Left: John Sayles at the Prince Music Theater.

If there's any question as to the veracity of the claim that the Philadelphia Festival of World Cinema is one of the fastest-growing celebrations of film, the final tallies from 2002 speak for themselves. A record number of 44,739 people attended this year's event-up 41 percent from last year. It's a leap in numbers that will (and should) have other festivals wondering 'what's their secret?'

While almost anyone with vast energy reserves and a bit of cash can put together a line-up of screenings and title it a 'festival,' not many can do it while consistently achieving the high standard the PFWC has set forth. Fewer still can do it without making the event a completely biased venture-either putting on a show that appeals mostly to visiting moviemakers, or one that is fun mainly for the ticket buyers. With more than 274 screenings over the 15-day time span, there was truly something for every taste. Following their mission to present new works, much of the line-up consisted of films that had not been seen elsewhere: four films made their world premiere here; an additional 10 were North American, 12 U.S. and 19 East Coast premieres. All the remaining films were being shown in Philadelphia for the first time.

One of the ways in which the PFWC distinguishes itself is in its dedication to the moviemaker-and not just those who are attending with a project, but those who inhabit the city itself. The event offers festivalgoers with dreams of Hollywood a completely interactive experience. A handful of events gave attendees the opportunity to mingle with those who matter in the world of film. PitchFest! gave wannabe moviemakers two minutes to pitch their ideas to a room full of industry professionals. Cast-A-Way brought some of the area's most successful casting agents together with local thespians looking for their big break. Head shots and resumes were optional, making this a fantastic opportunity for those just thinking about acting as a career. Even less formal was Blast-Off!, an open mike for moviemakers with something to say about the business. Though marketed as more of a place to vent than strike a deal, the event brought a host of moviemakers together, creating an unexpected networking opportunity.

On the screening side: though it's certainly international in scope, the PFWC tipped its programming hat to its hometown on a number of occasions, much to the delight of locals. Opening Night paid tribute to a uniquely Philly tradition with Max L. Raab's Strut! This non-fiction entry offered audiences a behind-the-scenes glimpse at the leading up to the Mummer's Day Parade, an annual street parade dating back to the 1700s. Through archival footage and interviews with those who have donned the colorful costumes, Raab constructs a thoughtful portrait of a longheld tradition.

Director Ken Russell (l) with actor Alan Bates (r).

Two of the festival's most popular films were locally made, as well. Keith Snyder's Emmett's Mark, starring Scott Wolf, Gabriel Byrne and Tim Roth, was one of the first sell-out shows. This smart thriller tells the story of a homicide detective who, after learning he has contracted a terminal illness, accepts the proposal of a stranger to end his life anonymously. But as Emmett throws himself into his work, the hit man's interest in him escalates. The film portrays an increasingly complex triangle of mind games between the three leads, each of whom gives a superb performance.

Snipes is a thriller set against the backdrop of the hip-hop world. The film centers on Erik Triggs (Sam Jones III), a teenager trying to work his way into the music business. When he witnesses the kidnapping of rap giant Prolifik (real-life musician Nelly), Triggs fears that he will become a suspect, and sets about solving the mystery himself. With a pulsing soundtrack and stylish cinematography, Snipes marks first-time writer-director Richard Murray's place as a true up-and-coming talent. The film won awards for Best Feature from Philadelphia City Paper and a Technical Achievement Award from NFL Films.

Other PFWC award winners included Eric Assous' Very Opposite Sexes, about the romantic lives of four couples, for Best Feature. Darko Bajic was named Best Director for War Live, a dark comedy about a film company trying to stay afloat in the midst of NATO's bombing raids. Shrapnel in Peace won Ali Shah-Hatami the award for Best First Film; while Runaway, Ziba Mir-Hosseini and Kim Longinotto's look at a Tehran home for runaway young women, won for Best Documentary.

Numerous retrospective screenings truly covered the spectrum of genre moviemaking. Showings of Ken Russell's The Devils and Tommy culminated in a candid conversation with the cult legend, as well as the presentation of the TLA Phantasmagoria Award and the premiere of his latest, The Fall of the Louse of Usher. Though John Schlesinger was unable to accept his award for Artistic Achievement for Direction, actor Alan Bates happily accepted on his behalf, while fans of Midnight Cowboy packed the house to see Jon Voight and Dustin Hoffman as Joe Buck and Ratso Rizzo, two of cinema's most endearingly mismatched buddies.

The first American Independents Award was handed to indie icon John Sayles. In between showings of newly-restored prints of Return of the Secaucus 7 and The Brother From Another Planet, Sayles engaged in a lively and informative conversation about his career. The retrospective continued into the next day, with new prints of Lianna and Matewan.

Earlier in the year, MM named Philadelphia as one of the 10 best cities for independent moviemakers, and the PFWC is just one hallmark of the city's commitment to fostering a greater appreciation of film. Just as moviemakers increasingly flock to this city for its quality of life, cost of living and amazing arts scene, cineastes from all over are discovering what Philadelphia has to offer.