedom.<\/p>\n\n\n\n

Mathieu Thill: \u201cI was really touched by the soulfulness of this project. The directors embraced green production in a way that felt natural\u2014working with what they had, without seeing it as a constraint.\u201d<\/p>\n\n\n\n

At the filmmakers\u2019 request, the set was fully vegetarian\u2014an effective way to cut meal-related carbon emissions by more than 75% compared to meat-based catering (source: Ecoprod).<\/p>\n\n\n\n

Transport emissions were minimized through meticulous pre-production planning. All filming locations were within 15 kilometers of the team\u2019s shared housing. With everyone staying in a communal lodge, carpooling was organized daily in coordination with the assistant director.<\/p>\n\n\n\n

Costumes and set design were sourced exclusively from reused materials, chosen not only for budget reasons but also for their unique, pre-worn aesthetic. The production partnered with local resource centers La Ressourcerie de Pralong in Embrun and La Basse-Cour in Brian\u00e7on\u2014a community hub providing housing, workshops, and support to marginalized individuals\u2014which supplied reclaimed materials and helped recycle all props after filming. No hair or makeup was done during production to emphasize the cast\u2019s natural look. Ultimately, all of this supported the artistic direction of the film.<\/p>\n\n\n\n

Synopsis:<\/strong> At 29, Laurent is adrift\u2014jobless and homeless\u2014when he stumbles into a deserted ski resort in the off-season. He gradually connects with the few residents he meets. But when winter arrives and the tourists flood in, Laurent has nowhere left to go.<\/p>\n\n\n\n

SPECIAL MENTION : AMOUR APOCALYPSE<\/strong><\/h5>\n\n\n\n

The jury awarded a special mention to Amour Apocalypse, directed by Anne \u00c9mond and featured in the Directors\u2019 Fortnight. During production, a \u201cgreen committee\u201d was created,
composed of an actor, a production team member, a crew technician, and a logistics coordinator. This committee sent out weekly \u201cgreen updates\u201d to the entire team, reporting on
sustainability initiatives taken during the shoot.<\/p>\n\n\n\n

\u201cI thought it was brilliant that they created a green committee\u2026 It shows that sustainability isn\u2019t the job of just one person\u2014it\u2019s a team-wide effort. I think every film should have one.\u201d – Ad\u00e9la\u00efde Charlier<\/p>\n\n\n\n

The team made sustainability a priority from the outset, choosing only compostable, recyclable, or reusable items. When that wasn\u2019t possible, they sourced the most sustainable alternative. The sets were designed with recyclable or recycled materials, and their post-production life was also planned. For example, a giant statue built for the film was made from recycled materials and later donated to a nature museum. The production team also implemented a composting system and established a permanent collection point that will be reused on future projects.<\/p>\n\n\n\n

The jury also commended the long-standing commitment of M\u00e9tafilms, which systematically integrates green production across its projects.\u201cThe film Amour Apocalypse deals with
eco-anxiety and climate change. From the writing stage, we were mindful of our environmental impact,\u201d noted the production team.<\/p>\n\n\n\n

The film was certified by On tourne vert, an organization supporting Quebec\u2019s film and TV industry in its green transition.<\/p>\n\n\n\n

Synopsis:<\/strong> Adam, a kind-hearted kennel owner, orders a therapeutic solar lamp to help ease his climate anxiety. This leads him to Tina, a radiant woman whose voice soothes all his fears.<\/p>\n\n\n\n


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