Ann Arbor Film Festival

Ann Arbor Film Festival Celebrates 50 Years of Thinking Outside The Box

Serena Donadoni — Wed, 04 Apr 2012 18:22:52 GMT

The 50th Ann Arbor Film Festival could have been a solemn, self-congratulatory affair, but instead the atmosphere was celebratory and welcoming.

This annual celebration of independent cinema felt like a gathering of the faithful, where new converts are always welcome. The AAFF has grown dramatically: a scrappy program mounted by University of Michigan art students and cinema society diehards grew into an internationally recognized festival of shorts (narrative, documentary, animation, experimental) and unconventional features; and a cramped campus auditorium gave way to the historic Michigan Theater, whose main stage seats 1,710 and screening room holds 200.

Despite the changes, the AAFF maintains a very specific atmosphere: challenging films are shown in a convivial environment, and the seriousness of the programming doesn’t extend to the festival itself. From AAFF founder George Manupelli leading the opening night audience in a rousing version of “Happy Birthday,” to performance artist and festival stalwart Pat Oleszko dressing like a candelabra and leading a group of dancing candles in a Busby Berkeley routine (complete with overhead camera), the mood was loose and fun.

By contrast, the more than 200 films shown at this year’s AAFF (which ran March 27 to April 1) required dedicated viewing. This is cinema as personal expression: there were many dense, non-linear tomes that felt much longer than their brief running times, while others were so inspired that their effect was like an invigorating tonic. The AAFF represents moviegoing as an immersive experience, and the viewers dove right in, no matter how deep (or shallow) the offering.

Audiences at the Ann Arbor Film Festival are unfailingly respectful and polite, even waiting for the pause between shorts to make their exit. (A list of shorts is flashed onscreen as the projectionist switches formats – 16mm, video and 35mm – during the roughly 90-minute programs.) When the engrossing found footage narrative, “An Incomplete History of the Travelogue, 1925,” kept getting caught in the 16mm projector’s film gate and had to be restarted, viewers stayed put, and as one jam resulted in a spectacular emulsion melt (with director Sasha Waters Freyer in attendance), there was a collective gasp in the theater.

In a perceived breach of festival etiquette, one particularly tedious offering was greeted with a small spattering of hisses, which led another patron to loudly retort, “Did somebody spring a leak?” Even as the French-language “Lack of Evidence (Manque de Preuves)” unspooled without subtitles, there were no vocal protests.

This short turned out to be the AAFF’s big winner, and when a subtitled version was screened during closing night, a harrowing account of an asylum seeker is added to the hypnotic visual narrative (a colorful African village is transformed into topographical line drawings) for powerful, intimate storytelling with geopolitical reverberations. The same can be said for “Untitled,” the atmospheric best international film winner from France, with its echoes of colonialism: locals, staff and the owner of a modern villa discuss razing the property after terrorists used it as a refuge.

“Guañape Sur” was one of several strong films that found new ways to look at the interactions between people and their environment. This documentary winner is beautifully shot, clear-eyed and engaging look at Chilean men harvesting guano from a remote island so it can be used for fertilizer. Josh Gibson’s “Kudzu Vine” uses the eerie black and white of vintage scifi to explore how this prodigious foreign invader is altering the Southern landscape. In the elegiac and quietly moving “The Sea [is still] Around Us,” Hope Tucker employs old postcards and their text to illustrate the devastation of industry on a Maine coastal town. Laura Heit explores that symbol of wildness – the wolf – in the layered, animated “The Deep Dark,” revealing how a deep-seated fear of the woods affects our perception.

The various sensibilities of this year’s judges can be seen in the very different funniest film winners. A hilarious, seamless mash-up, “Walt Disney’s Taxi Driver” uses the gritty Schrader/Scorsese collaboration to comment on the Disneyfication of Times Square. “Shadow Cuts” also uses Disney characters, turning an interaction between Mickey Mouse and Pluto into a series of throbbing, disorienting quick cuts. The pithy “Pluto Declaration” makes an impassioned case for the exiled satellite’s reinstatement as a full-fledged planet.

In addition to judging the competition features and shorts, Kathy Geritz (Pacific Film Archive film curator), along with filmmaker Michael Robinson (AAFF most promising filmmaker of 2007) and multimedia artist Peter Rose (who received a retrospective program), each put together special juror presentations of archival films and videos. The AAFF devoted a sizeable portion of its schedule to revisiting the history of the festival and experimental cinema.

For the uninitiated, these programs served as a master class in film and video as the unfiltered dissemination of ideas and emotions. The Academy Film Archive’s Mark Toscano brought the rarely seen “Building Muir Beach House” to the retrospective of abstract absurdist Robert Nelson, a founder of Canyon Cinema with the late Chick Strand. Her gorgeous, heart-breaking short “Woman with Flowers (Señora con Flores)” showed at AAFF courtesy of the Academy of Motion Pictures Arts and Sciences, which provided many prints. The showcases for Nelson and Syrian documentarian Omar Amiralay, who infused his explorations of the Arab world with a wry melancholy, served as tributes and memorials: both filmmakers died in 2011.

The influence of Canyon Cinema, a distributor of experimental and independent 16mm films, could be felt in the work of another founder, Bruce Baillie, whose career retrospective was extended from three programs to four when the lively filmmaker brought along new work. His warm humor was on display as he mused on his favorite “Seinfeld” episode (“The Limo”), but the octogenarian was visibly moved by the large, enthusiastic crowd in the Michigan Theater. A leading figure in San Francisco’s avant-garde film scene, Baillie combines naturalism with abstraction in films that celebrate the flow of everyday existence.

Even amid the revelry, there was an underlying concern that major changes are afoot for two institutions vital to the AAFF’s brand of filmmakers. Kodak has filed for bankruptcy (although their film stock division still sponsors a cinematography award), and Canyon Cinema, whose catalog represents the history of experimental cinema, badly needs new funding sources to keep from shutting its doors.

The Ann Arbor Film Festival has grown from an inspired folly into an important institution, and this milestone anniversary was packed with reminders of the individual effort that made it happen. Independent and experimental film and video needs stubborn devotion, and the ability to constantly evolve. The 50th AAFF showcased a medium that continues to thrive outside commercial constructs by providing visions with strong points of view, and proved just how important it is to have a place where people can gather to celebrate idiosyncratic cinema.

For a complete list of winners at the festival, check out the next page.

The 50th Ann Arbor Film Festival is proud to announce this year's award winning films as chosen by our esteemed jury: Michael Robinson, Kathy Geritz and Peter Rose.

* Ken Burns Award for Best of the Festival: “Lack of Evidence (Manque de Preuves)” Hayoun Kwon

* Gus Van Sant Award for Best Experimental Film: “Sounding Glass” Sylvia Schedelbauer

* Chris Frayne Award for Best Animated Film: “It’s Such a Beautiful Day” Don Hertzfeldt, “Traces” Scott Stark

* Lawrence Kasdan Award for Best Narrative Film: “Palaces of Pity” Daniel Schmidt and Gabriel Abrantes

The Stan Brakhage Film at Wit’s End Award: “Voluptuous Sleep” Betzy Bromberg

Michael Moore Award for Best Documentary Film: “Guañape Sur” János Richter

Award for Best International Film: “Untitled” Neil Beloufa

Peter Wilde Award for Most Technically Innovative Film: “Vexed” Telcosystems)

\aut\FILM Award for Best LGBT Film: “The Evil Eyes” Bobby Abate

The Ghostly Award for Best Sound Design: “Remote” Jesse McLean

Kodak/Colorlab Award for Best Cinematography: “Undergrowth” and “Within” Robert Todd

The No Violence Award: “If the War Continues” Jonathan Schwartz

The Barbara Aronofsky Latham Award for Emerging Experimental Video Artist: “Ceibas: The Epilogue – The Well of Representation” Evan Meaney

Prix DeVarti for Funniest Film: “Walt Disney’s Taxi Driver” Bryan Boyce, “Shadow Cuts” Martin Arnold, “Pluto Declaration” Travis Wilkerso)

Tom Berman Award for Most Promising Filmmaker: “The Strawberry Tree” Simone Rapisarda Casanova

George Manupelli Founder’s Spirit Award: “By Foot-Candle Light” Mary Helena Clark

Art & Science Award: “20Hz” Ruth Jarman and Joe Gerhardt aka Semiconductor

The Eileen Maitland Award: “Irma” Charles Fairbanks

Award for Best Music Video: “Go Outside” (Cults) Isaiah Seret

JURY AWARDS:
“As Above, So Below” Sarah J. Christman
“Tin Pressed” Dani Leventhal
“Curious Light” Charlotte Pryce
“Landfill 16” Jennifer Reeves
“August Song” Jodie Mack, Emily Kuehn
“A Lax Riddle Unit” Laida Lertxundi
“Quest (Cautare)” Ionuţ Piturescu
“The House (Das Haus)” David Buob
“Envelop by Julianna Barwick” Cam Archer

Vimeo Audience Award: TBA

* Shorts in these categories qualify for Academy Award consideration.

Ann Arbor Film Festival Announces Full Line-Up

Aaron Bogert — Thu, 08 Mar 2012 18:05:18 GMT

The 50th Ann Arbor Film Festival has announced its full line-up for this year. The festival focuses on short films and experimental work and has almost 200 films being screened this year.

The Opening Night screenings offer an electic mix of shorts to begin the festival with highlights including: Ben Russell's "River Rites"; Jillian Mayer's "Life and Freaky Time of Uncle Luke"; Katherine McInnis's "Snakes and Ladders"; Hope Tucker's "The Sea [is still] Around Us; and the animated "It's Such a Beautiful Day," Don Hertzfeldt's final chapter of his "Everything Will Be OK" trilogy.

The festival will be continuing its popular Out Night screenings this year which focuses on LGBTQ-themed films. In attendance will be special guest Barbara Hammer to screen several of her films. Other highlights being screened on Out Night include: "Jerovi," a 1965 short film by Jose Rodrigues-Soltero; Ira Sach's faux-documentary "Lady"; and "In Frank's Cock," the 1994 winner for Best Dramatic Film at Ann Arbor.

In addition to the plethora of short films being screened, the festival is also screening feature-length films with highlights including: Simone Rapisarda Casanova's documentary "The Strawberry Tree," which focuses on one of the last fishing villages in Cuba; Betxy Bromberg's experimental "Voluptuous Sleep"; and Daniel Schmidt & Gabriel Abrantes's "Palaces of Pity."

The Ann Arbor Film Festival runs from March 27-April 1.

A full list of films being screened and in competition can be found here.

Ann Arbor Film Festival Names Award Winners: "Jan Villa" Wins Ken Burns Best of Fest

Bryce J. Renninger — Mon, 28 Mar 2011 06:45:08 GMT

At the conclusion of the 49th Annual Ann Arbor Film Festival, the fest announced the following award winners for their various awards, which each come with a cash prize. The Michigan festival, around for nearly a half-century, is one of the leading festival venues for experimental work. Jury members for this year's festival were Stephen Connolly, Rebecca Meyers and Vanessa Renwick.

The complete list of winners follows:

Ken Burns Award Best of the Festival - $3,000
Jan Villa (Natasha Mendonca, 2010)

Stan Brakhage Film at Wit's End Award - $1,000
Drifter (Timoleon Wilkins, 2010)

Gus Van Sant Award Best Experimental Film - $1,000
In The Absence of Light, Darkness Prevails (Fern Silva, 2010)

Michael Moore Award Best Documentary Film - $1,000
Disorder (Huang Weikai, 2009)

Lawrence Kasdan Award Best Narrative Film - $1,000
Home Movie (Braden King, 2009)

Chris Frayne Award Best Animated Film - $1,000
Hand Soap (Kei Oyama, 2009)

The Barbara Aronofsky Latham Award Emerging Experimental Video Artist - $1,000
I Touched Her Legs (Eva Marie Rødbro, 2010)

Prix DeVarti Funniest Film - $1,000
The Mechanism of Spring (Atsushi Wada, 2010)
In A Pig’ s Eye (Atsushi Wada, 2010)

Art & Science Award - $750
Trypps #7 (Badlands) (Ben Russell, 2010)

Peter Wilde Award Most Technically Innovative Film - $500
These Hammers Don’ t Hurt Us (Michael Robinson, 2010)

\aut\FI LM Award Best LGBT Film - $500
Covered (John Greyson, 2009)

Award for Best Sound Design - $500
Get Out Of The Car (Thom Andersen, 2010)

Kodak/Grace & Wild Imaging Award for Best Cinematography - $3,000
[$1,500 of film plus $1,500 processing]
Castaic Lake (Brigid McCaffrey, 2010)

Tom Berman Award Most Promising Filmmaker - $1,000
Aliki (Richard Wiebe, 2010)

George Manupelli Founder's Spirit Award - $500
A Family Portrait (Joseph Pierce, 2009)

The Eileen Maitland Award - $500
Hepworth (Alexis Bravos, 2011)

The No Violence Award - $512
Atlantiques (Mati Diop, 2010)

Award for Best International Film - $500
Vargtimmen - After a Scene by Ingmar Bergman (Georg Tiller, 2010)

Award for Best Music Video - $500
I Say Fever (Ramona Falls) (Stefan Nadelman, 2009)

Jury Awards (named by jurors)

The Radiant Grace Award - $550
Little Brother (Callum Cooper, 2010)

The Flood of Love Award - $500
The Florestine Collection (Helen Hill, Paul Gailiunas, 2011)

The Looking and Listening Award - $200 each
Broad Channel (Sarah J. Christman, 2010)
New Year Sun (Jonathan Schwartz, 2010)

The Innie Outie Award - $200
PINK (Soon-Mi Yoo, 2011)

The On the Fly Award - $200
Ray’s Birds (Deborah Stratman, 2010)

The Double Documentary Award - $200
28.IV.81 (Descending Figures) (Christopher Harris, 2011)

The Actuality Award - $200
Make It New, John (Duncan Campbell, 2009)

Ann Arbor Film Festival to Open with New Film from Helen Hill

Indiewire Staff — Tue, 01 Mar 2011 06:10:32 GMT

A total of 188 films, videos and live performance will be taking place at the 49th annual Ann Arbor Film Festival, running from March 22-27. 40 different programs organize this year's diverse slate of offerings, which include over 20 premieres.

The Ann Arbor festival features work from a variety of different independent and experimental filmmakers. This year's opening night screenings will include "The Florestine Collection," the last film from the late filmmaker Helen Hill, completed by her husband, Paul Gailiunas.

A number of festival alumni will be back for this year's edition. Doug Goodwin, Laura Kranning, Lawrence Jordan, Jennifer Reeder, and Michael Robinson will all be returning with more work to screen for Ann Arbor audiences.

Other highlights on the slate include a pair of Chinese documentaries, Wang Bing's 14-hour epic "Crude Oil" and Huang Weikai's "Disorder." More information on the festival and its programs can be found through the Ann Arbor Film Festival's website.

Shorts Take Opening Night Ann Arbor Spotlight

Brian Brooks — Tue, 03 Mar 2009 10:24:11 GMT

A dozen short films, including Don Hertzfeldt's "I Am So Proud of You," Sam Green's "Clear Glasses" and Danny Plotnick's "Out of Print" will screen as the opening gala of the 47th Ann Arbor Film Festival, taking place March 24 - 29. The event's roster includes 33 screenings of 125 competition films from 20 countries.

This year's festival explores a handful of resonant themes, including "the evolving battle for Fair Use, existential dilemmas, evolving definitions of 'home,' strong female voices, utopian goals gone awry and the inspiration of art." Other highlights of the festival are a screening of "Mock Up On Mu" by animator Craig Baldwin, an "Out Night" with Debra Miller for an evening of LGBT programming and a restored presentation of "Cry Dr. Chicago," by Ann Arbor fest filmmaker and founder, George Manupelli. Don Hertzfeldt will also be feted with a special event, including a Q&A with the Oscar nominee. The final day of the fest will feature a screening of Kief Davidson's "Kassim the Dream."

[For a full list of slated films and other events, visit the Ann Arbor Film Festival website.