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The Film & Video Institute

AMPS 2005
Results
Generous awards to overseas entrants at
2005 AMPS American International Film & Video Festival.
Still from 'Forgotten Hero'. Stoke Cine & Video Society (UK) took
  • first prize in the General Category
  • Best Documentary
  • Best Foreign Entry

for Alan Wood's film A Forgotten Hero.

Still from 'Together with Yoda'. Willy Van der Linden's (Belgium) Together With Yoda won
  • second prize in the General Category
  • Best by a New AMPS member
  • Best Travel

Still from '225'.
225

Christopher David (UK) won Best Experimental with 225

Michael Slowe's Melissa (UK) came third in the general category.

Still from 'Melissa'.
Melissa

Still from 'Sublime'.

Sublime

Switzerland's Filippo Lubiato's Sublime took prizes for
  • Best Story
  • Best Photography

Best Editing went to Express to Silence by Clip Club (Switzerland)

Still from 'Express to Silence'.
Express to Silence

Portrait of Barry McKnight and Roger Cowland.
Barry McKnight &
Roger Cowland

Best Nature Lady Elliott Island by Barry McNight & Roger Cowland (Australia)

Best Entry from an AMPS member (minimum 2 years) Buses, Cars, Trains and Planes by Bob Makara (USA)

Portrait of Mark Levy.
Mark Levy

Best Short Comedy (Less than 5 minutes) Joint Winners:

An Act of Con-fidence by Pam & Walt Gilmore (USA)

Paper Chase by Mark Levy (USA)

Still from 'An Act of Con-fidence'.
An Act of Con-fidence

Certificates of Merit:

  • Gambler by Alex Szatmary (Canada)
  • One Day at a Time by Mal Whiteley (UK)
  • Quiet Country Lane by Paul Chater (UK)
  • Generaciones by Joyce Axelrod (USA)
  • Hong Kong BC by Bill & Mary Ann Leeder (USA)
  • Petra by Pat & Brian Deakin (New Zealand)
  • Return of Agent 12 by Detonation Films (USA)
  • Krunk-Fu-Bravas by Tony Balde (USA)
  • Diet by Tana Fletcher (UK)
  • Cynthia's Choice by Atta Chui (UK)
  • Rebel by Barry McNight & Roger Cowland (Australia)

In addition to awards and certificates the winners get free AMPS membership for a year.


Page updated on 14 February 2008

Authors' views are not necessarily those of The Institute of Amateur Cinematographers

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