Page 1

THE 3RD ANNUAL

VISIONS FILM FESTIVAL & CONFERENCE

FESTIVAL GUIDE


74* )G)0@PG(##(#7Q (#@1.*06$.*)#@)0@ ."F*G)04

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


TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TOWELCOME WELCOME WELCOME WELCOMETO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SSVVVIVSII S ISISO II O ION ON NS NS SSWW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TOWELCOME WELCOME WELCOME WELCOMETO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SSVVVIVSII S ISISO II O ION ON NS NS SSWW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TOWELCOME WELCOME WELCOME WELCOMETO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SSVVVIVSII S ISISO II O ION ON NS NS SSWW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TOWELCOME WELCOME WELCOME WELCOMETO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SSVVVIVSII S ISISO II O ION ON NS NS SSWW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TOWELCOME WELCOME WELCOME WELCOMETO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SSVVVIVSII S ISISO II O ION ON NS NS SSWW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TOWELCOME WELCOME WELCOME WELCOME TO TO TO TO VISIONS VISIONS VISIONS VISIONS WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS WELCOME // TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS Is a festival simply a space to screen films and TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO attend conference panels? Maybe for some. But at WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS Visions, we believe a great festival and conference TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO should be a game-changer; an event that thrusts WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS like-minded individuals in the way of future TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO collaborators and co-conspirators. Today, as we WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS celebrate our third year since opening our doors to TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO international submissions, Visions has become that WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS event. TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS The launch of the Visions Tour this year brought TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO undergraduate film to schools all around the WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS region, expanding the conversation about TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO undergraduate filmmaking and film studies well WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS beyond the scope of the festival itself. If there’s TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO one thing we learned on the road, it’s that, today WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS more than ever, cinema has become a symbiotic TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO evolution of motion pictures and the communities WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS that rise up around them. This year’s program of TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO films, panels, presentations, and events reflect this WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS very idea. TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS From activist filmmaking, to network narratives, to TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO discussions on emerging LGBT representations, WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS the lineup of young filmmakers and scholars you’ll TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO meet this year have each touched upon something WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS bold and invigorating within today’s rapidly TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO diversifying and globalizing media landscape. WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO A new generation of image-makers, storytellers, WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS critics, and theorists are taking center-stage, TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO tasked with blazing the trail into newfound WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS territories while building upon decades of tradition TO TO TO TOVISIONS VISIONS VISIONS VISIONSWELCOME WELCOME WELCOME WELCOMETO TO TO TO and history. See how they’re meeting that WW W W EEELELLCLC CO CO OM OM MM EEEETTTOTO OOVVVIVSII S ISISO II O ION ON NS NS SS challenge today. Welcome to the 2013 Visions Film Festival & Conference.


SCHEDULE venues

KEYNOTE ADDRESS

Lumina Theater

9:00 AM - 10:00 AM

Films and panels Fischer Student Center UNCW Campus (910) 962-4045

Lumina Theater FSU graduate Gina Papabeis talks about her undergraduate career, activist filmmaking, and the Oceanic Preservation Society’s new film, The Heist.

Clocktower Lounge Passholder’s Lounge Fischer Student Center UNCW Campus (910) 962-4045

THE SoapboX LAUNDROLOUNGE After Party 255 N. Front Street Downtown Wilmington (910) 251-8500

festival passes registration DESK Lumina Theater Fischer Student Center UNCW Campus (910) 962-4045 Festival passes can be picked up at the registration desk all day, beginning at 8 a.m. Passes are free and are required for admittance to all events.

CONFERENCE PANEL SESSION 1

10:00 AM – 11:30 AM Lumina Theater Topics include: emerging LGBT representations in queer cinema, Cartesian perspectives of the handheld camera, racial integration in 1949 American films, and 1980s heavy metal horror films.

SHORT FILMS BLOCK SESSION 1

12:30 PM – 2:30 PM Lumina Theater Daytime short film screenings followed by a Q&A panel with attending filmmakers.

CONFERENCE PANEL SESSION 2

2:30 PM – 4:00 PM Lumina Theater Topics include: Maya Daren and Martin Heidegger on creating poetic meaning in film, rape myths in popular cinema, American realist filmmaking, and the electronic image.


A PRI L 5 , 201 3

festival schedule 1HOUR/1TAKE video race

4:00 PM – 5:30 PM Check-in at registration desk Teams will receive assignments and equipment upon arrival.

1HOUR/1TAKE SCREENING

5:30 PM – 6:15 PM Lumina Theater View the films that made it past the finish line and vote for the Audience Choice Award winners!

PASSHOLDER’S LOUNGE VIDEO BUFFET

7:30 PM – 8:00 PM Clocktower Lounge Enjoy a coffee & dessert reception with attending filmmakers, scholars, and festival passholders, and explore Matt Gossett’s interactive Video Buffet!

SHORT FILMS BLOCK SESSION 2

8:00 PM –!10:00 PM Lumina Theater Evening short film screenings followed by a Q&A panel with attending filmmakers. Mature audiences only.

RED-EYE AFTER PARTY 10:00 PM –!2:00 AM The Soapbox Laundrolounge Featuring Libraries, Most Golden, ARCHIM!D!S and Dr. Sooze. All awards will be announced at the beginning of the night! 18+ to enter. Festival passholders only.


999 GINA PAPABEIS AM

KEYNOTE ADDRESS WITH A SNEAK PEEK OF “THE HEIST” LUMINA THEATER

Gina Papabeis is a graduate of Florida State University's College of Motion Picture Arts, where she worked on over thirty short films and completed FSU’s Torchlight Program. She has worked at Red Hills Releasing as an executive assistant, contributing to the online and grassroots promotion of a dozen independent films, including The English Surgeon, The End of America, In a Dream, and JCVD. In addition, she contributed to the outreach campaign for the Academy Award-winning documentary The Cove, which exposed the secret massmurdering of dolphins in Japan. She also managed the day-to-day o p e r a t i o n s f o r t h e n o n - p r o fi t organization behind the film, the Oceanic Preservation Society (OPS). Gina continues her work at OPS as the associate producer of their next feature film, The Heist, in which the OPS team returns to call attention to the planet's current mass extinction event.


more about gina !


FOCUS FEATURES: A SAFE HAVEN FOR QUEER CINEMA kimberly behzadi suny oswego

Behzadi explores how recent films released by Focus Features—Brokeback Mountain (Ang Lee, 2005), Milk (Gus Van Sant, 2008), The Kids Are All Right (Lisa Cholodenko, 2010), and Beginners (Mike Mills, 2010)—fulfill genre norms while replacing traditional Hollywood straight protagonists with openly gay protagonists,

10 10 10

AM

reflecting a new switch in today’s cultural politics.

CONFERENCE PANEL SESSION 1 LUMINA THEATER

CARTESIAN PERSPECTIVE OF THE HAND-HELD CAMERA KATHERINE COE

University of Florida Drawing upon the influences of Descartes and Bazin, as well as the Realist school of thought, Coe explores how the hand-held camera in re fl e x i v e d o c u m e n t a r i e s stimulates the experience of the bound consciousness as interpreted through Cartesian dualistic thought.


the end OF SEPARATE CINEMAS: RACE IN 1949 AMERICAN FILM felicity flesher carleton college

In 1949, four films were released in America which transcended the norms of s o - c a l l e d “ r a c e fi l m s ” f ro m y e a r s prior:"Home of the Brave, Lost Boundaries, Pinky," and" Intruder in the Dust." Flesher discusses how post-WWII escapism allowed Hollywood to bridge the gap between separate cinemas and integrate African American actors and themes into mainstream films.

heavy metal monsterS: reductio ad ridiculum and the 1980s heavy metal horror cycle BRANDON KONECNY UNC-WILMINGTON

Heavy Metal Monsters! examines the long neglected heavy metal horror cycle in relation to the well-known moral crusades against the music throughout the 1980s. It propounds that these films’ satirization of prevalent adversarial notions are rhetorically consistent with the metal subculture’s disposition for self-referential humor, ultimately accounting for their appeal to its members.


! Dechen

! How’s Everything

Meloncholy

!

12:30 12:30 12:30

PM SHORT FILMS BLOCK SESSION 1 LUMINA THEATER

Another Man’s Treasure

! ! Night Air

! Got You

!

! The Understudy

! This Vacuum Is Too Loud

The Drop

Can We Be Happy Now

A Girl Called Iba

!!!!! !!!!! !!!!!


SHORTS AT A GLANCE Dechen Dir. Kaukab Basheer School of Visual Arts Animation (5 min.) Dechen, a young Tibetan monk-intraining, finds peace at last by learning to eliminate the need to possess and control. How’s Everything Dir. Dylan Redford Middlebury College Short Narrative (5 min.) – Premiere Redford peels back the façade of pleasantries exchanged between two friends, revealing the distance between what we feel and what we say. Meloncholy Dir. Joseph Heinen, Matthew Kiel Rochester Institute of Technology Animation, Comedy (5 min.) A mythical creature introduces Spencer to a life of crime. Another Man’s Treasure Dir. Maryosha Eggleston UNC-Wilmington Documentary (12 min.) — Premiere A documentary film about a man with a troubled past that inspired him to create his eccentric junkyard. Night Air Dir. Sunmee Dong CalArts Animation (3 min.) — Premiere After a long day, a man decides to go on a drive with his cat. Got You Dir. Bianca Morris Emerson College Short Narrative When 8-year-old Lexi discovers her mother’s having thoughts of suicide,

innocent games become downright terrifying. Can We Be Happy Now Dir. Tahnee Gehm CalArts Animation (3 min.) A man in a drab, grey world is taken on an adventure by the spirits of nature. The Drop Dir. Jay Raja Chapman University Short Narrative, Sci-Fi (20 min.) A couple drifting through space faces the greatest challenge in their relationship yet. This Vacuum Is Too Loud Dir. Gus Péwé Denison University Short Narrative (6 min.) The story of a non-earthling stuck on our planet, unable to return home. A Girl Called Iba Dir. Lydia O’Neil Bullock Corcoran College of Art & Design Documentary (8 min.) – Premiere Decades of tradition have weighted “honor” and “shame” as the two ends of the moral spectrum for Kurdish women. The Understudy Dir. Hayley Kosan Arizona State University Short Narrative, Musical (14 min.) On opening night of the highlyanticipated Broadway musical Blind Ambition: the Story of Hellen Keller, understudy Kate Lovelace decides she will tread on the boards instead of leading lady Rose Fairwell.


VERTICAL THINKING: BUILDING MEANING IN FILM THROUGH MAYA DEREN AND MARTIN HEIDEGGER kimberly behzadi

Drawing upon Maya Deren’s panel contribution at the 1953 Cinema 16 Symposium and Martin Heidegger’s

suny oswego

“Memorial Address” from" Discourse on Thinking, Zera uses Deren’s vertical/ horizontal investigations theory and Martin Heidegger’s ideas on calculative/ meditative thinking to describe how the mechanics of filmmaking contribute to the process of poetically creating meaning in film.

2:30 2:30 2:30

PM CONFERENCE PANEL SESSION 2 LUMINA THEATER

RAPE MYTHS IN POPULAR CINEMA JOEY POWELL

UNC-WILMINGTON Utilizing psychological case studies, Powell analyzes how four popular Hollywood films—Straw Dogs"(Sam Peckinpah, 1971),"Nine 1/2 Weeks"(Adrian Lyne, 1986),"The Accused" (Jonathan Kaplan, 1989), and! Thelma and Louise" (Ridley Scott, 1991)—reinforce common public misconceptions about rape regarding victim blame.


MY OWN PRIVATE IDAHO: REALISM AND ITS DISCONTENTS ERIN NUNODA

UNIVERSITY OF WESTERN ONTARIO Nunoda utilizes queer theory, Bakhtinian linguistics, and postmodern psychoanalyses to examine Gus Private Idaho! developed, example of filmmaking.

Van Sant’s" My Own (1991) as a uniquely medium-pushing American Realist

A BRIEF HISTORY OF THE ELECTRONIC IMAGE AND ITS IMPLICATIONS FOR THE 21ST CENTURY BEN MCCARTHY UNC-WILMINGTON

McCarthy traces the trajectory of video manipulation from Nam June Paik’s early films to the present day, linking the birth of video to contemporary video art forms and exploring how the impact of consumer-grade digital cameras, editing systems, and inter net distribution has lead to a wholly different media landscape.


1HOUR/1TAKE VIDEO RACE CHECK-IN!

RULES

4:00 PM Registration Desk

• All filming must occur on campus • Completed videos must be no longer than one minute in duration • Participants have one hour to choreograph and shoot their video • The video must be orchestrated in one continuous take • Participants can shoot as many takes as desired, but there can be no cutting between multiple shots or takes • The film must incorporate the mystery prop/prompt • Slate the beginning of your film with your team’s name on camera • Only films that are submitted by the deadline will be screened and eligible for awards

Find your crews, get your swag, grab your camera, and start schemin’! Prompts will be announced as soon as all crews have checked in.

SHOOT! 4:30 PM –!5:30 PM You have one hour to create a minute-long video shot as a single take. Shoot as many takes as you want and pick your best one! Vids to make it past the finish line get screened to festival audiences and compete for the Audience Choice Award.

SCREEN! 5:30 PM – 6:15 PM Lumina Theater Now enjoy all of your hard work.


DO YOU LIKE US?

let’s be friends:

THEN FOLLOW US! FACEBOOK.COM/VISIONSFILM TWITTER.COM/VISIONSFILM


FilmMatters Future Film Scholars.

www.filmmattersmagazine.com

Editors-in-chief Liza Palmer University of North Carolina Wilmington. palmerl@uncw.edu Tim Palmer University of North Carolina Wilmington. palmert@uncw.edu ISSN 2042-1869 | 4 issues per year, Vol 4, 2013 Film Matters is an exciting film journal, celebrating the work of undergraduate film scholars. Published four times a year, each issue will contain feature articles, as well as a healthy review section. In addition, with an undergraduate audience in mind, Film Matters will include occasional service-oriented pieces, such as profiles of film studies departments, articles that engage the undergraduate film studies community and prepare students for graduate study in this field, and resources and opportunities that undergraduate scholars can pursue. Please contact Liza Palmer with any queries or submissions.

Film International | www.Filmint.nu Daniel Lindvall Malmo, Sweden daniel.lindvall@filmint.nu

*** DIALOGUE AROUND G THE MOVIN E G A IM ***

ISSN 16516826 | 6 issues per year, Vol 11, 2013 Film International covers film culture as part of the broader culture, history and economy of society. We address topics of contemporary relevance from historically informed perspectives. We wish to bridge the gap between the academy and the outside world, and encourage the participation of scholars from a variety of disciplines. We refuse the facile dichotomies of ‘high’ and ‘low’, Hollywood and independent, art and commercial cinema. We discuss Hollywood films seriously, and ‘art’ movies critically. We aim at becoming a truly international journal, recognising local specificities, but also the ultimate interconnectedness of an increasingly globalised world.


7:30 7:30 7:30

PM

PASS HOLDER’S LOUNGE CLOCKTOWER LOUNGE

installation: Video buffet MAtT GOSSETT UNC-WILMINGTON

Join attending filmmakers, film scholars, and festival passholders for a coffee & dessert reception while exploring the interactive Video Buffet installation by Horse Computer’s Matt Gosset.

what the @#!% IS a video buffet? !


8888

PM SHORT FILM BLOCK SESSION 2

DEAR HUNTERS

DIR. ZACK BORNSTEIN, ERIC BINSWAGER, DAVID SHUCK

BROWN UNIVERSITY

SHORT NARRATIVE, COMEDY 9 MIN.

Little Milos worships his family’s tradition of hunting. When his father and grandfather tell him he’s too young to go, Milos stows away to find out what exactly goes on in the woods.


OTZI

DIR. EVAN BORJA

SCHOOL OF VISUAL ARTS ANIMATION 6 MIN.

The story of a man who finds a man.


FOCUS ON THE FAMILY DIR. LENNON BATCHELOR

university of central florida experimental narrative 7 min.

Two people who have learned everything they know about values from the television allow the child they are charged with caring for to wander away.

THIS IS LENNON !

THE CONVERSATION DIR. PIOTR SULKOWSKI

the polish national film, television, and theatre school documentary 17 min.

Agnieszka and Janusz were both convicted of murder. They wrote to each other for eight years but never metâ&#x20AC;Ś Until today, when Agnieszka goes on leave to see him for the first time.


PETER AND THE

PAPER WOLVES

DIR. DANIEL OBZEJTA

wesleyan university

short narrative â&#x20AC;&#x201C; festival premiere 13 min. Peter is a boy with his head in the clouds when his hands should be helping his grandfather on the farm. After hearing the sounds of a passing carnival, Peter runs away during a snowstorm. In the Woods, a dubious pair of circus performers coax him into a grotesque circus world and enlist him to help with a new trick aimed at removing a song stuck in Lobo the Clownâ&#x20AC;&#x2122;s head.


3 BY 3 1 BY 1 DIR. CHRISTOPHER CARULLO UNIVERSITY OF CENTRAL FLORIDA EXPERIMENTAL NARRATIVE 14 MIN.

3 by 3, 1 by 1"examines the complexities of contemporary youth culture by chronicling the intimate lives of eight characters and their relationships through a myriad of perspectives, mediums, and styles which present a multi-dimensional portrait of the 21st century. It also features a panda and a couple of dogs.

more from this director !


VOW

DIR. BRIDGET UNDERWOOD

savannah college of art & design animation 4 min.

A mother gives up her life to protect her younger daughter. The daughter, in turn, makes it her mission to see vengeance. With a sad twist of fate,!Vow"tells the story of how far someone can go for a loved one.

MIRUNA

DIR. PIOTR SULKOSWKI

the polish national film, television, and theatre school

short narrative â&#x20AC;&#x201C; U.S. premiere 20 min. After an argument with her lover, a young woman recklessly gets into the parked car of a mysterious stranger. Through a maze of colorful flashbacks, intricately related to the manâ&#x20AC;&#x2122;s painful past, the destiny of the young woman is inevitably connected to that of an imaginary fish.


itâ&#x20AC;&#x2122;s all about the

AFTER PARTY libraries libraries most most golden golden archim"d"s archim"d"s dr. dr. sooze sooze FRIDAY // APRIL 5


THE SOAPBOX LAUNDROLOUNGE

255 N. FRONT STREET DOWNTOWN WILMINGTON

18+

PASSHOLDERS ONLY

10PM - 2AM

WWW.SOAPBOXLAUNDROLOUNGE.COM


OFFICIAL SPONSORS

premiere sponsors

THE C.J. MACK FOUNDATION

OFFICIAL VENUES

AWARDS SPONSORS

COMMUNITY SPONSORS


SPECIAL THANKS

Special thanks Linda Adkinsâ&#x20AC;&#x201C;Skipper Todd Berliner Nandana Bose Katherine Bruce Lou Buttino Caroline Clements David Cordle Beau Cummings Evonne Daniel Nate Daniel Jennifer Fernandez-Villa Chip Hackler Jamie Hall

Jose Hernandez Kim Hirchak Colby Hopkins Cindy Hseih Mariana Johnson Carlos Kase Suzanne Kalbas David Kreutzer Terry Linehan Amy Mabery Royce Marcus Alexander Markowski Mark Millhone

Dave Monahan Ana Olenina Marsha Orgeron Glenn Pack Liza Palmer Tim Palmer Ed Rankus Sue Richardson Andre Silva Woody Sutton Simon Tarr Pat Torok

FESTIVAL STAFF Shannon Silva Festival Director

Natasha Alden Assistant Director, Hospitality/Events

Hamilton Hudson James Martin Assistant Directors, Programming

Sarah Reedy Hospitality Coordinator

Matt Gossett Brandon Konecny Programming Coordinators Jon Whitaker Assistant Director, Public Relations Joey Powell PR Coordinator, Staff Writer Ben Blevins Chris Keefe Digital Media Managers Brianna Barker Animator

Marge Streb Josh Powell Video Race Coordinators Mary Schweers Outreach Coordinator Sway Thompson Chandler Baucom After Party Coordinators AJ Hallatt Assistant Director, Fundraising Will Davis Development Coordinator Matt Marlowe Awards Coordinator Channing Duke Operations Manager


Celebrating tomorrowâ&#x20AC;&#x2122;s filmmakers and film scholars. www.visionsfilm.org


VFFC 2013 Festival Guide  

The official festival guide for the 2013 Visions Film Festival & Conference.

Advertisement
Read more
Read more
Similar to
Popular now
Just for you