Ann Arbor Film Festival 2009

Corey and Max compete for the same woman at the grocery store. However, all is not what it seems at the checkout line in this comedy about sexual competition and identity.

A meditative experimental documentary about loss in the wake of Hurricane Katrina. The filmmaker parallels her experience upon returning to New Orleans with the experience of filmmaker Stevenson Palfi, who committed suicide in the months after the hurricane.

In 1950, when Detroit was the auto production capital of the world, there were 1,849,568 people in the city. Today there are half that many remaining. Everyone's heard of the crumbling infrastructure that follows a shrinking, post-industrial city like Detroit. But what about the increase in space for outdoor art, less traffic, little gridlock, the return of urban wildlife and green space, and some of the pluses of having a city to yourself?

A pair of glasses and their strange power as an historical artifact.

A classic coming-of-age story takes a powerful turn when Sean's struggle to understand who he really is explodes the lie that goes to the core of his being, his relationship with his father, and his future as a man.

Cobra Mist explores the relationship between the landscape of Orford Ness and the traces of its unusual military history, particularly the experiments in radar and the extraordinary architecture of the Atomic Weapons Research Establishment. The place has a sinister atmosphere, which the architecture itself begins to reveal and the sense of foreboding is accentuated through the filmu's soundtrack.

A curious girl investigates the mysterious disintegration of her paper world.

"COMPOSITION shares the same jolly atmosphere as the commercials, but whereas each of Fischinger's previous films had utilized only one basic animation technique, COMPOSITION IN BLUE bursts forth with half a dozen different new techniques - mostly involving pixilation of three-dimensional forms… "The basic format of the film centers around solid objects moving about in an imaginary blue room. Fischinger delights in setting up conditions so that the audience makes associations with probable or 'real' everyday happenings, and then extending the analogy beyond the limits of possibility, bursting the bubble of the audience's credibility. In the opening scene, Fischinger is careful to show the red cubes entering the 'room' through a door, so we will identify with this as a plausible situation. Then he subtly introduces a mirror as the 'floor' to the room, again gaining our confidence in this special but logical reality. Then, at the climax of the film, a cylinder pounds on the mirror-floor and creates circular ripples as if the floor had suddenly turned to water, something that pushes us, with a rush of delight, out of the realm of reality into a joyous world of sheer, absurd fantasy."" - Dr. William Moritz, Film Culture"

In peaceful Halftone City, a mysterious heroine and a brave ally face the ultimate threat...