Imagine a world where color isn't just seen, but felt, where it can evoke emotions, tell stories, and even challenge perceptions. This is the world celebrated by the FilmLight Colour Awards, and their 2025 ceremony, held during EnergaCamerimage in Poland, was a testament to this power. But here's where it gets controversial: can color grading truly elevate a film from good to great, or is it merely a technical flourish? Jury president Bradford Young, with the esteemed Park Chan-wook sending his regards via video, opened the event, setting the stage for a night of recognition and debate.
In the theatrical category, Máté Ternyik's work on The Brutalist (https://www.hollywoodreporter.com/movies/movie-news/the-brutalist-brady-corbet-making-of-interview-1235995475/) took the top prize, standing out in a field that included Damien Vandercruyssen’s Mickey 17, Adam Glasman’s Nosferatu, Kostas Theodosiou’s Sinners, and Gareth Spensley’s The Phoenician Scheme. Ternyik’s grading not only enhanced the film’s visual narrative but also sparked conversations about the role of color in shaping audience perception. Is it possible that the stark, almost harsh palette of The Brutalist was a deliberate choice to mirror its themes, or was it simply an artistic whim?
In the episodic category, Peter Doyle’s grading of Alfonso Cuarón’s AppleTV thriller Disclaimer (https://www.hollywoodreporter.com/tv/tv-reviews/disclaimer-review-cate-blanchett-kevin-kline-alfonso-cuaron-apple-tv-1235987459/) claimed the award. This category also featured standout work from Jean-Clement Soret on Andor, Tom Poole on Severance, and Damien Vandercruyssen on The Studio. And this is the part most people miss: the subtle shifts in color temperature in Disclaimer were not just aesthetic choices but narrative tools, guiding the viewer’s emotional journey.
Dante Pasquinelli’s vibrant grading for Bad Bunny’s “NUEVAYoL” (https://www.hollywoodreporter.com/t/bad-bunny/) secured the music video prize, outshining shortlisted entries by Valerio Liberatore, Jake White, and Sam Howells. But here’s a thought: does the bold use of color in music videos distract from the artist’s performance, or does it enhance it?
Other winners included Franziska Heinemann for the commercial Bluff Bounce, “Prologue”, Connor Bailey for Good Shot in the Spotlight category, and Marina Starke for Converse x Daily Paper, “Homecoming”, which topped the Emerging Talent section. Each of these winners demonstrated how color can be a storytelling powerhouse, whether in a 30-second ad or a feature-length film.
Now, here’s a question for you: Do you think color grading is an underappreciated art form, or is it given too much credit in the filmmaking process? Let’s spark a conversation in the comments below. And while you ponder that, check out the full list of winners:
Theatrical Feature
• The Brutalist (https://www.hollywoodreporter.com/t/the-brutalist/) — graded by Máté Ternyik (Winner)
• Mickey 17 — Damien Vandercruyssen
• Nosferatu — Adam Glasman
• Sinners — Kostas Theodosiou
• The Phoenician Scheme — Gareth Spensley
TV Series / Episodic
• Disclaimer (https://www.hollywoodreporter.com/t/disclaimer/) (season 1) — Peter Doyle (Winner)
• Andor — Jean-Clement Soret
• Severance — Tom Poole
• The Studio — Damien Vandercruyssen
Commercial
• Bluff Bounce, “Prologue” — Franziska Heinemann (Winner)
• Gucci: We Will Always Have London — Tim Masick
• KFC: Obsession — Mark Gethin
• Office Magazine: Michael Shannon… — Dylan Hageman
Music Video
• Bad Bunny, NUEVAYoL — Dante Pasquinelli (Winner)
• Damiano David, Next Summer — Valerio Liberatore
• Maggie Rogers, In the Living Room — Jake White
• Wren Evans, CỨU LẤY ÂM NHẠC — Sam Howells
Spotlight
• Good Shot — Connor Bailey (Winner)
• Duchoň — Ondřej Štibingr
• La Hija Cóndor — Leo Fallas
• NAWI: Dear Future Me — Marina Starke
Emerging Talent
• Converse x Daily Paper, “Homecoming” — Marina Starke (Winner)
• Bluff Bounce, “Prologue” — Franziska Heinemann
• S Bahn: A Century In Motion — Imri Agmon
• Timberland: 50 Years of Hip-Hop — Connor Bailey
