Northwest Film Center - January/March 2015 schedule by NWFC

NWFilmCenter portland art museum

January/march 2015

FEATURING

ITALIAN STYLE in case of no emergency: THE FILMS OF RUBEN Ă&#x2013;STLUND

School of Film

plus

NORTHWEST TRACKING SPECIAL SCREENINGS

Join Our Learning Community

Portland, OR Permit no. 664

Northwest film center 1219 SW Park Avenue Portland,OR 97205

PAID NON-PROFIT ORG U.S. Postage

staFF

WELCOME

Northwest film center Director: Bill Foster Education Director: Ellen Thomas Filmmaker Services Manager: Thomas Phillipson Harry & Rose Moyer Administrative Offices & Northwest Film center School of film 934 SW salmon STREET

Exhibition Program Assistant: Morgen Ruff

All screenings take place, unless otherwise noted, at the

sponsorship and events manager: rachel record

Northwest film center whitsell auditorium portland art museum 1219 sw park avenue

Mailing Address (for all) 1219 SW Park Avenue Portland, OR 97205

Publicity and promotions manager: Nick Bruno education programS Manager: ANNA CRANDALL

Equipment & Facilities manager: Dave Hanagan membership and individual giving coordinator: bailey cain pr/marketing assistant: Geoff Peterson Administrative coordinator: Karen Wennstrom Education Services Coordinators: Stephanie Hough Andrew Price Miles Sprietsma Education Program Assistants: Felisha Ledesma Hazel Malone corser dupont head Theatre Manager & Projectionist: Melinda Kowalska Theatre Staff: Katie Burkart Erik McClanahan Arika Oglesbee Tony Olsen-Cardello Alex Smith Ilana Sol Lisa Tran Veronica Vichit-Vadakan Larisa Zimmerman

Kind hearts P.12 northwest tracking page 3

Special Screenings page 4 & 12

School of Film pages 5-11

In case of No Emergency: The Films of Ruben Östlund page 13

Italian STyle pages 14-15

G ENERAL ADMISSION $9 General $8 PAM Members, Students, Seniors $6 Silver Screen CLUB friends special admission prices as noted. all programs are single admission, unless otherwise noted.

Office Interns & Volunteers: John clayton lee Danielle Duhaime Hannah Fleming jaden fooks NOah hale Ian Westmorland brett wright Theatre Volunteers: Sarah Bluvas Jeanne Devon Connie Guist Douglas Hanes Richard Hollway Maggie Horton Maddy Hutter Triska Lee Adam Lichi Ingeborg Mussche Kay Olsen Phyllis Oster Warren Oster Nandini Ranganathan Elise Smart Debbie Stoller Hannah Van Loon Aaron Wolfer And Many More… PORTLAND ART MUSEUM Board of Trustees CHAIR: William Whitsell

Silver screen CLUB directors, producers, BENEFACTORS & SUSTAINERS receive free admission to all REGULAR admission programs, including festivals.

vice chair: Richard Louis Brown

Seats for advance ticket HOLDERS and SILVER SCREEN CLUB MEMBERS are held until 10 minutes before showtime, AT WHICH POINT any unfilled seats are released to the public.

nw film center committee: Linda Andrews, chairman Mark Frandsen Mary Hinckley Bob Warren Alice Wiewel don van wart

box office opens 30 minutes before showtime.

scrip books: $50 (10 tickets) purchase advance tickets at NWFilm.org. IDentification Statement Publication Title:

Nort hwe st Film Cent er Issue Date: decem ber

201 4

Statement of frequency:

Publis he d 6 tim es per year Authorized organization name and address:

Nort hwe st Film Cent er Port land Art Museum 1219 SW Park Avenu e Port land, OR 97205 Issue Number: Vo l.

PAGE 02

secretary: LAura Meier treasurer: jim Winkler

PORTLAND ART MUSEUM Marilyn h. & dr. robert B. pamplin jr. director: Brian Ferriso NW FILM CENTER CORRESPONDENCE TO: Northwest Film Center 1219 SW Park Avenue Portland, OR 97205 EMAIL: INFO@NWFILM.ORG phone: 503-221-1156 fax: 503-294-0874

nwfilm.org

This past November’s 41st Northwest Filmmakers’ Festival brought some of the region’s most respected media artists together with audiences appreciative of new work emanating from our common, regional experience. Festival Judge Christopher Rauschenberg’s awardwinners were highlighted in the festival program, but the winners of the audience awards had, of course, to wait for the ballots to be counted. A recap of all the Festival awards are on the Film Center website, but here we would like to congratulate all of the filmmakers who captured the imaginations of festival goers. The overwhelming audience favorite feature was Vancouver, Washington filmmaker Beth Harrington’s THE WINDING STREAM, a documentary tracing the history and legacy of country music’s legendary Carter Family. Short film honors went to Portland filmmaker Kyle Eaton’s TACO NIGHT, a witty chronicle of an encounter between two friends and a combative couple. As we look forward to next year’s event here in Portland, the Festival is just beginning its regional outreach and presentation of the “Best of the Festival” program tour. In the coming months communities large and small in five Northwest states and British Columbia will get a taste of the creativity flourishing throughout the region with a ten-film program of Festival favorites. As we move towards February’s 38th Portland International Film Festival, I hope you will consider supporting the Northwest Film Center with the gift of a Silver Screen Club membership, which acts as a passport to PIFF and offers a year of compelling cinemagoing for you or a loved one. Our members help ensure that Film Center programs—from the Northwest Filmmakers’ Festival to the School of Film and our community-wide media arts education initiatives—continue to thrive. We’d love to have your support.

Bill Foster Director Northwest Film Center

MISSION

The Northwest Film Center is a regional media arts resource and service organization founded to encourage the study, appreciation, and utilization of the moving image arts; to foster their artistic and professional excellence; and to help create a climate in which they may flourish.

presenting

The Film Center’s year-round exhibition program surveys the full range of cinema past and present. From classic silent film to the avant-garde, thematic series, director retrospectives, national cinema surveys, visiting artists, and the latest in regional, independent, and foreign film, the Film Center’s programs open the world of diverse moving image expression.

teaching

The Film Center’s School of Film is one of the oldest and largest community-based media arts education programs in the country. The School of Film offers intensive hands-on classes and workshops in film production for adults and youth, taught by faculty members who are accomplished working media artists. Students may earn the Film Center’s non-degree Certificate in Film as well as obtain optional college credit through partnering higher education institutions. In K-12 classrooms, after-school, and community settings, in partnership with many other organizations, the School of Film advances media literacy and expression as core skills for the next generation through screenings, production camps, and other innovative programs and collaborations.

supporting filmmakers AND COMMUNITY

In addition to exhibition and teaching opportunities, the Film Center circulates traveling exhibition programs featuring work by regional artists, administers the Oregon Media Arts Fellowship, offers fiscal agent services for independent producers in need of non-profit sponsorship, provides low-cost equipment access, and engages in consulting services to community producers and organizations. THE NORTHWEST FILM CENTER IS FUNDED IN PART BY THE OREGON ARTS COMMISSION, REGIONAL ARTS & CULTURE COUNCIL, THE TED R. GAMBLE FILM ENDOWMENT, THE JAMES F. AND MARION L. MILLER FOUNDATION, AND THE SUPPORT OF NUMEROUS CORPORATE AND EDUCATION PROGRAM SPONSORS, MEMBERS & FRIENDS.

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Northwest Film center

january/march 2015 503-221-1156 www.nwfilm.org

NORTHWEST TRACKING back the way we came

CHILDhood Machine Arresting power: resisting police violence in portland, oregon

JAN 15 THU 7 PM—VISITING ARTISTS

ARRESTING POWER: RESISTING POLICE VIOLENCE IN PORTLAND, OREGON PO RTLAN D 20 14

PRODUCED BY: JODI DARBY, JULIE PERINI, ERIN YANKE

Media artists and social activists Jodi Darby, Julie Perini, and Erin Yanke’s film speaks to the history of police violence in our society, providing a framework for understanding the systems of social control in Portland and its history of exclusion laws, racial profiling, redlining, and gentrification practices. Through conversations with community leaders that include Walidah Imarisha, author of the “Oregon Black History Timeline,” JoAnn Hardesty, and Rev. LeRoy Haynes of the Albina Ministerial Alliance Coalition for Justice & Police Reform, Dan Handelman of Portland Copwatch, and Kent Ford, founder of the Portland Chapter of the Black Panther Party, the filmmakers explore alternatives to current policing practices and consider strategies for community safety that do not employ constant surveillance and unneeded violence. (90 mins.) Producers Jodi Darby, Julie Perini, and Erin Yanke will be in attendance.

JAN 23 FRI 5:30 PM

OUT OF THE ARCHIVES: YOUTH-MADE FILMS FROM ACROSS OREGON

PO RTLAN D 1 9 8 6-20 0 1 Since 1977, the Film Center’s statewide Filmmakers-in-theSchools Program has partnered with K-12 schools and community organizations around Oregon to bring the power of filmmaking to young people through artist residencies with Film Center faculty. Hundreds of youth-made films have been created, many of them now a capsule in time. With support from a grant from the Oregon Heritage Commission and Oregon Parks and Recreation Department, 84 of these films have recently been rescued from the clutches of aging videotape stock by being digitized onto archival media. Drawing from these archives, this screening presents a vintage youtheye-view of how nature and land define and reflect us and includes: THE COYOTE WHO STOLE THE STARS (1993), created with Grand Ronde youth with artist-in-residence Sharon Genasci; LIFE IN A COUNTRY SCHOOL (1986), about growing up on Sauvie Island, created with Sauvie Island School and artist-in-residence Jack Sanders; WETLAND NEIGHBORS (1993), a look at the urban wildlife of SW Portland, created with Oregon Episcopal School and artist-in-residence Lawrence Johnson; BROWNFIELDS IN OUR BACKYARD (1994), a call to end the blight of polluted properties along MLK Boulevard in NE Portland, created by students at The Galdys McCoy Academy and artist-in-residence Patrick Rosenkranz; LOOKING AT WILDFLOWERS (1994), a poetic meditation on how the outdoors frames our identity, created by students in Portland’s White Shield School and Cieridwen Terrill; MI GENTE (2001), the Latino community in Ontario, created with Treasure Valley Community College, the Oregon Council for Hispanic Advancement and artist-in-residence Enie Vaisburd. (60 mins.) Admission is free with admission to the Portland Art Museum, which is $5 after 5 PM on Fridays.

out of the archives: youth-made films from across oregon

Koinonia

JAN 29 THU 7 PM—VISITING ARTIST

MAR 11 WED 7 PM—VISITING ARTIST

PO RTLAN D 20 14 DIRECTOR:SEAN STRAUSS In 1994, two unloved teenagers, David Frederickson and Mistina La Fave, met in St. Joseph, Missouri. Their common understanding of Manchester post-punk and broken hearts seared their hearts together. They married and divorced, but determined to maintain their friendship, continued with their band, The Prids. They moved to Portland in 2000, since then releasing ten albums, touring nationally, starting their own record label, and surviving a van accident. BACK THE WAY WE CAME moves through time fluidly, focusing on their tour for their third album Chronosynclastic. Rather than chronicling hotel room antics and sniffing the backstage graffiti, BACK THE WAY WE CAME is an exploration of the sometimes painful, familial elements which keep a band moving. (77 mins.) Director Sean Strauss will be in attendance.

PO RTLAN D 20 14 DIRECTOR: MARCUS COTTEN Cotten’s film/music essay examines the average day with the intervention of a little bit of imagination. Through melody, image, color, and natural sound, his film constructs a look at the connecting world we live in—language, growth, time, man, and celebration; city, ocean, discovery, color, and light—in 25 non-linear sctions. The music, composed and performed by Cotten, was created simultaneously with the film, underscoring an expression of the intrinsic duality of human perception. Cotten employs a system to create an emotional compass for the viewer using three primary colors: red for dark outlook, yellow for uncertainty, and blue for optimism. (100 mins.) Director Marcus Cotten will be in attendance.

BACK THE WAY WE CAME

THE GLOBE AS A GRAPH

MAR 5 THU 7 PM—VISITING ARTISTS

MAR 19 THU 7 PM

PO RTLAN D 20 14 DIRECTORS: SEAN WHITEMAN, CHRISTOF WHITEMAN Filmmaking siblings the Whiteman brothers’ off-center comedic style takes flight in this story of a brilliant and enigmatic inventor with limited social skills (Christof Whiteman) who spends his days toiling away in his basement workshop. His aim is to build his namesake: a childhood machine. He reluctantly offers counsel to a trio of strangers who earn his attention by virtue of their similarly idiosyncratic pursuits. One, a young man (Sean Whiteman) seeks to distill the essence of John Goodman’s character from ROSEANNE: SEASON ONE in an attempt to find the ideal male role model. Another, a young woman, organizes against the notion of memory in an effort to redefine its influence within her own life. And then there’s the middle-aged man who wants to live the simple life of a squirrel. Will the machine work? Does it matter? (99 mins.) Directors Sean and Christof Whiteman will be

PO RT O RCHAR D , WA 20 14 DIRECTOR: ANDREW FINNIGAN In a post-American, post-civilization era, billions of people have mysteriously vanished. The cities, left in shambles, are now hubs for the ugliest crimes imaginable. Having lost his family, John heads into the woods to find a mythical town called Faraday. Rumors have spread that its residents have technologically adapted themselves beyond normal human capabilities, and he believes they might be able to save him or help him discover where his family has gone. Tortured physically, mentally, and spiritually, and fighting to survive, John discovers the nearly dead Gaby, whom he nurses back to health. As they share stories about how their lives used to be, what they believe happened, and what lies ahead for their survival, belief and memory are put to the test. (94 mins.)

CHILDHOOD MACHINE

KOINONIA

in attendance.

www.nwfilm.org 503-221-1156 january/march 2015

Northwest Film center

PAGE 03

SPECIAL SCREENINGS the sacrifice

mr.turner

JAN 2 3 4 FRI 7 PM, SAT 7 PM, SUN 4 PM

THE SACRIFICE SWED EN/FRAN CE 1 9 8 6

DIRECTOR: ANDREI TARKOVSKY

Andrei Tarkovsky (1932-1986) is generally considered to be the greatest director of post-war Soviet cinema and the last of the European art-film generation. Full of deep spiritual and ecological concern and possessing an intensely poetic style, Tarkovsky infuses his vision into his films with uncompromising commitment. His final film, shot in Sweden with the help of Ingmar Bergman and made with the knowledge that he was dying of cancer, poses one last set of questions about morality, spirituality, and life’s meaning. The film follows 24 hours in the lives of seven friends who have gathered on an island for their host’s (Erland Josephson) birthday party. During dinner, the ground shakes and the news is announced that World War III has begun. In elegantly composed shots, we follow the man as he makes the difficult decision to sacrifice himself to God to prevent violence from touching the lives of his family. Both testament and epitaph, THE SACRIFICE’s mix of magic, madness, memory, and dream provides a fitting summary. Grand Jury Prize, Cannes Film Festival. (150 mins.) New 35mm

print courtesy of Kino Lorber.

JAN 9 10 FRI 7 PM, SAT 7 PM

NORTE, THE END OF HISTORY PH I LI PPI N ES 20 13

DIRECTOR: LAV DIAZ

Known as “a Filipino freedom fighter that choses cinema as his weapon, a rebolusyonario that shoots film instead of people,” Philippine New Wave director Lav Diaz’s gripping epic finds it’s inspiration in Dostoyevsky’s Crime and Punishment as it reflects on the past century of rural life still overcoming its post-colonial experience. In the island province of Luzon, Fabian, an embittered young law-school dropout, commits a horrific double murder. Escaping justice, an innocent family man is convicted of the crime and sentenced to a life in prison that leaves his wife and children to fend for themselves. At once a meditation on cultural memory, class, personal and national guilt, the tyranny of ideology, and the reality of cosmic injustice, NORTE provides an immersion into a reality not soon forgotten. “Makes you wish it were twice as long.”—Time Out. This year’s Best Foreign Language Film Oscar submission from the Philippines. (250 mins.)

JAN 11 SUN 7 PM—VISITING ARTIST

THE THANHOUSER STUDIO AND THE BIRTH OF AMERICAN CINEMA U S 20 14

DIRECTOR: NED THANHOUSER

3 women

JAN 16 17 18 FRI 7 PM, SAT 4:30 PM, SUN 7 PM

ALTMAN CANADA 20 14

DIRECTOR: RON MANN

Robert Altman (1925-2006) was, during his long filmmaking career, one of Hollywood’s mavericks—never concerned with popular tastes or prevailing trends. Despite this, he made some of the most enduring films of the 1970s and 80’s and was able to carve out a niche, resulting in a long, sometimes turbulent, wildly varied career. As Ron Mann’s documentary portrait shows, Altman influenced much of today’s American filmmaking landscape, with critics often deploying the term “Altmanesque” to describe films that hit a distinctly American nerve. Screens with three of Altman’s rarely screened early shorts: THE KATHRYN REED STORY (1965), POT AU FEU (1965), and THE PARTY (1965). (122 mins.)

JAN 17 SAT 7 PM

THE LONG GOODBYE U S 1 973

DIRECTOR: ROBERT ALTMAN

As a tribute to, or perhaps in contempt of, the noir detective story, Altman subverts genre convention by re-imagining the usually hard-boiled character of Philip Marlowe as a nebbish private eye. Elliot Gould plays Marlowe, who digs himself deep into trouble when he decides to investigate the murder of a friend. Based on the book by Raymond Chandler with a screenplay by Altman and Leigh Brackett (THE BIG SLEEP), any vestiges of the tough-guy detective are purposefully sublimated by Gould’s unique characterization, making THE LONG GOODBYE one of Altman’s most interesting cinematic experiments. (112 mins.)

JAN 18 SUN 4:30 PM

3 WOMEN

The Thanhouser Company was a trail-blazing studio based in New Rochelle, New York, where from 1910 to 1917 it released over 1,000 films seen by audiences around the world. This documentary from Portlander Ned Thanhouser, grandson of studio founders Edwin and Gertrude, reconstructs the little-known story of the studio and its founders, technicians, and stars as they entered the nascent motion picture industry to compete with Thomas Edison and the companies aligned with his Motion Pictures Patents Corporation (MPPC). Recounting a saga of entrepreneurship, success and reversal, cinematic innovation, the launching of careers, and the transition of the movie industry from the East Coast to the West and Hollywood, Thanhouser’s film provides intriguing perspective on both the studio and the pioneering days of independent movie-making in America. (50

U S 1 977

DIRECTOR: ROBERT ALTMAN

3 WOMEN is often under-appreciated among Altman’s films, yet it remains one of his most fascinating. Shelly Duvall was nominated for the Best Actress award at Cannes for her portrayal of Millie Lammoreaux, a happily, and perhaps purposefully, naïve young woman who meets the shy and introverted Pinky Rose, portrayed by Sissy Spacek. The two women become incidental friends at their mutual workplace and decide to live as roommates. When a desperate turn of events forces a reversal of roles between them, layers of identity and character are slowly peeled back, revealing delicate truths. (124 mins.)

mins.) Ned Thanhouser will introduce the film.

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Northwest Film center

january/march 2015 503-221-1156 www.nwfilm.org

paths of glory

JAN 21 WED 7 PM

silver screen club members preview

MR. TURNER B R ITAI N 20 14

DIRECTOR: Mike Leigh

“Timothy Spall won the Best Actor prize at Cannes for his magnificent performance as J.M.W. Turner in this gorgeously rendered biopic of the famed British landscape painter. Before Monet and Renoir, Pissarro and Sisley—in other words, before the French Impressionists—there was Turner, one of the greatest of all English painters. J.M.W. Turner was in love with light and what it could do to buildings and cities, to sea and ships, to mountains and countryside. Choosing to focus on the artist in middle age and deeply respectful of its subject whilst probing the darker recesses of the man’s personality, Leigh finds a strange, anti-social mumbler far more comfortable with canvas and paint than the social niceties demanded of the era.”—Toronto Film Festival. “A rich, funny, moving, and extremely clear-eyed film about art and its creation.”—New York Film Festival. (149 mins.) Private screening

for Silver Screen Club members and guests.

JAN 24 SAT 2 PM

PATHS OF GLORY U S 1 9 57

DIRECTOR: STANLEY KUBRICK

Kubrick’s classic tale of corrupted leadership and the farce of legal proceedings during wartime (WWI) strikes resonance today through its portrait of average soldiers who must pay the price for their superiors’ malfeasance. Led by Colonel Dax (Kirk Douglas in one of his finest roles as the moral compass of the film), the French 701st regiment has been ordered into a suicide mission, the intention of which is to attack a heavily fortified German position across a barren no-man’s-land. When this attack fails, leaving scores of soldiers dead or severely wounded, the ordering officers, Generals Broulard and Mireau (Adolphe Menjou and George Macready) try to cover their tracks and divert blame, eventually setting up a kangaroo court which will sentence their own men to death. (88 mins.) The film will be introduced by Oregon State University Film Studies Professor Jon Lewis, followed by a discussion with OSU History Professor Christopher McKnight Nichols, as part of the OSU School of History, Philosophy, and Religion, and the School of Writing, Literature, and Film’s “Citizenship and Crisis: On the Centenary of WWI Initiative.”

JANUARY/FEBRUARY/MARCH 2015 We are a place where individuals find and cultivate their personal voices as storytellers and image-makers. Our classrooms and facilities bring a diverse crosssection of community members together for skill-building, friend-making, and technical support. We’re a center where access, aesthetics, and action combine to help people realize their aspirations and where new films and filmmakers are launched into the world. Challenge yourself to make films, and start now!

photo by robert laygo

STUDENTS

Our students are artists, communicators, educators, and business professionals who want to connect to the film scene and explore filmmaking with others, whether professionally, avocationally, or in between. Many have completed college and are exploring career options; some are cross-enrolled in degree programs with PSU and other institutions. Enrollment is open to all. Simply sign up for what interests you.

photo by JOel conrad bechtolt

FACILITY

Our 10,000-square-foot building in downtown Portland contains classrooms, editing labs, an equipment cage, and the Film Center’s administrative offices. Equipment is provided with class registration. Our friendly equipment room staff will answer your technical questions and will make equipment check-out as easy as possible. We also rent a variety of equipment to the general public.

photo by robert laygo

FACULTY

Our faculty are working filmmakers who humanize and enrich the learning process by teaching and guiding from real life experience, encouraging class dialogue and supportive critique. Among our region’s finest documentary, narrative, and experimental filmmakers, their award-winning work appears on public television and in film festivals, microcinemas, and exhibition programs worldwide.

photo by robert laygo

CURRICULUM

Take a class or two at your leisure or challenge yourself further by enrolling in our Certificate Program in Film. We offer classes and workshops in most aspects of filmmaking: cinematography, editing, screenwriting, animation, and more. Most of our classes are no larger than 15 students. Classes generally meet once a week, most often on evenings and weekends. Equipment is provided with registration.

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REGISTER NOW AT NWFILM.ORG Drop-In tours and advising: Tuesday, Thursday, Fridayâ&#x20AC;&#x201C;10 AM & 2 PM 934 SW Salmon Street, Portland, OR 97205 Corner of 10th & Salmon

JUST SIGN UP

We offer a Core Sequence and variety of Topic Classes and Workshops (see below) in hands-on production and related aspects of independent filmmaking. Simply sign up for what appeals to you. Most have no prerequisites. Equipment is provided. There is no registration deadline; registration is open until a class is filled. Early registration is encouraged, however, as our classes are small in size. College credit is optional (see below).

ApPOINTMENTS: info@nwfilm.org.

Winter Classes At-A-Glance 2015

Faculty

Tuition

# Sessions

Start Date

Day of the Week

Art of Filmmaking I

Azzouz

$1,145.00

Jan 22

Thursdays

Art of Filmmaking II

Azzouz

$1,245.00

Fall '15

TBA

Art of Filmmaking III, Part 1

Azzouz

$1,145.00

Winter '15

TBA

Art of Filmmaking III, Part 2

Azzouz

$1,145.00

Summer '15

TBA

Blubaugh

$765.00

Jan 21

Wednesdays

Azzouz

$765.00

Jan 21

Wednesdays

Experimental Approaches

Diehl

$765.00

Jan 20

Tuesdays

Post-Production Management

Bryant

$495.00

Jan 22

Thursdays

Screenwriting: Fundamentals

Aldrich

$765.00

Jan 19

Mondays

Ackerman

$765.00

Jan 19

Mondays

Faculty

$65.00

Jan 31

Saturday

Blubaugh

$55.00

Jan 31

Saturday

Minty

$95.00

Feb 15 + 22

Sunday

Arbuthnot, Harrington & Wilhelm

$25.00

Jan 24

Saturday

iFilmmaking Basics: Shooting Tips & Tricks

Tvetan

$45.00

Jan 10 or Feb 21

Saturday

iFilmmaking Basics: Editing Tips & Tricks

Tvetan

$45.00

Jan 10 or Feb 21

Saturday

iFilmmaking for Families: Traditions Documentary

Tvetan

$95.00

Jan 31

Saturdays

iFilmmaking Project: Group Shoot on Location

Tvetan

$90.00

Mar 7

Saturday

iFilmmaking Project: Make a Video Portrait

Tvetan

$115.00

Jan 31

Saturdays

Prerequisite

Free Admission to NWFC Screenings

CORE SEQUENCE

TOPIC COURSES Digital Cinematography Digital Editing

Stop Motion Animation

WORKSHOPS Basic Lighting Canon XA-10 Camera Operation Sound Recording

VISITING ARTIST WORKSHOPS The New Documentary Eco-System

iFILMMAKING

WANT MORE ?

If simply taking a class or two doesnâ&#x20AC;&#x2122;t seem focused or challenging enough, consider enrolling in our optional Certificate Program in Film. Certificate students complete the Core Sequence above and select Topic Classes and Workshops to round out their studies. Initiated in 1994, the Program has nearly 50 graduates who launched their film practice through the School of Film. Please see page 9 for more information.

6 jan/feb/mar 2015

nwfilm.org/school

PSU credit

Portland State University students may receive credit for selected School of Film Core Sequence and Topic Classes by requesting a transfer of credit upon successful completion of the course (please consult the Office of Student Records at PSU for details). Please note that School of Film credits do not count towards PSU full-time status. The School also offers cross-registration with Marylhurst University. For more information, please contact info@nwfilm.org.

CHALLENGE YOURSELF

Certificate IN Program FILM Challenge yourself to set artistic and/or professional development goals in filmmaking beyond simply a class or two. Our optional, non-degree Certificate Program in Film provides a structure within which you can advance from the beginning to advanced level, while creating works that showcase your achievements as an emerging filmmaker. Through a Core Sequence (see right), the Program teaches the concepts and techniques of cinematic storytelling, helps you develop your vision as a media artist, and supports you in creating film work that demonstrates your potential. The Core Sequence is supplemented by Topic Classes and Workshops in the general curriculum which you choose based on your interests. These may be focused on a particular area (e.g., documentary) or be spread across a variety of topics. A Certificate may be earned at a Level One or Level Two, depending on the depth of knowledge desired (see below). The Certificate track at both levels concludes with a public screening of your final film project in our stateof-the-art Whitsell Auditorium. Certificate students receive ongoing advising and mentorship from faculty and staff. A Certificate may be completed in as little as two years when pursued at a rigorous pace. However, you can also move along at your own pace and take up to six years to complete all requirements.

REQUIREMENTS Core Sequence ART OF FILMMAKING I two beginning-level film projects (see right) ART OF FILMMAKING II two intermediate-level film projects (see right) ART OF FILMMAKING III one festival-quality advanced film project (see online) PUBLIC SCREENING OF ADVANCED FILM PROJECT Level One Core Sequence (above) + 3 or more selected Topic Classes + 10 hours selected Workshops Level Two Core Sequence (above) + 6 or more selected Topic Classes + 15 hours selected Workshops

HOW & WHEN TO APPLY Download an application and get more information at nwfilm.org/school. Applications are accepted throughout the year on a rolling basis. Notification will be made within four weeks of receipt. Acceptance is based upon the clarity of your stated goals and whether the goals align with the School of Film mission and Certificate curriculum. You may be at any stage of your formal education (pre-college, in college, post-college, pre-graduate school). There are no prerequisites. If you want to test the waters before diving in, you are welcome to enroll in and complete ART OF FILMMAKING I and up to two Topic Classes prior to applying to the Program. Upon your acceptance, these will be automatically transferred onto the Certificate transcript at no additional charge (a letter grade of B or higher is required). For more information, email info@nwfilm.org or call 503-221-1156.

CORE SEQUENCE ART OF FILMMAKING I THURSDAYS, JAN 22-APR 23, 2015, 6:30-9:30 PM + ONE SATURDAY TBA No Class MAR 26 14 sessions Tuition: $1,145 BUSHRA AZZOUZ Topics: The components of film language; basics of HD digital camera operation, sound recording, shooting, and editing; hands-on working knowledge of basic HD digital video production process and workflow; shoot and edit two short individual films; bring in work-inprogress for class critique. Textbook: SHOT BY SHOT: A PRACTICAL GUIDE TO FILMMAKING, 4th Edition, by John Cantine, Susan Howard, & Brady Lewis (ISBN 978-0-9637433-8-1) Projects: Two individual projects Allocated gear: Canon XA10 cameras, basic sound and lighting gear, Avid Edit Lab or your own editing system Prerequisites: None Related courses: ART OF FILMMAKING II, ART OF FILMMAKING III

ART OF FILMMAKING II FALL TERM 2015 (registration opens July 21) 14 sessions Tuition: $1,245 BUSHRA AZZOUZ Intermediate-level exploration of cinematic storytelling skills and techniques. Topics: More ambitious shooting styles and lighting techniques, including option of shooting and hand-processing 16mm film; refining your creative eye by envisioning a scene or concept; in-depth pre-production and planning techniques to support your vision such as digital storyboards; art direction and mise en scene; editing for character, story, and rhythm; all phases of post-production including color correction and sound design; shoot and edit two individual projects (either HD or 16mm); bring in work-in-progress for class critique. Projects: Two individual projects Allocated gear: Canon XA10 cameras and Bolex 16mm cameras, professional shotgun/ wireless microphones and field mixers, lighting and grip gear, Avid Edit Lab or your own editing system. Tuition includes film stock and film processing. Prerequisites: ART OF FILMMAKING I or previous shooting and editing experience Related courses: ART OF FILMMAKING I, ART OF FILMMAKING III

ART OF FILMMAKING III PART I â&#x20AC;&#x201C; Pre-Production & Production WINTER TERM 2015 DATE/TIME TBD with registered students 14 sessions Tuition: $1,145 BUSHRA AZZOUZ PART II â&#x20AC;&#x201C; Post-Production | SUMMER TERM 2015 + NOVEMBER PUBLIC SCREENING: Dates/Times posted at nwfilm.org April 15 14 sessions Tuition: $1,145 BUSHRA AZZOUZ Produce a festival-quality personal project showcasing your skills and interests. Topics: Plan, write, shoot, and edit a polished film with professional-level production values, in any genre or combination of styles, with a finished running time of up to 12 minutes; assume one or more primary creative roles on the film (e.g., director, cinematographer, editor, writer), drawing upon others to create a full crew; crew on at least one other class project in a supporting role (e.g., producer, assistant director, or technical position); progress through rough cut, final cut, color correction, sound mix, music, titles, and final outputting; create an artist statement, biography, and synopsis for the film and present the film to a public audience; emphasis is on student-generated critique and feedback, with faculty acting as mentors and facilitators. This is a continuous two-term class. Enrollment for Part II immediately follows completion of Part I. Projects: One individual project Allocated gear: Canon XA10 cameras and 16mm cameras, professional shotgun/wireless microphones and field mixers, lighting and grip gear, Avid Edit Lab or your own editing system. Tuition includes 10-day use of HD or 16mm camera package. Out-of-facility expenses are a student responsibility. Prerequisites: ART OF FILMMAKING I and ART OF FILMMAKING II or instructor consent Related courses: ART OF FILMMAKING I, ART OF FILMMAKING II

EXPERIMENTAL APPROACHES TO DIGITAL FILMMAKING

SATURDAY, JAN 31, 1-5 PM 1 session Tuition: $65 FACULTY Use basic light kits to dramatically vary the mood and quality of light in a scene. Topics: using key, fill, backlight, and kicker/rim light; how cookies, flags, scrims, and silks affect a light source; use of light meters; lighting the interview subject; lighting an outdoor scene; tips and tricks. Prerequisites: None Related courses: CANON XA-10 CAMERA OPERATION

CANON XA-10 CAMERA OPERATION SATURDAY, JAN 31, 9:30 AM-12:30 PM 1 session Tuition: $55 ANDY BLUBAUGH Introduction to the basics of our HD camera workhorse. This workshop is REQUIRED for renters of this particular camera.

TUESDAYS, JAN 20-MAR 17, 6:30-9:30 PM 9 sessions Tuition: $765 CARL DIEHL Venture into the outer limits of unconventional, cutting-edge strategies, novel techniques, and alternative structures in production. Topics: Hyperkinetic editing (Jawa), recombinant media aesthetics, sound collage, glitchcraft, and live cinema; build and experiment with your own contact microphone for recording everyday objects and surfaces; how to inspire fresh solutions and different ways of working; noteworthy experimental filmmakers of yesterday and today; opportunities for exhibition of experimental film in Portland and beyond; create three short videos using approaches discussed in class. Projects: Individual or collaborative Allocated gear: Canon XA-10 cameras, Film Center Edit Lab Prerequisites: Familiarity with basic digital editing techniques recommended Related courses: CANON XA-10 CAMERA OPERATION, SOUND RECORDING, DIGITAL EDITING

Topics: Manual focus and exposure; proper use of external microphones; basics of the touch screen; recommended presets; how to download the AVCHD footage to your computer. Prerequisites: None Related courses: BASIC LIGHTING, SOUND RECORDING

DIGITAL CINEMATOGRAPHY WEDNESDAY, JAN 21-MAR 18, 6:30-9:30 PM 9 Sessions Tuition: $765 ANDY BLUBAUGH Develop an eye for shot composition and framing while shooting in a variety of situations. Topics: how exposure, focal length, and depth of field work and why you need to understand them; the rules of composition within the frame and how/when they can be broken; using foreground and background to convey story information and setting; working with available light and light kits; learning to see the frame; mapping out shots that have movement; staging and blocking with talent; shooting with editing in mind (getting sufficient coverage); HD workflow from capture to final delivery; shoot a variety of interior/exterior and day/night scenes as outside-ofclass exercises; bring in your best clips for in-class discussion. Projects: Individual or collaborative Allocated gear: Canon XA-10 cameras, basic lighting gear Prerequisites: None

POST-PRODUCTION MANAGEMENT Thursdays, JAN 22-MAR 19, 6:30-9:30PM 9 sessions Tuition: $495 DAVID BRYANT+ GUESTS How to navigate the technical, organizational and financial aspects of getting your film to final edit and master. Topics: the components and sequence of the post-production pipeline; why and how post-production planning begins before shooting; connecting shooting format with workflow strategy; file management; how to troubleshoot technical problems along the way; the language of specifications and deliverables; preparing for the sound mix, color correction, graphics, and titles; when and how to hire an editor, consulting editor, and/ or post-production manager; overview of the different types of post-production facilities in Portland; how to assess their services, negotiate a deal, and forge a relationship; class includes behind-the-scenes, private field trips to a variety of post-production facilities with presentations by post house professionals, and a panel of guest filmmakers talking about their post experiences on specific projects. Projects: N/A Prerequisites: None Related courses: ART OF FILMMAKING (I, II, III), DIGITAL EDITING, DOCUMENTARY PRODUCTION, NARRATIVE PRODUCTION

DIGITAL EDITING WEDNESDAYS, JAN 21-MAR 18, 6:30-9:30PM 9 sessions Tuition: $765 BUSHRA AZZOUZ Introduction to editing styles, concepts and techniques using Final Cut Pro X. Topics: how editing creates meaning; how sound and picture work together; defining what you are trying to accomplish; principles of continuity; matching action and montage editing styles; setting up a project and organizing materials; experimenting with rhythm and pacing; adding sound effects, text, music, and narration; basics of titles; edit one short film using your own footage or provided footage; bring in work-in-progress for critique. Projects: Individual Allocated gear: Film Center Edit Lab Prerequisites: None Related courses: DIGITAL VIDEO WORKFLOW

8 jan/feb/mar 2015

SCREENWRITING FUNDAMENTALS MONDAYS, JAN 19-MAR 16, 6:30-9:30 PM 9 sessions Tuition: $765 KYLE ALDRICH Take your ideas to the next level and get a solid start on a feature-length screenplay. Topics: Screenplay structure and formatting; creating characters with depth and purpose; writing effective dialogue; the difference between plot and story; structuring scenes and sequences; solving the second act droop; write an outline and at least the first 30 pages of your screenplay; bring in work-inprogress for class critique. Projects: Individual Prerequisites: None Related course: DIALOGUE WRITING, SCREENWRITING: ADVANCED

nwfilm.org/school

SOUND RECORDING SUNDAYS, FEB 22 & MAR 1, 1-5 PM 2 sessions Tuition: $95 PAM MINTY Basics of recording dialogue, interviews, narration, and effects. Topics: First session is general overview of microphone types and uses, from lavaliers to shotguns; operation of the Marantz PMD-660, Sound Devices 702 Digital Audio Recorder, MixPre, and 302 Field Mixer; single versus dual system recording; second session is devoted entirely to hands-on practice; rotate through common recording scenarios for scripted dialogue and basic interviews; learn about sound recording gear rental options. Prerequisites: None Related courses: CANON XA-10 CAMERA OPERATION, ART OF FILMMAKING I, DOCUMENTARY PRODUCTION, NARRATIVE PRODUCTION

STOP MOTION ANIMATION MONDAYS, JAN 19-MAR 16, 6:30-9:30 PM 9 sessions Tuition: $765 DAN ACKERMAN The techniques and tools of motion storytelling one frame at a time. Topics: components of a basic stop motion shooting set-up; camera set up, control and movement; lighting and light control; Dragonframe capture tool functions and operations; developing your message and storyline; concepts of squash/stretch, ease in and ease out, metamorphosis, and the walk cycle; staging, framing, and composition; the tools and techniques of a variety of drawn and non-drawn (object) animation approaches, including white boards, cutouts, sand, pin screen, painting with clay, pixilation, simple wire puppets, and hybrid forms; low budget sets and lights; easy ways to create dimensionality; animate each week in and out of class and receive on-going feedback; create a series of short animated experiments in different styles and an individual short animated film in a style(s) of your choice; class includes a field trip to a professional animation studio. Projects: Collaborative and Individual Allocated gear: Film Center basic animation stands, Film Center Edit Lab for assembling animated sequences (art supplies for final project are a student responsibility) Prerequisites: None Related courses: CHARACTER ANIMATION WITH CLAYMATION photo by joel conrad bechtolt

iFILM SERIES NEW! iFILMMAKING BASICS: SHOOTING TIPS & TRICKS

iFILMMAKING BASICS: EDITING TIPS & TRICKS

Select one of two identical sections SECTION 1: SATURDAY, JAN 10, 9:30AM-12:30 PM SECTION 2: SATURDAY, FEB 21, 1-4 PM Tuition: $45 | MELISSA TVETAN

Select one of two identical sections SECTION 1: SATURDAY, JAN 10, 1-4 PM SECTION 2: SATURDAY, FEB 21, 9:30 AM-12:30 PM Tuition: $45 | MELISSA TVETAN

Optimize the video recording capability of your iPhone or iPad.

Optimize the video editing capability of your iPhone or iPad.

Topics: understanding focus, exposure and dynamic range; audio recording techniques (in the field, narration); using filters and apps; optional accessories and how they might improve or affect quality; stable recording with or without a tripod. Practice shooting and receive feedback and trouble-shooting advice.

Topics: basic concepts of video editing; in-depth instruction on iMovie for iOS;

Bring your iPhone or iPad or use a Film Center iPad (for in-class use only)

iFILMMAKING PROJECT: MAKE A VIDEO PORTRAIT

media management and sharing files from iOS to computer; audio mixing (combining narration, music, sound effects); exporting final projects to social media sites. Practice editing and receive feedback and trouble-shooting advice. Bring your iPhone or iPad or use a Film Center iPad (for in-class use only)

iFILMMAKING PROJECT: GROUP SHOOT ON LOCATION

SATURDAYS, JAN 31-FEB 14, 9:30 AM-NOON 3 sessions Tuition: $115 MELISSA TVETAN

photo by robert laygo

SATURDAY, MAR 7, 9AM-3PM Tuition: $90 MELISSA TVETAN

Make a short documentary about a person, place, pet, or object of special meaning to you. Incorporate photographs, drawings, graphics, etc. as desired. Write and record interviews and narration. Edit everything together, add music, and “mix” it into a final product ready to upload to your favorite social media site.

Brush up on shooting and sound recording techniques and head out as a group to the nearby Portland Farmer's Market at PSU. Record interviews with vendors and visitors, document the setting and wares for sale, and capture the overall market experience. Share your best takes with fellow iFilmmakers in a post-shoot wrap-up.

Bring your iPhone or iPad or use a Film Center iPad (for in-class use only)

iFILMMAKING FOR FAMILIES: FAMILY TRADITIONS SATURDAYS, JAN 31-FEB 14, 9:30 AM-NOON 3 sessions Tuition: $95 (for up to 3 family members) MELISSA TVETAN Work together to make a short film that documents and celebrates your family traditions. Incorporate family photographs, drawings, souvenirs, old home movies, etc. as desired. Write and record interviews and narration. Edit everything together, add music and "mix" it into a final product ready to upload to your favorite social media site. Bring your iPhone or iPad or use a Film Center iPad (for in-class use only)

VISITING ARTISTS THE NEW DOCUMENTARY ECOSYSTEM: BALANCING INDIE IDEALS WITH MARKETPLACE REALITIES SATURDAY, JAN 24, 10AM-1 PM BETH HARRINGTON, SUE ARBUTHNOT & RICHARD WILHELM Tuition: $25 How to sustain your mission-driven project (and yourself) in the constantly evolving world of production and distribution. the winding stream

dryland

Multi-award-winning filmmakers Beth Harrington (THE WINDING STREAM) and duo Sue Arbuthnot and Richard Wilhelm (DRYLAND), both screened in this year’s NORTHWEST FILMMAKERS’ FESTIVAL, are veterans of the current documentary landscape, having overcome a myriad of financial and logistical challenges to bring these captivating films to their intended audiences. Through anecdotal storytelling, showing clips and Q&A, they will discuss and reflect on a variety of pertinent topics. Topics: how to create successful relationships with subjects and make them your allies; selecting crew and sustaining crew relationships over a long production timeline; where the funding is and isn’t, and what to do about it; identifying core audiences early on and strategically building outward to new ones; devising an outreach campaign using social media with direct communication; the pros, cons, and pricing structures of different distribution outlets (eg. Video On Demand, DVD sales, educational); building and monetizing a community screening protocol (with an educational focus); getting and using a publicist; the politics of film festivals; why you want to control all of your film’s assets; tips for maintaining your professionalism and humor in the face of rejection and exhaustion; and emerging trends on the horizon.

BETH HARRINGTON’s (bethharrington.com) numerous independent documentaries focus on American history, music, and culture, reflecting her long-standing love of music and her avocation as a rock & roll singer/guitarist. Before transplanting from Boston to the Pacific Northwest, she worked as a WGBH line producer on various shows for PBS. She now enjoys a productive relationship with Oregon Public Broadcasting, producing and developing shows for national broadcast and the local level OREGON EXPERIENCE series. In association with ITVS, she created the critically acclaimed autobiographical documentary THE BLINKING MADONNA and WELCOME TO THE CLUB - THE WOMEN OF ROCKABILLY, about the pioneering women of rock and roll, honored with a Grammy nomination. Her most recent film, THE WINDING STREAM (thewindingstream.com), tells the epic story of the dynasty family at the heart of country music. A decade in the making, it is now screening in major film festivals. SUE ARBUTHNOT and RICHARD WILHELM are producers/ directors for their production company, Hare In the Gate Productions LLC (hareinthegate.com), which creates commissioned and independent documentaries, interpretive exhibits, photography and design. Their films have shown on PBS and in festivals in the US and internationally. IMAGINING HOME, their first feature documentary and shot over seven years, chronicles the complete revitalization of a maligned, yet cherished low-income housing development in North Portland. Filmed over ten years, their second feature, DRYLAND, explores the challenges and opportunities facing family farms and rural communities, through the eyes of a young man passionate to continue his family’s farming legacy. DRYLAND premiered at the prestigious Big Sky Documentary Film Festival in 2014, and continues to tour in festivals and community screenings.

SPRING BREAK CAMPS DIGITAL MOVIEMAKING FOR KIDS GRADES 2-4

photo by joel conrad bechtolt

DIGITAL MOVIEMAKING FOR KIDS GRADES 4-6

POSIE CURRAN MONDAY-FRIDAY, MAR 23-27, 8:45 AM-3 PM

MELISSA TVETAN MONDAY-FRIDAY, MAR 23-27, 8:45 AM-3 PM

Learn how filmmakers use camera angles, lighting, sound, and editing to tell stories and how film crews work together to make movies. Experiment with different visual storytelling techniques. You’ll make several short films in different styles, trying your hand at live-action directing, shooting, and editing. You’ll gain the insight and skills to keep making your own movies! The week will culminate in a family screening, complete with popcorn. Completed films will be compiled and uploaded to a special class online video album.

Enrollment Limit: 12 Tuition: $295 Equipment/Lab Fee: $60

SCHOOL OF FILM OPEN HOUSE

EVENTS SOUND

SATURDAY, JAN 10, 3-4 PM LOCATION: SCHOOL OF FILM

BYTE

Find out about the School of Film and whether its offerings, including the Certificate Program in Film, are right for you. This evening, we’ll review this winter’s course offerings, and talk about how the Certificate Program fits in. Learn about the Core Sequence, planning your course of study, scholarship options, and college credit options. Hear from current and past students about their experiences and plans. Equipment Room staff will discuss our equipment. Registration staff will be on hand to answer your questions. Open to prospective and enrolled School of Film students. Free admission.

SCHOOL OF FILM STUDENT SCREENING SATURDAY, JAN 10, 4:30 PM LOCATION: WHITSELL AUDITORIUM

photo by robert laygo

Everyone is invited to watch the many short films created by students in the classes of Fall Term 2014. Whether the first attempt of a beginner or something more ambitious from an advanced student, it’s an uncurated, all-comers program for anyone who has decided they’re ready to show their work on the big screen. Join in congratulating them on this important step in their journey toward self-expression through film. Free Admission. (120 mins)

photo by joel conrad bechtolt

10 jan/feb/mar 2015

nwfilm.org/school

OUT OF THE ARCHIVES: YOUTH-MADE FILMS FROM ACROSS OREGON FRIDAY, JAN 23, 5:30 PM LOCATION: WHITSELL AUDITORIUM Since 1977, the Film Center’s statewide Filmmakers-inthe-Schools Program has partnered with K-12 schools and community organizations around Oregon to bring the power of filmmaking to young people through artist residencies with Film Center faculty. Hundreds of youth-made films have been created, many of them now a capsule in time. With support from a grant from the Oregon Heritage Commission and Oregon Parks and Recreation Department, 84 of these films have recently been rescued from the clutches of aging videotape stock by being digitized onto archival media. Drawing from these archives, this screening presents a vintage youth-eyeview of how nature and land define and reflect us and includes: THE COYOTE WHO STOLE THE STARS (1993), created with Grand Ronde youth with artist-in-residence Sharon Genasci; LIFE IN A COUNTRY SCHOOL (1986), about growing up on Sauvie Island, created with Sauvie Island School and artist-in-residence Jack Sanders; WETLAND NEIGHBORS (1993), a look at the urban wildlife of SW Portland, created with Oregon Episcopal School and artist-in-residence Lawrence Johnson; BROWNFIELDS IN OUR BACKYARD (1994), a call to end the blight of polluted properties along MLK Boulevard in NE Portland, created by students at The Galdys McCoy Academy and artist-in-residence Patrick Rosenkranz; LOOKING AT WILDFLOWERS (1994), a poetic meditation on how the outdoors frames our identity, created by students in Portland’s White Shield School and Cieridwen Terrill; MI GENTE (2001), the Latino community in Ontario, created with Treasure Valley Community College, the Oregon Council for Hispanic Advancement and artist-in-residence Enie Vaisburd. (60 mins.) Admission is free with admission to the Portland Art Museum, which is $5 after 5 PM on Fridays.

WINTER TERM FACULTY BIOS DAN ACKERMAN, Director of Photography, owner of Ackerman Films and Stage-13 (www.ackermanfilms.com), works in a mix of media producing animation, commercials, live-action & stop-motion films. With a background as a cartoonist, graphic artist and photographer, he honed his skills in animation and cinematography at the Cal-Arts Experimental Animation Program. There he created PORTAL, a seemingly computer generated, hand-drawn film which screened at the Chicago International Film Festival and was selected as Best of Show at SIGRAGH. For 30 years, Dan’s craft has evolved with changes in technology while remaining firmly committed to a hands-on, tactile approach to filmmaking. He specializes in camera controls, lighting/rigging set-ups for complex shooting, motioncontrol and frequently works freelance for a number of animation specialty houses including Bent Image Lab and LAIKA. His credits include the animated short, JINGLE & BELL (DP); feature film, ONE CRAZY SUMMER (Animation Technical Director); THE PJ’S (Lighting Cameraman); WHAT THE BLEEP DO YOU KNOW (2nd Unit DP); CORALINE (Lighting/Camera); and MEET THE OWLS (Director/DP/Animator). His commercial clients include: Nike, Adidas, Keen, North, Wieden & Kennedy, Sony Computer Entertainment, Vice Media, and many others. kyle ALDRICH is a writer, producer, art department director, and post production supervisor for feature films, commercials, and web content with an MFA in Creative Writing from Goddard College. His is the writer and producer of such films as THE STATEMENT OF RANDOLPH CARTER, selected by Cthulhucon: H.P. Lovecraft Film Festival, and D IN SPACE, Winner of Best In Show at the 48 Hour Film Festival in 2011. Other projects have screened at such competitions as the Northwest Filmmakers’ Festival (THE FURTHER ADVENTURES OF ANSE AND BHULE IN NO-MAN’S LAND, which he associate produced), filmed By Bike Film Festival and Oregon Independent Film Festival. He first taught screenwriting at Lights Film School in New York. Currently, he teaches screenwriting and film production at the Art Institute of Portland, and serves as a pitching consultant for Willamette Writers. BUSHRA AZZOUZ, lead faculty member for 20 years, is the director of the award-winning documentary AND WOMAN WOVE IT IN A BASKET..., an exploration of traditional Klickitat river culture through a contemporary Native American woman’s point of view. Her two recent films, NO NEWS, a personal reflection on 9/11, and WOMEN OF CYPRUS, a collaboration with the women of the divided island, investigate the imprint of war on everyday life. She holds a BA from Reed College and an MA from San Francisco State. She is the lead mentor on the School of Film’s Project Viewfinder and is currently working on A MIDSUMMER NIGHT’S DREAM IN PRISON, which follows inmates at an Oregon state prison as they produce Shakespearian comedies. ANDY BLUBAUGH’s experimental documentaries have screened at the Sundance, Clermont-Ferrand, Edinburgh, and Seattle International Film Festivals, among others, and have been broadcast by the PBS program “POV” and the Logo Network. He is the recipient of a fellowship from the Tribeca Film Institute and was identified as one of “25 New Faces of Independent Film” by Filmmaker Magazine. His debut feature, THE ADULTS IN THE ROOM, premiered at the FrameLine Film Festival in San Francisco and won Best Narrative Feature at the 37th Northwest Filmmakers’ Festival. DAVID BRYANT has worked with and for post-production houses, advertising agencies, corporate/industrial clients, and independent filmmakers for nearly three decades in editorial, design, systems management, and post-production supervision. Nationally, these have included A&E, CBS, Disney, Cline Davis Mann, the National Video Center, and Prelinger Associates; and in Portland over the last two decades, Coates Kokes, CMD, nonbox, and HMH. He recently completed post-production on Jeff Winograd’s THE KID, Howard Mitchell’s THE BUS and THE STREETCAR, Christen Kimbell’s CREATION, Ned Thanhouser’s THE THANHOUSER STUDIO AND THE BIRTH OF AMERICAN CINEMA, and Mona Hundeidi’s mix of live action and animation, MIDNIGHT SPECIAL FOR INSOMNIACS. As a filmmaker, his work focuses on the use of film/video in performance and theatrical environments, which has lead to collaborations with such artists as Mary Oslund, Minh Tran, George Cartwright and Les Miserables Brass Band, and to exhibitions nationally and internationally at venues including The Kitchen and PS122 (NYC) and the Melbourne Museum of Contemporary Art. He has also contributed as a curator to programming at Tin Pan Alley (NYC), Simon Fraser University and The Cinematheque (Vancouver, BC).

RENT ME

EMILIE-ROSE CURRIN teaches filmmaking and art at the youth and adult levels with a focus on inspiration, experimentation, collaboration, and empowerment, leading instructional activities for Caldera Arts, NAYA, Hollywood Theare/Grant High School, PNCA, and the Northwest Film Center’s Film Camps. Often working in the traditional home movie format of Super-8mm, her short films, including THE FOURTH WAY, about the daily manifestations and landscape of contemporary feminism, and THESE TWO HANDS, about rebuilding efforts in Haiti after the earthquake, merge conversation, poetry, idealogies, community building, and sometimes visual art and dance, screening in such venues as the PNCA Faculty Biennial, Shanghai Tunnels Project Video Poetry Festival, the Autzen Gallery, and New American Union. She holds an MFA in Studio Practice from Portland State University. CARL DIEHL charts new paths of inquiry into the history and social practice of technology using recombinant video editing, sound design, glitch studies, and transmedia formations. His video essays, installations, and performances have been exhibited nationally and internationally at venues including: Transmediale in Berlin, the International Symposium of Electronic Art in Singapore, the &Now Festival of New Writing in San Diego, and Tritriangle in Chicago. He is the co-founder of Weird-Fiction, an interdisciplinary arts group which explores experimental modes of audio-visual production. His reflections on the group’s methods and strategies, PUZZLING THE FICTO-QUIZZICAL, were published recently in the SIGNAL CULTURE COOKBOOK, an anthology of essays and how-to procedures from contemporary media artists. He is also the co-founder of BCC-TV, a video production group affiliated with Bud Clark Commons providing production workshops and screening opportunities to people experiencing homelessness. His latest project is a collaboration with Adam and Rosalynn Rothstein, the Weird Shift Storefront, a center for marginalia studies in North Portland. COURTNEY HERMANN is an award-winning documentary filmmaker whose films have won grant funding from The Paul Robeson Fund for Independent Media, Native American Public Telecommunications, “POV”/American Documentary (CPB), The Playboy Foundation, The Seventh Generation Fund, and other sources, including multiple highly successful Kickstarter campaigns. Among her recent projects are a film appearing in the Oregon Cultural Heritage Commission’s travelling exhibition, UPROOTED, about Japanese farm labor camps during World War II; STANDING SILENT NATION, chronicling the Lakota Indians’ struggle against the US Drug Enforcement Administration, which screened on PBS’s “POV” series, and EXOTIC WORLD AND THE BURLESQUE REVIVAL, about the last days of an old Route 66 roadside attraction. Holding an MFA in Film from Columbia College, she has an extensive background as an educator, including a decade-long stint at The Art Institute of Portland’s Digital Film. PAM MINTY, former Film Center Education Program Manager, is a visual artist whose work explores geography, home, and community through the mechanisms of sound recording, still photography, and motion picture. Her film and video work has screened at Anthology Film Archives, Center for Documentary Studies, Cornell Cinema, Film Studies Center at University of Chicago, Hallwalls Contemporary Art Center, International House Philadelphia, Los Angeles Filmforum, Margaret Mead Film Festival, Portland Art Museum, San Francisco Cinematheque, and Vancouver International Film Centre, as well as other venues throughout North America. pamminty.com JEAN MARGARET THOMAS is a director of photography, gaffer, and electrician for stop-motion animation and live-action film, working on feature films, television shows, commercials, independent films, and music videos, in formats from 35mm and 16mm to High Definition and RED. A graduate of the Pacific Northwest College of Art in photography, she also has more than a decade of experience lighting for dance, opera, and music performance organizations and for museum exhibitions at OMSI. She has also taught at The Art Institute of Portland and PNCA. MELISSA TVETAN has a background as an editorial manager for six years at the animation studio LAIKA/house, where she worked on commercials for Sony, M&Ms, Sony, Honda and Planters Peanuts. She has also served as post-production supervisor for the annual Sundance Institute Director’s Lab since 2008, supporting editorial support to the emerging filmmakers in residence. A former student at the School of Film, she screened her new experimental film, OUT OF THIS WORLD, in the Experimental Film Festival Portland Throwdown 2014.

The School of Film supports the use of media in our community as a means of self-expression and cultural advancement by making its film/video equipment, editing rooms, and other facilities available to artist and non-profit users at subsidized rental rates and to commercial users as availability allows. Download a Rental Rate Sheet at nwfilm.org/equipment for a complete list of available items, services, and pricing. Rental requests must be received at least 48 hours in advance and will be confirmed within 24 hours. For more information, contact 503-221-1156 or reserve@nwfilm.org.

Cameras for rent:

Editing Stations for rent:

Other equipment for rent:

Facilities for rent:

Film stock for sale:

Canon XA10 Camera Package Panasonic DVX-100 Camera Package JVC EX555 HD Handycam Package 16mm and Super-8mm Film Cameras

Soundtrack Pro Audio Work Station Avid Media Composer Work Station Final Cut Pro 7 Work Station Final Cut Pro X Work Station

Microphones and Sound Mixers Digital Audio Recorders Light Kits and Grip Equipment On-camera LED Lights Tripods Portable Green Screen Portable Video Projectors

Voiceover Recording Room Casting and Audition Rooms Small Screening Room (private screenings only)

Color Negative Super 8mm Film Stock Tri-X B/W Reversal Super 8mm Film Stock Color Negative 16mm Film Stock Tri-X B/W Reversal 16mm Film Stock XX B/W Negative 16mm Film Stock

THANK YOU!

The Northwest Film Center’s School of Film is supported by: Oregon Arts Commission John D. and Catherine T. MacArthur Foundation Henry Lea Hillman Foundation James F. and Marion L. Miller Foundation King Family Foundation

Women in Film/ Faerie Godmother Fund Frank Hood Fund of the Oregon Community Foundation Wieden+Kennedy Portland State University ZGF Architects

Pro Photo Supply Rode Regional Arts & Culture Council Marylhurst University Chipotle Mexican Grill

Harold & Arlene Schnitzer CARE Foundation Anne E. Berni Foundation Juan Young Trust Individual Donors and Friends

SPECIAL SCREENINGS Man in the white suit

kind hearts and coronets

the lavender hill mob

ALEC GUINESS: THE EALING COMEDIES

the king and the mockingbird

London’s Ealing Studios, under the brilliant tutelage of producer Michael Balcon, reached its peak in the 1940s and 50s, producing dozens of witty comedies. Possessed by a rare esprit de corps, where stability and creative freedom flourished, Ealing’s films offered a rich blend of irreverence, invention, and innocence—sometimes laced with a touch of darkness—and introduced some of the finest British actors to world audiences, including Peter Sellars, Stanley Holloway, and Alec Guinness. The centenary of Alec Guinness’ birth provides a fitting occasion to celebrate a few of the Ealing classics that highlighted Guiness’ extraordinary career that ranged from GREAT EXPECTATIONS (1946) and OLIVER TWIST (1948), to BRIDGE ON THE RIVER KWAI (1957), LAWRENCE OF ARABIA (1962) and, memorably, Obi-Wan Kenobi in the STAR WARS Trilogy. SINGLE OR DOUBLE FEATURE.

JAN 23 25 FRI 7 PM, SUN 4:30 PM

KIND HEARTS AND CORONETS B R ITAI N 1 949

DIRECTOR: ROBERT HAMER

“Murder, being a delicate matter, needs to be kept within the family. What surer cause for it is there than the kind of prolonged companionship that usually settles into a family relationship? It is all very well for such as André Gide to pose the thought of murdering a stranger in order to demonstrate the acte gratuit. But among people of taste and quality, the proprieties of murder—shall we say its art?—depend upon familiarity and intimacy. The artfulness of the film is to have all its victims, the D’Ascoynes family, played by one actor, Alec Guinness. This manages to add to the satire on family and nobility-such resemblance, but such eccentricity. Guinness also provides a model of that English acting which delights in pretense and regards distinct character as an illusion. The black humor, the iconoclasm and the going-in-drag are rooted in English history, but this film marks their special importance in the years since the war, and starts a movement that leads directly to Monty Python.”—David Thomson. (106 mins.)

JAN 24 26 SAT 6:30 PM, MON 8:30 PM

THE MAN IN THE WHITE SUIT B R ITAI N 1 9 51

DIRECTOR: ALEXANDER MACKENDRICK

In this light-hearted satire rich in comic twists, Alec Guiness plays a daffy inventor-chemist who concocts a miraculous fabric that will not soil, stain, or wear out. When the cloth industry discovers his revolutionary invention, he becomes a marked man. Mackendrick’s witty and original film takes on big business, labor, science, and consumer culture with equal glee before it comes to its “revealing” conclusion. (85 mins.)

JAN 24 25 SAT 8:45 PM, SUN 7 PM

THE LADY KILLERS B R ITAI N 1 9 55

DIRECTOR: ALEXANDER MACKENDRICK

Mackendrick’s delightful black comedy finds Alec Guiness and his fumbling gang of crooks (Peter Sellers, JAN 23 26 FRI 9:15 PM, MON 6:30 PM Herbert Lom, and Cecil Parker) set up in a rented room to THE LAVENDER HILL MOB plan a robbery. The elderly homeowner becomes unwitB R ITAI N 1 9 51 tingly involved and, try as they may to knock her off, they DIRECTOR: CHARLES CHRICHTON succeed instead to fall victim, one by one, to themselves. With the aid of two bumbling sidekicks, timid bank clerk Henry Holland William Rose’s madly farcial script perfectly captures the (Alec Guiness) Nearly gets away with the heist of the century—a milessence of droll British humor. (95 mins.) lion pounds of gold bullionmelted down into Eiffel Tower paperweights. But the plan goes awry when some schoolgirls mistake the gilt treasures as cheesy Parisian souvenirs. “As the prim, innocuous civil servant with a hidden spark of nonconformity. . .Guinness describes his gleaming-eyed, bowler-hatted little man as the ‘fubsy’ type, and he’s an image of Everyman. . .[P]robably the most nearly perfect fubsy comedy of all time. It’s a minor classic, a charmer. Stanley Holloway is the genteel, artistic accomplice. . .”—Pauline Kael. (81 mins.)

JAN 30 31 FEB 1 FRI 6:30 & 8:30 PM, SAT 4:30, 6:30 & 8:30 PM, SUN 5 & 7 PM

THE KING AND THE MOCKINGBIRD FRAN CE 1 9 8 0

DIRECTOR: PAUL GRIMAULT

Widely considered one of the best animated features of all time and a masterpiece of French animation, the Prix Louis Delluc-winning THE KING AND THE MOCKINGBIRD has been cited by Studio Ghibli’s Hayao Miyazaki and Isao Takahata as a profound influence on their work. The King is in love with a beautiful shepherdess in a painting on his wall, but she is in love with a chimneysweep from another artwork. At night the paintings come to life, and together they attempt to flee. Hiding at the top of the palace, they help Mr. Bird who’s become caught up in one of the King’s cruel traps, before leading the police on a wild chase. A story told with wit, charm, and imagination, with beautifully realized animation and rich with cultural references—Parisian and Venetian architecture, surrealist artists di Chirico and Magritte, METROPOLIS, KING KONG, and Tintin, among many—the result is a delightful marriage of story and image which animation lovers will recognize as the inspiration for Studio Ghibli. (83 mins.) New

digital restoration by Studio Canal.

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Northwest Film center

january/march 2015 503-221-1156 www.nwfilm.org

force majeure

IN CASE OF NO EMERGENCY: THE FILMS OF RUBEN ÖSTLUND MARCH 28 29 SAT 2 PM, SUN 7:30 PM

THE GUITAR MONGOLOID SWED EN 20 04

DIRECTOR: RUBEN ÖSTLUND

“One of the quirkiest Swedish films of recent memory, Östlund’s film has all the makings of a cult classic. Defying traditional norms of storytelling, it presents a dark but also humorous depiction of a society with lonely people and sudden outbursts of violence. In each sequence, the camera remains in a fixed position, recording events that unfold. On a roof, a young boy twists TV antennas so viewers’ reception goes fuzzy. A woman leaves her apartment, showing signs of compulsive behavior. A boy plays his guitar, screaming rather than singing the lyrics. Some young men destroy all the bicycles they can find. Two men in a kitchen try to convince a third man, whose face is digitally obscured, to participate in a game of Russian roulette. These people, and others, reappear throughout the film, which has no traditional narrative, instead describing moods and feelings in Sweden in the new millennium.”—Variety. (89 mins.)

WITH Play

the Guitar mongoloid

Internationally-acclaimed Swedish director Ruben Östlund began his career in the 1990s directing skiing films before moving on to shorts and features. His new film, FORCE MAJEURE, won the Grand Jury Prize in the Un Certain Regard competition at the Cannes Film Festival and was Sweden’s submission for this years’ Best Foreign Language Film Oscar. “In Östlund’s bracing, darkly funny movies, modern life takes shape as a series of simultaneously devastating and absurd crises, no less real for being imagined, and the civilized veneer of Western bourgeois society barely conceals all manner of foibles and prejudices. His deconstructions of ego and privilege are elegant provocations, designed to defy easy identification and, in his words,“make the audience take a moral stand on its own.”—Film Society of Lincoln Center. This touring program is produced by Comeback Company, in partnership with the Swedish Film Institute and Plattform Produktion, with additional support from the Embassy of Sweden, Washington. Thanks to the Scandinavian Heritage Foundation, Portland for sponsoring these screenings.

MARCH 26 28 THURS 7 PM, SAT 4:15 PM

MARCH 27 29 FRI 7 PM, SUN 5 PM

SWED EN/D EN MAR K/N O RWAY 20 14

SWED EN 20 1 1

FORCE MAJEURE DIRECTOR: RUBEN ÖSTLUND

Picture-perfect Swedes Tomas, Ebba, and their two kids are enjoying a pleasant family getaway at a French ski resort, until an avalanche strikes. Although everyone walks away unharmed, Tomas’ gut reaction to the incident shakes his marriage to its core. Filled with wicked humor and piercing satire, Östlund’s chilling comedy of manners won the Un Certain Regard Jury Prize at the Cannes Film Festival and was this year’s Swedish submission for the Best Foreign Language Film Oscar. “Sophisticated, stingingly clever, and well-executed. . . crystalline clarity and keenly observant humor.” –The Washington Post. (118 mins.) Join us after the film for a

reception hosted by the Scandinavian Heritage Foundation. For reception ticket information go to www.scanheritage.org

AUTOBIOGRAPHICAL SCENE NUMBER 6882 SWED EN 20 0 5

DIRECTOR: RUBEN ÖSTLUND

A 30-year old man is celebrating Midsummer’s eve together with friends on the west coast of Sweden. He makes his friends come and watch as he is going to jump into the sea from a very high bridge. (9 mins.)

MARCH 28 30 SAT 7 PM, MON 7 PM

INVOLUNTARY SWED EN 20 0 8

DIRECTOR: RUBEN ÖSTLUND

PLAY

DIRECTOR: RUBEN ÖSTLUND

“A deliberately provoked racial incident, based on numerous similar real life transgressions, is played for all it’s worth in PLAY. Swedish writer/director Östlund employs mesmerizing visual strategies to relate a disturbing tale of how five savvy African immigrant boys in Gothenburg take advantage of the liberal guilt and placating temperament of three local kids to rob them and take them for a ride to unknown destinations. Social, racial, and political credos are twisted, pulled inside out, and stood on their heads by this bracing and confronting work, which will challenge the assumptions of many a viewer. PLAY poses more questions than it answers as it lays bare attitudes lurking beneath the surface tranquility of Scandinavian life—a peacefulness that can sometimes be tragically shattered.”—New York Film Festival (113 mins.)

“Of all the satirists working in cinema today, Östlund displays perhaps the slyest streak of dark humor.”—Peter Debruge, Variety

In this brilliant comedy of Swedish manners, Östlund offers five inter-set stories in which respect for authority is challenged. Whether focused on a famous actress unwilling to admit guilt or teens exploring their sexuality via webcam, the film’s segments pose questions about group mentality and social influences. Tensions mount as each character is pressed to take a stand or accept responsibility. Audience Award, Stockholm Film Festival. “A challenging and intelligent Swedish drama that still raises laughs.”—Empire (98 mins.)

WITH

INCIDENT BY A BANK SWED EN 20 09

DIRECTOR: RUBEN ÖSTLUND

A detailed and humorous account of a failed bank robbery: a single take where roughly 100 people meticulously recreate an actual event that took place in Stockholm in June 2006. “A way to correct the false images of robberies we see almost daily in action movies made in Hollywood.”—Ruben Östlund. (12 mins.)

www.nwfilm.org 503-221-1156 january/march 2015

Northwest Film center

PAGE 13

444

ITALIAN STYLE After World War II, Italian neo-realism emerged as the most appreciated cinema in the world. The great films of Luchino Visconti, Roberto Rossellini, and Vittorio De Sica turned eyes to Italy and set the stage for a new generation of filmmakers looking beyond the gloom and economic tragedy of the era and toward the issues and opportunities of modern industrialized society. The Portland Art Museum’s exhibition, “Italian Style: Fashion Since 1945,” provides the inspiration for this survey of iconic Italian and Italian-set classics from the 1950s and 60s. During this era, Italian fashion, and everything from Italian thought, attitude, and automobiles to food, design, and Vespas, influenced audiences, filmmakers and culture worldwide—especially in the United States. A legacy of alluring films, directors, and stars timelessly endures, still providing inspiration and an unmistakably Italian vision of pop culture cool. Free admission for Portland Art Museum

members.

ITALY 1 9 60

Fellini’s emotional travelogue of the soul of modern Rome is a seductive meditation on what was truly meaningful (if anything) for the dusk-to-dawn Italian jet set of the era. Marcello Mastroianni was catapulted into superstar status in America as the sensitive (and Brioni-suited) tabloid reporter juggling the affections of several women (voluptuous movie star Anita Ekberg, icy mistress Anouk Aimée, and neurotic girlfriend Magali Noel) while making the rounds of the spirit-destroying nightlife of the Via Veneto. The film’s costumes– which won Piero Gherardi the Academy Award for Best Costume Design–portray a sophisticated, expensively dressed, and sensually alluring Mastroianni, an elegantly feline Aimée wearing black dresses and cat’s-eye sunglasses, and an impossibly glamorous Ekberg. “I feel that decadence is indispensable to rebirth.”—Fellini. (185 mins.)

Northwest Film center

ROMAN HOLIDAY U S 1 9 53

DIRECTOR: WILLIAM WYLER

The first Hollywood film to be shot and produced on location in Italy, ROMAN HOLIDAY made Audrey Hepburn an enduring international star and fashion icon. Princess Ann (Hepburn), on a visit to Rome, decides to try to escape her stifling royal identity and head out to see the city incognito. She runs into American reporter Gregory Peck, and love blossoms as they discover the charms of the eternal city in a way that stimulated Italian tourism and fashion consciousness like no film before it. The winner of three Academy Awards for Best MARCH 13 FRI 7 PM Screenplay (Ian McLellan Hunter, John Dighton), Best Actress (Audrey Hepburn), and Best Costume Design (Edith Head) in L’AVVENTURA ITALY/FRAN Ce 1 9 60 collaboration with the Fontana Sisters. (117 mins.)

MARCH 8 SUN 7 PM

LA DOLCE VITA

PAGE 14

MARCH 7 8 SAT 7 PM, SUN 4:30 PM

DIRECTOR: MICHELANGELO ANTONIONI

MARCH 6 FRI 7 PM

DIRECTOR: FEDERICO FELLINI

La Dolce Vita

VALENTINO: THE LAST EMPEROR U S 20 0 8

DIRECTOR: MATT TYRNAUER

Shot by Vanity Fair Correspondent Matt Tyrnauer between 2005 and 2007, VALENTINO: THE LAST EMPEROR, offers an intimate and engaging, fly-on-the-wall insight into the personal and business life of one of Italy’s most famous fashion designers, Valentino Garavani. With unprecedented levels of access, we’re drawn into a rarified world of haute couture, glamour, and unabashed excess. Then in the twilight of his years, Valentino and his longtime partner, Giancarlo Giammetti, move regally between exotic locations and events worldwide as they prepare for Valentino’s final show. “At turns touchy and catty, a must-see for fashion-lovers and pop culture addicts alike.”—New York Times Magazine. (90 mins.)

january/march 2015 503-221-1156 www.nwfilm.org

l’avventura

Antonioni’s meditation on meaning in modern existence remains an obligatory experience in existential cinemagoing. On a yachting trip off Sicily, a woman (Lea Massari) mysteriously disappears during an excursion on a desolate island. Her lover (Gabriele Ferzetti) and her friend (Monica Vitti) begin a search, but during the fruitless quest, each slowly becomes enamored with the other and their guilt is soon replaced by passion. L’AVVENTURA is at once a mesmerizing mystery, a thought-provoking study of human behavior—the impermanence of romance, bourgeois boredom, and the ease with which we betray one another—an experiment in the expressive use of landscape, costume, and architecture, and an allegory on the troubled state of postwar Italy. Adriana Berselli’s costumes introduced a modern, understated Italian glamour, blending with the landscape as a key element to understanding the characters and their purposeless lives. Winner of the Special Jury Prize at Cannes. (143 mins.)

444 IL Sorpasso

barefoot contessa

MARCH 20 22 FRI 7 PM, SUN 4 PM

BAREFOOT CONTESSA

summertime

U S 1 9 54

DIRECTOR: JOSEPH MANKIEWICZ

Humphrey Bogart plays Harry Dawes, a recovering alcoholic film director who plucks simple nightclub dancer Maria Vargas (Ava Gardner) out of obscurity and turns her into an international movie star. The influential Roman fashion designers the Fontana Sisters created Gardner’s costumes, including the iconic and controversial “pretino” (based on a priest’s cassock and complete with a giant rosary), which was later referenced by Piero Gherardi for Anita Ekberg’s enticing costume in Fellini’s LA DOLCE VITA. “Mankiewicz’s pitiless take on the dissolute, dispiriting world of international filmmaking, a veritable film à clef...the film’s aura of profound and limitless disenchantment looks ahead to Fellini and Godard’s CONTEMPT.”—Film Society of Lincoln Center. (130 mins.)

MARCH 21 SAT 7 PM

IL SORPASSO ITALY 1 9 62

DIRECTOR: DINO RISI

MARCH 14 15 SAT 7 PM, SUN 4 PM

MARCH 15 SUN 7 PM

ITALY 1 9 65

U K 1 9 55

JULIET OF THE SPIRITS DIRECTOR: FEDERICO FELLINI

The female counterpoint to 8½, Fellini ventures deeply into the surreal as JULIET OF THE SPIRITS explores the repressed desires of a bourgeois housewife, played by Giulietta Masina who stars as a middle-aged woman haunted by hallucinations from her past and subconscious. While her husband philanders, she consults clairvoyants and mediums and escapes into a world of imagination drawn from the “spirits” of her past, present, and future. In an effort to prevent her world from crumbling, she confronts the specters and fantasies that have imprisoned her throughout her life. A lavish and baroque visual spectacle, JULIET boasts Gianni de Venanzo’s brilliant cinematography, a memorable score by Nino Rota, and the opulent fashion designs of Piero Gheradi, who won Oscars for Best Costume Design for LA DOLCE VITA and 8½. Winner of the Golden Globe Award for Best Foreign Language Picture. (148 mins.)

Classically mismatched co-stars Vittorio Gassman and Jean-Louis Trintignant embark on a wildly reckless ride in an iconic Lancia Aurelia convertible from Rome to rural southern Italy. An inspiration to American road movies from EASY RIDER to SIDEWAYS, Risi’s commedia all’italiana reads as a sort of elegy on the unfettered energies of the early 1960s—fast cars, jazz, rock ’n’ roll, and cool fashion sense. “IL SORPASSo uses its journey to reveal a whole culture. . .a brilliant snapshot of the boom years when poor, war-ravaged Italy suddenly became a go-go nation where the economy boomed, people bought cars, and everyone wanted to have fun.”—John Powers. (105 mins.)

SUMMERTIME DIRECTOR: DAVID LEAN

MARCH 21 22 SAT 4:30 PM, SUN 7 PM

Jane (Katherine Hepburn), a lonely American spinster on vacation in Venice and hoping to find romance, succumbs to a passionate, bittersweet affair with Renato (Rossano Brazzi), a married Italian antique dealer. A visually enchanting valentine to the glories of the city as well as an endearing love story, Jane’s transformation from gloom to joy is echoed in an evolving wardrobe designed by Rosi Gori. A key item is a certain pair of red mules designed by Pompei in 1955 and reproduced in more recent years by Giuseppe Zanotti. “The film had an enormous effect on tourism. I remember the head of a hotel chain coming up to me and saying, ‘We ought to put a monument up to you.’”—David Lean. (102 mins.)

LE AMICHE ITALY 1 9 55

DIRECTOR: MICHELANGELO ANTONONI

In LE AMICHE (Italian for girlfriends), a young woman returns to her hometown of Turin after World War II to set up a fashion salon. The film’s costumes were designed by Zoe, Micol, and Giovanna Fontana, sisters who opened their Rome atelier in 1943 and whose signature costuming in mid-century films gave Rome the nickname “Hollywood on the Tiber.” Here, the costumes create an impeccably elegant world, from work to the beach. Meanwhile, Antonioni’s cinematic style builds an atmosphere of longing and sympathy as the women balance new roles of life and work. Starring Eleonora Rossi Drago, Gabriele Ferzetti, and Franco Fabrizi. (104 mins.)

www.nwfilm.org 503-221-1156 january/march 2015

Northwest Film center

PAGE 15

Film calendar

NWFilmCenter

november/december 2014

films screened at northwest film center • Whitsell Auditorium Portland Art Museum 1219 SW Park Avenue

SUNday

MONday

TUESday

WEDnesday

THURSday

support the NW Film 1Center! Join the silver screen 2 3 CLub! makeS A great gift! SEE nwfilm.org or call 503-221-1156 for details

4 PM the sacrifice (p.4)

JANUARY 7 PM the thanhouser studio and the birth of cinema (p.4)

SATurday

7 PM the sacrifice (p.4)

7 PM norte, the end of history (p.4)

3 PM school of film open house (p.12) 4:30 PM school of film student screening (p.12) 7 PM norte, the end of history (p.4)

force majeure p.13

the sacrifice p.4 4:30 PM three women (p.4) 7 PM Altman (p.4)

FRIday

7 PM SSC memberS preview: Mr. turner (p.4)

7 PM arresting power: resisting police violence in portland, oregon (p.3)

7 PM Altman (p.4)

10 AM the new documentary ecosystem (p.9) 4:30 PM Altman (p.4) 7 PM the long goodbye (p.4)

5 :30 PM out of the archives: youth-made films from across oregon (p.3) 7 PM kind hearts and coronets

2 PM paths of glory (p.4) 6:30 PM the man in the white suit

double feature

8:45 PM the lady killers (p.12)

double feature

9:15 PM the lavender hill mob (p.12)

Roman holiday p.14 4:30 PM kind hearts and coronets

double feature

7 PM the lady killers (p.12) 5 & 7 PM the king and the mockingbird (p.12)

6:30 PM the lavender hill mob

7 PM back the way we came (p.3)

6:30 & 8:30 pm the king and the mockingbird (p.12)

4:30, 6:30, & 8:30 PM the king and the mockingbird (p.12)

8:30 PM the man in the white suit (p.12)

1 8

february

norte, The end of history 2 p.4

MARCH

4:30 PM roman holiday (p.14) 7 PM valentino:the last emperor (p.14)

4 PM juliet of the spirits (p.15) 7 PM summertime (p.15)

4 PM barefoot contessa (p.15) 7 PM le Amiche (p.15)

7 PM the globe as a graph (p.3)

38th portland international film festival opens

7 PM childhood machine (p.3)

7 PM involuntary with incident by a bank (p.13)

7 PM La Dolce vita (p.14)

piff closes

21 28

7 PM roman holiday (p.14)

7 PM L’avventura (p.14)

7 PM juliet of the spirits (p.15)

7 PM koinonia (p.3)

7 PM barefoot contessa (p.15)

4:30 PM le Amiche (p.15) 7 PM il sorpasso (p.15)

7 PM force majeure (p.13)

7 PM play (p.13)

2 PM the guitar mongoloid with autobiographical scene number 6882 (p.13) 4:15 PM force majeure (p.13) 7 PM involuntary with incident by a bank (p.13)

the man with the white suit p.12 5 PM play (p.13) 7:30 PM the guitar mongoloid with autobiographical scene number 6882 (p.13)

$9 General $8 PAM Members/ Students/Seniors $6 Silver Screen friends/ children under 12

BOX OFFICE OPENS 30 minutes before showtime. ADVANCE TICKETS are available online at nwfilm.org SILVER SCREEN CLUB Directors, Producers, Benefactors & Sustainers receive free admission to all REGULAR ADMISSION programs. All programs are single admission unless otherwise noted. Special admission prices may apply.