"Forty Shades of Blue," a love triangle involving a blues legend, his Russian girlfriend and his adult son, received the Grand Jury Prize for dramatic films Saturday in a ceremony at the Park City Racquet Club.

"I couldn't be happier," said director Ira Sachs, a former Park City resident who started coming to Sundance 19 years ago "when I was living across the street."

Sachs thanked his crew and particularly his lead actors Rip Torn, Dina Korzun, and Darren Burrows. "These three actors just gave me so much of themselves, and I think that's why people seem to be responding to the film."

"Why We Fight," a scholarly yet emotional look at the influence of defense-industry companies on American foreign policy, won the Grand Jury Prize for documentaries.

In a politically charged acceptance speech, the movie's writer-director Eugene Jarecki praised the other films at Sundance for providing "the extraordinary voices communicating a vision of this country, as it leads the world, that is so terribly crucial for the rest of the world to see."

He also thanked, among others, his brother Andrew, who won the same award in 2003 for "Capturing the Friedmans."

Separate juries, for the first time, selected top international films. The World Dramatic Grand Jury Prize went to "The Hero," director Zeze Gamboa's story of Angolans rebuilding their lives and nation after 30 years of civil war. The World Documentary jury prize went to "Shape of the Moon," Dutch director Leonard Retel Helmrich's look at a poor family's daily life in Indonesia.

Noah Baumbach was a double winner, picking up both the Directing Award and the Waldo Salt Screenwriting Award for his comedy-drama "The Squid and the Whale." The semi-autobiographical tale depicts two brothers dealing with the divorce of their over-intellectual Brooklyn parents, played by Jeff Daniels and Laura Linney.

The movie is Baumbach's third film as a director, though, he said, "when I was writing and then making it, I kind of discovered it really was my first movie. I was suddenly making the movie I always wanted to make and becoming the filmmaker that I knew I was but wasn't able to be."

Jeff Feuerzeig, who pieced together yellowing Super-8 movies to chronicle the manic-depression of singer-songwriter Daniel Johnston in "The Devil and Daniel Johnston," took the Directing Award for documentaries.

Feuerzeig thanked many people, especially Johnston. "I wanted to collaborate with him for 15 years, and he did collaborate with me as best he could."

The rap drama "Hustle & Flow" took the Audience Award for U.S. Dramatic films. Craig Brewer wrote and directed this tale of a Memphis pimp (Terrence Howard) reinventing his life as a rap singer.

Brewer dedicated his award to "guys like me who've been making movies on [digital video] and lighting with Home Depot clamp-on work lights."

His movie, which took the year's biggest deal when Paramount Pictures picked it up for $9 million, was also given a prize for Amelia Vincent's cinematography.

The Audience Award winner for documentaries went to "Murderball," directed by Henry-Alex Rubin and Dana Adam Shapiro, a kinetic examination of the fast-paced sport of quadriplegic rugby and its wheelchair-crashing players. The film's editors, Geoffrey Richman and Conor O'Neill, also got a Special Jury Prize.

War and its aftermath figured prominently in the international Audience Awards. The World Cinema Audience Award went to "Brothers," Danish director Susanne Bier's tale of siblings - one a military man shot down and presumed dead in Afghanistan, the other an ex-convict who finds maturity in a hurry. Peter Raymont's "Shake Hands With the Devil: The Journey of Romeo Dallaire," a profile of the Canadian general who commanded the undermanned U.N. peacekeeping forces in Rwanda during that country's genocide, took the audience prize for World Documentary.

The award winners will get one last screening today in Park City as festivalgoers check out of their condos and leave the town to the skiers.

Other awards:

* Gary Griffin won the Cinematography Award for documentaries for "The Education of Shelby Knox," an intimate look at how a 15-year-old Christian good girl in Lubbock, Texas, evolves into a liberal activist.

* "After Innocence," documentarian Jessica Sanders' look at wrongly convicted inmates dealing with freedom after their exoneration, took a Special Jury Prize.

* Two performances received Special Jury Prizes for acting: Amy Adams, as the stubbornly perky mother-to-be in the Southern drama "Junebug"; and Lou Pucci, as a teen dealing with his oral fixation in the addiction satire "Thumbsucker."

* Two dramatic films received Special Jury Prizes for "originality of vision": "Me and You and Everyone We Know," writer-director-star Miranda July's hard-edged but innocent tale of sex and relationships; and "Brick," writer-director Rian Johnson's transposition of a Raymond Chandler-esque detective yarn onto a high school setting.

* Two World Documentary entries received Special Jury Prizes: Sean McAllister's "The Liberace of Baghdad" (U.K.), which examines Iraq through the eyes of a pianist; and Simone Biton's "Wall" (France/Israel), a look at the fence being built by the Israeli government to contain the Palestinian population.

* "Live-In Maid" (Argentina/Spain) Jorge Gaggero's film about the class distinctions between a rich Argentine woman and her servant, won a Special Jury Prize in the World Dramatic category, as did "The Forest for the Trees" (Germany), a drama about a teacher written and directed by Maren Ade.

* "Family Portrait," Patricia Riggen's look at a family's struggles after being photographed in 1968 for Life magazine, won the Jury Prize in Short Filmmaking.

* Alison Arnold's "Wasp" (U.K.), about a single mom's one night of escape, took the International Jury Prize in Short Filmmaking. On Tuesday, it received an Oscar nomination for Live-Action Short.

* Honorable mentions for short films: Eric Escobar's "One Weekend a Month"; Chris Landreth's "Ryan" (Canada); Katherine Leggett's "Small Town Secrets"; Taika Waititi's "Tama Tu" (New Zealand); and Cary Fukunaga's "Victoria Para Chino."

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