JURORS' NOTE ON SHORTS: The shorts selection for this year posed a challenge for the jury - minute-long experiments pitted against hour long dramas meant that the criteria for judging had to be a common denominator of technical ability and cinematic sensibility. But this perhaps allowed distillation of quality and content, not to mention intent, in a more clear-cut manner than in previous years. This year's entries were as varied in content and style as they were in their origin. From funny and political animated films from Portugal and the United Kingdom, to experimental narratives from Pakistan and India to adapted dramatizations of stories from the early 1900's, the shorts category presented quite an interesting mix. In particular the animated films "Timor Loro-Sae" and "Light Me Up" from Portugal stood out for very different reasons - one for it's creative protest against a genocide, the other for it's unassuming sweetness. Other films that left a mark on the jurors were the extremely relevant "Samovar" - which dealt with the choices available to the youth in a suffocating Pakistani social climate, the funny "Swan Song", the children's animated film "Little Varju", and "ATribute to Yusuf Macchi" - about the late unheralded singer. The animated films "The Tree Officer" and the live action "Original Bob" however stood out for their craft and poignance and have been thus awarded.

JURORS' NOTE ON DOCUMENTARIES: The overall high standard of documentaries in competition at Kara this year made it difficult for the jury to come to an immediate or unanimous decision. The two films that stood out eventually were Andrei Nekrasov's "Disbelief" and Rakesh Sharma's "Final Solution". However, the jury would also like to make special mention of the other films that were strong contenders for the position of Best Documentary. The films selected for this Special Citation are:

For its imaginative, sensitive and humane approach to the crucial political issue of nuclear weapons, and for her courage in tackling this issue head-on in such an innovative way and thus making it directly and movingly relevant to a local situation, Aisha Gazdar's "Roz Qaza: The True Story of a Hibakusha."

For its focus on those who are marginalized by society and yet play a crucial role in the economy, for its awarding these people the dignity and respect they deserve and in turn presenting them as inspirations for social change, for its insights into the socio-political linkages between human stories and globalisation, for its superior graphics, excellent camerawork, strong rhythm and music score, Veronica Souto's "Dias de Carton" (Cardboard Days).

For its gripping presentation and understanding of a complex political issue through human stories, for making the linkages between local economy and political repression, for its inspiring characters, and for its technical excellence, Dahna Abourahme's "La Wakt'aich" (Until When).

For its meticulous research and presentation of the crucial issue of water shortage and humanizing the complexities of this issue in an easily understood way, for presenting alternatives to the issue and for its overall technical excellence in terms of camera, narration, editing and sound, Sanjay Barnela and Vasant Saberwal's "The Algebra of Water."

For its lyrical and intelligent camerawork and amazing documentation, for its excellent rhythm and musical score, for centering the issue of big dams squarely on those who are directly affected by such projects, for the alternative vision of politics and democracy it presents and for the nuances and depth it brings to this issue, Sanjay Kak's "Words on Water."

For its focus on the marginalized, taking one individual and making linkages between this individual and the political forces which have contributed to her present situation, for its compassion and sensitivity and the thought-provoking nuances that it brings to the politically charged slogans of 'freedom' or 'liberation', and for its overall technical competence, Yasmin Kabir's "A Certain Liberation."

JURORS' NOTE ON FEATURE FILMS: The jury felt that there were a few very strong contenders in this category and though the geographical spread of the films was small, the inclusion of cinema from Italy was a welcome addition to last years' line-up. About 16 countries were represented in the mix on offer, and the most difficult task for the jury was to judge between films that had obviously strong support in their making against those made with more modest means.