With the conclusion of the Seventh Annual LDS Film Festival at the SCERA Center in Orem, Utah, the talents of LDS Filmmakers have once again been proven in a wide variety of lengths and genres—from short animated films to an inspirational sports feature, from documentaries to suspense-thrillers. The festival included eleven feature films, two short film programs totaling 27 films, a screening of the 24 Hour Filmmaking Marathon, 12 presentations by prominent LDS filmmakers, a script writing workshop, and an academic component, the LDS Film Forum. At 6,500 attendees, nearly two thousand more came to the festival than in 2007, due in part to packed houses for well-received feature films such as Ryan Little’s Forever Strong and much applauded documentaries about drug addiction in Utah (Happy Valley) and about Black Mormons (Nobody Knows). Christian Vuissa, the founder of the festival, told the sold-out opening night audience that more were present than attended all events combined at the earliest festival.

For the last few years the LDS Film Festival has coincided with the Sundance Film Festival, in part to accommodate films being presented at both festivals, such as Charles Oliver’s Take, starring Minnie Driver. Take gives viewers a chance to see redemption at work when a grieving mother drives to the prison where the man responsible for her son’s death is going to be executed. Along the way both the death- row inmate and mother imagine the other’s life throughout the day. As they visualize the other’s situation the stereotypes they have imagined dissolve and they each come to appreciate the other’s suffering. By the end of the film I was emotionally worn out, but feeling the tactile reality of forgiveness.

Mormon-themed films were a little more prominent this year, and none was better received than the documentary dedicated to the difficulties and faithfulness of African-Americans members of the Church of Jesus Christ of Latter-day Saints, Nobody Knows: The Untold Story of Black Mormons, by Margaret Young and Darius Gray. Young and Gray have been working on this project in the form of historical novels about black pioneers for more than decade. The film has an important historical component, relating what to some will be surprising facts about the church first embracing blacks as equals, then denying them key privileges for a century before the 1978 revelation cleared away those restrictions. The documentary also has an important contemporary component, as it features many Black members of today who are candid about but not ill-willed about the length and irony of their suffering. What could have been a heavy-hitting critique of the Mormon church is anything but that. There are tough lessons here, no doubt, but the lasting impression given by the film is of the faith and endurance of African-American members of the church and their deep-felt loyalty to Christ.

Short films were more creative and daring than in years past. Only a Stonecutter, which premiered at Temple Square January 3, was one of the highlights. T. C. Christensen’s historical dramatization celebrated the life of John Rowe Moyle, the man who carved ‘Holiness to the Lord’ on the east wall of the Salt Lake Temple, and whose likeness was used for the handcart monument at Temple Square. Moyle was in the first handcart company that walked to Salt Lake and as he entered the city one of the church leaders wept at the sight of him still clinging to his handcart. After receiving a call to serve as a stonecutter on the temple, Moyle would walk the 22 miles between Salt Lake and Alpine each week, even after losing one of his legs.

J.R. Burningham’s short period piece, The Lost Journal of Vice Marceaux, was somehow brilliant and eerie at the same time. The story is taken from the life of Dr. Duncan MacDougall at the turn of the century. Dr. MacDougall would weigh patients as they died to measure the weight of the soul and thereby prove the existence of God. The average weight was 21 grams. This film had no overt LDS connection (except the theme of the soul and an afterlife), but portrayed Burningham’s talent as a filmmaker well.

Short films prove to be a perfect venue to address a wide variety of issues. Jolie Hales’ Passing was a gentle film dealing with the need to cherish those we love. Butterflies, by Andy Bailey, creatively addressed overcoming shyness by blending animation and live action. Becky, by Tenille Olsen, portrayed a woman emotionally abused as a child. Gladys, by Josh Wagner, told the story of a salsa dancing eighty-one-year-old Cuban refugee who has dedicated her life to serving her fellow senior citizens. And Silent Words, by Paul Hunt, depicted comfort for grief coming through the visit of loved ones beyond the veil.

War was a common theme in the short film genre. Der Ostwind, by Kohl Glass, told the tale of German and American fighter pilots in a style similar to that of Sky Captain and the World of Tomorrow. John Cheney’s Iron Curtain depicted young people attempting to cross the Berlin wall. Anthems of War, by Murray Triplett, poetically solved the issue of a traitor in a company by having the men sing the National Anthem.

All of the short films were well received by packed audiences, and their production values and style showed increasing professionalism and artistry.

The LDS Film Forum, a two-hour academic presentation organized by Gideon Burton, co-editor of the recent special issue of BYU Studies on Mormons and Film, included a presentation by Neal Kramer regarding the aesthetics of light in church films. While screening and commenting on the church film, The Restoration, Kramer noted that on average there is a 10 to 1 ratio for the use of images of light compared to those of darkness in church films. He also pointed out the use of white light opposed to yellow light, and the overt use of the ‘halo’ effect for main characters. Kramer drew attention to the way the physical presence of light in these films complements light’s symbolic quality. Brette Jones, a BYU student, showed clips from the recent Work and the Glory films as she discussed evolving depictions of Joseph Smith on film. Burton discussed film as a revelatory medium and used the 1989 church film, What is Real, as an example of the way film provides multiple and sometimes confusing ways of revealing reality.

Christian Vuissa once again produced one of the best films of the festival. Errand of Angels is a beautifully elegant full length Sister missionary film. The first, in fact, and about it’s about time. Filmed in the majestic country of Austria, the movie is breathtaking to watch from beginning to end. The story is simple and flows well with few overt conflicts for the character, which some may identify as a weakness in the script, but having served twice as a sister missionary I can say from first-hand experience that this film truly gets to the heart and spirit of sister missionary service. Vuissa managed to steer clear of content that in other missionary films has created controversy (such as Elders misbehaving or transgressing). Instead, with his sister missionary film Vuissa (and returned missionary and co-producer Heidi Johnson) provide a more delicate and quieter tale of a woman who simply wants to serve the Lord. Vuissa said the reason he made this film is the same reason he makes all of his films–he wishes to make “films that edify.” The film will be released later this year and I know I will go see it again, probably with a former mission companion or two.

Each year the LDS Film Festival progresses in the production quality of its films. LDS Filmmakers have moved beyond Hollywood stereotypes and are using the medium to showcase their talents as well as the humanity of members of the church.