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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Uku Pacha is a 360° virtual reality cinematic experience created by Diego Bonilla. Presented in March 2022 at the 60th Ann Arbor Film Festival, the AAFF is excited to bring Uku Pacha back for a2Tech360.
October 12th and 13th, 2022
TIME: 10am to 2pm
CultureVerse
309 S Main St, Ann Arbor, MI 48104
Uku Pacha tells the story of three people on a road journey through the Ecuadorian Andes: a businessman, a journalist, and the son of a politician. As the plot moves forward, the passengers seem caught in time loops, or a multiplicity of journeys, and start questioning why they were summoned, why together. As it turns out, for each of the main characters the recurring dream is closer to a recurring nightmare, although for different ethical reasons.
Diego Bonilla’s creative work is focused on the development of hypermedia content to achieve valid forms of expression in both poetry and audiovisual narratives. His cinematographic work uses programming to edit films in many different ways based on their story and the viewer’s input.