Premium ContentMouse over Home then click on Premium Content for information.

Were you there last night?

We're talking about the opening of the sixth Omaha Film Festival at Great Escape 16, where the special feature “Ceremony,” starring Uma Thurman, kicked things off. The festival continues through Sunday, screening about 30 independent features and 62 short films, plus hosting a filmmaker conference.

The conference, Saturday and Sunday, is one of my favorite things about the festival, giving moviemakers and fans a chance to hear Hollywood filmmakers talk about their craft. This year the lineup of speakers includes Oscar-winning cinematographer Mauro Fiore (“Avatar”), screenwriter Ted Griffin (“Ocean's Eleven”), film editor Tom Elkins (“The Haunting in Connecticut”) and director-screenwriter Shane Black (“Lethal Weapon,” “Iron Man 3”).

Another favorite for festivalgoers is the short films made by Nebraskans. This year's festival has three blocks of Nebraska shorts, tonight at 6 p.m. (short documentaries), Friday at 8 p.m. and Saturday at 8:45 p.m. They often sell out, so get your tickets early at omahafilmfestival.org

Of course, the reason the Nebraska shorts are so popular is that they celebrate the often fledgling efforts of local writers, directors, actors, editors, cinematographers and crew. You have to dial down your expectations for these films, like you do for attending your kids' band concert.

Sometimes the results are great. Sometimes you applaud a nice effort as they learn basic filmmaking skills. Sometimes student films can't resist f-bombs and a little sexual smirking.

We previewed nearly all the Nebraska shorts. Some quick notes:

“Esperanza.” Workmanlike mini-documentary by Creighton University students about a social worker's success in Cien Fuegos, Dominican Republic.

“Bye Bye Blatt.” Mike Machian combines stills and video at Rosenblatt Stadium with voice-over and head shots of former Blatt workers reacting to the stadium's passing.

“Walk in the Clouds.” Cinematographer Doug Mcmains uses stunning time-lapse photography of roiling clouds and water to accent nature's wildness in Glacier National Park. Robert Redford provides voice-over. Beautiful.

“Sidewalk Chalk.” Ryan Long's silent film highlights a cute toddler creating art on the family driveway. An awwww-inspiring ending doesn't match her skill level.

“Jackson's Big Feat,” Brad Iwen. You begin by asking, “What's this guy doing?” Then you get it. Then you wait for a visual punchline.

“The Hotline,” Kevin Burns. An old red dial phone bought at a garage sale becomes a bone of contention for a young couple, and an unexplained mystery for her and us.

“Cowboys,” Erin Carr. A child's imagination carries over into dreamland. Painted cardboard sets are an inspiration.

“Proposals,” Alex Jeffery. A chance encounter leads two lovers at a restaurant to wonder if they're with the right people. Attractive actors, clean cinematography.

“Reality?” Jordan Fountain's film about the dreamscape of an unhappy telemarketer is long on visual technique and imagination, short on narrative clarity.

“Light and Get Away,” Wade Lux. Watched it twice and didn't get it.

“Taking the Road,” Natalie Covault. 1950s newlyweds driving across the country pick up a hitchhiker, and the film takes a dark turn.

“Little Voice,” Alex Jeffery. A young man sneaking out on his sleeping girlfriend gets stopped by his conscience.

“Pot Luck,” Ryan Long. Credibility is stretched for laughs in this tale of a guy caught in a bathroom trying to get out in time to pick up an attractive party guest. I hit fast-forward here and there as he trolled for toilet paper.

“The Pink Bicycle,” Olivia Johnson. I turned to the festival summary to sort out what this film involving domestic abuse was portraying.

“Morton's Calling,” Mike Comstock. A running sight gag about verbal euphemisms for masturbation.

“Heels to the Pavement,” Zachary Mattson. Broad satire about three competitive power walkers in the small town of Kennard, Neb.

“Priority Auto,” Aaron Sawyer. Romantic comedy with a silly premise and offbeat characters is way more fun when it's condensed to this length.

“Reservations,” Michael Lang. One of my favorites, starting with elaborate opening credits. I also appreciated its crisp, color-drenched cinematography, its character development and its clear dramatic arc as a restaurant chef hits on the boss. Fun comic relief from a Spanish-speaking waiter, as well.