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41st Ann Arbor Film Festival Program

Ann Arbor Film Festival
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Ann Arbor Film Festival
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Congratulations to the Ann Arbor Film
Festival for showcasing independent
and experimental films for 40 years.

Remember, we're here to help the independant
filmmaker in any way that we can.

(Except money_ We don't have any money_)

About the Festival 2 Festival Staff 3 Board ofDirector's Welcome 4 Festival Director's Welcome 5 A Love Letter to the Festival 6 Awards Jury 7 Awards 8 Festival Sponsors & Prize Donors 10 Festival Contributors & In-Kind Donors 11 Membership 12 Silent Auction 13 Festival Tour 14 Opening Gala & Fun Festival Extras 15 Around Town Events Associated with the Festival 16 Sidebar Programs 17 Film Program 23 Also Entered 36 Print Sources 39 Notes Page 64

As the oldest festival of experimental film in the United States, the Ann Arbor Film Festival is a showplace for independent and experimental 16mm film. Founded in 1963 at the University of Michigan School of Art by filmmaker/artist George Manupelli, the festival is now independent of the university, and continues to cater to independent works by film artists under the direction of Festival Director Vicki Honeyman As the premiere festival of 16mm independent & experimental film, the Ann Arbor Film Festival exists to provide a worldwide public forum for 16mm film screenings, to encourage and showcase independent & experimental film artists, to promote film as art, and to offer educational outreach. High-quality projection is also a priority. We appreciate the state-of-the-art facilities provided by the Michigan Theater and its staff.
The festival received a total of 440 films this year. Each film was viewed by a five-member Screening Committee, who selected the films being shown in the main auditorium and the screening room during festival week. Committee members are chosen for their respect for and knowledge of independent and experimental film, as well as for their commitment to the Ann Arbor Film Festival's goals. Members of this year's Screening Committee are Ken Bawcom, Ross Ewing, Vicki Honeyman, Linda Kendall, Peter Knox (& Abbie and Lucy).
Because the amount of film entered exceeds the available public screening time, not every film can be programmed into the festival week screening, though every film entered is in competition. Film entries arrived from all over the world: Argentina, Australia, Austria, Brazil, Canada, China, England, Germany, Greece, Hong Kong, India, Ireland, Italy, Japan, New Zealand, Russia, Scotland, Singapore, Slovenia, Switzerland, the Netherlands, and all around the United States. Films are chosen for the festival program based on their overall qualities of creativity, technical expertise, and artistic expression. The length of films programmed varies from one minute to two hours. Every show has a mix of every genre submitted, including experimental, animation, documentary, personal documentary, and narrative.
The festival also includes seminars, panel discussions, and additional screenings in the theater's screening room. Programs of films centered around themes are making it possible to include more entries into the schedule. Programs of other media are broadening the festival's inclusion of media artists (these programs are not in consideration for awards).

The Ann Arbor Film Festival is supported by kind and generous members of the Ann Arbor community who donate money, food, time, and in-kind assistance. Festival operations are funded by filmmaker entry fees, ticket sales, memberships, dollars contributed by local businesses and friends and supporters from around the U.S, as well as by grant and sponsorship funds. The Ann Arbor Film Festival is a non-profit organization that is organized by one full-time, one half-time, and an enormous staff of volunteers. A board of directors oversees activities.
This year's festival is dedicated to Founding Director George Manupelli and his vision, which we will honor throughout Festival week.

Festival Director Managing Assistant Director Board ofDirectors
Board ofAdvisors
Screening Committee
Webmaster Graphic Artist Ad/Sponsorship Sales Volunteer Coordinator Interns
Tech Director Box Office Manager House Manager Fimmaker Check-in Manager Theater Decorations/Installations Silent Auction Coordinator Gala Committee Marketing Assistant Screening Room Facilitator Judge's Brunch Coordinator Ticket &Slide Design Newsletter Editor Newsletter Graphic Designer Festival Handyman Michigan Theater Projection &Stage Staff
Extra Special Thanks
Extra Extra Special Thanks
Festival Poster Illustrations About the Poster Graphics Vicki Honeyman Chrisstina Hamilton Bruce Baker, Frank Beaver, Steve Bergman, Barbara Brown, David Gatten, Denny Hayes, Edie Herrold, Jim Kruz & Joe Tiboni Ken Burns, Bonny Dore, Lawrence Kasdan, Alison LaTendresse, Deanna Morse, Leighton Pierce & Jay Rosenblatt Ken Bawcom, Ross Ewing, Vicki Honeyman, Linda Kendall & Peter Knox Willie Northway Pamela Waxman! if the shoe fits ... graphic design Amy Grambeau Lisa Park Matt Anderson, Margeret Clevenstine, Jennifer Langel, Jeff Olson, Agnieszka Palarz, Sultan Sharrief, Erin Watkins, Kyle Wilamowski & Abbie Wisdom Dan Bruell Erika Weise Rob Fagerlund Bonnie Dede Esther Kirshenbaum, Leslie Raymond & Noel Stupek Barbara Brown Connie Crump, Monique Deschaine & Val Mangual Sue Wilts Keith Arnold Sue Webster Dan Bruell Barbara Brown Jocelyn Edin Mike Woodruff Rick Berthelot, Dan Bruell, Walter Bishop, Scott Clarke, Art McViccar, Scott McWhinney, Jim Pyke & Frank Uhle Bruce Baker, Ann Arbor Alarms (always happy to receive film deliveries), Carolyne "Ms. Mailperson", Paul "Mr. UPS" and Ken "Mr. Fed X", Dan Bruell, Susan Wineberg & Lars Bjorn, John Hilton, Firefly Club: Susan Chastain & as always, the customers of Vicki's Wash & Wear Haircuts for their understanding & patience. Gordon White for his many years stuck in the box office as Box Office Coordinator Suzie Kelsey! if the shoe fits ... graphic design Self-portraits, 1996, by Suzie Kelsey, oil pastel on construction paper. Ms. Kelsey produced an unsparing series of self-portraits following a diagnosis ofleukemia in 1995. In the work, she drew particular attention to how her physical features had changed as a result of both the disease and its treatment. Suzie Kelsey died July, 2000, at the age of 28.
Posterers, Ushers, Box Office, Art &Happy Hospitality Volunteers
Barbara Annis, Scott Arnold, Bria Bergman, Christine Blaine, Dan Boujoulian, Alixandra Bums, Tony Diaz, Beth Doane, Pascalle Dugay; Jubilee Dugay, Jocelyn Edin, Leslie Field, Lauren Freedman, Lynn Freeland, Elise Freimuth, Elizabeth Gasper, Ariela Gitten, Sarah Grady, Ariela Green, Ariel Grosshuesch, Annie Hammel, Max Harris, Kim Hartman, Allie Hlazaty, Amanda Hoebemeyer, Jeanne Horvath, Larry Horvath, Bianca Houston, Helga Hover, Ryan Johnson, Kiarri Kershaw, Elizabeth King, Yael King, Andrea Krantz, Frannie Laks, Paul Lambert, John Lang, Amira Marion, Mavourneen Marion, Tim Malik, Graham Mason, Kathy McGauley; Colin Miller, Jode Millman, Dax Monta, Ruchika Muchala, Zack Napier, Tom Newton, Roland Neynaber, Beth Parsons, Mauree Peabody; Nicole Pearce, Millie Piazza, Jennifer Reinhart, Jeff Richardson, Maggie Roltsch, Sarah Rubin, Lily Rushlow, Michelle Sauve, Carolyn Schilling, Ann Schultz, Pam Schwarzmann, Vonda Shadigian, Adam Steel, Phyllis Stillman, Dan Stratton, Birgit Swanson, Jessica Sysek, Ben Toby; Kathy Toby, Lindsay Trapnell, Patty Turpen, David Victor, Rose Wedal, Shannon White, Alyssa Wood, Stephanie Wooten, & Ryan Yingling

Bruce Baker
Frank Beaver Steve Bergman, Barbara Brown
David Gatten
Denny Hayes,
Edie Herrold

Jim Kruz Joe Tiboni
Ken Burns Bonny Dore Lawrence Kasdan Alison LaTendresse Deanna Morse Leighton Pierce Jay Rosenblatt
734.995.5356 p 734.995.5396 f

The Board of Directors is delighted to welcome everyone to the 40th anniversary party being held to celebrate the films, the individuals who make them, the people who labor diligently to bring the party to all of us, the past directors who set the Festival in motion forty years ago and everyone who will be part of this, our 40th birthday. The Board especially thanks the director, her assistant and the welcome energy of many volunteers, performers, artists, contributors, sponsors and the Michigan Theater. All played parts in the production which will make this a Festival and party to remember.
The 40th Anniversary of the Ann Arbor Film Festival, or any milestone like it, owes debts to many who nurtured, cajoled or pushed it forward over the years. The past 15 years reflects the prodigious and relentless energy of our Director, Vicki Honeyman, whose efforts have made the Festival the film landmark event of its kind. We are also delighted to welcome the founder and the others directors of the Festival who have returned to celebrate the occasion with us.
The Board is also happy to welcome sponsors, new and old. This year's prizes include the first Ken Burns Award of $3,000 for Best of Festival. The award honors this Ann Arbor native who has generously committed to supporting the Festival's continuing pursuit of excellence in film and imagination. The Board is happy to welcome other award sponsors including Michael Moore who, besides continuing his award for Best Documentary, will be here to contribute his personal energy and effort to the celebration. As always, the Board is deeply appreciative of the sponsors of awards, the Festival sponsors, the generous grants from the NEA, Michigan Council of the Arts, the Academy of Motion Pictures, Arts and Sciences and others too numerous to mention individually whose contributions form the economic backbone around which the Festival is built. We are grateful to the noteworthy support of the DeVarti family whose endowment this year highlights the depth of community support that nourishes the Festival. Thank you all.
This year's Festival promises to set a new standard for scope and breadth of its films and live performances. We'll have reviews of historic and seminal films from Andy Warhol and others and host a pre-release screening of Jodie Foster's new film, Dangerous Lives ofAltar Boys. Personal appearances by Oscar winner John Nelson and a rare return visit by performance artist Pat Oleszko in too many roles to mention will contribute to the celebration. The list goes on and we're proud to be part of it.
Finally, the 40th anniversary of the Festival reaffirms our commitment to filmmakers and their art in all its forms. We welcome the Festival's traditional contributors and supporters and as always, we extend its stage to their new, innovative, fresh contributions to film, fun and art.
The week promises much and will deliver more than promised. You'll see films that will engage you, enrage you maybe and entertain with their audacity, perception, humor and whimsy. There aren't enough adjectives to describe what you'll see and experience. Welcome to the party. Enjoy!
Ann Arbor Film Festival Board of Directors
For the past month I've been talking to filmmakers and film¥goers, with one specific message: this is the year to come to the Ann Arbor Film Festivan
Ten years ago, to celebrate the Festival's 30th anniversary, we held a 4-day conference, 30 Years and Beyond: A Celebration of Independent and Experimental Film. This year, in honor of our 40th anniversary, we decided to spend an entire week celebrating our history and presence in the independent film community, as well as recognizing a few seminal and/or emerging artists.
How we're celebrating is as important as what we're showing. The work we're offering in the Sidebar Programs may not be available in this area for years ... or ever again. The programs Craig Baldwin, Alison laTendresse, and Lux Mundi have curated represent young artists who may be putting their current work in the closet as they continue to develop. Though Andy Warhol can't be here on the festival stage to repeat his 1966 premiere performance ofthe EPI, Warhol expert Branden Joseph joins us to discuss the piece and its importance in Warhol-and Ann Arbor Film Festival-history.
Chrisstina and I are both filled with pride to share with you the Festival's legacy. Since the end ofthe 39th Festival, we have labored to bring you an incredible assortment ofwork and talent for you to fill up on. We appreciate of all who've made it possible.
The really big deal for us is a woman who used to grace the festival stage in its early days ofthe 60s and early 70s -the queen of the festival, Pat Oleszko. Pat's being here is reason enough to throw a party and to celebrate the Festival's 40th year. It is such an honor to have Pat back on stage, as well as to have her judging entries all week long with filmmakers and friends ofthe Festival, Jay Rosenblatt and Chel White.
There are many other special people to note who have worked really hard to help organize the Festival. This year I feel even more indebted to those people who came through for me and for the Festival. I wish to point them out and thank them.
Chrisstina Hamilton, Managing Assistant Director ofthe Festival, operates on an energy level that would send most to the hospital for needed rest. Her love of and commitment to the Festival equals mine. She has done a fabulous job since arriving on our scene, and deserves recognition for her stamina. Chrisstina is my star and, though we can't always work in the same room together, at the end ofthe day, preferably over martinis, our friendship remains strong.
Willie Northway, the Festival's Webmaster, deserves ten rounds ofapplause. Receiving no stipend or salary, Willie has devoted endless hours to improving, perfecting, and updating our webpage. I've learned that this is a full-time position, and Willie is all over it with a smile and a twinkle in his eye. Thank you so very much for creating what I feel has become a top-notch professional and useable webpage, complete with a shopping cart, thanks to Willie and our webhost Diamond Bullet.
More applause please for Pamela Waxman, who, like Willie, has devoted countless hours to creating the Festival's graphic images this year, with not one, but two designs for the 40th. Fabulous isn't a big enough word for Pamela's clever popcorn box gala invites -too too wonderfun Pamela, I apologize publicly for all those last minute, past deadline requests, but you did all of it so well and made it seem so effortless.
As you're reading this program book, please notice the display ads in the back and the list of sponsors whose support has made this year's festival possible. Huge thanks and recognition go to Amy Grambeau, the Festival's Director of Sales, who managed that feat with amazing professionalism, and with a personality and charm that sponsors couldn't

What's a non-profit organization without its volunteers? No where. Volunteer Coordinator Lisa Park understands that, and with her energetic and contagious pitch, manages to excite over 100 people to volunteer. Lisa had to chose between escaping to California or sticking around to marshall the troops again this year. She chose the later because she loves the Festival, and because she's totally ace at the job. Thank you and thank you again1
Lots more people have given their talents and time to the Festival. I particularly appreciate the efforts ofthe members ofthe volunteer staff who have worked with me for many of my 15 years as director. The year-to-year consistency that you bring helps the show continue to run smoothly. Thanks for your devotion to the Festival and your eagerness to return: Mike Woodruff, Bruce Baker, Gari Stein, Rob Fagerlund, Bonnie Dede, Esther Kirshenbaum, Linda Kendall, Peter Knox, Dan Bruell, Barbara Brown, Sue Webster and especially Ken Bawcom for his sincere generosity and love of the festival.
Special thanks to Leslie Raymond for putting on her own festival within the Festival this year, Lux Mundi, which can be seen all around town this week with installations, film and video screenings, and even a fire-eating multi-media happening.
Thank you as well to my friend John Nelson for taking time from his busy production schedule to be a part ofthis year's celebration. John and I worked on the Festival together in the mid 70s. Each March I know he wishes he could be here in Ann Arbor for festival week. Welcome back, John, and kudos for succeeding in your goal to be awarded your own Oscar.
Deep gratitude and condolences to the DeVarti family, who knew their father Dominick would wish to bequeath an endowment to the Festival in hopes of maintaining the festival's financial security through the next 20 years. Dominick was a close friend of Festival folks in the 60s and 70s, when founding director George Manupelli and friends would hold fort at Casa Dominick's after-hours of Festival screenings. We appreciate the family's recognition of that special relationship.
Thank you to the NEA and Michigan Council for Arts and Cultural Affairs and to our many sponsors, donors, members, and friends who wish the Festival well by granting us funds and continuing to make donations to our event. We couldn't survive without you. Huge thanks also to University ofMichigan interns Matt Anderson, Margaret Clevenstine, Jen Langel, Jeff Olson, Agneiszka Palarz, Sutlan Sharrief, Kyle Wilamowski and Abbie Wisdom who've worked with me in the office all year and made the day-to-day job a little less stressful. You are all angels and you know it1
Not taking any ofyou for granted, I thank all the filmmakers for continuing to produce works in 16mm and for caring so much for this festival. Your thank you notes always offer me a sweet reminder about why Ann Arbor is what it is, and why it must continue to cater to 16mm film artists. Thank you for entering this year and for making this our best year yet.
All ofyou who are with us this week, please know how fortunate you are to have this unique occasion to take in all this talent and important work that we've gathered together. I'm honored to have the opportunity to bring it to you.
Vicki Honeyman

A few years ago, my husband Dan and I were speaking with William Farley after a screening of one of his films at Yerba Buena Center for the Arts in San Francisco. We complimented him on a previous film, "Citizen" and mentioned that we had seen it many years earlier at the Ann Arbor Film Festival. Surprised that we were familiar with his work, he asked us if we made films ourselves.
To date, the answer is no, but our attendance at the Ann Arbor Film Festival over the last 15-25 years has exposed us to the work of countless experimental and documentary filmmakers from all over the world. When we moved from Ann Arbor to San Francisco in 1988, we anticipated that we would see more of these types of films on a regular basis. Many of the films shown at Ann Arbor come out of the fertile film community in San Francisco.
True, there is a wealth of experimental and independent films made and shown in the Bay Area. But we still journey back to Michigan in March. The tradition of the Festival, its atmosphere, and the Ann Arbor community that embraces it -these ingredients make the experience truly unique.
The programming at the Ann Arbor Film Festival keeps the audience interested, and at times, guessing. A difficult subject may precede something light. Documentaries or narrative films are often programmed alongside of non¥narrative pieces. This could contribute to the fact that the Festival attracts an audience that goes beyond the filmmaking community itself. And over the years this audience has come to know the complete works of many talented filmmakers.
Thanks to the Festival I have grown to love the films of Leighton Pierce, Mike Hoolboom, Richard Myers, Claire Dannenbaum, Bill Brown, Martin Arnold, the late Warren Sonbert and so many others. I'll never forget the haunting "Where is Memory" by Chris Gallagher, or Jeff Scher's lyrical "Milk of Amnesia". Will I see any more work by Nancy Andrews, who's whimsical "Hedwig Page, Seaside Librarian" was shown in last year's 39th annual festival?
Only time will tell. The film festival and its audience have grown up together. In between shows, there are lively discussions in the aisles and in front ofthe theater. While opinions on individual films may differ, the audience shares an enthusiasm that keeps them coming back for more.
Looking back over my collection of festival programs, I have scribbled a word or two next to film titles in an effort to remember something about them, like "garment workers", "father dying" or "Ross McElwee-style". Sometimes I wrote down a single line from a film or made a note of music used in the soundtrack. Films that I found noteworthy are starred or highlighted. In 1992, I highlighted 85% of the films listed.
15 years ago, the Festival program was one legal-Sized sheet of paper printed on both sides. In recent years it has become a 60-page book listing workshops, seminars, panel discussions, and a multitude of sponsors. The amazing growth that the Festival has enjoyed under the helm of Director Vicki Honeyman cannot be overlooked. In a climate where funding for the arts is continually threatened, I applaud Ms. Honeyman for her tireless efforts to broaden both financial and creative support for the film festival.
Regardless of the size of the program, come the second week of March you can find me seated in the darkened Michigan Theater making notes in the margins of mine.
Vicki Engel
The Awards Jury is composed of internationally recognized filmmakers, artists, and critics who are dedicated to
independent and experimental film as an art form. The juror's function is to view all entries programmed into the public
film screenings and to distribute the awards money. Decisions regarding awards and the distribution of prize monies are
the prerogative of the Awards Jury; its decisions are final. In addition, jurors present their own work or a curated program
on Wednesday, Thursday, and Friday at 3:00 pm (see FILM PROGRAM 2002 for details).

Performantz and multi-media artist Pat Oleszko "wears" spectacles for better visions.
Known as the Ms Tricks of Dese Guise, she has a large body -of work -which
includes many unnatural acts. Utilizing elaborate costume and props, she has
created lithe performances, films, installations that a-dress trees, knees, elephants,
breasts, butts and index fingers, and assordid special events with the cast-off
thousands. She has worked from the popular artforms of the street, party, parade,
and burlesque house, to the Museum of Modern Art, from Sesame Street Magazine
to Ms, Playboy, and Artforum. For her efforts she has received four NEAs, three
NYFAs, two CAPS, a DAAD to live in Brrrrlin, a BESSIE for Sustained
Achievement, the Guggenheim, two TONY nominations and the occasional evening
in jail. Recently, she not only spent a glorious year in Italy as a recipient of the
prestigious Rome Prize, but was also awarded detention at the Vatican for posing as
the Nincompope, forever pursuing the las' laugh.
JAY ROSENBLATT Jay Rosenblatt has been working as an independent filmmaker since 1980 and has completed fourteen films and two videos. He is a recent recipient of a Guggenheim and a Rockefeller Fellowship. His films have won many awards and have screened throughout the world. Most recently his films showed for one week at the Film Forum in NY and in theaters in San Francisco, Chicago, Seattle, Boston and Cleveland. Articles about his work have appeared in the Sunday NY Times Arts & Leisure section, the LA Times, the NY Times, Filmmaker magazine, the Village Voice, and The Independent. Many of his films explore our emotional and psychological cores. He has taught filmmaking at the College of San Mateo and Stanford University. He is originally from Brooklyn and in a former life worked as a therapist.

Chel White began his film work in experimental animation, creating a series of films that explore the interplay of sound and image. These early works play with the juxtaposition of musical structure and visual rhythm, and are distinctly non¥narrative. In recent years Chel's films have gravitated towards narrative work that reveals his own off-center perspective. Consistently defying categorization, his work explores obsession, alienation, fetishism, transcendence, dreams, and childhood memories. In much of his work, White draws on the tension between modern industrial culture and the needs of the human soul. Yet many of his films, both old and new, are darkly humorous with a whimsical spirit. The South Carolina Arts Commission called Chel White's films, "unpredictable journeys through obsession and allegory, where the individual is at the center of his insights."
From Sundance to Berlin, the short films of Chel White have been shown in film
festivals all over the world, and recognized with many awards. Over the past 20
years, seven of his films have screened at Ann Arbor.

A total of $18,000 in cash prizes is awarded by the awards jurors, including the following annual named awards:

THE KEN BURNS AWARD FOR BEST OF FESTIVAL $3,000 This top festival award was established to recognize the filmmaker with the most outstanding entry. The award honors the film that best represents the artistic and creative standards ofthe Festival. It is sponsored by documentary filmmaker Ken Burns, who graduated from Ann Arbor's Pioneer High School in 1971. The Ann Arbor community is proud to have reared this influential cultural figure and patron ofindependent film.
THE EMPA WORK LIFE AWARD $1,200 Granted to the film that best addresses issues that pertain to working conditions, careers, the workplace, or employees. Employee Motivation & Performance Assessment} sponsors this award as part ofits ongoing commitment to the simultaneous improvement of working conditions and profitability.

TOM BERMAN AWARD FOR MOST PROMISING FILMMAKER $1,000 Tom Berman was a University ofMichigan film student, an early supporter and a close friend ofthe Festival. This award, endowed by the Berman family, is given in Tom's memory and is intended to support a young filmmaker who the Awards Jury feels will make a Significant contribution to the art offilm in the course of his'her filmmaking career.
SCREENING COMMITTEE'S CHOICE FOR NARRATIVE INTEGRITY $1,000 Granted to one filmmaker by the screening committee to ensure that a deserving entry has the opportunity to win multiple awards. The recipient is announced following the awards jurors announcement ofwinners.

Gus VAN SANT AWARD FOR BEST EXPERIMENTAL FILM $1,000 Gus Van Sant's film career began in the early 80s, when he was making short experimental films that were awarded at the Ann Arbor Film Festival. Mr. Van Sant is endowing this award to honor the film that best represents the use ofexperimental processes, forms, and topics.
LAWRENCE KASDAN AWARD FOR BEST NARRATIVE FILM $1,000 Endowed by Mr. Kasdan, who began his film career in Ann Arbor studying film at the University ofMichigan, the award recognizes works which make use ofthe medium's unique ability to convey striking and original stories.
MICHAEL MOORE AWARD FOR BEST DOCUMENTARY FILM $1,000 Michael Moore gives back to the Festival what he received in inspiration from the hundreds offilms he's viewed over the years at the Festival. Proceeds from Roger and Me fund the award.
CHRIS FRAYNE AWARD FOR BEST ANIMATED FILM $1,000 In memory ofChris Frayne, a key participant in the Festival's early years, whose spirit and approach to life was reminiscent of his cartoon characters. The award has been endowed with the hope that his spirit will continue through the prize.
PRIX DEVARTI $1,000 In honor ofthe 40 year friendship between Dominick's and the Ann Arbor Film Festival, this award is in memory of Dominick and Alice DeVarti. The prize is awarded to the funniest film in the Festival.

16MM FILM STOCK + PROCESSING This award is given to the film that demonstrates the highest excellence and creativityin cinematography. It is

presented in honor ofthe many independent filmmakers who have contributed to the success ofGrace & Wild's laboratory division, Film Craft Lab, over the last 25 years. Film Craft Lab has generously donated the processing cost ofKodak's film stock contribution -4,000 ft. of 16mm Eastman EXR Color Negative Film.
GRIOT EDITORIAL BEST EDITING AWARD $500 Griot Editorial, Grace & Wild's creative editorial boutique, funds this annual award for excellence in the art of film editing. The awards jurors shall grant this prize to a single film that demonstrates outstanding creativity and technical excellence in the art of motion picture editing.
LIBERTY STREET VIDEO AWARD FOR BEST GAy/LESBIAN FILM $500 Sponsored by Ann Arbor's alternative video rental store that promotes diversity and excellence in filmmaking. This award honors the film that best deals with gay/lesbian issues.

MICHIGAN VUE MAGAZINE AWARD FOR BEST MICHIGAN FILMMAKER $500 This award is intended to support and encourage the local filmmaking community by rewarding excellence in a Michigan¥produced film within any genre. Sponsored by metro Detroit¥based Michigan Vue Magazine, which is dedicated to promoting Michigan's film, video, and multi-media production industry.
DETROIT FILMMAKERS COALITION AWARD The member-based non-profit Detroit media arts center provides production support to the local independent filmmaking community. The award, which is intended for a Southeastern Michigan-based filmmaker, provides the recipient up to $1500 in waived rental fees for use towards production and post-production equipment from the DFC.

AUDIO AWARD FOR BEST SOUND DESIGN $500 Audiovisionsl Amazing Audio, Inc. is the premiere location sound and staging production company for film, video, broadcasts, teleconferences, and all live events. The award is intended for the film that exhibits the best use ofsound design to further the creative intentions ofthe film.

DOUG WANDREI AWARD FOR BEST LIGHTING DESIGN $500 Doug Wandrei spent 50 years working in the Detroit production industry, wearing the hat ofevery technical position possible. Based on his passion for lighting he eventually chose a career as lighting director. This memorial award recognizes the most creative use oflighting in a film in which mood and atmosphere ofthe environment are greatly enhanced through lighting design.
PETER WILDE AWARD FOR MOST TECHNICALLY INNOVATIVE FILM $500 In memory ofthe Festival's friend Peter Wilde, who cared passionately about the projected image and was a technical wizard and master ofthe makeshift. The award honors the film that most respects the integrity ofthe projected image.
MARVIN FELHEIM SPECIAL JURY AWARD $500 Marvin Felheim was a film scholar at the University of Michigan and one ofthe founders ofthe FestivaL The prize is awarded to a work offilm art that extends the range ofsubject matter traditionally dealt with in the film medium, while at the same time transcending standard genre categorization.
Tios HOT & SPICY AWARD $500 Ann Arbor's Tios Restaurant has been serving up the spiciest salsa around since 1987. Interpretation of U red hot & spicy" is left to the judges discretion in determining allocation ofthis award, which can be given to any film, based on form, content, or flavor!
ISABELLA LIDDELL ART AWARD $400 A memorial award for the film that best deals with women's issues, created by friends ofIsabella Liddell who was a dear friend and long-time supporter ofthe Festival and practitioner ofthe arts.
HONORABLE MENTIONS $2,400 Remaining prize monies that are distributed at the awards jurors' discretion as honorable mentions to filmmakers deserving of recognition, support, and encouragement.

The Ann Arbor Film Festival is proud to acknowledge that this year's festival was made possible with grant support from the Michigan Council for Arts and Cultural Affairs and the National Endowment for the Arts. We also offer very special thanks to the corporations, businesses, organizations, and friends of the Festival listed below for their very generous
sponsorship and donations.


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