Ann Marie Fleming is an award-winning Canadian visual artist, writer, director, animator, and cross-platform media maker who works in a variety of genres (animation, experimental, documentary and drama). Her work often deals with themes of family, history, and memory. Born on the Ryuku Islands (Okinawa Prefecture) under U.S. military occupation with a mostly-Chinese mother, an Australian father, and no birthright citizenship, it's no wonder that her work often deals with themes of family, history and memory. Ann Marie’s graduating film from Emily Carr College of Art and Design, You Take Care Now (1989), was ranked among the Top 10 short films in Canada’s 150th Essential Cinema. Blue Skies (2002) and New Shoes: an interview in exactly 5 minutes (1990) both won Best Canadian Short Film Awards at TIFF. Her filmography includes such acclaimed short films as I Was a Child of Holocaust Survivors (2010), Big Trees (2013), and the animated web-series My Place (2009) for Discovery USA’s Planetgreen.com. Ann Marie adapted her 2003 award-winning animated documentary The Magical Life of Long Tack Sam into a graphic novel, which was nominated for two Eisner Awards in 2007 at San Diego’s Comic-Con International as well as being listed on the American Library Association’s Top Ten List for Tens. The Magical Life of Long Tack Sam also won the Doug Wright Award for Best Canadian Comic. Ann Marie’s 2016 animated feature Window Horses, about a young Canadian poet discovering her family history, received awards all over the world.
"Fleming's perilous travelogue recites, in first person voice-over, a tale of two cities. The first is Brindisi, where the patent sexism of her surroundings lead her to seek refuge in her unscrupulous tour guide's hotel room. The second moves closer to home, where the simplest of street crossings becomes a nightmare journey of dark collisions, broken bones and ambulance drives.”— Mike Hoolboom
"Fleming's perilous travelogue recites, in first person voice-over, a tale of two cities. The first is Brindisi, where the patent sexism of her surroundings lead her to seek refuge in her unscrupulous tour guide's hotel room. The second moves closer to home, where the simplest of street crossings becomes a nightmare journey of dark collisions, broken bones and ambulance drives.”— Mike Hoolboom