29th-big-muddy-program

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The 29thAnnual
Big Muddy Film Festival
February 22 – March 4,2007

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Contents
Director’s Welcome . . . . . . . . . . . . . . . 3
Film Alternatives . . . . . . . . . . . . . . . . 5
Community Outreach . . . . . . . . . . . . . . 5
Jurors’ Proﬁles . . . . . . . . . . . . . . . . . 6
Schedule of Screenings . . . . . . . . . . . . . 9
The John Michaels Film Award . . . . . . . . . 12
In-Competition Films . . . . . . . . . . . . . 13
Non-Competition Films . . . . . . . . . . . . 30
Big Muddy Staff and Organizing Committee . . 42
Special Thanks . . . . . . . . . . . . . . . . 44
Big Muddy Sponsors . . . . . . . . . . . . . 45
Map of Venues . . . . . . . . . . . . . . . . 55
front cover: “Romanian Refugee in the
Vestibule of Santa Maria del Popolo,
Rome,” 2001. Photograph copyright ©
Vincenzo Guarnera
above: “Cypress Swamp,” 1997.
Photograph copyright © Fern Logan
back cover: “Dogwood,” 2000.
Photograph copyright © Fern Logan

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Director’s Welcome
One of the oldest film festivals in the U.S. affiliated with a university, the Big Muddy is proud to
present a particularly diverse and rich program of in-competition and non-competition films for
its 29th season.
Founded in 1979 by faculty member Mike Covell, the festival quickly made a name for itself
thanks to Mike’s oversight and the dedication of many students. The Big Muddy Film Festival
continues to operate out of the Department of Cinema and Photography at Southern Illinois
University Carbondale. Featuring the four main categories of filmmaking (animation, documen-
tary, experimental, and narrative), the festival emphasizes documentary filmmaking, as a way of
investigating the current state of the world.
Of critical concern today is the aftermath of the war in Iraq and issues of immigration, as
people from poorer countries attempt to emigrate to countries of greater wealth. The Big Muddy
is proud to present “The War Tapes,” produced by SIU alum Steve James, who will be on hand
to introduce the film. Several films in this year’s program draw attention to the topic of immi-
gration.The Big Muddy has consistently drawn attention to such issues, much like the Magnum
photographers, who in the wake of WW2, went around the world photographing war zones and
trouble spots, in the hope of changing the world.1
In its visuals, the Big Muddy is thus pleased
to include the work of Italian photographer Vincenzo Guarnera, himself a former student of the
civil rights’ photographer (and Magnum member) Leonard Freed (1929-2006). To paraphrase
Godard, editing images is also a way of changing the world. Most of these documentaries are
integrated into our in-competition showcases.All of them are included in our special all-day
John Michaels showcase.
The Big Muddy is focused not only on the global but also on the local, and this fact is reflected
immediately in its memorable name, a tributary of the Mississippi River that meanders
throughout scenic southern Illinois. It is also reflected in its annual invitation to an Illinois-
based artist (this year the Chicago critic of international renown, Jonathan Rosenbaum) as
well as in its ongoing commitment to the local area.The Big Muddy continues to present its
showcases in the surrounding communities of Southern Illinois, and this year Curt Sidorski, one
of the Big Muddy’s graduate assistants, initiated and coordinated bringing the Big Muddy into
several new communities, including a nursing home and the IMC’s Technology-Learning Center
in Cobden. In its visuals, the Big Muddy is also pleased to include the distinguished work of
SIU faculty members Dan Overturf and Fern Logan, and SIU MFA student John Corson.
The heart of the festival is of course its in-competition showcases. Out of over 240 entries from
around the world, we have selected about 60 films; the films themselves suggested certain
topics and we present them here in 20 programs. Besides Jonathan Rosenbaum, the Big
Muddy welcomes this year two other distinguished jurors — French-born director of photography
and filmmaker Babette Mangolte and filmmaker Amy Granat.The 29th edition of the Big Muddy
offers a wealth of experimental and/or avant-garde films, and in addition to its two in-competi-
tion experimental showcases, there are special screenings of both Mangolte and Granat’s work
as well as highlights from the Canyon Cinema collection.

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2006 has left us bereft of a number of important filmmaking personalities, and the Big Muddy
honors this year the following directors with one (or in the case of Huillet, two) screenings: Gillo
Pontecorvo (b. 1919), Danièle Huillet (b. 1936), Robert Altman (b. 1925), and Shohei Imamu-
ra (b. 1926).Thanks to the generous support of Kerasotes Theatres, we are showing more films
on 35mm than ever before. In our non-competition showcases, we are exhibiting some of the
best of contemporary world cinema, inaugurating the festival on Thursday, February 22, with
the glorious Chinese film The World by Jia Zhang ke and closing it on Sunday, March 4 with
Waiting for Happiness by one of the new talents of African cinema, Abderrahmane Sissako.
Is there a theme in this year’s narrative films? Certainly one trend is in the growing tendency
towards mutism in today’s global village, with characters barely verbally communicating (The
World, Waiting for Happiness, 3-Iron, The Child), or if they do it is by text messaging.2
Redemp-
tion also comes into play in a number of these films (Pickpocket, The Eel, and The Child).
It’s a privilege to join the Big Muddy Film Festival. I warmly thank the students of the Big Mud-
dy’s Organizing Committee and Film Alternatives for their help in putting on this year’s festival.
If you are a regular, I hope you will spread the word. And if this is your first Big Muddy, I hope
you will take the time to explore its diversity, make some new friends, and spread the word.
Vive le Big Muddy!
Sally Shafto, Ph.D.
Executive Director
P.S.: Plans are already under way for our 30th anniversary celebration in 2008 (February
15–February 24).The Call for Entries will go out in May and the deadlines will be:
September 1 (early), October 1 (regular), and November 1, 2008 (late).
Please consider becoming a Friend of the Big Muddy and making a donation. See the
form on p. 56 of this program.
1. 2007 is also the 60th anniversary of the Magnum cooperative. For more on the agency, see:
<www.magnumphotos.com>.
2. For more on this tendency, see Emmanuel Burdeau, “News of the World,” Cahiers du cinéma, no. 602
(June 2005); Emmanuel Burdeau,“Reading, Writing & Arithmetic,” Cahiers du cinéma, no. 606 (Novem-
ber 2005), both available at <www.cahiersducinema.com>.

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Film Alternatives
Film Alternatives is an SIU student organization founded in 1991, with the purpose of
enriching the educational experience of students and the community through a common
love of film. The organization and presentation of the Big Muddy Film Festival has always
been our most important contribution to this goal, and we are proud to continue to bring
a variety of films to the community that would not otherwise be seen.
In addition to the Big Muddy, Film Alternatives offers a variety of other programs
throughout the year, including screenings, film shoots, discussions, and the Little Muddy
Film Festival. The Little Muddy is a showcase of films from current SIU students and their
peers, and will be running again this spring.
Film Alternatives is open to both students and members of the community from all
disciplines with an interest in films or film making. If you are interested, please contact us
by email at <kmckenna_filmalt@hotmail.com>. Thank you for supporting the festival, and
enjoy the show.
Keith McKenna
President of Film Alternatives
Community Outreach
The Big Muddy Film Festival takes tremendous pride in its ability to bring the best and
latest in national and international cinema to the communities of Southern Illinois for the
past 29 years. In addition to serving our loyal core audience within the local community
and SIUC student body, to whom we are extremely indebted, the Big Muddy Film Festival
also seeks to build an ever expanding viewership, reaching out to new audiences and
bringing socially responsible and artistically innovative cinematic works to individuals
whose access to such media might otherwise be limited.
Curt Sidorski
Community Outreach Coordinator

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Juror Profile
Amy Granat
Amy Granat is a rising young star in avant-garde filmmaking. She grew up in Saint
Louis, where her latent interest in filmmaking was nurtured by her step-dad who
had a passion for 16mm and ham radios.As an undergraduate at Bard College in
Annandale-on-Hudson, she initially majored in studio art, until one day she picked
up a movie camera.After making a few films she went to Bard’s resident filmmaker
Adolfas Mekas for advice and quickly found her calling. After graduation, she worked
at the New York Filmmakers’ Coop, where she had the opportunity to pursue her love
of experimental cinema.Today, her abstract films generally dispense with a camera,
as she damages the film emulsion in direct manipulation. Her work evokes many
associations and succeeds in expanding the medium in new and exciting ways. Since
2003, Granat has been exhibiting
her work internationally in art
galleries as well as museums,
including a solo exhibition of her
spray paint films at the Centre
d’Art in Neuchâtel, Switzerland
(2005), a show of her scratch
films at the Künstlerhaus
Palais Thurn & Taxis, Bregenz,
Austria (2003), and a show of
her hole punch films at PS 1
Contemporary Art Center in Long
Island City, New York (2005). In
2006, she exhibited in a group
show of splatter paintings (“Lovely Shanghai Music”), curated by Swiss artist John
Armleider at the Zendai Museum of Modern Art in Shanghai, China and a group show
(“Bunch Alliance and Dissolve”) at the Cincinnati Arts Center. Recently, she has been
incorporating performance and curatorial activity into the exhibition of her own work
(Centre Culturel Suisse, Paris, 2006). She is a member of “Cinema Zero,” an artists’
group that activates connections between artists of different generations and fosters
experimentations across disciplines. The January 2007 issue of Artforum carries an
in-depth profile on her work.1
She lives and works in New York City, and this spring,
she looks forward to teaching a class on Contemporary Art at NYU.
1. See <www.artforum.com/inprint/id=12245>.
Image “Two Hole Punch Films (Installation)” courtesy of the artist.

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Juror Profile
Babette Mangolte
Born and raised in France,
Babette Mangolte came
of age with the French
New Wave. In 1964, she
became one of the first
women accepted by the
Ecole Nationale de la
Photographie et de la
Cinématographie in Paris.
This school, known as
“Vaugirard,” was founded
by Louis Lumière in 1922.
In the late 60s Mangolte
worked as an assistant camera on several feature films. In 1970, after shooting
her first feature as Director of Photography — L’Automne by experimental filmmaker
Marcel Hanoun — she became the first female director of photography in France. Her
interest in experimental work led her to visit the US and the New York film scene in
1970.There she discovered dance, performance, and theatre and got involved in the
Soho art scene of the early 70s. She has lived in New York since 1972.
As a cinematographer, Mangolte is well known for her work with: Chantal Akerman
on Jeanne Dielman (1975) and News from Home (1976); Yvonne Rainer on Lives of
Performers (1972) and Film about a Woman Who…; Jean-Pierre Gorin on Routine
Pleasures (1986) and My Crasy Life (1991); and Sally Potter on The Gold Diggers
(1983). She has also worked as a cinematographer for Michael Snow and has made
films for Trisha Brown and Robert Rauschenberg.
In 1975 Mangolte finished her first film as director (What Maisie Knew), a film that
today is in the collection of The Museum of Modern Art. She has since directed
several other films, most recently a video documentary (2003) about the making
of Robert Bresson’s Pickpocket (1959). Mangolte has an extensive archive of
performance and dance photographs that she shot mostly in New York City in the
1970s and 1980s. Lately, she has turned to writing to reflect on her film and photo
practice and on the interaction between aesthetics and technologies. She is currently
working on an essay on Robert Bresson and finishing a film, Seven Easy Pieces by
Marina Abramovic (2007).
For more information, see her web site: <www.babettemangolte.com>.

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Jonathan Rosenbaum
One of the most prominent film critics in the U.S. today, Jonathan Rosenbaum grew
up in the only Frank Lloyd Wright house in Alabama, where his grandfather and father
owned a small chain of movie theaters.At Bard College (outside of New York City)
in the early 60s, he majored in English, studied
with the German teacher Heinrich Blücher
(husband of Hannah Arendt), and dreamt of
writing the next big American novel. The Sixties
were particularly rich for budding cinephiles,
and on weekends he went to the new Godard or
Resnais release in Manhattan.At Bard, he was
also a leading member of the student film club,
where he had the honor of introducing Susan
Sontag right after she published her celebrated
essay,“Notes on Camp” (1964). In the late 60s,
Rosenbaum moved to Paris where he worked
briefly as an assistant to Jacques Tati, and
appeared as an extra in Robert Bresson’s Four
Nights of a Dreamer. After five years of living in
Paris and two in London, where he worked at the
British Film Institute, Rosenbaum returned to the
US in the late 70s. He taught for several years at
UC San Diego and UC Santa Barbara. In 1987, he was hired as the full-time film critic
at The Chicago Reader in 1987.
Besides his weekly column for The Reader, Rosenbaum has authored many books
on film, including: Film: The Front Line (1983), Placing Movies: The Practice of Film
Criticism (1995), Moving Places: A Life at the Movies (1980; reprint 1995), Essential
Cinema (2004) and a monograph on Jim Jarmusch’s Dead Man. His most popular
work is Movie Wars: How Hollywood and the Media Limit What Movies We Can See
(2002). He regularly contributes to the French film journal Trafic and his much
anticipated study of Orson Welles is due out this spring.
Greatly respected by filmmakers around-the-world, Rosenbaum is a major figure
in American film journalism because he openly promotes the dissemination and
discussion of foreign films. Indeed, he decries the limits that Hollywood and the
general media put on foreign films, thus greatly reducing the number of foreign films
that the average American has access to.
Juror Profile

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The numbers that appear before some titles below correspond to the numbers in the In
Competition Films section of this catalog.
Thursday, February 22
NOON Kerasotes University 8 The World 140m
7:00 PM Student Center Auditorium The Battle of Algiers 125m
8:00 PM Longbranch Coffeehouse 1. Portraits and Identities 84m
Friday, February 23
9:00 AM Soundstage, Room 1116 All Day John Michaels
6:00 PM Longbranch Coffeehouse 8. American Stories 1 104m
8:00 PM Wham, Room 105 11. Feature Doc.: Chernobyl 82m
8:00 PM Longbranch Coffeehouse 15. Animation Showcase 83m
MIDNIGHT Kerasotes University 8 Lost Highway 135m
Saturday, February 24
2:00 PM Student Center Auditorium 6. Global Economics 108m
2:00 PM Wham, Room 105 9. American Stories 2 144m
5:00 PM Wham, Room 105 2. War and its Aftermath 118m
7:00 PM Student Center Auditorium Do the Right Thing 120m
MIDNIGHT Kerasotes University 8 Annie Hall 93m
Sunday, February 25th
10:00 AM Kerasotes University 8 The Secret of Roan Inish 103m
NOON Wham, Room 105 10. Women’s Stories 119m
2:00 PM Student Center Auditorium 4. The Death Penalty 150m
3:00 PM Wham, Room 105 5. Cuba Today 123m
7:00 PM Student Center Auditorium The Eel 117m
8:00 PM Longbranch Coffeehouse 16. Shorts Showcase 1 80m
Schedule of Screenings
time screening location ﬁlm title running time

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Monday, February 26th
NOON Kerasotes University 8 The Child 100m
5:00 PM Student Center Auditorium 15. Animation Showcase 83m
7:00 PM Student Center Auditorium Chronicle of Anna-Magdalena Bach 93m
7:00 PM Yellowmoon Café 17. Shorts Showcase 2 76m
8:00 PM Wham, Room 105 3. Remembering Hiroshima 88m
8:00 PM Longbranch Coffeehouse 13. Experimental Showcase 1 64m
9:00 PM Student Center Auditorium 12. A Little Humor 62m
Tuesday, February 27th
NOON Kerasotes University 8 3-Iron 88m
5:00 PM Student Center Auditorium Canyon Cinema 86m
6:30 PM Student Center Auditorium Nashville 159m
8:00 PM Longbranch Coffeehouse 14. Experimental Showcase 2 66m
9:15 PM Student Center Auditorium 4. The Death Penalty 150m
Wednesday, February 28th
NOON Kerasotes University 8 After Innocence 95m
5:00 PM Student Center Auditorium 19. Narrative Feature: Dimension 111m
7:00 PM Student Center Auditorium Juror: Amy Granat
8:00 PM Wham, Room 105 18. Shorts Showcase 3 64m
9:00 PM Student Center Auditorium 20. Narrative Feature: Ephémères 82m
Thursday, March 1st
NOON Kerasotes University 8 The Gold Diggers 89m
5:00 PM Student Center Auditorium Pickpocket 76m
6:00 PM IMC, Cobden 5. Cuba Today 123m
7:00 PM Student Center Auditorium Juror: Babette Mangolte
9:30 PM Student Center Auditorium 10. Women’s Stories 119m

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Friday, March 2nd
5:00 PM IMC, Cobden TBA
7:00 PM Student Center Auditorium Juror: Jonathan Rosenbaum
8:00 PM Wham, Room 105 7. The Food We Eat 108m
9:30 PM Student Center Auditorium 14. Experimental Showcase 2 66m
MIDNIGHT Kerasotes University 8 Dr. Strangelove 96m
Saturday, March 3rd
NOON Student Center Auditorium 3. Remembering Hiroshima 88m
2:00 PM Wham, Room 105 16. Shorts Showcase 1 80m
4:00 PM Wham, Room 105 13. Experimental Showcase 1 64m
5:00 PM Student Center Auditorium Doc. on J-M Straub & D Huillet 95m
7:00 PM Student Center Auditorium The War Tapes
Introduced by Steve James 97m
9:30 PM Student Center Auditorium 11. Feature Doc.: Chernobyl 82m
MIDNIGHT Kerasotes University 8 Baadasssss! 109m
Sunday, March 4th
10:00 AM Kerasotes University 8 Waiting for Happiness 95m
NOON Wham, Room 105 2. War and its Aftermath 118m
2:00 PM Interfaith Center John Michaels Award Winners
5:00 PM Liberty Theatre Best of the Fest
Tickets
Screenings at Kerasotes University 8 Theatre and the Liberty Theatre are $5.
Juror Presentations at the Student Center Auditorium are free.
Screenings at the Yellowmoon Cafe, the Longbranch Coffeehouse, the Cobden IMC, the Inter-
faith Center and the Soundstage are free.
All other screenings are $3.
Full festival passes are available for $30.
Passes may be purchased at each of the venues, or call: 618-453-8301.

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The John Michaels Film Award
Sunday, March 4, 2 pm, at the Interfaith Center, Free
John Michaels was a generous person affiliated with the Big Muddy Film Festival
during its formative years.This award honors his volunteer efforts for peace and
justice organizations, human rights issues and his love of the natural world, and will
be given to the film or films that best address those issues.
Each year the Big Muddy receives films that cover serious topics. The death penalty,
Hiroshima, the trafficking of young women in the sex slave trade, global economics,
the inhumane treatment of animals in industrial animal agriculture are just some
of the topics of this year’s films. Our community jurors choose the films that they
believe best display an intelligent and urgent message of social, political or ecological
significance.
From left to right: Mike Covell, Edgar Barens, and John Michaels in Havana, 1985.
The screening and awards committee for the John Michaels Human Rights Film Award
consists of the following people: Steve Banker, Ryan Claypool, Mike Covell, Georgeann
Hartzog, Sarah Kanouse, Jyotsna Kapur, Paul Matalonis, Hugh Muldoon, and Mary
O’Hara.

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In-Competition Films
1.
PORTRAITS AND IDENTITIES. 84m.
Thursday, February 22, 8 pm, Longbranch Coffeehouse. Free
The films in the following program were submitted as either documentary or experimental
works, some in both categories.
Invisibilities. Dir Jennifer Proctor. USA. 2006. 11m.
A portrait of Ava Su Ganwei, a Chinese-American artist with invisible disabilities and
conspicuous gifts. Created on 16mm, super 8, and digital video, this piece is a duet, a
‘contact improvisation’ between its subject and its maker.
A Shift in Perception. Dir Dan
Monceaux.Australia. 2006. 16m.
A humanistic super 8 documentary
short loaded with visual poetry and
an air of nostalgia. Enter the worlds of
three vision-impaired South Australian
women as they lead you through
their daily lives, dreams, fears and
observations.
Cousin Kayste. Dir Stashu Kybartas.
USA. 2006. 29m.
Stashu Kybartas visits Lithuania
in search of the village where his
grandfather was born. If the dissolution
of the Soviet Union allows the
filmmaker to easily cross borders to
begin his search, the dearth of family
memories makes this a strange and
alienating odyssey. At the outset, it
seems highly improbable that he will find what he is looking for.
Letter Beginning with Zero. Dir Susan Kim. USA. 2006. 20m.
A grandmother’s story about disappearance… A blind fortune teller… A granddaughter’s
study of missing love letters…. Letter Beginning With Zero weaves together disparate
stories and multiple formats to create an experimental essay about disappearance and
‘seeing.’ The video incorporates original hi8, digital video, super 8, hand processed 16mm
film, home movies, and found images from archival science films.

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Me and Mom. Dir Mark Huelsbeck. USA. 2006. 8m.
What’s it like when your mother doesn’t know who you are anymore? A ‘one-shot’ doc, Me
and Mom examines issues of identity and representation within the context of Alzheimer’s
Disease.
2.
WAR AND ITS AFTERMATH. 118m.
Saturday, February 24, 5 pm, Wham, Room 105. $3
Sunday, March 4, Noon, Wham, Room 105. $3
Eyeshot. Dir Diana Heise. USA. 2006.
20m.
“After 30 years of silence, my uncle
unearthed his collection of 8mm
film reels, 35mm slides, and objects
from his tours in Vietnam and his
membership in the National Guard.
The video is a subjective investigation
of violence, history, and representation
through these materials from his Army
career. I use his thoughts and his photography to consider the violence that he both
endured and participated in.This was the most significant experience in his life. Instead
of a polarized discussion of anti- or pro-war, Eyeshot is devoted to considering the
emotional and intellectual scars that warfare inflicts.” –Diana Heise
Building Bridges. Dir Jeanine Butler. USA. 2006. 13m.
Meet Amira, Snjezana and Ifeta: the women of the Mostar Women’s Citizen Initiative
in Bosnia.They are an exceptional group of community leaders, political activists and
ordinary citizens who launched a joint effort to transcend ethnic and religious strife in
a country fractured by war.With narration provided by former U.S. Secretary of State
Madeleine Albright, Building Bridges recounts the inspirational story of this remarkable
group of women who set aside sharp differences to produce a new law protecting women
and their families.
Hidden Wounds. Dir Iris Adler. USA. 2006. 57m.
This is the story of three soldiers returning to civilian life, after serving in Iraq. It’s
estimated that one in five soldiers returning from Iraq will suffer from post-traumatic
stress disorder (PTSD). Nate Fink was a platoon commander in an elite Marine unit
in Afghanistan and Iraq, but on his return to the U.S. he became seriously depressed.
Russell Anderson served in the Army in the late 60s, and in 2004 volunteered for Iraq.
Hostile and depressed after his return, he refused to seek counseling, considering it a
sign of weakness. Jeff Lucey joined the Marine Reserves out of high school. Returning

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home, he began drinking heavily, experienced panic attacks and became increasingly
despondent.
The Unbroken Circle. Dir John C. Ludwig. USA. 2006. 28m.
The Unbroken Circle, a trilingual film (English, Arabic, and Hebrew, using native language
speakers), tells the “true-to-life” story of an Israeli family and a Palestinian family in
Israel, and reflects the real struggles endured in their daily lives.
3.
REMEMBERING HIROSHIMA. 88m.
Monday, February 26, 8 pm, Wham, Room 105. $3
Saturday, March 3, Noon, Student Center Auditorium. $3
Orizuru. Dir Junya Sakino. USA. 2006.
14m.
“The year 2005 marked the 60th
anniversary of the end of World War II
and it seems that many have forgotten
the events of that time. This, however, is
not true in my hometown of Hiroshima
where many still suffer from the effects
of radiation caused by the atomic
bomb — the first nuclear weapon ever
used in the history of warfare. The title Orizuru translates into English as ‘paper crane,’
and it has become a symbol of peace in part from the legend, which says that anyone
who folds one thousand paper cranes will have their dreams come true. Although the
characters of the film are fictionalized, every incident is based on the historical events.
Today, more than ever the world seems to be confronted with complicated nuclear warfare
questions.” –Junya Sakino
The Cats of Mirikitani. Dir Linda Hattendorf. USA. 2006. 74m.
“Make art not war” is 80-year-old Jimmy Mirikitani’s motto. Born in California and raised
in Hiroshima, by 2001 he was living on the streets of New York. How did he end up there?
The answer is in his art. In wind, rain and snow Mirikitani could be found on a corner in
Soho drawing pictures of bleak internment camps, whimsical cats and the angry flames
of the atomic bomb.When a filmmaker stops to ask about Mirikitani’s art, a friendship
begins that will change both of their lives. In the landscape of post-9/11 New York, the
two embark on a tumultuous journey into the past. The Cats of Mirikitani is an intimate
exploration of the lasting trauma of war and the healing power of art.

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4.
THE DEATH PENALTY. 150m.
Sunday, February 25, 2 pm, Student Center Auditorium. $3
Tuesday, February 27, 9:15 pm, Student Center Auditorium. $3
Race to Execution. Dir Rachel Lyon. USA. 2006. 60m.
Race to Execution explores the deep and disturbing link between race and the death
penalty in America. Following the stories of two Death Row inmates — Madison Hobley of
Chicago, Illinois and Robert Tarver of Russell County, Alabama — the film interweaves their
compelling personal stories together with groundbreaking scholarship.
Execution. Dir Steven Scaffidi. USA. 2006. 90m.
In 1995, two filmmakers gain unprecedented access to death row and the final 7 days of
one man’s life before his execution by electric chair. As the warden comes closer to his
5th execution and the condemned man struggles to come to grips with the 5 murders
he has committed, the filmmakers’ battle over how far to take their documentary. Even
when the filmmakers are eventually able to record the execution with hidden cameras, the
warden confiscates the footage. It is not until 10 years later that the footage is returned
and the filmmakers can edit and sell their film — if they can agree on what the film should
be about.
5.
CUBA TODAY. 123m.
Sunday, February 25, 3 pm, Wham, Room 105. $3
Thursday, March 1, 6 pm, IMC, Cobden. Free
Those I Left Behind. Dir Lisandro Perez-
Rey. USA. 2006. 45m.
Trapped between the sea and the
politics of governments, Cuban families
on either side of the Florida straits
have endured nearly a half-century of
separation and loss. Filmed in both
the United States and Cuba, this
documentary explores the transnational
ties that bind Cuban-Americans in the United States to their families still living on the
island and sheds light on the controversial new travel restrictions imposed by the U.S.
Government and its emotional impact on the lives of four Cuban families.
Cuba: A Lifetime of Passion. Dir Glenn Gebhard. USA. 2006. 78m.
With unprecedented access to “both” Cubas on either side of the Florida straits, Cuba: A
Lifetime of Passion looks at the existing reality.

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6.
GLOBAL ECONOMICS. 108m.
Saturday, February 24, 2 pm, Student Center Auditorium. $3
Asparagus! A Stalk-umentary. Dirs
Anne de Mare and Kirsten Kelly. USA.
2006. 75m.
Thirty years ago, Oceana County,
Michigan proclaimed itself the
“Asparagus Capital of the Nation!”
Hailed as “Green Gold,” asparagus was
exactly what this poor rural community
needed, a spring cash crop at the end
of a long cold winter. Then, in a twist of
fate, the U.S. War on Drugs ushered in
a free-trade agreement that threatened
to take it all away. Virtually overnight,
Oceana’s asparagus farmers found
themselves caught in the middle of a
turbulent global economy. This is the
story of one rural American community
scrambling to keep its proud identity
against impossible odds. Asparagus!
journeys to the heart of the asparagus capital of U.S. to discover why one little vegetable
matters so much.
Power on the River. Dirs Anna Kongs and Eliot Fisher. USA. 2006. 33m.
Power on the River documents what happens when the global corporate vision of progress
enters into the lives of small rural communities in the interior of Brazil.A new hydroelectric
dam is being completed by the Consortium, a state energy company and a Brazilian
multinational mining corporation.According to the Consortium, everything possible is
being done to help the region adjust to the changes the dam will bring, but those living
along the river and in the relocated town displaced by the dam tell a different story. A look
at the often-ignored consequences of hydroelectric power production and who and what
gets sacriﬁced in the process.
7.
THE FOOD WE EAT. 108m.
Friday, March 2, 8 pm, Wham, Room 105. $3
Sustainable Table: What’s on Your Plate. Dir Mischa Hedges. USA. 2006. 52m.
Sustainable Table takes an unadulterated look into the food you eat.What’s on your
plate? Where does it come from? What effects does it have on the environment and your
body? And what can you do to help?

18
Beyond Closed Doors. Dir Hugh Dorigo. USA. 2006. 56m.
Beyond Closed Doors examines the science, ethics and politics of animal agriculture.
Leading world experts take the viewer beyond the rhetoric of important issues in
agriculture, rarely covered by the mainstream media, yet have the potential to affect the
lives of all Americans.
8.
AMERICAN STORIES 1. 104m.
Friday, February 23, 6 pm, Longbranch Coffeehouse. Free
Up the Ridge. Dirs Nick Szuberla and Amelia Kirby. USA. 2006. 54m.
A shocking new documentary on the plight of urban prisoners in remote rural prisons.
Up the Ridge explores the violation of basic human rights through the story of an
Appalachian prison, and the political expediencies that bring communities into racial and
cultural conﬂict with tragic consequences.
Hurricane Katrina Stories. Dir John
Menszer. USA. 2006. 29m.
Hurricane Katrina tested New
Orleanians’ character. Some found an
inner strength that helped them save
others. This documentary explores
the ways in which ordinary people
became heroes.While the national
news reported widespread looting and
violence, there were local people quietly
helping and saving their neighbors.
Exposing Homelessness. Dir Kerri Gawryn. USA. 2006. 21m.
Exposing Homelessness tells the story of three formally homeless women who
participated in a photography workshop where they were given 35mm cameras
and instructed in the art of black and white photography. Drawing on their personal
experience, they were asked to use photography to express their insight into the issue
of homelessness so that viewers could be exposed to a more complex and deep
examination of the problem.The contrast they present to commonly held stereotypes of
people who become homeless, inevitably compels viewers to re-examine their own beliefs
on homelessness.
9.
AMERICAN STORIES 2. 144m.
Saturday, February 24, 2 pm, Wham, Room 105. $3
The New Los Angeles. Dir Lynn Goldfarb. USA. 2006. 55m.
The New Los Angeles depicts an extraordinary city poised to reframe America’s dialogue
about urban political and economic change.This powerful documentary takes the viewer

19
on a journey from the bitterly fought, racially driven elections that brought Mayor Tom
Bradley to power in 1973, to the historic 2005 election of LA’s ﬁrst Latino mayor in more
than 130 years,Antonio Villaraigosa. Along the way, The New Los Angeles examines how
race, labor and immigration have shaped and continue to reshape the city’s political life
and landscape.
We are Here (Estamos Aquí). Dir Sharon Baker. USA. 2006. 89m.
Facts, fear, and hope — the humanity behind the headlines in the current U.S. immigration
debate is seen through the experience of a small New England town where an estimated
10,000 Guatemalans have arrived over the last decade.
10.
WOMEN’S STORIES. 119m.
Sunday, February 25, Noon,Wham, Room 105. $3
Thursday, March 1, 9:30 pm, Student Center Auditorium. $3
Like a Ship in the Night. Dir Melissa Thompson. USA. 2006. 30m.
Abortion is illegal in Ireland, punishable by life imprisonment.And yet at least 8,000
women a year travel to England for abortions.They make this journey in secret and return
in silence. Like a Sbip in the Night follows Mary, Louise and Siobhan as they plan their
journeys across the Irish sea.
Sex Slaves. Dir Ric Esther Bienstock.
Canada. 2005. 89m.
Sex Slaves is a gripping documentary
exposé inside the global sex slave trade
in women from the former Soviet Bloc.
Part cinéma vérité, part investigation,
Sex Slaves puts a human face on
this most inhumane of contemporary
issues.
11.
FEATURE DOCUMENTARY. 82m.
Friday, February 23, 8pm,Wham, Room 105. $3
Saturday, March 3, 9:30 pm, Student Center Auditorium. $3
Sun and Death: Chernobyl and After… Dir Bernard Debord. France. 2006. 82m.
On April 26, 1986, a nuclear explosion released a toxic cloud at Chernobyl in northern
Ukraine. In the following days, this plume spewed 70% of its radioactive fallout over
Belarus, whose border is just seven kilometers from the Chernobyl nuclear power station.
The world-at-large was unsuspecting, and it quickly forgot that the remainder of the
fatal nuclear deposit was released over the northern hemisphere.This ﬁlm concentrates
entirely on Belarus, whose population in the twenty years since the disaster has been

20
condemned by the effects of ingesting small doses of radioactivity. This film gives witness
to the process of slow death, reveals the imminent genetic catastrophe, and unties the
threads of the international conspiracy of silence, all of which threaten the immediate
future of Belarus.
12.
A LITTLE HUMOR. 62m.
Monday, February 26, 9 pm, Student Center Auditorium. $3
Gimme Green. Dirs Isaac Brown and Eric Flagg. USA. 2006. 27m.
Lawns are undeniably an American symbol. But what do they really symbolize? Pride and
prosperity? Or waste and conformity? Gimme Green is a humorous look at America’s
obsession with the residential lawn and the effects it has on our environment, our wallets,
and our outlook on life.
Tour de Donut. Dirs Jim Klenn and Steve Kelly. USA. 2006. 35m.
“The Tour de Donut,” a spoof of the Tour de France, began in southwestern Illinois back in
1989, with about a dozen participants. Now, more than 500 riders line up each year to
ride the 30-mile course. For each donut eaten during the ride, five minutes is subtracted
from that person’s time. During his first attempt in the event, schoolteacher/former bike
racer Tim Ranek finished respectably. Certain of victory,Tim returned two years later
enlisting the help of two elite cyclists to push/pull him to the finish. Can they help Tim get
his just “desserts”?
13.
EXPERIMENTAL SHOWCASE 1. 64m.
Monday, February, 26, 8 pm, Longbranch Coffeehouse. Free
Saturday, March 3, 4 pm, Wham, Room 105. $3
My Person in the Water. Dir Leighton Pierce. USA. 2006. 6m.
A woman moving in the water and the gaze of a man, both seen from beneath the water,
elaborated by the vectorizing force of sound, lead the viewer toward an effervescence of
feeling — a desire for union amidst the knowledge of separateness.
Breathing Lessons. Dirs Claudia Esslinger, Ron Estes and Leslie Seiters. USA. 2006.
10m.
Breathing Lessons poetically traces a longing for oxygen through one family’s history. It
uses narration, symbolic movement, visceral props and rhythmic music to evoke a mood
of memory and loss.
Alice Sees the Light. Dir Ariana Gerstein. USA. 2006. 6m.
A poetic meditation on light pollution.

21
Through these Trackless Waters. Dir Elizabeth Henry. USA. 2006. 13m.
A found footage film where the ecology of the planet connects with the ecology of our
minds. In the waking dream, all is juxtaposed and, as Kuleshov discovered, all is related.
Pillow Girl. Dir Ronnie Cramer. USA.
2006. 8m.
A sound-art work originally created
for the Museum of Contemporary
Art Denver by musician-artist Ronnie
Cramer, who scanned the covers and
inside pages of a number of lurid,
vintage paperbacks, then ran the
collected image and text data through a variety of synthesizers.The resulting sound files
were then processed and remixed into the soundtrack for the Pillow Girl film; the visual
portion of the film makes use of over 200 covers, with one illustrated figure morphing into
the next every two seconds.
Memo to Pic Desk. Dirs Chris Kennedy and Anna van der Meulen. USA. 2006. 6m.
An idiosyncratic look at staging in news photography, using materials from the archives
of a Toronto daily. Moral codes, delinquency and autonomy are pulled into an altered
coherence, as vintage photos are examined next to their typewritten paper trail.
Invisible City. Dir Jack Cronin. USA. 2006. 11m.
Invisible City was filmed in Detroit over the course of three years. Inspired by Italo
Calvino’s Le città invisibili, where the Italian author suggests that what constitutes a city is
not so much its physical structure but the impression it makes upon its visitors.The film is
loosely organized into four segments representing spring, summer, fall, and winter.
Fall. Dir Kathryn Ramey. USA. 2006.
5m.
From the tale of Icarus to Plato’s
cave analogy and through the fragile
materiality of hand processed 35mm
film, Fall relates the pain of acquiring
knowledge as a girl becomes a woman
and one becomes two. Fall was shot
with a hand crank Parvo (35mm
camera) a few months after the birth
of the filmmaker’s son and the final edit was completed during a residency at Yaddo
Corporation.

22
14.
EXPERIMENTAL SHOWCASE 2. 66m.
Tuesday, February 27, 8 pm, Longbranch Coffeehouse. Free
Friday, March 2, 9:30 pm, Student Center Auditorium. $3
Ground Zero, New York 2005. Dir
Viviane Vagh-Levine. France. 2005. 8m.
“I chose to shoot Ground Zero, New
York 2005 in black and white super 8
film because of its poetic as well as
rare qualities — it seemed somehow
appropriate to capture what I saw in
people’s eyes as they went about their
lives, four years later. This was the soil
of post-9/11 New York and the doves
sitting in one of the destroyed buildings
around Ground Zero seemed symbols of hope for a new beginning.” –V.Vagh-Levine
The Passenger. Dir Kathryn Ramey. USA. 16m.
“The Passenger is a 16-minute, 16mm, experimental film utilizing processes of hand
manipulation (optical printing, hand processing, painting/scratching on the film) that
are characteristic of my work. My mother suffered from severe depression and mania
throughout her life. On August 27, 2004 she succumbed to complications brought about
by severe hypertension and her psychotropic medication. At the funeral I was the only one
of her children to speak. I said she had perfect penmanship, and loved to dance and sing.
The latter were her gifts to me. In The Passenger, the physical reworking of the film surface
serves as a signifying device for the process of building a life, becoming a mother, and
repairing that which is broken between my mother and myself.” –Kathryn Ramey
Her Heart is Washed in Water and
then Weighed. Dir Sasha Waters. USA.
2006. 13m.
When you die, everything you know
disappears; this film is a love letter to
the abject beauty of human frailty in
three short acts. Her Heart is Washed in
Water and then Weighed is a complex
meditation on mobility, monuments and
mortality. Filmed in Rome, Italy and Iowa
City, Iowa, the film takes its title from a procedure in the autopsying of a human corpse.

23
Pump. Dir Sinisa Kukic. USA. 2006.
5m.
Pump is an experimental short that
involved mounting a super 8 camera to
a various parts of fixed gear bicycle and
riding around the city of San Francisco.
Inspired by the city symphonies of
Dziga Vertov, Pump molds the urban
energy of its compositions with a
more visceral moving perspective. The
physicality of a bicycle offers a personal
viewpoint that humanizes movement through industrial spaces and hybridizes traditions of
hand-held and automotive camera movement.
Out of (K)nowhere: A Film by Anne
Prat. Dir Christian Lebrat. France. 2006.
24m.
“Very little was left of the film by
Anne Prat, a brilliant young woman
who studied cinema with me at the
University of Paris in the 1970s.
She was no ordinary student. Three
weeks before summer break in 1976,
although she had not participated
in any of the practical filmmaking
sessions, she presented to the class a short, shot in the Brakhage style, a film which
surprised us all by its technical mastery. She informed me that she was going to stop
studying and go to Australia, and that her film was just the beginning of a larger, more
complicated cinematographic work. She left the material for her film in a big box at the
university, and asked me to pick it up. At that time, I had no idea I would never see her
again …” –Christian Lebrat
“Christian Lebrat’s attempt to reconstruct an unfinished film project of one of his former
students, Anne Prat.The film is both a re-interpretation of the classics of the avant-garde
and the expression of a personal vision with a sound-track mixing music, silence, and
birds.” –Richard Colas

24
15.
ANIMATION SHOWCASE. 83m.
Friday, February 23, 8 pm, Longbranch Coffeehouse. Free
Monday, February 26, 5 pm, Student Center Auditorium. $3
The Meatrix II: Revolting. Dir Louis Fox. USA. 2006. 4m.
The Meatrix II: Revolting is the sequel to the award-winning smash hit The Meatrix. The
film, a humorous spoof on The Matrix takes a look at the gap between our illusions about
where food comes from and the reality of industrial meat and dairy production.
Little Strong. Dir Kuo-Ting Kao. USA. 2006. 7m.
A band of cockroaches fight for their right to exist.
The Touch. Dir Vanessa Woods. 2006.
USA. 3m.
The Touch is a meditation on Anne
Sexton’s poem of the same name.The
film examines melodies within spoken,
written and visual language and how
they can interact. Because the subject
of the poem deals specifically with the
idea of touch, the film sustains a highly
tactile, textural quality.
Mirage. Dir Youngwoong Jang. USA.
2006. 8m.
“Mirage is a story about my life as a
collector having endless desires.The
main character is a bio-mechanic
robot who has to fill his glass chest
with water in order to sustain his life.
This story happens in water but the
robot cannot recognize it. He just
wants to get more water. The robot
character appears with a small stem.
He squeezes a small stem to get a drop of water and takes it into his glass chest. He
continues to collect water droplet from small stems to huge stems. During his journey, he
meets a fish. Both need water.” —Youngwoong Jang
Look for Me. Dir Laura Heit. UK. 2005. 4m.
What would you do if you woke up one day and you discovered you were invisible?

25
Phantom Canyon. Dir Stacey Steers. USA. 2006. 10m.
A young woman encounters enormous insects and an alluring man with bat wings in this
surreal recollection of a pivotal journey.This animated film was made by photographing
over 4,000 handmade collages and features the figures from Eadweard Muybridge’s
human motion studies.
Idea Development. Dir Dane Webster. USA. 2006. 4m.
This film follows a writer’s journey through the ever-changing landscape of the creative
process. Beginning with the initial confrontation between himself and the blank page, the
writer begins building an idea with the first initial clicks at his typewriter. This soon leads
him into the bright, sunlight world of the imagination and a new vehicle for his creativity…
a flying machine.
Dinner Table. Dir Song E. Kim. USA. 2006. 3m.
A couple takes a surreal turn as they share a meal.
Anger Stone. Dir Dave Ryan. USA. 2006. 6m.
Images hidden in your head shape who you are.
Atomic Banana. Dir Erik Kling. USA. 2006. 5m.
Atomic Banana is a dark comedy about an intellectually enhanced chimpanzee who
squirms under the oppressive hands of his tyrannical master, Dr. Seymour Heintzenfrauser.
Wanting to enjoy the simple pleasures of an atomically synthesized banana and his
favorite computer game, ‘Banana Kong,’ the chimp risks a beating by his brutal master.
Unfortunately, Heitzenfrauser is always near, ready to pounce on his every move. And just
as the chimp’s world seems quiet and stable, a twisted future awaits him.
Linear Progression. Dir Kat Kosmala. USA. 2006. 4m.
Strange creatures! Beautiful animation! Grass! What happens when an unstoppable force
meets an immovable object? Such conundrums and charm abound in Linear Progression.
The Dollhouse. Dir Tara Beyhm. USA. 2006. 10m.
This is a story about a young girl who becomes obsessed with a dollhouse after a
classmate receives one as a gift. It is a story that celebrates the handcrafted versus the
store bought, and the bond that forms between a daughter and her father.
The Ghost of Sam Pekinpah. Dir Jason
Brewer. USA. 2006. 15m.
A young, gritty cowboy named Jack
Yeager stirs up the town of Deep
Sands, Utah, and wakes the ghost of
legendary filmmaker Sam Peckinpah.
Together they march into the heart of Hollywood on a mission to put the capital “W” back
in Western.

26
16.
NARRATIVE SHORTS SHOWCASE 1. 80m.
Sunday, February 25, 8 pm, Longbranch Coffeehouse. Free
Saturday, March 3, 2 pm,Wham, Room 105. $3
Lone Elm. Dir Gregory Sheffer. USA. 2006. 14m.
In the closing days of the Civil War, Jacob, a recently freed slave, makes his way across the
Kansas prairie in search of a new life. After a tragic encounter with Confederate soldiers,
Jacob faces a crucial decision that will test the limits of his faith and newfound freedom.
Beowulf. Dir Tom Kingdon. USA. 2006. 28m.
In a world both ancient and modern, a king is terrorized by a monster. Using the ideas
and techniques of Polish theatre director and acting theorist Jerzy Grotowski (1933-
1999), this experimental narrative extends the expressive potential of performance and
camera work.
“Theatre — through the actor’s technique, his art in which the living organism strives for
higher motives — provides an opportunity for what could be called integration, the
discarding of masks, the revealing of the real substance: a totality of physical and
mental reactions.This opportunity must be treated in a disciplined manner, with a full
awareness of the responsibilities it involves. Here we can see the theatre’s therapeutic
function for people in our present day civilization. It is true that the actor accomplishes
this act, but he can only do so through an encounter with the spectator — intimately,
visibly, not hiding behind a cameraman, wardrobe mistress, stage designer or make-up
girl — in direct confrontation with him, and somehow ‘instead of’ him.The actor’s act —
discarding half measures, revealing, opening up, emerging from himself as opposed to
closing up — is an invitation to the spectator. This act could be compared to an act of the
most deeply rooted, genuine love between two human beings — this is just a comparison
since we can only refer to this ‘emergence from oneself’ through analogy. This act,
paradoxical and borderline, we call a total act. In our opinion it epitomizes the actor’s
deepest calling.” –Jerzy Grotowski
The Visitors (Die Besucher). Dir Ulrike
Molsen. Germany. 2006. 38m.
Karla hosts a couple in trouble.The
visitors occupy her apartment as if it
were their own.They involve the young
woman in contradictory and dangerous
lies and familiarities until Karla is
almost unable to breathe anymore.
She can’t ﬁnd out who is telling the truth, and gets forced into helping them both. Like
Sugar says: people love to talk about all the grand things they experience or dream of. But
sometimes just one small mistake can turn your life upside down.

27
17.
Monday, February 26, 7 pm, Yellowmoon Café. Free
Tuesday, February 27, 6 pm, Longbranch Coffeehouse. Free
Chronicles of Impeccable Sportsmanship. Dir Erika Tasini. USA/Italy. 2006. 7m.
The endless contentions between a competitive couple, as seen through the curious eyes
of their perceptive and enterprising little girl. Chronicles of Impeccable Sportsmanship
was commissioned by the Slamdance Film Festival as part of a selective program for
alumni ﬁlmmakers.
An Open Door. Dir Sean Jourdan. USA.
2006. 19m.
As her world falls apart, Michelle
Watson must convince her husband
that the price of keeping their marriage
together is worth the cost of keeping a
secret between them.
Security. Dir Mark Edginton. USA. 2006. 14m.
A cache of encrypted documents is discovered in a park in Brooklyn, setting off a cat-
and-mouse game between authorities and a shadowy cell.
Janie. Dir Christine Shin. USA. 2006.
18m.
Janie (9) has a perfect life as a single
daughter in a loving family. Her life,
however, gets completely shattered
when Ben (5), her little brother she
never knew existed, unexpectedly shows
up to live with her family.
Motel De Palma. Dir Boaz Armoni. Israel. 2006. 18m.
Ruben is a professional writer suffering from a creative depression affecting his marital
life.A night spent in a louche motel, however, will enable him to make the necessary
changes in his work and marriage.

28
18.
Monday, February 26, 6 pm, Longbranch Coffeehouse. Free
Wednesday, February 28, 8 pm,Wham, Room 105. $3
Moviebonics. Dirs Donald P. Unverrich
and Lance Miller. USA. 2006. 7m.
See the bizarre rituals of the cinema
obsessed!
When We’re Old and Love Means
Nothing. Dir Danny Goodman. USA.
2006. 14m.
When Jeremy ﬁnds Alex sitting in her
favorite New York photo gallery, they
begin a discussion that will make or
break their relationship. But a series of
ﬂashbacks offer revelations and twists
that show that all is not what it initially
seems to be.
Songbird. Dir John Thompson (SIU,
’02). USA. 2006. 6m.
“Songbird” is a Gothic tale about a
trapped housewife who breaks free
from her overbearing husband…

29
The Father, Unblinking. Dir Ziggy Attias.
USA. 2006. 23m.
In rural America, a father discovers
his young daughter dead of fever and
decides to bury her secretly, without
informing his wife. Fine Art Magazine
describes this story as “Imaginative and
original, a wonderfully sensitive, moving
and compelling dark tale.”
Silence is Golden. Dir Chris Shepherd. UK. 2006. 14m.
“My neighbor’s a right looney. He’s always banging on our walls. I’m used to it. I think
other people’s houses are really weird. There’s no knocking–right?”
19.
NARRATIVE FEATURE. 111m.
Wednesday, February 28, 5 pm, Student Center Auditorium. $3
Dimension. Dir Matthew Scott Harris. USA. 2006. 111m.
After causing an accident that results in the loss of his family, the owner of a hardware
store is contacted by God.The two enter into an agreement. The agreement requires the
hardware store owner to offer any customer who enters his store and purchases a folding
ruler the opportunity to change their life in any way they desire by the dimension of three
inches. In return, God will allow the owner to see his family again.
20.
NARRATIVE FEATURE. 82m.
Wednesday, February 28, 9 pm, Student Center Auditorium. $3
Ephémères. Dir Pascal Bonnelle.
France. 2006. 82m.
One night, in Paris, François meets Léa.
Both of them share a similar wanderlust
and distress.At the same time, a
mysterious man is asking two actors,
Pierre and Claire, to rehearse this scene
he has written. So, with this staging,
the enigmatic man is hoping to see his
story becoming real, like a dream that
would comes true. But dreams are ephemeral — they die at dawn.

30
Non-Competition Films
Kerasotes University 8. 35mm. $5
The World.
Noon
Introduction by Wei Zhang.
The World (Shijie). Dir Jia Zhang ke.
China. 2004. In Mandarin and Shanxi
dialect with English subtitles. 140m.
Acclaimed Chinese director Jia Zhang
ke casts a compassionate eye on the daily loves, friendships and desperate dreams
of the twenty-somethings from China’s remote provinces who come to live and work at
Beijing’s World Park. A bizarre cross-cultural pollination of Las Vegas and Epcot Center,
the World Park features lavish shows performed amid scaled-down replicas of the world’s
monuments. From the sensational opening tracking shot of a young dancer’s backstage
quest for a Band-Aid to poetic flourishes of animation and clever use of text-messaging,
Jia pushes past the kitsch potential of this surreal setting — a real-life Beijing tourist
destination. The Village Voice has hailed Jia Zhang ke as “the world’s greatest filmmaker
under forty,” and The World is his funniest, most inventive and touching work to date.
“The best new film I saw anywhere in 2004.” –Jonathan Rosenbaum
Student Center Auditorium. DVD. $3
The Battle of Algiers
Homage to Gillo Pontecorvo
7 pm
The Battle of Algiers. Dir Gillo
Pontecorvo. Italy/Algeria. 1966.
In French and Arabic with English
subtitles. 125m.
Internationally acclaimed, the
staggering newsreel-like authenticity
of the staged street riots and vital
performances of the actors give The
Battle of Algiers a unique dramatic
impact on this detailing of the Algerian
revolt against the French. The film is loosely based on the account of one of the military
commanders of the Algerian National Liberation Front (FLN), Saadi Yacef (who plays a
fictionalized version of himself) and the film begins and ends from the point of view of Ali
La Pointe (Brahim Hagiag), who corresponds to the historical figure of the same name.
Nonetheless, the film is a relatively even-handed account of the Franco-Algerian conflict.
One of the only professional actors in the film is Jean Martin who plays the French Colonel

31
Mathieu, a composite of several historical figures. Although it won the Golden Lion at the
1965 Venice Film Festival, the film was immediately banned by the French government.
In the early 70s, it had another brief release in France when it was again censured. In
fact, the film received wide release in France only in 2004, as a result of its having been
screened at the US Pentagon in 2003 as a primer for dealing with guerilla warfare.The
cinematography by Marcello Gatti and the sound track by Ennio Morricone add much to
the film’s magisterial force and conviction.Absolutely not to be missed.
Friday, February 23
Lost Highway
Midnight
Lost Highway. Dir David Lynch. USA.
1997. 135m.
Fred Madison (Bill Pullman) is a jazz
saxophonist who suffers from recurrent
nightmares.The passion has gone
out of his relationship with his wife
Renee (Patricia Arquette) whom he suspects of infidelity. His dreams are haunted by
a white-faced androgynous figure, and one night, Fred encounters and confronts his
nocturnal interloper at a party.When Renee is murdered that night, Fred is imprisoned,
though he has no memory of what has happened. From there, the plot of Lost Highway
takes an unexpected swerve, abandoning all conventional intelligibility. Flaunting Lynch’s
usual domesticated surrealism and exploring the frailty of human identity, Lost Highway
crafts a disorienting atmosphere where time and space are out of joint and a multiplicity
of dualities fold in upon themselves. In this visually impressive film, David Lynch
(Eraserhead, Blue Velvet) remains faithful to his obsessions and intentions, making him a
true American auteur.
Student Center Auditorium. 16mm. $3
Do the Right Thing.
7 pm
Do the Right Thing. Dir Spike Lee. USA. 1989. 120m.
Because Spike Lee is an African-American man who addresses the subject of anger, he
is frequently dismissed by white America as an angry black male. But in his most famous
film, Lee presents his stylized realism that explores with empathy and sadness the way
race affects, and too often still defines, life in this country. Based on an actual incident,
the film allegorizes racial tensions, intensified by a steamy summer day in Brooklyn, New
York. In the end, a young black man is murdered by the mostly white police force, and
a pizzeria is destroyed by a mostly black mob.The riot is triggered by the film’s main
character Mookie, played by Lee. Did Mookie do the right thing? Spike Lee’s film offers no
simple answers.

32
Annie Hall.
Midnight
Annie Hall. Dir Woody Allen. USA.
1977. 93m.
Woody Allen plays a neurotic New
York comic who has trouble with
relationships and lives life to observe,
discuss, and ridicule it. Structured as
fast-paced stream of consciousness, Annie Hall is both a guide to romantic relationships
in the 1970s and an intimate glimpse into the now familiar psychological inner workings
of its maker. Loosely structured around Alvy Singer’s (Woody Allen) romantic involvement
with the title character (Diane Keaton), the film follows the couple’s meeting, partnering,
bickering, and eventual parting.Although the story is universal, the approach remains as
fresh today, thirty years later. Representing the best of Allen’s pseudo-autobiographical
formulations of his constructed on-screen persona. Annie Hall reminds us that humor at
its best is a function of the intellect. Not surprisingly, Annie Hall won four Oscars, including
best actress and best director.
Sunday, February 25
The Secret of Roan Inish.
10 am
Suitable for children.
The Secret of Roan Inish. Dir John
Sayles. USA/Ireland. 1994. 103m.
Positioned precariously at the meeting
of land and sea, history and mythology,
John Sayles’ The Secret of Roan Inish
seeks to reclaim the truths of the past
from an uncertain future.The film
centers on Fiona, a young Irish girl sent to live with her grandparents in a fishing village.
Inspired by the legend that one of her ancestors married a Selkie, a seal who is part
human, Fiona and her cousin search the island for both her little brother and a place
where her family and their fantastic history can dwell in perpetuity. Beautifully shot by
Haskell Wexler, The Secret of Roan Inish is an ageless tale that successfully explores the
cultural truths of legends.

33
Sunday, February 25
The Eel (Unagi).
Homage to Shohei Imamura.
7 pm
Introduction by Tomoe Ishii
The Eel (Unagi). Dir Shohei Imamura.
Japan. 1997. In Japanese with English
subtitles. 117m.
The films of Shohei Imamura
(Vengeance is Mine, The Ballad of
Narayama) are a potent mixture of blood and ice with a surface of cool, almost scientific
detachment set against a roiling underside of violence, anarchy, and eroticism. Winner of
the Cannes Palme d’Or, The Eel is a highly original blend of quirky black comedy, offbeat
romance and surreal fantasy.Yamashita, an uptight businessman savagely murders his
adulterous wife. Paroled eight years later, he settles in a remote seaside community,
where he confounds his neighbors with his peculiar attachment to his pet eel. Keiko, a
would-be suicide whose life he reluctantly saves, disrupts his eel-like existence. The Eel is
finally about accepting obligation, both to oneself and to others, and the common phrase
“obligato,” quietly uttered at the film’s climax has never resounded more movingly or
meaningfully. The Eel won the Palme d’Or at Cannes in 1997.
Monday, February 26
The Child (L’Enfant).
Noon
The Child (L’Enfant). Dirs Jean-Pierre
Dardenne and Luc Dardenne. Belgium.
2005. In French with English subtitles.
100m.
“For the past decade, the Belgian
brothers Jean-Pierre and Luc Dardenne
have been building one of the most
passionately engaged bodies of work in contemporary cinema. Like the Dardennes’ other
recent fiction films (La Promesse, Rosetta and The Son), The Child takes place in an
industrial town far from the tourist cathedrals and squares.The story opens with Sonia
(Déborah François), a pretty young blonde with a newborn son, Jimmy, in tow. She is
anxiously searching for the man we soon learn is her boyfriend, Bruno (Jérémie Renier).
When she finds him, he greets her warmly but barely registers the mewling bundle in
her arms.The next day, while Sonia’s attention is directed elsewhere, Bruno sells Jimmy
on the black market. Why make a film about Bruno? The same might be asked about
Raskolnikov. Like Robert Bresson, whose Pickpocket informs The Child and is itself a
loose reworking of Crime and Punishment, the Dardennes are not interested in passing

34
judgment on a grievously flawed character. Rather, what interests the Dardennes — what
invests their work with such terrific urgency — is not only how Bruno became the kind of
man who would sell a child as casually as a slab of beef, but also whether a man like
this, having committed such a repellent offense, can find redemption.” The Child won the
Palme d’Or at Cannes in 2005. –Manohla Dargis, The New York Times
Monday, February 26
The Chronicle of Anna-Magdalena Bach.
Homage to Danièle Huillet
7 pm
The Chronicle of Anna Magdalena Bach. Dirs Jean-Marie Straub and Danièle Huillet.
Germany/Italy. 1968. In German with English subtitles. 93m.
The directors’ best-known film “is, in the first of its many paradoxes, both insistently
severe and intensely pleasurable. The nominal subject is the life of Johann Sebastian
Bach as told by wife Anna Magdalena….The Straubs’ professed aim was to use the
18th-century composer’s music ‘not as accompaniment but as esthetic material’;
accordingly, the film is mostly composed of live performances of Bach’s cantatas, arias,
and requiems, staged in static tableaux. Rigorously shorn of suspense and drama, the
narrative (the death of Bach’s children, problems with patrons, his encroaching blindness)
is tossed off as narration over authentic letters and engravings, and the notion of ‘acting’
is rejected as ruthlessly as in the sternest Bresson — as Mr. and Mrs. Bach, respectively,
harpsichordist Gustav Leonhardt, and singer Christiane Lang are asked not to ‘play’
characters, but to lend their bodies and voices to the camera, every inflection scrubbed
off. If in print that sounds like an exercise in arctic formalism, Chronicle is first and
foremost a reminder of how essential a role the senses play in the act of experiencing film
— through the beauty of its music and the limpidity of its images, it invites not ‘alienation’
but complete immersion, so that ‘spectacle’ can be reconstructed through contemplative
analysis.” –Fernando Croce, Slant magazine
Tuesday, February 27
3-Iron (Bin-jip).
Noon
Introduction by Kwang-Woo Noh
3-Iron (Bin-jip). Dir Kim Ki-duk. Korea.
2004. In Korean with English subtitles.
88m.
Born in 1960, Kim Ki-duk is on the
vanguard of Korean cinema and
3-Iron is his eleventh film. In 2004, he received the best director award at the Berlin
Film Festival for The Samaritan Girl and at the Venice Film Festival for 3-Iron. One of
his recurrent themes is the repression and brutality of modern civilization.Audiences

35
occasionally misinterpret and dislike the graphic violence of his early works. But besides
their violent images, his early films are also characterized by a desire for redemption.
More recently, he has begun mitigating violence with greater subtlety, symbolism and
poetic realism. 3-Iron is a great achievement in simplicity, minimalism and aesthetics of
space. –Kwang-Woo Noh
Highlights from the Canyon Cinema Collection. 86m.
5 pm
Highlights from the Canyon Cinema Collection, curated by Dominic Angerame.
“Canyon Cinema is one of the world’s premier distributors of experimental and avant-
garde films. Canyon Cinema’s inventory contains more than 3000 motion picture films for
rent and sale, and represents the work of 325 filmmakers from all over the globe.Tonight’s
program represents a sampling of a few of the films that are currently in distribution. They
demonstrate various experimental techniques that are used by experimental film artists.
The two films of Len Lye Kaleidoscope and Colour Flight are known as ‘direct films’ in
that they were created by painting directly onto the surface of the film. Stan Brakhage’s
Night Mulch and Very use a similar process, with the paint being applied directly over
pieces of Hollywood film trailers. Kenneth Anger’s beautifully lyrical film Eaux d’artifice
(Waterworks) was filmed in 1953 in Tivoli, Italy with music by Vivaldi. Donna Cameron’s
Autumn Leaves combines representational footage with a special paper emulsion process
created by the filmmaker. Maia Cybelle Carpenter’s Working Portraits showing the beauty
of hand-processed film was shot in June 2000 at Phil Hoffman’s Independent Image-
Making Workshop in Canada. Alone, Life Wastes Andy Hardy is a comic found footage
film musical, while Angelina Krahn’s film Stigmata Sampler was literally stitched together
through the use of a sewing machine. Frédérique Devaux’s film Ellipses is a collage film
created from bits of pieces of torn and broken film fragments. Phil Solomon’s Psalm
III: Night of the Meek features images that seem to emerge from a molten lava of film
emulsion depicting found images from Berlin in the 1930’s. I hope you enjoy tonight’s
program as much as I had in curating it.” –Dominic Angerame, Director, Canyon Cinema
Nashville.
Homage to Robert Altman
6:30 pm
Nashville. Dir Robert Altman. USA. 1975. 159m.
On November 20, 2006 filmmaker Robert Altman (MASH, Short Cuts) lost his battle
with cancer.The Big Muddy Film Festival acknowledges and honors the body of work of
this Kansas City-born director with a special screening of his masterpiece of Americana,
Nashville. Filmed and released during the immediate post-Watergate era, Nashville in
typical Altman fashion follows no fewer than a dozen characters through several days of

36
a country music festival in Tennessee. Half-musical, half-dark political satire, Nashville
features a large cast of actors improvising overlapping dialogue, a technique that would
become synonymous with Altman’s style of filmmaking. Nashville serves as an excellent
example of the creative excitement and spirit of innovation that a vanguard of film artists,
including Altman, managed to force into mainstream Hollywood during the 1970s.
Wednesday, February 28
After Innocence.
Noon
After Innocence. Dir Jessica Sanders.
USA. 2005. 95m.
Winner of the Special Jury Prize at
the Sundance Film Festival, “Jessica
Sanders’s documentary confirms many
of the worst fears about weaknesses in
the American criminal-justice system.
In examining the cases of seven men
wrongly convicted of murder and rape and exonerated years later by DNA evidence, the
film reinforces the queasy feelings you have while following high-profile criminal trials.
The film, written by Ms. Sanders and Marc Simon, was made in collaboration with the
Innocence Project, a non-profit legal clinic founded in 1992 by the lawyers Barry C. Sheck
and Peter J. Neufeld at the Benjamin N. Cardozo School of Law in Manhattan.The clinic
handles only cases in which post-conviction DNA testing can yield conclusive proof of
innocence. Its work has helped exonerate more than 160 people, and it estimates that
DNA testing could free thousands more.” –Stephen Holden, The New York Times
Wednesday, February 28
Student Center Auditorium. 16mm and DVD. Free
Presentation/Performance by Juror Amy Granat.
7 pm
Part 1
Rabbit’s Moon (long version). Dir Kenneth Anger. 1972. 16mm. 14m.
Moon Play. Dir Marie Menken. n.d. 16mm. 5m.
Roadfilm. Dir Standish Lawder. 1970. 16mm. 2m.
The Very Eye of the Night. Dir Maya Deren. 1959. 16mm. 15m.
For Georgia O’Keefe. Dir Hollis Frampton. 1976. 16mm. 3m.
“‘Rabbit’s Moon’ seems to me your finest film, most perfect and, oh all together finest!, of
the sharpest clarity. Beautiful, yet beauty balanced by dreadful necessity, so that it is an
emblem of the soul’s experience: signature…. And I think my turn-of-mind here especially
appropriate because I also saw this film as your autobiography, all the figures in it aspects
of yourself, its magical progress a kind of ‘story of your life.’” –Stan Brakhage
Part 2: Amy Granat’s Films

37
Thursday, March 1
The Gold Diggers.
Noon
Introduction by Dr. Deborah Tudor and Babette Mangolte.
The Gold Diggers. Dir Sally Potter.
England. 89m.
Cast: Julie Christie, Colette Laffont.
Director of Photography: Babette
Mangolte.
The first feature from the director of
Orlando, The Tango Lesson, and The
Man Who Cried is a key film of early
Eighties feminist cinema, embracing
a radical, experimental structure and
made with an all-women crew. Colette (Colette Laffont), a black French woman working
in the City as a computer operator at a bank, begins to investigate the significance of the
figures she copies, despite discouragement from her male bosses, and discovers gold
to be the secret key to the circulation of money. Ruby (Julie Christie), a beautiful, blonde
star, is a cipher passed from man to man in a ballroom until she’s rescued by Colette who
bursts in on horseback.Through Colette’s questioning, Ruby begins to understand her role
as a woman and cinematic icon, pursuing her own memories and the history of movie
heroines.
“Crammed with metaphors and metamorphoses involving ice and gold, film and feminism,
politics and pleasure… Visually entrancing… An absorbing pleasure.” –City Limits
“A feminist sci-fi musical extravaganza… Remains consistently fresh and unpredictable.”
–Sight and Sound
Thursday, March 1
Student Center Auditorium. DVD. Free
Pickpocket.
5 pm
Pickpocket. Dir Robert Bresson. France.
1959. In French with English subtitles.
76m.
“Bluntly put, to not get Bresson is to not
get the idea of motion pictures — it’s
to have missed that train the Lumière
brothers filmed arriving at Lyon station 110 years ago.The late French filmmaker
made 13 features over the course of his 40-year career; each is a drama of faith so
uncompromising as to border on the absurd. Bresson’s actors do not act, they simply are;
his favorite effect is the close-up. His movies may be cerebral, but their effect is primarily

38
emotional — or physiological. They naturally induce a state of heightened awareness.
Some might call it ‘grace.’ … The opening title,‘This film is not a thriller,’ has the effect of
Magritte’s famous surrealist painting ‘Ceci n’est pas une pipe’…. Indeed, Pickpocket might
be described as a solemn carnival of souls.There’s something almost medieval about
it.The city is inhabited by angels — fallen and otherwise. In the movie’s most elaborate
scene, the antihero and his cohorts create an assembly line of theft at the Gare de Lyon.
These unstoppable blank-faced thieves descend like a plague upon the world. Ultimately
inexplicable, this concentrated, elliptical, economical movie is an experience that never
loses its strangeness.” –J. Hoberman
Thursday; March 1
Student Center Auditorium. Free
Films by Juror Babette Mangolte.
The Models of Pickpocket and “Water Motor.”
7 pm
Introduction by Babette Mangolte.
The ‘Models’ of Pickpocket (Breaking Silence) (Les Modèles de Pickpocket). Dir
Babette Mangolte. France. 2003. In French with English subtitles. 89m.
“In this personal and poetic documentary, Babette Mangolte — possibly the best
cinematographer now working in experimental cinema (she’s also shot major films by
Chantal Akerman, Richard Foreman, Jean-Pierre Gorin, Marcel Hanoun, Sally Potter, Jackie
Raynal, Yvonne Rainer, and Michael Snow) — interviews the three leading performers
from Robert Bresson’s wondrous 1959 Pickpocket. Bresson wanted to convey directly,
without acting, the spiritual essence of individuals, which is why he called his performers
‘interpreters’ or ‘models.’ These three were clearly marked by the experience of working for
him, and as Mangolte moves from France to Austria to Mexico meeting them she seems
as responsive to their self-aware vibrancy and as respectful of their mysteries as Bresson
was.” –Jonathan Rosenbaum
Water Motor. Dir Babette Mangolte. USA. 1978. 16mm. 7m.
“The image fades in. For two seconds Trisha is there standing motionless, then she starts
to dance her solo ‘Water Motor,’ indeed moving as quickly as water. The movements are so
fast and intricate that you feel you are missing half of it. When the dance is finished Trisha
is standing motionless as in the beginning but closer to the camera and the image fades
to black.The image fades in again on Trisha doing the same dance, but this time in slow
motion (shot at 48 frames per second) and the movement takes on a luscious quality
that informs the viewer of what was missed before.” –Babette Mangolte
“One of the best dance films ever made.” –Yvonne Rainer

39
Friday, March 2
Student Center Auditorium. Free
Presentation by Jonathan Rosenbaum: “The Present and Future of Film Criticism”
7 pm
Friday, March 2
Dr. Strangelove or: How I Learned to
Stop Worrying and Love the Bomb.
Midnight
Dr. Strangelove or: How I Learned to
Stop Worrying and Love the Bomb. Dir
Stanley Kubrick. UK. 1964. 96m.
“Mr. President, we are rapidly
approaching a moment of truth both
for ourselves as human beings and for the life of our nation. Now, truth is not always
a pleasant thing. But it is necessary now to make a choice, to choose between two
admittedly regrettable, but nevertheless distinguishable, post-war environments: one
where you have twenty million people killed, and the other where you have a hundred and
fifty million people killed.” –General Buck Turgidson
With these words, the air force general played by George C. Scott urges the president
to launch a preemptive nuclear strike on his nation’s enemies. Stanley Kubrick’s dark
comedy intelligently lampoons such rational insanity with the precision of a tactical
missile. Satirizing both the military industrial complex and the anachronistic hyper-
masculinist tribalism in which it is rooted, Dr. Strangelove has ingrained itself within our
collective consciousness as few motion pictures have. It is the quintessential “Cold War”
film, but it also transcends such historical limits. The absurdity of the institutions satirized
by Kubrick and Peter Sellers (truly memorable in his 3 distinct roles) remains lamentably
persistent.As long as there is war, generals, and bureaucrats, Dr. Strangelove will maintain
its sad hilarity and scary relevance.
Saturday, March 3
Where Does Your Buried Smile Lie? (Où gît votre sourire enfoui?).
Homage to Danièle Huillet.
Introduction by Jonathan Rosenbaum.
5 pm.
Where Does Your Buried Smile Lie? (Où gît votre sourire enfoui?). Dir Pedro Costa.
France/Portugal. 2001. In Italian and French with English subtitles. 95m.
The Portuguese filmmaker Pedro Costa filmed Danièle Huillet and Jean-Marie Straub as
they edit their film Sicilia! During that process, Straub and Huillet talk about general and
particular aspects of the movie industry, in an extremely interesting dialogue.

40
Saturday, March 3
The War Tapes.
Introduced by SIU alum and one of the
film’s producers, Steve James.
7 pm
The War Tapes. Dir Deborah Scranton.
Prod Steve James. USA. 2006. 97m.
The War Tapes is Operation Iraqi
Freedom as filmed by Sergeant Steve
Pink, Sergeant Zack Bazzi and Specialist Mike Moriarty.These and other soldiers captured
over 800 hours of footage, providing a glimpse of their lives in the midst of war. The result
is a raw portrait of three men as they face, and struggle to understand, their duty. Steve
is a wisecracking carpenter who aspires to be a writer. Zack is a Lebanese-American
university student who loves to travel and is fluent in Arabic. Mike is a father and resolute
patriot who rejoined the army after 9/11. Each leaves a woman behind — a girlfriend,
a mother, and a wife. Directed by Deborah Scranton and produced by Robert May (The
Fog of War) and Steve James (Hoop Dreams), The War Tapes won the award for Best
Documentary at the 2006 Tribeca Film Festival and Best International Documentary at
the inaugural 2006 BritDoc Festival.
Saturday, March 3
Baadasssss!
Midnight
Baadasssss! Dir Mario Van Peebles.
USA. 2003. 109m.
In Baadasssss director Mario Van
Peebles dramatizes and documents
his father’s struggles to make his 1971
landmark film, Sweet Sweetback’s
Baadasssss Song that no Hollywood
studio would produce. In that film,
Melvin Van Peebles pushed the
boundaries of the color line in
Hollywood, ultimately helping to found
independent black cinema. Playing his
father, Mario depicts a man doggedly
determined to complete his film at all
costs; the film can serve as a manual
for guerrilla filmmaking techniques. Disguising his film as a porn flick to avoid union
regulations, Melvin blows up cars (without permits), casts his 12-year-old son in a scene
with a prostitute, bounces checks, lies, and even manhandles a crew member in order

41
to achieve his vision. Melvin also insisted upon a racially diverse crew, training many
minority crew members on the job, committed to creating a cinema by African-Americans
for African-Americans.The father and son relationship between subject and director is
compelling, but not central. Instead, the film succeeds in humanizing its protagonist, ego
and all, and shows how he turned a low-budget thriller into a cultural milestone.
Sunday, March 4
Waiting for Happiness.
10 am
Waiting for Happiness. Dir
Abderrahmane Sissako. Mauritania/
France. In French and Hassanya with
English subtitles. 95m.
Considered the most important African
filmmaker to have emerged in the past
decade, Sissako beautifully observes the mosaic of life in a small seaside village on the
West Coast of Africa where the inhabitants have created their own kind of modern world.A
poetic reflection on the themes of exile, travel, home and displacement.The film won the
International Critics’ Award at Cannes in 2002.

42
Big Muddy Staff
Sally Shafto, Executive Director
Curt Sidorski, M.F.A., Graduate Assistant
Kwang-Woo Noh, Ph.D., Graduate Assistant
Lindsay Greer, M.F.A., Graduate Assistant
Lloyd Dunn, Graphic Designer
Vincenzo Guarnera, Photographer
Big Muddy Organizing Committee
Curt Sidorski (Community Outreach Programmer, Juror Liaison, Venue Coordinator, Pre-
Screening Coordinator,Technical Advisor, Programming Committee Member)
Kwang-Woo Noh (Pre-Screening Coordinator, Film Coordinator, Features Coordinator,
Programming Committee Member, Program Editor)
Lindsay Greer (Juror Liaison, Pre-Screening Coordinator,Ad Sales Coordinator, Craft
Coordinator, Press & P.R. Coordinator, Programming Committee Member, Program Editor)
Eriko Ami (Merchandise Assistant, Film Coordinator, Programming Committee Member)
Kate Balsey (Juror Liaison,Ticket Collector)
Dan Boomgarden (WSIU Ad Designer, Technical Advisor, Programming Committee
Member, Community Outreach Coordinator)
Bryan Brown (Merchandise Salesperson, Programming Committee Member, Community
Outreach Coordinator)
Trenton Carson (Ad Sales Coordinator, Merchandise Salesperson, Ticket Collector,
Programming Committee Member)
Ryan Claypool (Technical Advisor, Programming Committee Member)
Meghan Currey (Ad Sales Coordinator, Technical Advisor, Programming Committee
Member)
Billy Floyd (Ticket Collector, Flier Distributor)
Brian Gallagher (Juror Liaison, Technical Advisor)
Aygul Idiyatullina (Graphic Designer, Graphic Design Liaison to the Designer)
Tomoe Ishii (Film Coordinator, Merchandise Salesperson, Programming Committee
Member)

43
Andy Jones (Merchandise Salesperson, Programming Committee Member)
Jared Kennedy (WSIU Ad Designer,Technical Adviser, Programming Committee Member)
Jonathan Logwood (Ticket Collector)
Sean Loftus (Technical Advisor)
Keith McKenna (Merchandise Salesperson, Programming Committee Member)
Suzanne Milano (Merchandise Coordinator, Craft Coordinator, Graphic Designer, Press
Coordinator, Programming Committee Member)
Robyn Reeves (Ad Sales Coordinator, Programming Committee Member)
Natsumi Shibata (Film Coordinator, Programming Committee Member, Merchandise
Salesperson)
Justin Skarrin (Merchandise Salesperson)
Jennifer Van Brooker (Photographer)
Tom Vasilij (Merchandise Salesperson, Programming Committee Member, Technical
Advisor)
Brian Wilson (Juror Liaison)
Jason Zenz (Technical Supervisor, Community Outreach Coordinator, Programming
Committee Member)
Wei Zhang (Film Coordinator)
Pre-Screening Committees
Najjar Abdul-Musawwir
Dan Boomgarden
Bryan Brown
Ryan Claypool
Meghan Currey
Stuart Fischoff
Rachel Gordon-Fischoff
Lindsay Greer
Tomoe Ishii
Jared Kennedy
Cheonae Kim
Wago Kreider
Rachel Malcolm-Woods
Antonio Martinez
Keith McKenna
Suzanne Milano
Jay Needham
Kwang-Woo Noh
Keun-Pyo Park
Nick Yeck-Stauffer
Sally Shafto
Bob Shapiro
Natsumi Shibata
Curt Sidorski
Dee Tudor
Tom Vasilij
Brian Wilson
Marvin Zeman
Jason Zenz

44
Special Thanks
Members of SIU-C
Najjar Abdul-Musawwir (Assistant Professor, School of Art & Design), Steve Banker (SIU
Office of Research & Development), John Corson (MFA ’07, Department of Cinema &
Photography), Mike Covell (Assistant Professor, Department of Cinema & Photography,
Community Activist and Organizer), Renee Dillard (Director of Fundraising, WSIU), Stuart
Fischoff (Screenwriter and Psychologist), Rachel Gordon Fischoff (Script Consultant),
Georgeann Hartzog (R.N., St. Joseph Hospital), Ron D. Graves (Development Officer,
MCMA), Candy Isberner (Executive Director,WSIU), Sarah Kanouse (Assistant Professor,
Department of Cinema & Photography), Jyotsna Kapur (Associate Professor, Department
of Cinema & Photography, Community Activist and Organizer), Cheonae Kim (Artist-
in-Residence, School of Art & Design), Wago Kreider (Assistant Professor, Department
of Radio & Television), Fern Logan (Associate Professor, Department of Cinema &
Photography), Rachel Malcolm-Woods (Visiting Assistant Professor, Department of
Cinema & Photography), Paul Matalonis (Attorney, Land of Lincoln Legal Services),
Antonio Martinez (Assistant Professor, Department of Cinema & Photography), Hugh
Muldoon (United Campus Ministries/Interfaith Center), Jay Needham (Assistant
Professor, Department of Radio & Television), Mary O’Hara (Professor, John Logan
College), Dan Overturf (Associate Professor, Department of Cinema & Photography),
Dean Manjunath Pendakur (College of Mass Communication & Media Arts), Christy
Poggas (Fine Arts Fee Committee),Tommie Rayford (Assistant to the Chair, Department
of Cinema & Photography), Rhonda Rothrock (Front Office Manager, Department of
Cinema & Photography), Roger Trexler (Printing/Duplicating Service), Dee Tudor (Chair
& Associate Professor, Department of Cinema & Photography), Shannon Wimberly
(Printing/Duplicating Service), and Marvin Zeman (Associate Professor, Department of
Mathematics)
Additional Special Thanks
Dominic Angerame (Canyon Cinema), Eric Di Bernardo (Rialto Pictures), Sarah Finklea
(Janus Films), Charlie Geocaris (SIU ’83, Nevada Film Office), George Grigus (SIU
’83, Silent Partner Films), Jonathan Howell (New Yorker Films), Steve James (SIU ’84,
Filmmaker and Producer),Todd Klein (Silent Partner Films),Anastasia Kousakis (SenArt
Films), Nicole Pudlowski (Swank Motion Pictures), Paul Seiler (Kerasotes Theater), M.
M. Serra (New York Filmmakers Coop), Cindy Shuck (Kerasotes Theater), Encarnacion
M.Teruel (Illinois Arts Council), Klaus Volkmer (Deutsches Filmmuseum, Munich), and
Christine Whitehouse (British Film Institute, London)

53
Northwestern University Dissertation Sisters
Salute the Big Muddy!

Thank you to
Silent Partner Films
for inaugurating the
Endowment
Silent Partner Films
1130 W. Monroe St. Chicago, IL 60607
312-733-9808 Fax 312-733-1536
todd@spﬁlms.com

Key
❶ Student Center Auditorium
❷ Longbranch Coffee House, 100 E. Jackson
❸ Interfaith Center, 913 S. Illinois Ave.
❹ Cinema Soundstage, Mass Communications Building, Room 1116
❺ Liberty Theatre on Walnut (W. Rt. 13) Murphysboro
❻ WHAM Auditorium, Room 105
❼ University 8 Theatre, 1370 W. Main
❽ Yellowmoon Cafe, 110 N. Front St., Cobden
❾ Illinois Migrant Council,Technology Learning Center, 111 South Appleknocker, Cobden
Map of Venues

Friends of the Big Muddy Film Festival
$500+ Benefactor
✦ Our undying gratitude
✦ 2 All Events Passes
✦ 2 Commemorative T-shirts
✦ 2 BMFF mugs
✦ 1 Festival poster
✦ Recognition in the Festival program
$100+ Angel
✦ Choice of: 2 All Events Passes; or 1
All Events Pass and 1 T-shirt;
Plus:
✦ 1 BMFF mug
$50+ Patron
✦ 1 All Events Pass
✦ 1 BMFF mug
$25+ Friend
✦ 1 All Events Pass
Under $25 Fan
Yes, I want to be a part of the continuing growth of the Big Muddy Film Festival.
_____ $500+ Benefactor
_____ $100+ Angel
_____ $50+ Patron
_____ $25+ Friend
_____ Up to $25 Fan
Donation amount $_____________________________
Please make checks payable to:
Southern Illinois University Carbondale
_____ I would like to be notiﬁed of upcoming events.
Name _________________________________________
Address _______________________________________
City ___________________________________________
State___________________ Zip_________________
Phone_________________________________________
E-mail_________________________________________

2
Danièle Huillet as a young girl. Photo courtesy Klaus Volkmer.
“Dogwood” (2000). Photograph by Fern Logan.
Department of Cinema and Photography
Communications Building
Southern Illinois University Carbondale
1100 Lincoln Drive
Carbondale, IL 62901-6610
info@bigmuddyﬁlm.com
www.bigmuddyﬁlm.com
tel. 618 453–8301
fax 618 453-2264

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