1. Organiser and Festival

1.1 The NEISSE NYSA NISA FILM FESTIVAL takes place once a year in May in Großhennersdorf, Zittau and Görlitz, as well as at other venues in Saxony, Lower Silesia, the Liberec Region and the Ústí nad Labem Region.

1.2 The organiser is Kunstbauerkino e.V., based in Großhennersdorf, Germany.

1.3 The NEISSE NYSA NISA FILM FESTIVAL is hereinafter referred to as the “NFF” or the “Festival”.

1.4 The NFF is a decentralised, cross-border film festival in the German-Polish-Czech border triangle. It presents recent film productions from Germany, Poland and the Czech Republic, as well as curated programmes featuring films from other countries.

1.5 These Regulations apply to all competitions and programme sections unless otherwise provided.

2. Programme Sections

2.1 The NFF comprises the following competitions:

a) Feature Film Competition,

b) Documentary Film Competition,

c) Short Film Competition.

2.2 The following sections are non-competitive:

a) Fokus,

b) Strange Waters,

c) Big Fish,

d) Beyond the Triangle,

e) Regionalia,

f) Young Waves,

g) Midnight Special,

h) Panorama Weekend.

2.3 Submissions are accepted exclusively for the three competitions and for Strange Waters, Big Fish, Regionalia and Young Waves. The other sections are curated by the Festival.

2.4 The Festival may add further curated sections, special programmes and events to the programme.

3. Submission Period and Submission Channels

3.1 Submissions are accepted from 1 September up to and including 15 December of the preceding year.

3.2 Submissions are made via:

a) FilmFreeway,

b) Miralot,

c) the submission portal on the Festival website.

3.3 Directly invited films do not have to be registered through a submission platform. The submission deadline and fee do not apply to them unless the Festival communicates otherwise in written form.

3.4 Only submissions for which all required information and a functioning preview link have been received in full by the deadline stated on the respective platform will be considered. Late, incomplete or technically inaccessible submissions may be excluded.

4. Submission Fees

4.1 The submission fee is:

a) EUR 5 for a running time of up to and including 59:59 minutes,

b) EUR 10 for a running time of 60:00 minutes or more.

4.2 Any additional fees charged by the submission platform are separate from the Festival’s fees.

4.3 Submission fees will not be refunded in the event of non-selection, withdrawal, late submission or exclusion.

4.4 The Festival reviews every submission received on time that is formally complete, subject to a fee and meets the basic eligibility requirements.

5. Eligibility to Submit and Country Attribution

5.1 Films that can be attributed to Germany, Poland or the Czech Republic are eligible for the competitions as well as Strange Waters, Big Fish and Young Waves.

5.2 Attribution is possible if at least one of the following criteria is met:

a) A participating production company is based in Germany, Poland or the Czech Republic.

b) The producing film school or training institution is based in one of these countries.

c) At least one director is a German, Polish or Czech national.

5.3 Minority co-productions and independently or self-produced films without a production company, public funding or film school are eligible provided that at least one of the criteria in Clause 5.2 is met. This also applies to films produced entirely outside Germany, Poland or the Czech Republic.

5.4 If the screening or exploitation rights for Germany, Poland and the Czech Republic are held by different legal rights holders, all respective responsibilities and competencies must be stated with the submission.

5.5 The Festival must be notified without delay of any changes in legal relationships or positions.

5.6 For Regionalia see the special requirements in Clause 31, and for Beyond the Triangle see the provisions in Clause 29.

6. Status of Films as Recent

6.1 A film meets the requirements on being recent if:

a) its first public festival, cinematic or other premiere took place after 28 February of the preceding year; or

b) it has not yet had a public premiere and was completed after 31 December of the year before the preceding year.

6.2 A premiere is the first public screening of the completed film with an audience. Closed industry, market, university or test screenings are not regarded as public premieres.

6.3 The Festival may require proof of the premiere and completion dates.

6.4 In justified cases, the Festival Management may permit exceptions to the recency criterion. Such exceptions are handled restrictively in competitions; all other eligibility requirements remain binding.

6.5 For directly invited films in exclusively curated, non-competitive sections, the Festival may waive individual recency or prior-release requirements.

7. Prior Releases and Exploitation

7.1 The following requirements apply to feature-length films until the end of the Festival:

a) The film must not have had a regular release in German cinemas before the first day following the end of the respective Festival.

b) A completed or planned release in Polish or Czech cinemas is permitted.

c) Before the first day following the end of the respective Festival, the film must neither have been broadcast on television nor regularly released on DVD, Blu-ray, streaming or video-on-demand plat­forms in Germany, Poland or the Czech Republic.

7.2 Previous participation in national or international film festivals is permitted for feature-length and short films.

7.3 Short films must not have been regularly released or otherwise exploited by being made publicly accessible, whether free of charge or for payment, before the end of the Festival. This applies in particular to online platforms, video portals, media libraries, television broadcasts, DVD, Blu-ray, streaming and video-on-demand; Clause 7.2 remains unaffected.

7.4 If the release, exploitation or premiere status changes after submission, the Festival must be informed in writing without delay. If the film consequently no longer meets the eligibility require­ments, the Festival may reject the submission or revoke an invitation.

8. Preview Copies

8.1 The preview copy must be provided as a streaming link that can be used without paid registration, geographical restriction or download; password protection is permitted.

8.2 The link and password must remain valid at least until 30 June following the Festival.

8.3 Films must be submitted in the original language with embedded or optional English subtitles. English-language and entirely dialogue-free films are exempt from this requirement for submission.

8.4 Feature-length films may be submitted as a work-in-progress version expressly identified as such, provided that picture lock has been achieved.

8.5 The final version of a feature-length film submitted as a work-in-progress must be available by 28 February of the respective year.

8.6 After this date, fundamental changes to content or technical specifications require prior consent of the Festival.

8.7 Short films must be submitted in their final cut.

8.8 Only final versions will be screened in the public Festival programme.

9. Multiple Submissions

9.1 The same film may be submitted to the NFF only once.

9.2 No more than two films by the same director may be submitted to the Short Film Competition per Festival edition.

9.3 In the case of co-direction, each film counts towards the maximum for every director involved.

9.4 Production companies, film schools, distributors and sales companies may submit multiple films provided that Clause 9.2 is observed.

10. Use of Artificial Intelligence

10.1 Any use of artificial intelligence in the production of a film must be disclosed fully and truthfully at the time of submission. This applies to all competitions and programme sections.

10.2 The disclosure includes, in particular, the use of AI in:

a) story development and screenwriting,

b) the generation or editing of images and animation,

c) the generation or editing of voices, speech, sound effects and music,

d) visual effects and post-production,

e) translation and subtitling,

f) other creative or technical work steps and tools.

10.3 The submitting person confirms that the use of AI is lawful and does not infringe any third-party rights.

10.4 If information is missing or inaccurate, the film may be excluded from the selection process or Festival programme.

10.5 The Festival may request additional information or proof.

11. Selection Process

11.1 The films are selected by selection committees appointed by the Festival. In the event of uncertainty or disagreement within a committee, the Festival Management decides.

11.2 There is no entitlement to selection, invitation or inclusion in a particular section. Decisions need not be individually justified and are final.

11.3 Submitters will be informed of selection or non-selection no later than 30 April of the respective year.

11.4 The Festival may assign a film to another suitable section. Participation in that section requires the legal rights holders’ consent in writing; the final assignment will be communicated with the invitation.

12. Invitation and Binding Participation

12.1 A submission neither obliges the Festival to select the film nor the submitters or rights holders to participate.

12.2 Participation becomes binding once the Festival has issued a written invitation and the responsible legal rights holders have accepted it in writing within the specified deadline.

12.3 If different legal rights holders are responsible for the intended screening countries, all necessary consents must be in place.

12.4 By accepting, the holders of legal rights confirm:

a) participation in the section communicated,

b) the agreed-upon screening locations and number of screenings,

c) the availability of the required screening and accompanying materials,

d) the concession of the rights as described in these Regulations.

12.5 Following confirmation of participation, withdrawal is possible only with the Festival’s consent.

12.6 The Festival Management decides on justified exceptions.

12.7 If an unauthorised withdrawal causes demonstrable additional costs, the Festival may demand reimbursement to the extent permitted by law.

13. Confidentiality of Selection

13.1 A film’s selection and participation are confidential until the official programme announcement or express clearance by the Festival. Submitters, legal rights holders, production companies, distributors, sales companies, film teams and their representatives may not communicate this information, in particular through press releases, websites, social media, newsletters or industry platforms.

13.2 Coordination with persons involved in the production or exploitation remains permissible provided that they are likewise bound to confidentiality.

14. Power of Disposition and Third-Party Rights

14.1 By submitting the film, the submitting person confirms that they are authorised to do so.

14.2 No later than upon acceptance of the invitation, the legal rights holders confirm that they hold, or are authorised to grant, all rights required for participation in the Festival. This applies in particular to:

a) copyright and related rights,

b) music rights,

c) personality and image rights,

d) archive and third-party material,

e) trademarks and other intellectual property rights,

f) screening rights in the agreed countries,

g) rights to the press and promotional materials provided.

14.3 Submitters and legal rights holders must inform the Festival without delay of actual or potential legal rights conflicts.

14.4 To the extent permitted by law, the rights holders shall indemnify the Festival against justified third-party claims arising from a culpable breach of these assurances.

15. Screening Rights

15.1 By accepting the invitation, the rights holders grant the Festival the non-exclusive right to screen the film up to four times during the respective Festival edition.

15.2 The number, countries and venues of the screenings will be specified in the invitation or in a supplementary written agreement.

15.3 Competition films will be screened at least once in Germany; further screenings in Poland and/or the Czech Republic may be agreed upon.

15.4 Films in non-competitive sections may be screened exclusively or additionally in Poland or the Czech Republic.

15.5 The grant of rights may include:

a) public Festival screenings,

b) repeat screenings during the Festival,

c) award-winner and closing screenings,

d) press screenings and non-public industry screenings,

e) school and educational screenings.

15.6 These screenings count towards the agreed-upon maximum unless otherwise agreed upon in writing.

15.7 Screenings outside the respective Festival edition, including NFF on Tour, NFF Presents, later school events, revival screenings, special programmes and online and hybrid screenings, require a separate express agreement in writing.

15.8 Television, streaming, video-on-demand and any other form of exploitation are not part of participation in the Festival.

16. Press, Promotional and Accompanying Materials

16.1 Following the invitation, the rights holders shall provide the Festival, on time, in full and free of charge, with all materials required for programme planning, translation, press work and communications, in particular:

a) full film credits,

b) short and long synopses,

c) director’s biography and photograph,

d) at least three print-ready film stills, including photographer credits,

e) film poster, if available,

f) trailer, if available,

g) press kit or comparable information,

h) dialogue lists and subtitle files in accordance with Clause 18.

16.2 The legal rights holders grant the Festival the non-exclusive and royalty-free right to use these materials for its press, information, documentation and public-relations activities, in particular in the programme brochure, on the Festival website, in social media, newsletters, press materials, Festival trailers and media coverage.

16.3 The Festival may use an existing trailer in full and, in addition, excerpts from the film totalling no more than three minutes for its own promotional purposes, the opening and the awards ceremony. Separate commercial exploitation is excluded.

16.4 The Festival may edit and abridge supplied texts and translate them into the Festival languages, provided that their content and meaning are not significantly distorted.

16.5 Authorship will be credited on the basis of the information provided by the legal rights holders.

16.6 In accordance with Clause 14, the rights holders confirm that they possess the necessary legal rights to all materials provided.

17. Screening Materials

17.1 For every selected film, both an unencrypted DCP and a high-quality digital screening and backup file must be provided.

17.2 Apple ProRes 422 HQ is the preferred file format. Subject to prior technical coordination, high-quality H.264 files in particular may be accepted provided that their bit rate is not less than 25 Mbit/s.

17.3 Binding technical specifications, transfer methods and delivery deadlines will be communicated in a technical information sheet or with the invitation.

17.4 The Festival determines which version is used at each venue; not all playback options are available everywhere.

17.5 All screening versions must correspond to the final confirmed cut.

17.6 Encrypted DCPs or versions requiring a KDM will be accepted only by prior express agreement.

17.7 The submitting person or rights holder bears the costs of producing and delivering the materials on time.

17.8 If materials are not delivered on time or are technically unsuitable, the Festival may:

a) request a suitable replacement version,

b) use the digital backup copy,

c) adjust, relocate or cancel the screening,

d) remove the film from the programme if a suitable screening is not possible.

17.9 A technically suitable replacement version of the same final cut may be used without this constituting an additional screening or other exploitation.

17.10 The Festival will handle analogue and digital film copies with due care and ensure the best possible projection under the conditions of the respective venue.

18. Subtitle and Translation Materials

18.1 For every selected film, including English-language films, English subtitles must be provided as a technically flawless separate SRT file. Only entirely dialogue-free films are exempt.

18.2 Any existing German, Polish or Czech subtitles shall likewise be provided free of charge as separate files.

18.3 A complete dialogue list and, where available, timecodes, translations and any other materials required for subtitle processing must also be supplied.

18.4 The Festival may edit, translate and technically adapt the files solely for the production and presentation of the agreed Festival versions.

18.5 Rights holders may use translations and subtitles created by the Festival outside the NFF only with the Festival’s consent on the basis of a separate agreement.

18.6 The rights holders remain responsible for the accuracy of the dialogue and subtitles they supply.

19. Screening Fees

19.1 The Festival pays screening fees for feature-length films in the competitions only in exceptional cases; a fee may be agreed for feature-length films in non-competitive sections.

19.2 Justified exceptions for feature-length competition films require prior written agreement with the Festival Management.

19.3 For selected short films, the Festival pays a flat fee per film irrespective of the number of agreed Festival screenings.

19.4 The amount will be communicated with the invitation.

19.5 The fee is paid to the rights holder responsible for the Festival screenings. If several rights holders are involved, they shall nominate a person or institution authorised to receive payment.

20. Accreditation, Attendance and Travel Expenses

20.1 All officially invited representatives of selected films receive free Festival accreditation.

20.2 The attendance of the director or another person with a substantial involvement in the film is desired, in particular for film discussions and the awards ceremony, but is not a condition of participation.

20.3 Selection does not confer any entitlement to reimbursement of travel, accommodation, subsistence or other costs. Such costs will be covered only on the basis of a written invitation and to the extent stated therein.

20.4 For feature-length films, the Festival may invite one person as an official guest, with priority given to the director. If the director is unable to attend, a person involved in production, acting, screenwriting or production design may be invited with the Festival’s consent.

20.5 Where agreed upon, independently-arranged travel expenses will be reimbursed upon presentation of proof, up to a maximum amount communicated in advance. The Festival will arrange accommodation, meals and local transfers to the agreed-upon extent.

20.6 As a rule, no travel expenses will be covered for representatives of selected short films; individual agreements remain possible.

20.7 Another person involved in the film may represent the director at a film discussion or when accepting an award.

21. Storage, Archive and Data Protection

21.1 The Festival processes personal data submitted in connection with submission and participation solely for the organisation, communication, documentation and administration of the respective Festival edition and for compliance with legal obligations. Further information is provided in the privacy policy on the Festival website.

21.2 Submission and participation data may be stored for up to one year after the Festival has concluded, unless statutory retention obligations or legitimate documentation interests require individual data to be stored for longer.

21.3 Complete screening files and film copies of selected films may be stored for up to one year after the end of the Festival solely for internal technical, organisational and documentation purposes. Without separate consent, they may not be screened publicly or otherwise exploited.

21.4 After the storage period expires, complete film files will be deleted; physical data carriers will be returned or destroyed by prior agreement.

21.5 Programme data, credits, stills, press information, jury decisions, awards and published Festival documentation may remain permanently in the Festival archive and on archived programme pages.

22. Revocation of an Invitation and Exclusion

22.1 The Festival may exclude a film from the selection process or revoke an invitation if:

a) key information was false, misleading or incomplete,

b) the submitting person was not authorised to submit the film,

c) required screening or usage rights are unavailable,

d) conditions of participation are not, or are no longer, met,

e) required materials are not provided despite a deadline having been set,

f) relevant use of AI was concealed,

g) the film was significantly altered without consent after the invitation,

h) confidentiality was gravely breached.

22.2 An invitation may also be revoked if serious legal or factual circumstances subsequently become known as a result of which, after due consideration of all interests, the Festival cannot reasonably be expected to present the film publicly.

22.3 Before a decision is taken under Clause 22.2, the rights holders should be given an opportunity to comment, unless urgency or legal reasons preclude this.

22.4 The Festival Management decides on exclusion and revocation.

23. Programme Changes, Force Majeure and Liability

23.1 The Festival may change screening times, venues, screening formats and programme schedules for good cause.

23.2 In the event of force majeure, official measures, security issues, technical failures, illness, natural events or other exceptional circumstances, it may in particular:

a) cancel screenings or events,

b) change venues and dates,

c) shorten, postpone or cancel the year's Festival,

d) convert events to a hybrid or digital format.

23.3 Digital or hybrid film screenings require a separate express grant of rights.

23.4 To the extent permitted by law, such changes do not give rise to claims for compensation for loss of income, unagreed-upon travel or production costs, or other indirect loss.

23.5 To the extent permitted by law, the Festival is liable for loss of or damage to film copies, data carriers and other materials only in cases of intent or gross negligence.

23.6 This does not apply to damage arising from injury to life, limb or health, nor in cases of mandatory statutory liability.

24. Feature Film Competition

24.1 The competition is open to recent feature-length fiction and animated films from Germany, Poland and the Czech Republic.

24.2 The minimum running time, including end credits, is 60:00 minutes.

24.3 The first, second or third feature-length fiction or animated film by a director is eligible.

24.4 Previous feature-length films include any stand-alone feature-length fiction and animated works made for cinema or festivals, including student films.

24.5 Previous feature-length documentaries, television films, series episodes and comparable television formats are not counted.

24.6 In the case of co-direction, Clause 24.3 must generally be satisfied by all directors; the Festival Management decides on justified exceptions.

24.7 The Feature Film Jury awards the prizes as outlined in Clause 37.1.

25. Documentary Film Competition

25.1 The competition is open to recent feature-length documentary films from Germany, Poland and the Czech Republic.

25.2 The minimum running time, including end credits, is 60:00 minutes.

25.3 Hybrid documentary forms are eligible if, in the selection committee’s assessment, the documentary approach predominates.

25.4 The Documentary Film Jury awards the prize as outlined in Clause 37.2.

26. Short Film Competition

26.1 The competition is open to recent short films from Germany, Poland and the Czech Republic with a maximum running time of 20:00 minutes, including end credits.

26.2 Eligible works include, in particular, fiction, documentary and animated short films, experimental films and hybrid forms.

26.3 Ineligible works include, in particular, music videos, advertising and corporate image films, tutorials, series episodes, regular television formats and comparable formats that are primarily promotional or serial in nature.

26.4 The Short Film Jury awards the prize as outlined in Clause 37.3.

27. Strange Waters

27.1 The section presents recent feature-length films from Germany, Poland and the Czech Republic that can be assigned to selected forms of genre cinema.

27.2 The minimum running time is 60:00 minutes.

27.3 The general country, recency and prior-release requirements apply.

27.4 The section is open to emerging and established filmmakers; it is not restricted to their first three feature-length films.

27.5 The section is non-competitive in 2027. Films in the section may, however, be nominated for awards spanning the entire programme. Further awards are governed by Clause 41.

28. Big Fish

28.1 The section presents recent, popular or particularly attractive, audience-oriented feature-length films from Germany, Poland and the Czech Republic.

28.2 Films that may be considered include, in particular:

a) successful audience films,

b) box-office successes, provided that the prior-release requirements remain satisfied,

c) films that have been particularly successful or have received awards at other festivals,

d) films with particular potential to appeal to a broad Festival audience.

28.3 Fiction, documentary and animated films, as well as other forms of film with a running time of 60:00 minutes or more, are eligible.

28.4 The general country, recency and prior-release requirements apply.

28.5 The section is open to emerging and established filmmakers; it is not restricted to their first three feature-length films.

28.6 The section is non-competitive. Films in the section may, however, be nominated for awards spanning the entire programme. Further awards are governed by Clause 41.

29. Beyond the Triangle

29.1 The curated section presents recent feature-length films from Central and Eastern Europe which, under Clause 5, cannot be attributed to Germany, Poland or the Czech Republic.

29.2 As a rule, the recency criteria in Clause 6 apply.

29.3 Selection is made exclusively through scouting and direct invitation; open submissions are not possible.

29.4 The section is non-competitive.

30. Fokus

30.1 Fokus is an annually changing, thematically curated section.

30.2 Selection is made exclusively by the Festival; open submissions are not possible.

30.3 Fokus may include recent and historical films of all lengths, forms and countries of production.

30.4 For directly-invited films, the recency and prior-release criteria apply only to the extent specified in the invitation.

30.5 The section is non-competitive.

31. Regionalia

31.1 Regionalia presents films that:

a) were made in Upper Lusatia or the neighbouring Polish or Czech border regions,

b) were made by filmmakers from this region; or

c) substantially address the region, its population, history, present day or culture.

31.2 Fiction, documentary, animated, experimental and hybrid films of all lengths are eligible.

31.3 Regionalia is the only section open for submissions in which films between 20:01 and 59:59 minutes are eligible.

31.4 Attribution to Germany, Poland or the Czech Republic is not required if there is a substantial regional connection under Clause 31.1.

31.5 As a rule, the recency criteria in Clause 6 apply.

31.6 Films with a running time of up to and including 20:00 minutes are subject to the prior-release requirements for short films; longer films are subject to those for feature-length films.

31.7 The section is non-competitive; films in the section may, however, be nominated for awards spanning the entire programme.

32. Young Waves

32.1 The section presents recent feature-length films from Germany, Poland and the Czech Republic for children and young people aged approximately six to 18.

32.2 The minimum running time is 60:00 minutes.

32.3 Fiction, documentary, animated and hybrid forms that the Festival considers suitable for the target audience are eligible.

32.4 The general country, recency and prior-release requirements apply.

32.5 The section is non-competitive. Films in the section may, however, be nominated for awards spanning the entire programme. Further awards are governed by Clause 41.

33. Midnight Special

33.1 Midnight Special is a curated, non-competitive section that is not open for submissions.

33.2 The general provisions of these Regulations apply.

34. Panorama Weekend

34.1 Panorama Weekend presents films from all countries of production and all periods on 35 mm or 70 mm.

34.2 The section is held at Centrum Panorama in Varnsdorf.

34.3 Selection is made exclusively by the Festival; open submissions are not possible.

34.4 Panorama Weekend is non-competitive. The general country, recency and prior-release requirements do not apply.

34.5 By derogation from Clause 17, the analogue screening copies and delivery conditions will be agreed individually in technical coordination; the requirement to provide a DCP and a digital backup file does not apply to this section.

35. General Jury Provisions

35.1 The Festival appoints independent juries for the competitions and awards.

35.2 The juries for the Feature Film, Documentary Film and Short Film Competitions and for the Special Award generally consist of three persons each.

35.3 These juries have a tri-national composition; Germany, Poland and the Czech Republic should each be represented by at least one person.

35.4 The composition should give balanced consideration to professional perspectives, experience and social diversity.

35.5 Jury members may not be involved in the production, financing, distribution, sales or other exploitation of a film they assess. Personal, family, financial or professional conflicts of interest must be disclosed to the Festival and the jury without delay.

35.6 In the event of a conflict of interest, the Festival Management may replace the jury member or require them to abstain from voting on the film concerned.

35.7 Jury deliberations are confidential; decisions are taken by simple majority.

35.8 A film may receive no more than one regular award from the same jury.

35.9 A jury award may not be shared between several films. Division among several award recipients for the same film remains permissible.

35.10 Juries may additionally issue special mentions without prize money.

35.11 Jury decisions are final; to the extent permitted by law, recourse to the courts in respect of artistic assessment is excluded.

36. General Provisions on Prize Money

36.1 All prize money amounts are gross. Taxes, charges or withholdings required by law may be deducted.

36.2 Payment will be made within one month after receipt in full of at least the following information:

a) full names of the award recipients,

b) full postal address,

c) bank details,

d) any information and supporting documents required for tax purposes.

36.3 If several persons are entitled to payment, the prize money will be divided equally unless otherwise stipulated.

36.4 Alternatively, they may jointly nominate a person or institution authorised to receive payment. The Festival will transfer the entire prize money to that person or institution; the award recipients are responsible for its internal distribution.

36.5 If, despite a request, the required information is not provided in full by 31 December of the respective Festival year, the entitlement to payment lapses.

36.6 Personal attendance at the awards ceremony is desired but is not a condition for payment.

37. Awards of the Main Competitions

37.1 The Feature Film Jury awards:

a) NEISSE-FISCH: Best Feature Film

Prize money: EUR 10,000

Recipient: director of the award-winning film

b) NEISSE-FISCH: Best Acting Performance

Prize money: EUR 1,000

Recipient: the award-winning performer

c) NEISSE-FISCH: Best Production Design

Prize money: EUR 3,000

Recipient: the person responsible for leading the production design

d) NEISSE-FISCH: Best Screenplay

Prize money: EUR 1,000

Recipient: writer of the award-winning screenplay

37.2 The Documentary Film Jury awards:

NEISSE-FISCH: Best Documentary Film

Prize money: EUR 5,000

Recipient: director of the award-winning film

37.3 The Short Film Jury awards:

NEISSE-FISCH: Best Short Film

Prize money: EUR 1,500

Recipient: director of the award-winning film

38. NEISSE-FISCH: Special Award

38.1 The NFF awards the NEISSE-FISCH: Special Award, endowed with EUR 1,000.

38.2 A recent fiction, documentary, animated, experimental or short film from the entire Festival programme may receive the award.

38.3 The award recognises an exceptional cinematic engagement with cultural or ethnic differences, common ground across national borders, or relations between neighbouring societies. Particular consideration is given to films that approach other cultures respectfully and openly, critically reflect on borders and labels, enable audiences to look beyond national or cultural boundaries, or contribute to dialogue, tolerance and mutual understanding.

38.4 The Festival Management nominates suitable films; a three-person tri-national jury decides in accordance with Clause 35.

38.5 The recipient of the prize money is the director of the award-winning film.

39. Young Jury Awards

39.1 The NFF appoints a Young Jury consisting of six persons aged 18 to 25.

39.2 It has a tri-national composition with members from Germany, Poland and the Czech Republic; the aim is to have two persons from each country.

39.3 The Young Jury works during the Festival.

39.4 Before the Festival, a selection committee of school students participating in an accompanying educational project selects the nominated films.

39.5 Recent films from the entire Festival programme may be nominated.

39.6 The Young Jury awards:

a) Young Jury NEISSE-FISCH: Best Feature-Length Film

Prize money: EUR 1,000

Recipient: director of the award-winning film

b) Young Jury NEISSE-FISCH: Best Short Film

Prize money: EUR 1,000

Recipient: director of the award-winning film

39.7 The provisions on conflicts of interest, confidentiality, majority decisions, division of prize money and finality under Clauses 35 and 36 apply accordingly.

40. Audience Awards

40.1 The NFF awards:

a) Audience Award for Feature Film – EUR 1,000,

b) Audience Award for Documentary Film – EUR 1,000,

c) Audience Award for Short Film – EUR 1,000.

40.2 In each case, the recipient is the director of the award-winning film.

40.3 Recent films as outlined in Clause 6 from all competitions and programme sections may be considered. The Festival assigns every eligible film unequivocally to one of the three categories.

40.4 Audience members vote directly in connection with the respective film screening by ballot paper, QR code or a comparable controllable system. The technical procedure and rating scale will be published before the Festival begins.

40.5 As a rule, each person may submit only one rating per film. Manipulated, duplicate or implausibly assignable votes may be excluded.

40.6 The film with the best average rating in its category receives the award, provided that at least ten valid ratings have been submitted. Differing numbers of screenings and votes are accounted for by calculating the average.

40.7 In the event of an exactly equal average, the films concerned will receive the award ex aequo and the prize money will be divided equally.

40.8 The Festival Management verifies and confirms the final result.

41. Further Awards

41.1 The Festival may offer further awards with or without prize money.

41.2 The name, prize money, eligibility, selection procedure, jury and recipient will be published on the Festival website in good time. Any additional obligations for submitted films must be announced before the end of the submission period.

41.3 Subsequent consideration of a selected film may not, without the express consent of the rights holders, entail additional screenings or any other transfer of rights.

42. Acceptance of the Regulations

42.1 By submitting the film, the person submitting confirms that they have read and accept these Regulations.

42.2 They shall inform the responsible legal rights holders and other responsible parties of the provisions.

42.3 Any individual agreements that deviate from these Regulations must be made in written form.

42.4 In the event of a conflict between these Regulations and a subsequent individual invitation, a provision in that invitation expressly identified as deviating from the Regulations prevails.

43. Amendments to the Regulations

43.1 The Festival may amend or supplement these Regulations for good cause before the end of the submission period.

43.2 Amendments will be published on the Festival website and, where technically possible, on the submission platforms. Persons who have already submitted a film will be informed of significant changes to their conditions of participation.

43.3 After the end of the submission period, amendments are permissible only due to mandatory legal, organisational or exceptional circumstances and with due consideration of the legitimate interests of submitters.

44. Governing Law and Place of Jurisdiction

44.1 The law of the Federal Republic of Germany applies.

44.2 To the extent permitted by law, Dresden is the exclusive place of jurisdiction.

44.3 Mandatory statutory provisions, in particular those relating to consumer protection and international jurisdiction, remain unaffected.

45. Language Versions

45.1 The Regulations are published in German, Polish, Czech and English.

45.2 In the event of deviations, contradictions or differences of interpretation, the German version prevails.

46. Severability

46.1 If any provision is wholly or partly invalid or unenforceable, the remaining provisions remain valid.

46.2 The applicable statutory provision replaces the invalid or unenforceable provision.

Version dated: 1 September 2026