| Grand Prix for Best Film in Competition: |
Grace (USA) Lorelei Pepi |
| Emerging from darkness to startle us with a visceral dream of haunting corporeality, the film evokes elemental forces through subtle control of tone and technique. |
| Grand Prix for Best School in Competition: |
Royal College of Art, England |
| Director's Prize: |
Bermuda (Estonia) Ulo Pikkov |
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For its compelling rhythmic score and narrative musical devices which aurally organize the film's complex narrative structure and propel this clever story of an ill-fated romantic triangle. |
| ASIFA-Canada Award for Best Canadian Student Animation Film: |
Via Wire (Canada) Cliff Kafai Mok; Emily Carr School of Art and Design |
| Best High School Film: |
Java Noir (USA) Raf Anzouin |
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An impressive achievement in 3D computer animation, this cautionary tale of coffee obsession appropriates the grammar of film noir to high comic effect. |
| Best Undergraduate Film: |
Mister Smile (USA) Fran Krause |
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For its offbeat and irreverent humor and satisfying our need to be FLOOVED. |
| Nelvana Award for Best Graduate Film: |
Passport (United Kingdom) Siri Melchior |
| The film's inventive use of light and shadow reflects a sensitive and empathetic insight into a child's shifting experience of exile. |
| Cartoon Network Award for Best First Film: |
Monster (Russia) Alexey Antonov |
| As if from within by a single bulb, this anarchic scribble, an exercise in pure animation, surprises and delights. |
| Teletoon Award for Best Film by a Child: |
Mari Lwyd (Wales) The Children Of Plas Newydd School, Maesteg |
| An astonishing collective effort by Welsh children with inventive assemblages of large scale objects, pixillation, and mixed media, this work transcends folklore with humour and cunning. |
| ASIFA-Canada Best Canadian Film: |
Little Milos (Canada) Jakub Pistecky |
| For brilliantly combining caricature, timing and design to tell a scary/funny tale of innocence and 'railroading' evil. |
| Alias Wavefront Award for Best Computer Film: |
The Littlest Robo (United Kingdom) Richard Kenworthy |
| Sensitively probing the relationship of father and son, this film uses a minimal palette and stylized animation to achieve strong emotional impact. |
| Chromacolour Award for Best Use of Colour: |
At The Drop Of A Hat (United Kingdom) Hotessa Laurence |
| For its stylish, painterly design and bold use of colour to define and establish space and inner perspective. |
| Special Jury Citation for Best Use of Sound: |
Bermuda (Estonia) Ulo Pikkov |
| Special Jury Citation for Best Film Design: |
The Double Invention In A Minor (Slovakia) Vladimir Kral |
| For its unique, stylized graphics, within a musical structure, lending a refreshing abstraction to a familiar fairy tale. |
| Special Jury Citation for Best Non-Narrative: |
Edgeways (USA) Sandra Gibson |
| For its direct manipulation of essential film elements of rhythm, form, and sound to forge a concrete kinetic tone poem. |
