RULES AND TERMS
The Ann Arbor Film Festival is open to experimental films as well as films that demonstrate a high regard for the moving image as an experimental art form, no matter the genre. Each year the AAFF selects 100-145 shorts and features for exhibition in the awards competition portion of the festival.
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Films previously submitted may not be re-entered unless there has been a significant change to the edit. Later versions of a film may be reviewed and/or selected at the programmer's discretion.
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Short and feature-length entries are accepted.
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Short films run no longer than 60 minutes. Feature films run 60 minutes or more.
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Entries not in English should have English subtitles.
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Works in progress may be submitted, but are juried in the same pool as all other submissions.
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Work must be contemporary - completed within the last three years.
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Entry fees are per film entered, and must accompany the entry form for confirmation. Entry fees are non-refundable.
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Make checks and money orders payable to the Ann Arbor Film Festival.
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The Ann Arbor Film Festival does not give waivers or discounts.
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Entries are accepted via secure online screening and 16mm only. We do not accept DVD, VHS or video data files for screening purposes.
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16MM
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If you would like the festival to preview a 16mm print of your film, please contact the festival directly at submissions@aafilmfest.org to make arrangements.
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Profile
About
Since the 1980s, Lynne Sachs has created cinematic works that defy genre through the use of hybrid forms and cross-disciplinary collaboration, incorporating elements of the essay film, collage, performance, documentary and poetry. Her highly self-reflexive films explore the intricate relationship between personal observations and broader historical experiences. With each project, Lynne investigates the implicit connection between the body, the camera, and the materiality of film itself.
Lynne discovered her love of filmmaking while living and studying in San Francisco where she worked closely with artists Craig Baldwin, Bruce Conner, Barbara Hammer, Gunvor Nelson, and Trihn T. Min-ha. During this time, she produced her early, experimental works on celluloid which took a feminist approach to the creation of images and writing— a commitment which has grounded her body of work ever since.
