The heat did not deter moviegoers from supporting local filmmakers.  On the July 23, film aficionados gathered at that Workhouse Arts Center on Ox Road Lorton for the third annual Clifton Film Fest.

The festival showcased the 17 best short films by local artists in the 13-21 and 21+ category. It was the first time the festival was held at the Workhouse. According to creator/director Dani Weinberg, they needed to find a bigger venue, because of the expansion of the festival.

Weinberg also said she received more films this year than ever, “Twenty-two this year,” she said, “but we picked 17, because of time.”

Weinberg was pleasantly surprised by the,“quality of the films. The fact the films made were so well done.” She credits YouTube and the accessibility of digital filmmaking to renewed curiosity and professional-level filmmaking in the younger population. 

“I remember when I was in high school, I never had a place to submit my films locally," said Weinberg, a graduate of the Art Institute in Washington D.C. with a degree in digital film making and production. 

Weinberg judged the films, along with a team of seven film "experts" (graduates, students and professors from the Art Institute, along with two avid film fans to get the move-goers perspective). Films received awards in the categories of editing, audio/soundtrack, cinematography, story/theme, acting/narration and best picture.

Whereas most contemporary films tend to overly rely on fast-paced action, special effects and star-power, the Clifton Film Fest presented artfully crafted films exemplary for their cinematography, editing and audio.

In “Meditations: Man in the Water” by Jonathon Ade, which won Best Editing, Ade judiciously chose each image for its symbolic and emotive value.  

In the home-alone thrillers “Silent Mode” by Brett Line and “911” by Dillon Meyer, which won Best Cinematography in the student category, the filmmakers used cinematography to builds tension, where there was little interaction or dialogue.

Both “4 Seconds” by Brian Rose and “Hometown Sweet Home” by Kevin Park, utilized fresh narrative structures. Telling the story through a series flashbacks and flash-forwards, proved the best approach for developing character and emphasizing theme.

Music also played a starring role in the films, dictating mood and creating suspense. “Home Sweet Home” was an obvious example, part drama, part music video; yet other films, such as “Racket Punk,” by David Ashton uses juxtaposition. A band played an up-tempo rhythm, while their house was being robbed. 

“Racket Punk” also impressively mastered the reversal. Ashton led us to believe the protagonist was a morally corrupted. Only later do we recognize the emblematic heroisms foreshadowed.

"Saga Moktan-Hometown" by Nathan Smith took both Best Picture and Best Editing in the student category. A sleek rap video, it does the best job of overlaying images in a sophisticated manner, while exploring themes of poverty and the American dream.

"Game Over" which received best Audio/Soundtrack 21+ by Nick Sampson, is a wild animation ride, as is Oneiranaut by Erica Kobren which one for Best Cinematography/Composition for 21+. It combines digital film with animation for a dreamlike fantasy. 

But "Bing" by Alex Zeldin was a surprise for best picture. Though funny and well edited, it had no depth or narrative. 

Curiously, it was the documentary “The Sound Barrier,” by Allie Foreman, which won for Best Story/Theme in the student category, and “Witness to Innocence” by Brian Bullock, which took Best Acting/Narration in the adult category.

“The Sound Barrier” combined music, images and video to argue the decision to retire the space shuttles . In “Witness to Innocence” innocent people sentenced to death row take a stance against the the death penalty.

Overall the films were incredibly well done, and it was satisfying to see the use of local locations. 

For complete list of winners and more information about the Clifton Film Fest, visit www.cliftonfilmfest.com.