In some programs it seemed that a lot of the films were not new and many had been seen before by those regular on the festival circuit. Students enjoyed the programs but were split between the screenings and the lectures. However, the "Special Presentations" and thematic programs brought back old favorites and cleverly packaged them with new and difficult-to-find pieces to create some delightful programs. "Handbags & Hairdos; The Animator's Guide to Camp, Queer and Kitsch" was such a program featuring gay and lesbian works. The absolute highlight for some was the festival salute to Oliver Postgate and Peter Firmin. When one brave soul tentatively asked, "May I touch Bagpuss?" a roar went up from the crowd as everyone had been wondering the same. Soon a line wrapped around the St. David's Hall stage as everyone wanted to get just a little bit closer to their childhood memory.

The opening night's film was The Magic Sword: Quest for Camelot I am sure this seemed like quite the treat when it was first obtained by the festival. I wonder how they feel about it now...Bill Plympton's I Married A Strange Person was, of course, packed with fans. Plympton was present and his usual easy going self despite what must have been close to two days of sleep deprivation due to traveling. Perfect Blue, by director Satoshi Kon, is a groundbreaking animated psychological thriller and puzzled everyone who stayed to view it at 10:00 p.m. on Saturday night. "That did my head in," was the general consensus but no one said they didn't enjoy it.

Guests of the festival, like Cuppa Coffee Animation, Magnus Carlsson and Georges Lacroix, all presented special programs. Georges Lacroix showed a history of Fantôme's work and, after a few financially shaky months, happily presented their new productions. "An Evening with Nickelodeon and Klasky Csupo" was highly anticipated as they were the largest U.S. studio conglomerate present. Unfortunately, a clash of cultures happened as the audience wanted to see more of the giant's productions and hear less speeches. Many a disgruntled audience member left complaining of American arrogance!

The Channel Four Independents Forum. Left to right: Tom Bertino, Candy Guard, Carl Franklin, Clare Wilford and Lucy Murphy. Photo by Gerben Schermer. © AWN.

Clare Wilford's "British Programmes" were a treat, highlighting the best of the great nation's work. From adult programs to crowd-pleasers to the new work of independents, it was all covered. The range in some programs was a bit shocking as one never knew what was going to appear next. For instance, in the "Premiere Selection - World and U.K. Premieres" the audience was treated to the touching and emotionally stirring Silence, by Orly Yadin and Sylvie Bringas. This film was the best that I saw at the festival and relates the story of a little girl who was able to survive the Holocaust with the help of her grandmother and by being silent. Finally, 50 years later, Tara, our heroine, breaks her silence and tells her story. This triumph was in the same program as two short episodes of Darren Walsh's Angry Kid which proves that boys will always be boys and get funding for their gross, pointless films.

The Angel Hotel was an oasis of interesting viewing where almost every screening was well attended. I could have stayed there all week with screenings of work by William Kentridge, Jerzy Kucia, the East German DEFA Studio, Marv Newland's favorite films, and crowd pleasing shows like Rex the Runt. In the CIA and Angel Hotel, the organizers were smart to underestimate rather than overestimate the number of people that would be attending each event. As a result I only remember full rooms which leaves a lively, healthy impression.