SEPTEMBER/OCTOBER 2015
NEW SCANDINAVIAN CINEMA VOICES IN ACTION: HUMAN RIGHTS ON FILM (RE)DISCOVERIES: NEW RESTORATIONS, NEW PRINTS ON ART AND ARTISTS
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NORTHWEST TRACKING/ PIFF AFTER DARK PRESENTS HALLOWEEN CHILLS PAGE 3
VOICES IN ACTION: HUMAN RIGHTS ON FILM PAGES 4–5
SPECIAL SCREENINGS/ FRIDAY FILM CLUB PAGE 6
SCHOOL OF FILM PAGES 7–14
(RE)DISCOVERIES: NEW RESTORATIONS, NEW PRINTS PAGE 15
ON ART AND ARTISTS PAGES 16–17
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NWFILM.ORG
Counter clockwise from top left: 1) Portland area filmmakers Vanessa Renwick, Alicia J. Rose, and friends at the 50 Foot Challenge party celebrating the 50th birthday of Super 8 film. 2) KGW’s Cassidy Quinn interviewing Regional Services Manager Thomas Philipson at the Opening Night of Top Down Rooftop Cinema. 3) School of Film Summer camper. 4) Film Center students at Pickathon. 5) Will Vinton, creator of CLAYMATIONTM teaching a CLAYMATIONTM Studio intensive class at the School of Film.
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, OREGON CULTURAL TRUST, REGIONAL ARTS & CULTURE COUNCIL, PORTLAND ARTS EDUCATION & ACCESS FUND, 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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SEPTEMBER/OCTOBER 2015 503-221-1156 NWFILM.ORG
NORTHWEST TRACKING PIFF AFTER DARK PRESENTS
HALLOWEEN CHILLS
DIRECT ROUTE Northwest Tracking highlights the work of independent filmmakers living and working in the Northwest—Alaska, British Columbia, Idaho, Montana, Oregon, Washington—whose work reflects the vibrant cinematic culture of the region. Whether presenting single-artist retrospectives, new features, documentaries, or inspired collections of short works, this ongoing showcase offers testimony to the creativity and talent in our flourishing media arts community. Coming up November 12-17 is the 42nd Northwest Filmmakers’ Festival, the Film Center’s annual showcase of outstanding new work by regional makers.
I WALKED WITH A ZOMBIE
SEP 10 THU 7 PM—VISITING ARTISTS northwest tracking
END OF THE WORLD VAN CO UVER, B C 20 1 5
DIRECTORS: VARIOUS
The artists in the Vancouver-based Iris Film Collective create, exhibit, and tour film-based works—single channel, sculptural, installation—with the goal of increasing the visibility and accessibility of experimental media art. We present nine newly commissioned works from Iris members created entirely on hand-processed, black & white, 16mm film, including works by: Ariel Kirk-Gushowaty, Zoe Kirk-Gushowaty, Alex MacKenzie, Lisa G Nielsen, Sydney Southam, Simone Smith, Amanda Thomson, Ryder White, and John Woods. (70 mins.)
SEP 12 SAT 4:30 PM
NWFC SCHOOL OF FILM STUDENT SCREENING
THE TWIN GIRLS OF SUNSET STREET
OCT 30 FRI 7 PM—VISITING PRESENTER
GRISLY, GASTLY, GHOULISH ANIMATED HORROR
DIRECTORS: YOU
The Film Center partners with The Oregon Media Production Association to present an OMPA member highlighted edition of our bimonthly Open Screening program. In addition to new OMPA work, if you have something new to share, e-mail thomas@nwfilm.org with “Open Screening” in the subject line. First come, first served, time allowing, with priority for films less than 15 minutes. Open Screenings at the Film Center are free and open to all. Come check out the surprises.
LAIKA Brand Manager Mark Shapiro travels the globe visiting animation festivals, on the lookout for new talent and representing the company’s great work to fans worldwide. Culled from visits to Montreal, Annecy, Hiroshima, Clermont-Ferrand, Sundance, and more, this hand-picked program of macabre and shocking short films comes from the singularly twisted minds of animators unafraid to bring their visions to life. Not a program for the young or squeamish, the selections include: GRACKLE BUMPER, Danny Madden (US); THE TWIN GIRLS OF SUNSET STREET, Anna Solanas, Marc Riba (Spain); CHAIN MAID, Takena Nagao (Japan); PANDY, Mateus Vizar (Czech Republic); SUPERVENUS, Frédéric Doazan (France); DANNY BOY, Marek Skrobecki (Poland); CANIS, Marc Riba, Anna Solanas (Spain); CRAZY LITTLE THING, ONAHANA (JAPAN); TIMBER, VIVIENNE MEDRANO (US); DINNER FOR FEW, Athanassios Vakalis (Greece/US); TEETH, Tom Brown (US). Adult Audience. (90 mins.)
OCT 8 THURS 7 PM—VISITING ARTIST
OCT 30 31 FRI 9:15 PM, SAT 8:45 PM
po rtlan d 20 1 5
U S 1 943
See School of Film (page 14).
SEP 16 WED 7 PM
OPEN SCREENING
50 FEET FROM SYRIA
I WALKED WITH A ZOMBIE
DIRECTOR: SKYE FITZGERALD
DIRECTOR: JACQUES TOURNEUR
Syria. The word likely resonates for many of us who are following the tragic situation there. But what if it resonates because it was your home? This is the case for Dr. Hisham Bismar, the central character of Fitzgerald’s 50 FEET FROM SYRIA. A successful hand surgeon in the United States, Hisham decides he cannot continue to watch images of wounded Syrian refugees flow across international borders without acting on his impulse to help. At the heart of the film, Hisham’s journey serves as a portal into one of today’s most brutal, dehumanizing conflicts and into the lives of remarkable people working to save lives at great personal risk. (39 mins.) Skye Fitzgerald will introduce the film.
When a young nurse arrives on a mysterious island, she is thrust into states of both intrigue and terror, forced to confront a sense of “other” like none she has ever experienced. Having practically built the template for psychological horror with their 1942 collaboration on CAT PEOPLE, B-movie impresario Val Lewton (THE BODY SNATCHER) and director Jacques Tourneur (OUT OF THE PAST) reconvened to hatch this equally impressive tale of the supernatural, set against a dramatically lit, studio back lot recreation of the West Indies. “I WALKED WITH A ZOMBIE is a small masterpiece—perhaps the most delicate poetic fantasy in the American cinema.”—Robin Wood, “The Shadow Worlds of Jacques Tourneur.” (69 mins.)
OCT 20 TUE 7 PM—VISITING ARTIST
OCT 31 SAT 7 PM
MEMORY & OBSERVATION
G R EECE 20 14
the nwfc and cinema project present PO RTLAN D 20 1 5
DIRECTORS: PAM MINTY, UTE ARUAND, BRUCE BAILLIE, MARIA LANG
This program of old and new explores memory, observation, and film’s unique and varied abilities to visualize the act of remembering. Portland filmmaker Pam Minty’s DIRECT ROUTE (2015, 45 mins.) observes a blind woman navigating her domestic surroundings alongside landscapes and recollections prior to losing her vision. Through conversations and word puzzles with her daughter, a story emerges about the relationship between memory, sense of direction, and the texture of experience. Complimenting her film is Bruce Baillie’s classic ROSLYN ROMANCE (1974,17 mins.), a correspondence and collage film of family photos and superimposed imagery that invoke the cycle of the life; Ute Aurand’s MARIA (2011, 3 mins.), an observational portrait of the filmmaker’s dear friend; and fellow German filmmaker Maria Lang’s FAMILY CRYPT - A LOVE LETTER TO MY MOTHER (1981, 10 mins.), through which the filmmaker as daughter speaks about herself, her family, and their love, despite invisible walls and barriers. (80 mins.) Director Pam Minty will be in attendance.
NORWAY
DIRECTOR: YANNIS VESLEMES
Exuding the irreproachable cool of the new school of Greek filmmakers, Yannis Veslemes’ retro vampire flick depicts the afterlife of Zano, an undead denizen of 1980s Athens, Greece. Dressed to the nines in outdated lounge lizard attire, Zano slinks through the bars and alleys of the Greek metropolis looking for the love of a “warm” girl. All the while, he must keep in constant motion, dancing to sullen club beats, to keep his heart from stopping. “The bloodsucking creatures have always been an emblem of societal parasitism – and in this stylised steampunk creation, Zano the vampire lives a life of excessive hedonism. Veslemes’s disco-beat debut is thinly-veiled critique of those who have carelessly played with the country’s future.”—Peter Yeung, Dazed. (73 mins.)
DOUBLE FEATURE WITH
I WALKED WITH A ZOMBIE NWFILM.ORG 503-221-1156 SEPTEMBER/0CTOBER 2015
NORTHWEST FILM CENTER
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(T)ERROR
VOICES IN ACTION: HUMAN RIGHTS ON FILM While cinema provides entertainment and escape, for many committed filmmakers and viewers it is a vital medium of engagement and a powerful tool for social action. Tackling wide-ranging, thought-provoking issues, activist filmmakers help deepen our awareness of injustice and the values of dignity and equality as they tell universal stories of struggle and triumph. We hope these informative and inspirational films will broaden understanding and stimulate involvement as they reveal the commitment, experience, and courage of hearts and minds focused on challenges that touch us all. Our thanks go to the Human Rights Watch Film Festival and other international events for showcasing of works of vitally engaged filmmakers. Thanks to KBOO FM for their promotional support.
OCT 2 3 4 FRI 7 PM, SAT 4:30 & 7 PM, SUN 4:30 PM
WE COME AS FRIENDS FRAN CE/AU STR IA 20 14
DIRECTOR: HUBERT SAUPER
Best know for DARWIN’S NIGHTMARE, a riveting investigation into the decimation of tribal culture by Western farm-fishing in Tanzania’s Lake Victoria, Sauper’s new film—winner of the Special Jury Prize for Cinematic Bravery at the Sundance Film Festival—probes the distressed state of modern Sudan. Arriving in a tiny, homemade airplane, Sauper interviews an array of exploited local villagers, brash Chinese oil workers, and ethically awry international politicians. They are all fighting for their piece of South Sudan’s recently partitioned state, which Sauper plumbs with an eye for the ironies, tragedy, and humor unending. “At the moment when the Sudan, the continent’s biggest country, is being divided into two nations, an old ‘civilizing’ pathology re-emerges—that of colonialism, the clash of empires, and new episodes of bloody (and holy) wars over land and resources.”—BBC. In English, Arabic and Mandarin with English subtitles. (110 mins.)
OCT 8 THUR 7 PM—VISITING ARTIST
50 FEET FROM SYRIA U S 20 1 5
DIRECTOR: SKYE FITZGERALD
Syria. The word likely resonates for many of us who are following the tragic situation there. But what if it resonates because it was your home? This is the case for Dr. Hisham Bismar, the central character of Fitzgerald’s 50 FEET FROM SYRIA. A successful hand surgeon OCT 4 SUN 7 PM in the United States, Hisham decides he cannot continue to watch CARTOONISTS: FOOT SOLDIERS images of wounded Syrian refugees flow across international borders without acting on his impulse to help. At the heart of the film, OF DEMOCRACY? Hisham’s journey serves as a portal into one of today’s most brutal, FRAN CE 20 14 dehumanizing conflicts and into the lives of remarkable people workDIRECTOR: STÉPHANIE VALLOATTO Traveling five continents, Valloatto profiles a dozen men and ing to save lives at great personal risk. (39 mins.) Skye Fitzgerald will introduce the film. women whose job, obligation, and clear source of joy is to distill the chaos of world politics into a few vivid pen strokes FOLLOWED BY and a pithy quip. The grand tradition of political cartoonists speaking (or rather drawing) truth to power is continued THE WANTED 18 by these artists, from French cartoonist Plantu’s merciless CANADA/PALESTI N E/FRAN CE 20 14 portraits of Sarkozy’s anxious inefficiency to the plump, con- DIRECTORS: AMER SHOMALI, PAUL COWAN tentedly smiling cats with which Nadia Khiari satirizes the Through a clever mix of stop motion animation and interviews, lazy arrogance of Tunisia’s leadership. Such caricatures THE WANTED 18 recreates an astonishing true story: the Israeli haven’t sat well with all their targets, of course, and many of army’s pursuit of 18 cows, whose independent milk production on a the interviewees share tales of censorship, imprisonment, or Palestinian collective farm was declared “a threat to the national worse. Thankfully, none of these experiences has led any of security of the state of Israel.” In response to the Israeli occupation these cartoonists to despair or silence. Instead, their deter- of the West Bank, people from the town of Beit Sahour decide to start mination to call out corruption and hypocrisy only seems their own milk co-operative. Their venture is so successful that the strengthened by such attacks. (106 mins.) Sponsored by the collective farm becomes a landmark—and the cows local celebrities—until the Israeli army takes note. Consequently, the dairy is World Affairs Council of Oregon. forced to go underground, with the Israeli’s in relentless pursuit of the “Intifada milk.” Recreating the story with creative flair, Sahour and Cowan fashion an enchanting, inspirational tribute to the ingenuity and power of grassroots activism. In Arabic, English, Hebrew, and French with English subtitles. (75 mins.) Sponsored by Americans United for Palestinian Human Rights.
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NORTHWEST FILM CENTER
SEPTEMBER/OCTOBER 2015 503-221-1156 NWFILM.ORG
OF MEN AND WAR
WE COME AS FRIENDS THE WANTED 18
THE TRIALS OF SPRING
NO LAND’S SONG
OCT 11 SUN 7 PM
OCT 17 SAT 7 PM
NOV 1 SUN 7 PM
EGYPT/U S 20 1 5
PO LAN D/D EN MAR K 20 14
U S 20 1 5
DIRECTOR: HANNA POLAK
DIRECTOR: LYRIC R. CABRAL, DAVID FELIX SUTCLIFFE
THE TRIALS OF SPRING DIRECTOR: GINI RETICKER
Three courageous women in post-2011 Egypt fight for the original goals of the Arab Spring:“Bread, Freedom, and Social Justice” for all. The battles they wage each day reflect the uncertain crossroads at which the country and its women find themselves. A formerly veiled widow provides guidance for revolutionaries 40 years her junior. A young women’s rights activist demands an end to sexual harassment. A human rights defender from a rural military family is arrested and tortured, setting off a personal quest for justice that mirrors the trajectory of Egypt’s uprisings. THE TRIALS OF SPRING tells the stories of nine women on the front lines of change in Egypt, Tunisia, Libya, Syria, Bahrain, and Yemen, who, despite crushing setbacks, find that it is resilience that sustains the hope for reform even in the darkest hours of repression. (76 mins.) Sponsored by the World Affairs Council of Oregon.
OCT 15 THUR 7 PM
OF MEN AND WAR FRAN CE/SWITZER LAN D 20 1 5
DIRECTOR: LAURENT BÉCUE-RENARD
A secret battle consumes a dozen American combat veterans long after their return from the front in Iraq and Afghanistan. Unable to escape the battlefield that rages in their own minds, ghosts and echoes of the war fill their lives. Threats seem to spring out from everywhere. Wives, children, and parents bear the brunt of their fractured spirits, struggling to help their loved ones regain their lives. At The Pathway Home, a first-of-its-kind PTSD therapy center, the film’s protagonists resolve to end the ongoing destruction and forge meaning from their trauma. OF MEN AND WAR explores their grueling paths to recovery as they attempt to make peace with themselves, their past, and their families. In English. (142 mins.)
SOMETHING BETTER TO COME Polish filmmaker Hanna Polak was working for an NGO helping homeless children in Moscow when she befriended a ten-year-old girl living with her family on the Svalka, the largest garbage dump/ landfill in Europe, just a few miles from the Kremlin. Surrounded by a tall fence and guards, the area is closely monitored to keep intruders out. Within exists a lawless society—seemingly hopeless, but somehow sparked by communal solidarity and optimism for the future. Polak’s captivating, sometimes heartwarming film was the winner of the Special Jury Award at the International Documentary Film Association Festival in Amsterdam. “Eye-opening. Sequences of spectacularly dystopian-apocalyptic, third-world bleakness are leavened by moments of incongruous beauty, even grace.”—The Hollywood Reporter. In Russian with English subtitles. (98 mins.)
(T)ERROR
Saeed “Shariff” Torres is a 63-year-old former Black Panther-turned-counterterrorism informant for the Federal Bureau of Investigation. (T)ERROR interweaves Shariff’s fascinating journey with a penetrating look at the government’s broader counterterrorism campaign, offering a face-to-face exploration of the issues of domestic surveillance, racial profiling, entrapment, freedom of speech, and freedom of religious expression. Taut, stark, and controversial, it illuminates the fragile relationships between individuals and the state in modern America and asks, “Who is watching the watchers?” Special Jury Award US Documentary, Sundance Film Festival and Grand Jury Prize, Full Frame Film Festival. (84 mins.)
OCT 18 SUN 7 PM—VISITING ARTISTS
NOV 5 THUR 7 PM
U S 20 1 5
FRAN CE/G ER MANY/I RAN 20 14
DIRECTOR: KIM LOGINOTTO
DIRECTOR: AYAT NAJAFI
DREAMCATCHER
For 25 years Brenda Myers-Powell called herself ‘Breezy’ and she dominated her world—or that’s what she thought. In reality, this world had turned her into a teenage, drug-addicted prostitute. After a violent encounter with a customer, Brenda woke up in the hospital and decided to change her life. Today, she is a beacon of hope and a pillar of strength for hundreds of women and girls as young as fourteen who want to change their own lives. With warmth and humor, DREAMCATCHER explores the cycle of neglect, violence, and exploitation that leaves uncountable girls and women feeling that prostitution is their only option to survive. By following the very charming, charismatic and truly empathic Brenda, we understand their realities from their points of view and the difference that one person can make in the lives of many. Winner of the Directing Award, World Cinema Documentary. (98 mins.) Brenda Meyers-Powell will introduce the film with producer Lisa Stevens.
NO LAND’S SONG
The Islamic revolution of 1979 banned female singers from appearing in public in Iran. They are no longer allowed to perform solo unless to an exclusively female audience and recordings of former female icons can only be bought on the black market. But Sara Najafi is determined to refresh the cultural memory by roaming Tehran in the footsteps of famous singers of the 1920s and 1960s. She is about to revive the female voices in the present as she courageously plans an evening of Iranian and French female soloists to rebuild shattered cultural bridges—a concert that is not allowed to take place. Director Ayat Najafi follows the preparations between Tehran and Paris that are always touch-and -go. Can intercultural solidarity and the revolutionary power of music triumph? A political thriller and a musical journey, NO LAND’S SONG never loses sight of its real center—the female voice. (93 mins.)
NWFILM.ORG 503-221-1156 SEPTEMBER/0CTOBER 2015
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SPECIAL SCREENINGS HOME FROM HOME
IN THE MOOD FOR LOVE
SEPT 3 6 THUR 7 PM, SUN 7 PM
SEPT 18 19 20 FRI 6:30 PM, SAT 6:30 PM, SUN 2 PM
U S 1 945/46
G ER MANY 20 14
DIRECTOR: HOWARD HAWKS
DIRECTOR: EDGAR REITZ
HOME FROM HOME
THE BIG SLEEP
After making his acclaimed, three-part, 42-hour-long film saga HEIMAT, set against the vicissitudes of the mid-20th century, Reitz returns to the first installment’s fictional Rhineland community of Schabbach in the 1840s to investigate the roots of a Germany yet to be born. In the mid 19th century, hundreds of thousands of Europeans emigrated to South America in a desperate bid to escape the famine, poverty, and despotism that ruled at home. Jakob, the younger of two brothers, dreams about leaving his small village for adventures in the wild Brazilian jungle. Everyone who encounters Jakob is drawn into the maelstrom of his dreams: his parents, his belligerent brother Gustav, and, above all, Henriette, the daughter of a gem cutter fallen on hard times. Reitz’s visionary prequel intimately immerses into the world of SEPT 4 7 FRI 7 PM, SAT 4 PM his character’s everyday struggles as it sketches the bigger INHERENT VICE picture of economic hardship and a cruel feudal system that U S 20 14 fueled desire for freedom and emigration. Beyond the historiDIRECTOR: PAUL THOMAS ANDERSON cal, Reitz’s masterful storytelling and insight lends moving Adapting a Thomas Pynchon novel for the screen is a task at which perspective to migrant struggles and controversies ongoing, none have succeeded before Anderson, who sculpts a highly amusing, wherever they may be. German Film Awards for Best Film, Best atmospheric screenplay out of Pynchon’s novel of the same name. Director, Best Screenplay. (231 mins.) Joaquin Phoenix returns for his second work with Anderson as Larry “Doc” Sportello, an incessantly pot-smoking private detective on the OCT 17 SAT 2-5PM trail of several cases: keeping ex-girlfriend Shasta Fay Hepworth’s HOME MOVIE DAY 2015 (Katherine Waterston) affair with a married man from exploding, Join the Northwest Film Center and Oregon Historical Society hunting down a member of the Aryan Brotherhood with a debt to pay, and finding the missing, adrift Coy Harlingen (Owen Wilson). As all of again this year for Home Movie Day 2015. Home Movie Day these cases begin to intertwine, Doc comes in contact with a cadre of is a worldwide celebration of amateur films and filmmaking characters that could only populate the beaches and canyons of Los that offers the opportunity to learn about best practices for Angeles in the early 1970s—and could only come from a mingling of caring for your own home movies. The event is an open call— 8mm, Super8, and 16mm (no video please!)—to individuals the eccentric imaginations of Pynchon and Anderson. (148 mins.) and families to bring and share their own home movies with an audience of their community. Experts will be on hand to SEPT 5 SAT 7 PM perform light film inspection and we’ll also play a few rousing GOODFELLAS rounds of Home Movie Day Bingo with fun prizes! For more U S 1 99 0 information check homemoviedaypdx.tumblr.com. To make DIRECTOR: MARTIN SCORSESE your own home movies in the classic Super 8mm format, join Scorsese’s masterpiece of late-American Dream excess and the the Film Center the following day, Sunday, October 18th for decaying effects of a ceaseless lust for money follows Henry Hill the Super 8mm: Shoot + Hand Process workshop (see page (Ray Liotta), a young man who idolizes the mobsters he sees in his 11 for more info). Thanks to the Multnomah County Cultural neighborhood every day, as he works his way up the Brooklyn mafia Coalition for their support of this event. At Hollywood Theatre, hierarchy over a thirty-year period. Perched above him in the peck- 4122 NE Sandy Blvd. ing order is a ferocious trio: soft-spoken patriarch Paul Cicero (Paul Sorvino), the charismatic “Jimmy the Gent” (Robert DeNiro), and the OCT 25 SUN 7 PM—VISITING ARTIST terrifying, high-strung Tommy DeVito (Joe Pesci). As we learn the THE THOUGHTS deep inner workings of the Italian-American mafia through Hill’s experiences, longtime Scorsese cinematographer Michael Ballhaus’ cam- THAT ONCE WE HAD era incessantly roves, capturing every minute detail, while Thelma U S 20 1 5 Schoonmaker’s crisp editing propels the story along at near-break- DIRECTOR: THOM ANDERSEN Renowned California Institute of the Arts film profesneck pace. (146 mins.) sor Thom Andersen—whose previous essay films include the acclaimed LOS ANGELES PLAYS ITSELF and RED SEPT 21 MON 7 PM —VISITING ARTIST HOLLYWOOD—turns his attention to cinema’s portrayal of THE LIVES OF HAMILTON FISH history, filtered through twin lenses: his own “personal” U S 20 14 history of cinema and the film writings of notoriously knotty DIRECTOR: RACHAEL MASON French philosopher and academic Gilles Deleuze. Through Rachel Mason wrote, directed and stars in this inventive cinematic wildly varied clips ranging from D.W. Griffith to Jean-Luc rock-opera-fantasy inspired by a true story. On January 16, 1936, Godard, which are smartly juxtaposed amongst themselves the deaths of two men—both named Hamilton Fish—were printed and interleaved with quotations from Deleuze’s two books on the front page of the Peekskill Evening Star News. Hamilton Fish “The Movement-Image” and “The Time-Image”, Andersen II was a descendant of one of the state’s most prominent families, deftly weaves an argument for cinema’s renewal (far beyond and Hamilton “Albert” Fish was a notorious serial killer. In HAMILTON the multiplex) in the lives of ordinary citizens by looking back FISH, Mason plays—and sings—the role of a newspaper editor to film history for resonance with today’s complex social obsessed with the coincidence of their juxtaposed obituaries. A surre- and political landscapes. “I didn’t want to make this film for al tale unfolds in which supernatural events and historic facts merge people who are (just) familiar with Deleuze’s texts. Also, as in a fanciful musical journey. “She inhabits both their psyches, and a general rule, films should have humor in them.”—Thom the facts of their lives blur together and veer toward fantasy: there are Andersen. (108 mins.) Filmmaker Thom Andersen will be in dances in gazebos, strangely painted faces, songs about fish out of attendance. water, about the killer’s self-doubt.”—LA Weekly. (70 mins.) Rachael One of the key noirs of the 1940s, THE BIG SLEEP features several legends of the American page and screen—Lauren Bacall, Humphrey Bogart, Howard Hawks, Raymond Chandler, William Faulkner, and Leigh Brackett—collaborating on a messy masterpiece that, fittingly, lacks traditional narrative logic but more than makes up for it with dripping atmosphere and fine performances. Bogart stars as private detective Philip Marlowe, hired by an elderly tycoon to ostensibly track down a man blackmailing his daughter who has gotten into some gambling trouble. The enigmatic, sharp-talking Vivian Rutledge (Bacall) —the tycoon’s elder daughter—warns Marlowe of more nefarious things at play, and as he chances upon increasingly shady dealings, the two get closer while the treachery multiplies. (114 mins.)
Mason will perform live accompanied by Seattle band Night Cadet.
PAGE 06
NORTHWEST FILM CENTER
SEPTEMBER/OCTOBER 2015 503-221-1156 NWFILM.ORG
FRIDAY FILM CLUB Our inaugural Friday Film Club discussion series—presented monthly when the Portland Art Museum’s galleries are open late on Friday evenings—features works with implicit or explicit focus on landscape: rural and urban, physical and emotional. Presented in conjunction with the Museum’s “Seeing Nature” exhibition, on view October 10-January 8, we hope these films will spark dialogue, both between audience members and between artistic mediums. The screenings are accompanied by post-film discussions led by a Museum docent, sometimes with a short exhibition tour component. Special Admission: $5.
SEPT 11 FRI 5:30PM
DAYS OF HEAVEN
U S 1 979 DIRECTOR: TERRENCE MALICK Set against the landscape of early-20th century industrial Chicago and subsequently the rippling grain fields of the Texas Panhandle (in actuality central Canada), Malick’s immense tragedy follows lovers-masquerading-as-siblings Abby (Brooke Adams) and Bill (Richard Gere), who travel south in search of steady work but instead become embroiled in a complex, morally questionable love triangle with a nameless farm patriarch (Sam Shepard). Director Terrence Malick won the National Society of Film Critics Award for Best Director Awards and Nestor Almendros won the Oscar for Best Cinematography for—in the words of film historian Peter Biskind—this “dark jewel of a film.” (94 mins.)
OCT 16 FRI 5:30PM
IN THE MOOD FOR LOVE
H O N G KO N G 20 0 0 DIRECTOR: WONG KAR-WAI A tiny, sparsely populated slice of early-1960s Hong Kong forms the backdrop for Wong’s hyper-stylish yet thorny dissection of the politics of infidelity and the bonds formed through modern urban malaise. Hong Kong superstars Maggie Cheung and Tony Leung feature as star-crossed neighbors-turned-lovers whose spouses have a secret tryst; soon, they forge their own connection, rooted in a hot-house of longing. Gloriously lensed by the inspired team of Christopher Doyle (CHUNGKING EXPRESS, THE LIMITS OF CONTROL) and Mark Lee Ping Bin (THE PUPPETMASTER, FLOWERS OF SHANGHAI), Wong’s small-scale, contemplative drama is “a vertiginous, obsessive mood piece.”—Kevin B. Lee. In Cantonese and French with English subtitles. (98 mins.)
Nov 20 THE GREAT NORTHWEST (Matt McCormick, US 2012) Dec 11 TASTE OF CHERRY (Abbas Kiarostami, Iran 1997)
SEPTEMBER/OCTOBER 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 are 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
COMMUNITY
Our learning community consists of artists, creatives, 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.
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 in film festivals, art houses, 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 optional Certificate Program in Film. We offer classes and workshops in most aspects of film production: cinematography, editing, screenwriting, 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, Friday–10 AM & 2 PM 934 SW Salmon Street, Portland, OR 97205 Corner of 10th & Salmon APPOINTMENTS: info@nwfilm.org.
FALL OFFERINGS AT-A-GLANCE
Faculty
Tuition
# Sessions
Start Date
Intro to Video Storytelling
Tvetan
$345
4
Sept 26
Art of Filmmaking I
Minty
$1,145
14
Sept 29
Documentary Production
Federici
$765
9
Sept 29
Digital Cinematography
Blubaugh
$765
9
Sept 30
Art of Filmmaking II
Blubaugh
$1,245
14
Oct 1
Aldrich
$765
9
Oct 1
Kalin
$545
6
Oct 1
Minty
$365
4
Oct 7
Orton
$595
4
Oct 22
Eiffert
$95
2
Oct 3
Blubaugh
$55
1
Oct 9
Lighting Basics
Faculty
$65
1
Oct 10
Canon XA-10 Camera Operation
Faculty
$55
1
Oct 10
Sound Recording
O’Brien
$95
2
Oct 18
We offer a variety of classes and workshops (see below) in hands-on production and related aspects of filmmaking. Simply sign up for what appeals to you. Most have no prerequisites. Equipment is provided. 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).
ADULT CLASSES
Screenwriting: Fundamentals NEW!
Creative Approaches to Promoting Your Art with Video
Digital Editing NEW!
Film Composing Studio
ADULT WORKSHOPS Time-Lapse Cinematography Digital Filmmaking for K-12 Teachers
NEW!
Super 8mm: Shoot & Hand Process
EQ Staff
$5
1
Oct 18
NEW!
Casting Talent
Ballard
$75
1
Oct 24
iFilm Shooting: Tips & Tricks
Tvetan
$35
1
Sept 27 or Nov 7
iFilm Editing: Editing Tips & Tricks
Tvetan
$45
1
Sept 27 or Nov 7
iFilmmaking for Families
Tvetan
$95
3
Oct 18
Loftesnes
$175
5
Sept 26
Loftesnes
$195
5
Oct 10
Tvetan
$195
5
Oct 18
Staff
Free
Aug 19
Free
Sept 12
iFILM SERIES
YOUTH CLASSES Stop-motion Animation for 4th-6th Grades NEW!
Paper Character Animation for 9th-12th Grades
Digital Moviemaking for 6th-8th Grades
EVENTS School of Film Open House School of Film Student Screening
WANT MORE ?
If simply taking a class or two doesn’t seem focused or challenging enough, consider enrolling in our optional Certificate Program in Film. Certificate students complete the Art of Filmmaking Core Sequence and select Elective Classes and Workshops to round out their studies. Since the program was initiated in 1994, more than 50 individuals have launched their film practice through this opportunity for extended study and mentorship. Please see page 12 for more information.
8 SEPT/OCT 2015
nwfilm.org/school
college
credit
Portland State University students in the College of the Arts may receive credit for selected School of Film classes by requesting a transfer of credit upon successful completion of the course. 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.
FALL ADULT CLASSES CLASSES BY START DATE SEPT 26 SEPT 29 SEPT 29 SEPT 30 OCT 1 OCT 1 OCT 1 OCT 7 OCT 22
INTRO TO VIDEO STORYTELLING ART OF FILMMAKING I DOCUMENTARY PRODUCTION DIGITAL CINEMATOGRAPHY ART OF FILMMAKING II SCREENWRITING FUNDAMENTALS CREATIVE APPROACHES TO PROMOTING YOUR ART WITH VIDEO DIGITAL EDITING FILM COMPOSING STUDIO
ART OF FILMMAKING I TUESDAYS, SEPT 29–DEC 15, 6:30-9:30 PM + TWO SESSIONS TBA 14 sessions Tuition: $1,145 PAMELA MINTY Shoot and edit two beginning-level short films as an introduction to visual, cinematic storytelling. This is the first in our three-class Core Sequence. Topics: • The components of film language and properties of the image • The filmmaking process: pre-production, production, postproduction • Creating treatments and/or scripts and storyboards • Digital camera operation and shooting techiques • Audio recording: in-camera and with external microphones • Continuity and relations between images • Setting up a project for editing, editing steps • HD file management and workflow • Importing sounds, layering and mixing soundtracks • Adding titles and effects • Moving from first edit to revision and final edit • Get instructor guidance and feedback on your work Textbook: SHOT BY SHOT: A PRACTICAL GUIDE TO FILMMAKING, 4th Edition, by John Cantine, Susan Howard, & Brady Lewis (ISBN 978-0-9637433-8-1) Tuition includes all needed production equipment and access to Film Center Edit Lab. Prerequisites: None
ART OF FILMMAKING II THURSDAYS, OCT 1–DEC 17, 6:30-9:30 PM + THREE SESSIONS TBA, No Class NOV 26 14 sessions Tuition: $1,245 ANDY BLUBAUGH Shoot and edit three intermediate-level short films in different styles to further develop cinematic storytelling skills and techniques. This is the second in our three-class Core Sequence. Topics: • Refining your creative eye by envisioning a scene or concept • In-depth pre-production and planning techniques • Operation of professional shotgun/wireless microphones and audio mixers • Intermediate HD shooting and lighting techniques • Option of shooting and hand-processing 16mm film (as stand alone exercise) • Conducting interviews • Blocking and working with actors • Art direction and mise en scene • Editing for character, story, and rhythm • All phases of post-production including color correction and sound design • Get instructor guidance and feedback on your work Tuition includes all needed production equipment (including 16mm film stock) and access to Film Center Edit Lab. Prerequisites: ART OF FILMMAKING I or previous shooting and editing experience
CREATIVE APPROACHES TO PROMOTING YOUR ART WITH VIDEO NEW!
THURSDAYS, OCT 1-NOV 5, 6:30-9:30 PM 6 sessions Tuition: $545 POSIE KALIN A special class for visual, theatre, dance, and literary artists and creatives. Using different artistic approaches as inspiration, create a behind-the-scenes and/or self-portrait video that documents your artistic process and serves as an engaging artist statement. Topics: • How filmmakers use light, framing, and movement • Basic camera framing and composition techniques • Lighting people, objects, spaces, and processes with softlights and reflectors • How to conduct interviews with people important to your practice • Creative approaches to shooting footage of your artwork and its creation • Documenting place and location as aspects of your work • Basic functions and features of Final Cut Pro X software • How to set up an editing project and perform basic editing commands • Effectively weaving footage together • Get instructor guidance and feedback for your work • Options for uploading to websites and social media sites Tuition includes all needed camera and lighting equipment and access to Film Center Edit Lab. Use either Film Center iPads or digital cameras. Pre-requisites: None
DIGITAL CINEMATOGRAPHY WEDNESDAYS, SEPT 30–DEC 2, 6:30-9:30 PM, No Class NOV 25 9 Sessions Tuition: $765 ANDY BLUBAUGH Develop an eye for shot composition and framing while shooting in a variety of situations. Gain confidence in your artistic ability and skill as a camera operator. Topics: • Exposure, focal length, and depth of field • The rules of shot composition and how/when they can be broken • Using foreground and background to convey information and setting • Working with available light and light kits • Techniques for interior/exterior and day/night scenes • Mapping out shots that have movement • Staging and blocking with talent • Shooting with editing in mind (getting sufficient coverage) • Media workflow from capture to final delivery • Get instructor guidance and feedback on your work Tuition includes all needed camera and lighting equipment. Pre-requisites: None
DIGITAL EDITING WEDNESDAYS, OCT 7-28, 6:30-9:30PM 4 sessions Tuition: $365 PAMELA MINTY Introduction to editing styles, concepts, and techniques using Final Cut Pro X. Bring your own footage or use provided footage. Get comfortable with the software and as an editor. Topics: • How editing (sound and picture) creates meaning • Defining what you are trying to accomplish • Principles of continuity: matching action and montage editing styles • Features and layout of Final Cut Pro X software • Setting up a project and organizing your materials • Experimenting with rhythm and pacing • Adding sound effects, text, music, and narration • Basics of titles • How to trouble-shoot along the way • Get instructor guidance and feedback on your work Bring your own footage or use provided footage. Tuition includes access to Film Center Edit Lab. No pre-requisites.
DOCUMENTARY PRODUCTION TUESDAYS, SEPT 29–NOV 24, 6:30-9:30 PM 9 sessions Tuition: $765 ELIZABETH FEDERICI Develop your documentary voice by shooting and editing a short documentary in a style that appeals to you and is appropriate for the subject, from planning through final cut. Topics: • Styles of documentary (expository, poetic, observational, interactive, and reflexive) • Researching a subject and writing a proposal • Preparing for and conducting interviews • Camera operation, sound recording, and editing techniques • Writing narration • Establishing subjects as characters • Organizing clips and making transitions • Finding and refining the story in your material • Creating high emotional impact • Basics of clearances and rights for sourced footage and music • Get instructor guidance and feedback on your work Tuition includes all needed camera and lighting equipment and access to Film Center Edit Lab. Pre-requisites: None
9
ADULT CLASSES NEW!
FILM COMPOSING STUDIO
YOUTH CLASSES INTRO TO VIDEO STORYTELLING SATURDAYS, SEP 26, OCT 3, OCT 17 & OCT 24, 9:30 AM12:30 PM No Class OCT 10 4 sessions Tuition: $345 MELISSA TVETAN An exciting crash course in shooting and editing. Create a short film combining techniques of fiction, documentary, and experimental filmmaking. Make it a story that you alone can tell in a style that’s uniquely your own.
THURSDAY-SUNDAY, OCT 22-25, 10AM-5PM Tuition: $595 MARK ORTON LOCATION: NW FILM CENTER & DEAD AUNT THELMA’S STUDIO Filmmakers and musicians come together to create original music for the screen while gaining an understanding of composers’ methods, the director/ composer dialogue, and the business of film music. Days one and two provide an overview of the particularities of film composing and establish filmmakermusician teams. Days three and four are devoted to active composing for picture along with continual director/composer score-feedback sessions, followed by in-studio live recording and mixing of the score. Filmmakers and musicians of all experience levels are welcome as hands-on participants or observers (the class is structured so that active and non-active participants alike will benefit). Case studies and clips from a variety of films, including the instructor’s, will be used throughout. Topics: • Types of film scores (original, licensed, public domain, live captured) • Who does what in the film music department • What happens before a composer is hired (the temp score, demoing) • What happens after (the spotting session, cue sheets, score workbooks) • Communication/giving feedback (glossary of film music terms - with audio examples) • Film music technology overview • Live recording, mixing, and stem delivery • Typical film-music budgets and contracts Filmmakers with works in progress are encouraged to submit score-ready clips [in QT File Format] to mia@nwfilm.org prior to the first class. MARK ORTON, founding member of the genre-bending acoustic chamber ensemble TIN HAT, has written original scores or contributed music to numerous dramatic and documentary films including NEBRASKA, MY OLD LADY, SWEET LAND, THE REAL DIRT ON FARMER JOHN, EVERYTHING IS ILLUMINATED, BUCK, THE REVISIONARIES, THE GOOD GIRL, THE BOX TROLLS, Fernando Meirelles’ 360, and Ken Burns’ ROOSEVELTS series. Upcoming films include the features PEOPLE, PLACES, THINGS, and UNLEASHED and the documentaries POACHED and TO THE EDGE OF SKY. An alumnus of the Peabody Conservatory and the Hartt School of Music and the recipient of a Sundance Institute Composer Fellowship, he was nominated Best New Composer by the International Film Music Critics. Mark is a multi-instrumentalist and collector of antique and unusual musical instruments, which he often employs in his scores. As an arranger he has worked with artists including Tom Waits, Willie Nelson, Mike Patton, and Madeline Peyroux. In addition to film, he composes music for dance, radio drama, the circus and the concert hall.
10 SEPT/OCT 2015
nwfilm.org/school
Topics: • Reflection, essay, collage, movement, autobiography as inspirations • Story pre-visualization techniques • Planning and executing your personal project (step by step) • Basics of camera operation, shooting, microphones and audio recording • Writing and recording narration • Incorporating fair use materials, personal archives and ephemera • Creative editing techniques • Adding titles and music • Share work-in-progress with peers • Get instructor guidance and feedback on your work Tuition includes all needed production equipment and access to Film Center Edit Lab. Pre-requisites: None
SCREENWRITING: FUNDAMENTALS THURSDAYS, OCT 1-DEC 3, 6:30-9:30 PM No Class NOV 26 9 sessions Tuition: $765 KYLE ALDRICH
YOUTH CLASSES BY START DATE SEPT 26 OCT 10 OCT 18 OCT 18
STOP MOTION ANIMATION FOR 4TH-6TH GRADES PAPER CHARACTER ANIMATION FOR 9TH-12TH GRADES IFILMMAKING FOR FAMILIES (ALL AGES–SEE PAGE 12) DIGITAL MOVIEMAKING FOR 6TH-8TH GRADE GRADES
STOP-MOTION ANIMATION FOR 4TH-6TH GRADES SATURDAYS, SEPT 26-OCT 24, 10 AM-12:30 PM 5 sessions Tuition: $175 MADDIE LOFTESNES Bring your drawings and artwork to life. Learn how animators create movement frame by frame, using stop motion shooting stations with Dragonframe software. Working with paper, clay, and objects, you will create characters, backdrops, and props and record your own animated short stories. Each week you will work on a short project, learning about different techniques for making movement smooth, natural, and entertaining. By the end of the class, your creations will move with ease! The class will culminate in a last day family screening, complete with popcorn. Completed films will be uploaded to a special class online video album.
DIGITAL MOVIEMAKING FOR 6TH-8TH GRADES SUNDAYS, OCT 18-NOV 15, 1:30-4:30 PM 5 sessions TUITION: $195 MELISSA TVETAN
Learn the basics of working together as a movie crew, operating Learn how screenwriters develop a story idea into a featurea professional-level digital video camera, creating sets, length screenplay. Using screenplay structure and formatting, directing actors, recording sound, editing scenes together, create characters, scenes, and outlines to get a solid start on your and for those so inclined, appearing on camera. We’ll provide own project. a script with just the right amount of wacky humor and sci-fiTopics: inspired green screen backdrops. Everyone will have a chance • The purpose and technique of treatments and outlines to try out a variety of crew positions as the scenes are shot and • Creating characters with depth and purpose edited. By the end of the last class, a short drama will be “in the • Conflict and resolution as story structure can.” Families and friends are invited to a last day screening, • Writing effective dialogue complete with popcorn. The completed film will be uploaded to • The difference between plot and story a special class online video album. • Structuring scenes and sequences • Transitions and timing NEW! • Solving the second act droop • Get instructor feedback for your writing as it progresses Prerequisites: None
PAPER CHARACTER ANIMATION FOR 9TH-12TH GRADES
SATURDAYS, OCT 10-NOV 7, 1-4 PM 5 sessions Tuition: $195 MADDIE LOFTESNES The focus of this class is on hinged paper characters (see left) whose hands, shoulders, knees, and other joints move freely through the magic of wire, brads, and Dragonframe software. You’ll give them a unique personality by animating their facial expressions and body position frame by frame, and by moving them through different backdrops, including “multi-plane” spaces made of glass. Through a paint-on-glass stop motion technique, even the glass itself will seem to “move.” By the end of the class, you’ll have a short animated film showcasing what you’ve learned. Previous stop motion experience is helpful but not required. Families are invited to a last day screening, complete with popcorn. Completed films will be uploaded to a special class online video album.
WORKSHOPS WORKSHOPS BY START DATE SEPT 27 SEPT 27 OCT 3 OCT 10 OCT 10 OCT 18 OCT 18 OCT 18 OCT 24 NOV 7 NOV 7
iFILM SHOOTING (SEE PAGE 12) iFILM EDITING (SEE PAGE 12) TIME LAPSE CINEMATOGRAPHY CANON XA-10 CAMERA OPERATION LIGHTING BASICS SOUND RECORDING SUPER 8MM: SHOOT + PROCESS iFILMMAKING FOR FAMILIES (SEE PAGE 12) CASTING TALENT iFILM SHOOTING (SEE PAGE 12) iFILM EDITING (SEE PAGE 12)
CANON XA-10 CAMERA OPERATION SATURDAY, OCT 10, 9:30 AM-12:30 PM 1 session Tuition: $55 FACULTY The basics of shooting with our workhorse HD camera. This workshop is required for all renters of this camera. 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 • Rental options for NWFC cameras Prerequisites: None
NEW!
CASTING TALENT
SATURDAY, OCT 24, 10AM-4 PM 1 session Tuition: $75 SCOTT BALLARD Serve as a director in a mock casting session with professional actors. Get inside the art and the technique of assessing and selecting just the right talent for your project. Topics: • Knowing your story and what you are looking for • Clarifying your characters’ histories, motives, strengths/ weaknesses • Charting out where a character is in any moment in time • Where to hold a casting session and what is needed • Selecting the scenes to be read • The professional casting environment and its protocols • What exactly happens in a casting session • How to communicate with talent during the session • Recording the readings • Get actor, instructor, and peer feedback on your directing • The call-back process • Frameworks for making the final decision Prerequisites: None
DIGITAL FILMMAKING FOR K-12 TEACHERS
SUPER 8MM: SHOOT + HAND PROCESS
FRIDAY, OCT 9, 8:30 AM-4 PM (with lunch break) 1 session Tuition: $55 ANDY BLUBAUGH
SUNDAY, OCT 18, 11 AM-12:30 PM 1 session Tuition: $5 (plus Super 8mm film stock) EQUIPMENT ROOM STAFF
Learn to conduct small-scale videomaking projects that foster integrative learning and draw on the new National Media Arts Core Standards.
Join in this year’s international Home Movie Day celebration by learning to shoot in the classic home movie format. Read more about Home Movie Day on page 6.
Topics: • How video production helps students demonstrate proficiency in core subjects • How the production process fosters critical thinking, leadership, and media literacy • Leading a class through the scriptwriting process • Simple, replicable exercises for the classroom that don’t involve fancy equipment • Create and discuss model lesson plans • Get instructor feedback on curriculum planning, technical issues, and equipment options
Topics: • Super 8mm camera operation • Camera loading, exposure, and light meter techniques • Film stock and lens options • Trouble-shooting in the field • Hand processing step by step
Tuition includes all needed camera and editing equipment. Open to educators from all grade levels and endorsement areas. Available for 7 PDUs.
Thanks to the Multnomah County Cultural Coalition for support of this workshop.
LIGHTING BASICS SATURDAY, OCT 10, 1-5 PM 1 session Tuition: $65 FACULTY Use basic light kits to dramatically vary the mood and quality of a scene. This workshop is highly recommended for all renters of our lighting gear. Topics: • Using key, fill, backlight, and kicker/rim light • How cookies, flags, scrims, and silks affect a light source • Using light meters • Lighting the interview subject • Lighting an outdoor scene • Practice simple lighting set-ups and get instructor feedback • Tips and tricks in the field Prerequisites: None
SOUND RECORDING SUNDAYS, OCT 18 & 25, 1-5 PM 2 sessions Tuition: $95 AMY O’BRIEN
Tuition includes free one-day rental of a Film Center Super 8mm camera and film processing for one roll. Purchase a roll of Super8mm film stock (special one-day wholesale rate of $15) or bring your own. Bring it back by 6pm on Monday for hand processing. Get a Vimeo link to all of the footage!
TIME-LAPSE CINEMATOGRAPHY SATURDAYS, OCT 3, 10 AM-4 PM + OCT 10, 10 AM-1 PM 2 sessions Tuition: $95 MARK EIFERT Participate in a group digital time-lapse shoot and then, between sessions, undertake your own. Everyone’s footage will be shared and reviewed in the second session. Topics: • Which video and DSLR cameras are the best to use and why • Selecting scenes and locations that will shine with time lapse • Making camera moves with geared pan heads and slider track • Setting proper exposure in changing light (auto, manual) • Using the camera’s histogram to monitor exposure • Stabilizing the camera in windy conditions • How neutral density filters blend still frames together • How to stage multiple cameras shooting at the same time • Planning and executing your own shoot between classes • Transferring the still file sequence into movie files for playback • Get instructor guidance and feedback Prerequisite: Basic knowledge of photography or videography recommended Tuition includes camera for in-class use (or bring your own timelapse enabled camera).
Use professional sound gear to record scripted dialogue and interviews. The first session introduces concepts. The second session is devoted entirely to hands-on practice recording. Highly recommended for renters of our sound gear. Topics: • Overview of microphone types and uses from lavaliers to shotguns • Single versus dual system recording • Basics of recording dialogue, interviews, narration, and effects • Audio recorder operation (Marantz PMD-660, Sound Devices 702, Zoom H4N) • Field mixer operation (Sound Devices MixPre and 302) • Protocols of a recording session • Setting up and conducting a recording session, step by step • Get instructor coaching and feedback on practice sessions • Rental options for NWFC sound gear Note: Second session is devoted entirely to hands-on practice. Prerequisites: None
11
WORKSHOPS
CHALLENGE YOURSELF
SOUND iFILM BYTE SERIES
CERTIFICATE IN PROGRAM FILM
iFILM SHOOTING: TIPS & TRICKS Select one of two identical sections SECTION 1: SUNDAY, SEPT 27, 9:30AM-NOON SECTION 2: SATURDAY, NOV 7, 9:30AM-NOON Tuition: $35 Shoot on your iPhone or iPad with skill and confidence. This beginner-level workshop references the techniques of professional filmmakers to teach the basics of shooting with a mobile device. Topics: • Understanding focus, exposure, and dynamic range • Camera framing and movement as part of storytelling • Audio recording techniques in the field • Recording narration • Using filters and apps • Getting a stable image, with or without a tripodt • How optional accessories can improve or affect quality • Practice shooting different indoor and outdoor scenes • Get instructor feedback and trouble-shooting advice Bring your iPhone or iPad or use a Film Center iPad (for in-class use only)
iFILM EDITING: TIPS & TRICKS Select one of two identical sections SECTION 1: SUNDAY, SEPT 27, 1-5 PM SECTION 2: SATURDAY, NOV 7, 1-5 PM Tuition: $45 Turn your iPhone or iPad into a video editing station. This beginner-level workshop shows how much you can accomplish using iMovie on an iOS device. Topics: • Basic concepts of video editing • In-depth instruction on iMovie for iOS • Media management and sharing files from iOS to computer • Combining narration, music, sound effects (audio mixing) • Practice editing different kinds of footage together • Exporting your project to social media sites • Get instructor feedback and trouble-shooting advice Bring your iPhone or iPad or use a Film Center iPad (for in-class use only)
iFILMMAKING FOR FAMILIES SUNDAYS, OCT 18-NOV 1, 9:30 AM-NOON 3 sessions Tuition: $95 (for a group of up to 3 members)
Challenge yourself beyond simply a class or two. Our optional, non-degree Certificate Program in Film advances you from the beginning to advanced level, while supporting you in creating a portfolio that showcases your achievements as an emerging filmmaker. You may be at any stage of your formal education to participate (pre-college, in college, post-college, pre-graduate school). There are no prerequisites. As a Certificate student, you receive ongoing advising and mentorship from faculty and staff, are invited to special Certificate Program events and screenings, and upon completion, become eligible for mentorships, internships, and entry level opportunities. Move along at your own pace and take up to six years to complete the requirements below. The Program culminates with a public screening of your final film project in our state-of-the-art Whitsell Auditorium.
REQUIREMENTS 1) THE CORE SEQUENCE ART OF FILMMAKING I—two beginning-level film projects (fall or winter) ART OF FILMMAKING II—three intermediate-level film projects (fall or winter) ART OF FILMMAKING III—one professional-quality advanced film project (winter and summer; see page 9 for full class listings) 2) ELECTIVE CLASSES—SELECT ANY FIVE DIGITAL CINEMATOGRAPHY STOP MOTION ANIMATION DIGITAL EDITING ART DIRECTION NARRATIVE PRODUCTION POST PRODUCTION MANAGEMENT DOCUMENTARY PRODUCTION MULTI-CAMERA PRODUCTION SCREENWRITING: FUNDAMENTALS MULTI-CAMERA EDITING SCREENWRITING: ADVANCED GRANTWRITING FOR FILM DIALOGUE WRITING + OTHER 4-12 WEEK CLASSES DOCUMENTARY WRITING OFFERED IN THE FUTURE INTERVIEW TECHNIQUES (see pages 9-10 for this term’s FILM DIRECTING class listings) FILM COMPOSING 3) ELECTIVE WORKSHOPS—SELECT A TOTAL OF 10 OR MORE HOURS BASIC LIGHTING MEDIA MANAGEMENT SOUND RECORDING + OTHER WORKSHOPS OFFERED IN STORYBOARDING THE FUTURE GETTING INTO FILM FESTIALS (hours vary per workshop, see page TIME LAPSE CINEMATOGRAPHY 11 for this term’s workshop listings) CASTING
HOW & WHEN TO APPLY
Select a theme, such as an oral history, video scrapbook, or time capsule documentary, and work together as a family movie crew to make it into a short film.
Set up an appointment to discuss your possible interest with Education Programs Manager Mia Ferm (mia@nwfilm.org, 503 221-1156 x25).
Topics: • Introductory shooting and editing tips and tricks • Selecting a workable theme (ideas: an oral history, video scrapbook, or time capsule) • Planning your shots and making a shot list • Incorporating family photographs, souvenirs, old home movies, etc. • Recording interviews and narration • Adding music and titles • “Mixing” it into a final product ready to upload to your favorite social media site
Applications are accepted twice a year: September 15 and May 15. Notification will be made within four weeks of receipt. Acceptance is based upon the clarity of your stated goals and whether they align with the School of Film mission and Certificate curriculum.
Bring your iPhone or iPad or use a Film Center iPad (for in-class use only)
12 SEPT/OCT 2015
nwfilm.org/school
You are welcome to test the waters before diving in. Enroll in and complete ART OF FILMMAKING I and up to two Elective Classes prior to applying. Upon your acceptance, these will automatically be transferred onto a Certificate transcript (a letter grade of B or higher is required).
FALL TERM FACULTY BIOS KLYE 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. He 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 at the Art Institute of Portland and serves as a pitching consultant for Willamette Writers.
EMILIE-ROSE KALIN 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 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, ideologies, 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.
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.
MADDIE LOFTESNES is a freelance illustrator/animator with a background in art and design. As part of the Animated Arts Program at the Pacific NW College of Art, she facilitates technical support for students. She is part of a new animation collective, Zoetic, which supports emerging and innovative ideas, companies and products with a uinque brand of handmade animation.
ANDY BLUBAUGH’s experimental documentaries have screened at the Sundance, ClermontFerrand, 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.
as Literary Arts and the Tucker-Maxon School for the Deaf and recently edited “Blue Fiddles,” a web series. She studied media at the New School for Social Research and the School of Film. purplemacaroni.com
PAMELA MINTY is a visual artist whose film and photography 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, SCOTT BALLARD (ScottBallardFilms.com) has produced six feature films and several shorts, and International House Philadelphia, Los Angeles Filmforum, Margaret Mead Film Festival, Portland Art has written, directed, and produced three of his own feature films locally (A STANDING STILL, Museum, San Francisco Cinematheque, and Vancouver International Film Centre, as well as other WELCOMING DEPARTURE, DEATH ON A ROCK). These have played widely in film festivals around venues throughout North America. She holds an MFA in Art Practice from Portland State. the world, and have been featured in the Film Center’s NORTHWEST TRACKING series. As a Director AMY O’BRIEN is a documentary and narrative filmmaker/editor with a background in theater and of Photography, he has shot for a host of independent directors in the HD and S16mm formats. web design. Through her production company Purple Macaroni Productions, she creates short Co-owner of the studio Portland Film Works, and Creator of Great Notion Filmaker’s Collective, he has films that document personal stories and explore the lighter side of life. These have included FOUR, taught directing and cinematography at the Seattle Film Institute and PCC. He holds an MFA in Film which screened in the Northwest Filmmakers’ Festival, and NO SOLICITING, which screened at the Production from Boston University. Columbia Gorge International Film Festival. She also creates promotional films for nonprofits such
MARK ORTON, founding member of the genre-bending acoustic chamber ensemble TIN HAT, has written original scores or contributed music to numerous dramatic and documentary films including NEBRASKA, MY OLD LADY, SWEET LAND, THE REAL DIRT ON FARMER JOHN, EVERYTHING IS MARK EIFERT is a Director of Photography and Motion Control Operator for animation studios in ILLUMINATED, BUCK, THE REVISIONARIES, THE GOOD GIRL, THE BOX TROLLS, Fernando Meirelles’ Portland and Los Angeles, including Screen Novelties, Shadow Machine, Starburns and Bent Image 360, and Ken Burns’ ROOSEVELTS series. Upcoming films include the features PEOPLE, PLACES, Lab. As a time lapse cinematographer, he is represented by Corbus Motion. His time-lapse footage THINGS, and UNLEASHED and the documentaries POACHED and TO THE EDGE OF SKY. An alumnus has been used for television shows like MEN IN TREES, MONK and AMERICAN EXPERIENCE, the Thom of the Peabody Conservatory and the Hartt School of Music and the recipient of a Sundance Institute Yorke music video HARROWDOW HILL, and the short film WIND. In addition, he has worked with Chel Composer Fellowship, he was nominated Best New Composer by the International Film Music Critics. White, Jim Blashfield, and many others locally on a variety of short films. Most recently, he shot a A multi-instrumentalist and collector of antique and unusual musical instruments (which he often short film for Charlie Vaughn and Julie Sullivan called 33, now in post-production. employs in his scores), he has worked as an arranger with artists including Tom Waits, Willie Nelson, ELIZABETH FEDERICI is the producer/director of numerous feature length documentaries, including Mike Patton, and Madeline Peyroux. In addition to film, he composes music for dance, radio drama, the upcoming AMERICA’S FIRST FOODIE: THE INCREDIBLE LIFE OF JAMES BEARD, slated for national the circus and the concert hall. release this fall; SPACE, LAND AND TIME: UNDERGROUND ADVENTURES WITH ANT FARM, which MELISSA TVETAN has a background as an editorial manager for six years at the animation studio screened in the Film Center’s exhibition program and won a Cine Gold Eagle Award; and NEITHER LAIKA/house, where she worked on commercials for Sony, M&Ms, Honda and Planters Peanuts. She HERE NOR THERE, about struggling refugee communities, which was nominated for a regional has also served as post-production supervisor for the annual Sundance Institute Director’s Lab since Emmy Award. With a background in community media television, she has taught documentary film- 2008, supporting editorial support to the emerging filmmakers in residence. A former student at the making and media literacy at the K-12 and adult level for many years. She holds a Masters in Public School of Film, she screened her new experimental film, OUT OF THIS WORLD, in the Experimental Administration degree from the University of Missouri. Film Festival Portland Throwdown 2014.
RENT ME
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 XA-10 Camera Package Panasonic DVX-100 Camera Package JVC EX555 Handycam Package Canon, Minolta and Beaulieu Super8mm Cameras Arri and Bolex 16mm 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
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 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
Frank Hood Fund of the Oregon Community Foundation Citizens of Portland Through the Arts & Education Access Fund Mount Hood Cable Regulation Commission Joan M. Cocoran 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 Individual Donors and Friends
13
EVENTS SCHOOL OF FILM OPEN HOUSE
SCHOOL OF FILM STUDENT SCREENING
WEDNESDAY, AUG 19, 6PM LOCATION: SCHOOL OF FILM
SATURDAY, SEP 12, 4:30 PM LOCATION: WHITSELL AUDITORIUM
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 current and upcoming 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.
Everyone is invited to watch the many short films created by students in the classes and camps of Summer Term 2015. Whether the first attempt of a beginner or something more ambitious from an intermediate student, it’s an uncurated, all-comers program of those ready to show their work on the big screen. Join in congratulating them on this important step in their journey. Free Admission. (70 mins)
THE CERTIFICATE PROGRAM IN FILM PRESENTS
CERTIFIABLY YOURS: NEW FILMS FROM THE SCHOOL OF FILM
SUNDAY, NOV 8, 7:30 PM LOCATION: WHITSELL AUDITORIUM Join us as we screen and celebrate the achievements of this year’s matriculating School of Film Certificate Program students and acknowledge the faculty, visiting artists, staff, family, and friends who have supported them. Each filmmaker will present the short narrative or documentary film, or “final project,” that they have created as the culminating effort of their studies. These short films showcase the skill and voice that each has developed over the years through class assignments, visiting artist sessions, faculty mentorships and extracurricular pursuits. A reception honoring the filmmakers begins at 6:30 PM in the Andree Stevens Room. FREE ADMISSION
I DREAM THEREFORE I AM Director: Brian Jepperson Narrative (10 mins)
THE STORIES THEY LEAVE Director: Devin Weller-White Narrative (8 mins)
AROUND THE POLE Director: Zsuzsanna Mangu Documentary (12 mins)
DELIKUN PEEP Director: Dave Hagerty Narrative (12 mins)
WE’RE FROM HERE Director: Conrad Kaczor Documentary (12 mins)
A SLICE OF LIFE Director: Raj Patel Narrative (15 mins)
Recurring nightmares are ruining Dennis’ life, until he breaks free.
An overstaying house guest refuses to leave.
14 SEPT/OCT 2015
nwfilm.org/school
Sometimes the past revisits us when we least expect it.
Coming from different backgrounds and perspectives, these home boys are the best at their craft in Portland’s dance scene.
A dancer’s troubled youth is both her challenge and source of inspiration.
A singer/songwriter reveals his inspiration to his muse.
444 SEPT 26 27 SAT 4:30 PM, SUN 7 PM
(RE)DISCOVERIES:
FROM MAYERLING TO SARAJEVO
NEW RESTORATIONS, NEW PRINTS
FRAN CE 1 940
DIRECTOR: MAX OPHÜLS
Banned during the German occupation of France in WWII and directly leading to Ophüls’ (LA RONDE, THE EARRINGS OF MADAME DE…) exile, this opulent yet intimate film looks inside the vicissitudes of European court life in the 30 years leading up to the dual assassination of Archduke Franz Ferdinand (John Cabot Lodge) and his lover Czech Countess Sophie Chotek (Edwige Feuillère), an event that directly precipitated the beginning of WWI. Skillfully marrying form and content, Ophüls’ fluid camera moves—anticipating his famed costume dramas to come—describe, in great detail, the miniscule events in the lives of the powerful that can shake both nations and the world. “An exemplary political film, the counterpart to Jean Renoir’s THE RULES OF THE GAME (1939) as a work of vast historical vision in a quasi-operatic form.”—Richard Brody, The New Yorker. In French with English subtitles. (95
JANE B. PAR AGN ÈS V. GASLIGHT
mins.) New 35mm print courtesy of The Film Desk.
SEPT 12 13 SAT 7PM, SUN 4:30PM
LIMITE
OCT 9 10 11 FRI 7 PM, SAT 7 PM, SUN 4:30 PM
DIRECTOR: MARIO PEIXOTO
U S 1 939
ONLY ANGELS HAVE WINGS
B RAZI L 1 93 1
Revered as perhaps the greatest Brazilian film ever produced, Brazilian novelist Peixoto’s lone film is deeply expressionistic, created following a trip to Europe where the writer immersed himself in the work of directors Fritz Lang and F.W. Murnau, among others. Peixoto’s fever dream concerns three lost souls marooned on a boat; through flashbacks, he pieces their stories together via a burst of beautifully rippling, surreal tableaux that recall Luis Buñuel. Profoundly silent after Hollywood and Europe had long since moved to sound filmmaking but featuring music by modernist composers Satie, Debussy, and Stravinsky, LIMITE is “a glorious film, a work of exquisite, handcrafted visual beauty that exceeds its reputation.”—Kent Jones. (114 mins.)
As cinema moves into its second century, the preservation of classic films is finding new life through digital technology and collaborative efforts by film archives and studios worldwide. At the same time, appreciation for the glories of 35mm film prints and the opportunity for new generations to see the originals on the big screen remains a distinct pleasure. The Film Center is pleased to present this selection of iconic classics enjoying a second life via restoration or preservation, either by digital magic or lovingly made film prints. We hope you’ll discover something new, or see a longtime favorite in an entirely new light.
SEPT 11 13 FRI 8PM, SUN 7PM
LOSING GROUND US 1982
DIRECTOR: KATHLEEN COLLINS
Collins’ film, which she wrote and directed, follows a trapped philosophy professor (Seret Scott) whose artist husband sells a piece to a major museum, subsequently entering into an affair while the couple tries to navigate their increasingly tense relationship. At its core a story about creative exploration and existential longing for true experience within the twin contexts of marriage and the postmodern world, LOISING GROUND is credited as the first feature directed by an African American woman and a key entry into the new American cinema of the 1980s. “The clothes the characters wear, how they talk and what they talk about, the grainy texture of the images and the weariness of the world they capture — all of these emerge from a time capsule devoted to an era that doesn’t quite have a name. But partly because those images have remained unseen for so long, and partly because Ms. Collins, who died in 1988, was such a bold and idiosyncratic filmmaker, LOSING GROUND also feels like news, like a bulletin from a vital and as-yet-unexplored dimension of reality.”—A.O. Scott, The New York Times. (86 mins.) Restoration supervised by Nina Lorez Collins, digital transfer by DuArt Labs, sound transfer by FotoKem, DCP by DI Factory, Warsaw. Thanks to Terri Francis, Ann Horton-Line, Brian Meacham and the Yale Film Study Center.
Restored by The Film Foundation’s World Cinema Project in collaboration with the Cinemateca Brasileira with funding provided by Doha Film Institute, Qatar Airways, Qatar Museum Authority and Cartier. Restoration carried out at Cineteca di Bologna/L’Immagine Ritrovata laboratory and Cinemateca Brasileira.
SEPT 25 26 28 FRI 7 PM, SAT 7 PM, MON 7 PM
DIRECTOR: HOWARD HAWKS
Hawks’ fourth film about air-bound transit stars Cary Grant as Geoff Carter, a pilot for a small airline whose main task is delivering the mail to and from a remote camp in the foothills of the Andes. Carter manages several other pilots who repeatedly take massive risks due to the treacherous terrain and the limitations of their aircraft. Bonnie (Jean Arthur) appears in the tiny outpost and, realizing the senselessness by which the men act, quickly becomes their moral compass. But when Carter’s outfit has the opportunity to secure a huge contract at great risk, the unit is forced to face a choice: immediate safety or earning a living. In a world where everyone around them stoically faces their own mortality on a daily basis, Bonnie and Carter become entangled due to their refusal in the end to uphold the status quo. (121 mins.) Restored in 4k digital from the original nitrate picture negative and composite duplicate negative by Sony Pictures Entertainment at Colorworks.
JANE B. PAR AGNÈS V.
OCT 16 18 FRI 8 PM, SUN 4:30 PM
DIRECTOR: AGNÈS VARDA
U S 1 944
FRAN CE 1 9 8 8
Varda’s freewheeling documentary, never before released in the United States, is a deeply idiosyncratic portrait of the famed French actress, singer and cultural muse Jane Birkin. The film—ostensibly spanning the decade from age 30 to 40 and produced on the occasion of Birkin’s 40th birthday—delves us directly into Birkin’s thoughts, hopes, and fears through series of staged miniatures drawn from the history of Western art, in which Varda reconfigures famous Janes through time in Birkin’s likeness. Strewn throughout are intimate moments with Birkin and her family, showing us the private, quiet side of the star. And, as only Varda can conjure, with JANE B. PAR AGNÈS V. it’s possible to speak of a detailed, rigorous mise-en-scène, rare indeed for a so-called documentary. (97 mins.) 2k digital restoration
GASLIGHT
DIRECTOR: GEORGE CUKOR
Ingrid Bergman won the first of her three career Oscars for her intensely vulnerable, highly expressive work in Cukor’s taut, subtle marriage thriller. She plays opposite a suitably creepy Charles Boyer, whose psychopathic husband Gregory terrorizes Bergman’s Paula when the two move into her murdered aunt’s house. Upon learning that her aunt was murdered for a very specific reason, Paula—and her neighbors—see Gregory increasingly attempting to drive her crazy, intent on dredging up a secret long buried in the decaying Victorian mansion. Although a characteristically glossy MGM production, GASLIGHT is an underappreciated noir melodrama of the first order, foreshadowing Bergman’s character in Hitchcock’s NOTORIOUS. (114
from the original 35mm negative completed at Eclair Labs, supervised by Agnés Varda, with support from the Centre National du Cinéma et de mins.) New 35mm print courtesy Warner Brothers. l’Image Animee (CNC), Paris.
SCREENS WITH
KUNG-FU MASTER (AKA LE PETIT AMOUR) FRAN CE 1 9 8 8
DIRECTOR: AGNÈS VARDA
Varda’s son Mathieu Demy stars alongside Jane Birkin and Charlotte Gainsbourg in this tender look inside a mother-daughter-boy love triangle of sorts. Lucy (Gainsbourg) and Julien (Demy), 14-year-old schoolmates, have a kind of on-again, off-again relationship—tentative, at times cruel, at times sweet; in short, a teenage romance. But when Julien takes a liking to Lucy’s mother Mary-Jane (Birkin) and the 40-something mother of two tentatively reciprocates, the three are thrown into turmoil. Beautifully understated, and featuring gorgeous visuals and searing performances from the three leads, KUNG-FU MASTER is an underappreciated work in Varda’s substantial filmography. (80 mins.) 2k digital restoration from the original 35mm negative
OCT 17 19 SAT 4:30 PM, MON 7 PM
THE BELLS OF ST. MARY’S U S 1 945
DIRECTOR: LEO MCCAREY
In one of her most radiant roles, Ingrid Bergman stars as goodnatured Sister Mary Benedict, a Catholic nun at the dilapidated St. Mary’s school, which faces abrupt closure. Enter newcomer Father Chuck O’Malley (Bing Crosby), with whom Sister Mary immediately strikes up a friendly rivalry. The two must band together, however, to find a new building for the school, and fast. Meanwhile, Sister Mary endears herself to the students, helping them through tough times and even teaching one boy how to properly fistfight. One of RKO’s biggest successes of the 1940s, Bergman’s performance singlehandedly lifts the film from the sentimental, showcasing her considerable talents in a way that no other film in her career would. (126 mins.) Preserved
in 4k digital by the Paramount Archives; scanning, picture restocompleted at Eclair Labs, supervised by Agnés Varda, with support from ration and color correction by Technicolor; audio restoration by the Centre National du Cinéma et de l’Image Animee (CNC), Paris. Audio Mechanics.
NWFILM.ORG 503-221-1156 SEPTEMBER/0CTOBER 2015
NORTHWEST FILM CENTER
PAGE 15
HOCKNEY
ON ART AND ARTISTS SEPT 17 THUR 7 PM
SEPT 22 27 TUES 7 PM, SUN 4:30 PM
OCT 1 THURS 7 PM
G R EAT B R ITAI N 20 1 5
N ETH ER LAN DS 20 13
G ER MANY 20 14
SOL LEWITT
HOCKNEY
DIRECTOR: RANDALL WRIGHT
Drawing on a treasure-trove of photographs and home movies, Wright brings to life the celebrated career and life of one of the most charismatic, inquisitive, and exciting figures in contemporary art. From his early life in working-class Bradford, where his love for pictures was developed through his admiration for cinema, to his relocation to Hollywood where his life long struggle to escape labels (“queer,” “working class,” “figurative artist”) was finally overcome, Hockey has remained true to his roots. At 77, he works in his Los Angeles studio seven days a week, and as he talks about his art, friends and lovers, childhood, and sources of inspiration and dreams, his humorous vitality is undiminished. (113 mins.)
BREATHING EARTH G ER MANY 20 13
Riedelsheimer’s (RIVERS AND TIDES) subject is Japanese sculptor Susumu Shingu, who pays tribute to nature with hypnotic and playful kinetic works powered by wind and water. Following Shingu around the world in search of a place where art and sustainability can coexist, the film captures his stunning work in its natural habitats—including Japan, Italy, and Mexico—where Monarch butterflies congregate. In Japanese with English subtitles. (97 mins.)
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NORTHWEST FILM CENTER
A leader of the minimalist movement, LeWitt (1928 – 2007) was renowned for his immense wall drawings executed by teams of workers. LeWitt’s artwork can be seen as obsession pushed to the limit of paradox and absurdity: simple ideas, communicated simply—often with a set of instructions sent by fax—lead to overwhelming visual and intellectual complexity. Teerink’s film documents the installation of “Wall drawing #801: Spiral” in the Netherlands, which takes eight assistants 30 days to complete. When the work is done and the scaffolding taken away, the result is transformative. “Conceptual artists leap to conclusions logic cannot reach.”—Sol LeWitt. (80 mins.)
SEPT 24 THUR 7 PM
STATION TO STATION U S 20 1 5
DIRECTOR: DOUG AITKEN
SEPT 19 20 SAT 4 PM, SUN 7 PM
DIRECTOR: THOMAS RIEDELSHEIMER
DIRECTOR: CHRIS TEERINK
Provocative mulitmedia artist Doug Aitken’s STATION TO STATION is high-speed road trip through modern creativity made-up of 62 one-minute films. In the summer of 2013, his nomadic “happening” crossed North America by train from East to West over 24 days. The train set in motion a series of events, each unique to its location and mix of creative participants. The film includes profiles, moments on the train, conversations, and performances at different locations that range from artist Ed Ruscha describing the discoveries to be made in the great American landscape to Beck performing with a gospel choir in the Mojave desert. In between, a kaleidoscope of experience and artistic productions that involve dozens, including Jackson Browne, Cat Power, Patti Smith, William Eggleston, Dan Deacon, Mavis Staples, Thurston Moore and Savages, Giorgio Moroder, along with flamenco dancers, marching bands, and the kinetic drawing machine of artist Olafur Eliasson. (71 mins.)
SEPTEMBER/OCTOBER 2015 503-221-1156 NWFILM.ORG
THE SALT OF THE EARTH DIRECTOR: WIM WENDERS
For the last 40 years, Brazilian photographer Sebastião Salgado has been travelling through the continents, witnessing some of the major events of our recent history: international conflicts, starvation, and exodus. After documenting so much human trauma and exploitation, he is now dedicating his talents to revealing pristine territories, wild fauna, and flora as part of a huge photographic project that pays tribute to the planet’s beauty. Salgado’s life and work are revealed by his son Juliano and Wenders, himself a photographer. “Mesmeric and unforgettable. . .Wenders’ mastery of the documentary form is again on display… [Salgado’s] sculptural use of light and space is combined with a deep empathy for the human condition, resulting in richly complex black-and-white images that capture the dignity within every subject.”—Variety. Nominated for Best Documentary Feature at both the 2015 Academy Awards and Independent Spirit Awards. (110 mins.)
OCT 7 WED 7 PM
MANUFACTURED LANDSCAPES CANADA 20 0 6
DIRECTOR: JENNIFER BAICHWAL
MANUFACTURED LANDSCAPES explores the world and work of renowned artist Edward Burtynsky. Internationally acclaimed for his large-scale photographs of “manufactured landscapes”—quarries, recycling yards, factories, mines, and dams—Burtynsky creates stunningly beautiful art from civilization’s materials and debris. Baichwal’s film follows him through China as he shoots the evidence and effects of that country’s massive industrial revolution. With breathtaking sequences, such as the opening tracking shot through an almost endless factory, Baichwal extends the narratives of Burtynsky’s photographs, allowing us to meditate on our impact on the planet and witness both the epicenters of industrial endeavor and the dumping grounds of its waste. (90 mins.)
ON ART AND ARTISTS NELSON MANDELA: THE MYTH DOWNTOWN AND ME 81
SOL LEWITT TROUBLEMAKERS: THE STORY OF LAND ART
OCT 10 SAT 4:30 PM
OCT 14 17 WED 7 PM, SAT 2:30 PM
BEAUTY IS EMBARRASSING
TROUBLEMAKERS: THE STORY OF LAND ART
U S 20 1 2
DIRECTOR: NEIL BERKELEY
You may not know painter-cartoonist-puppeteer-filmmaker Wayne White by name, but you know his work. A guiding force behind PEE-WEE’S PLAYHOUSE, White made an indelible mark on ’80s and ’90s pop culture by creating some of the decades’ most arresting and iconic images. BEAUTY IS EMBARRASSING chronicles his ongoing struggles to find peace and balance between his brilliant art directing work on TV, music videos (Smashing Pumpkins, Peter Gabriel), and commercials (Wieden+Kennedy’s Old Spice), and his witty, irreverent “word paintings.” “[White is] ... a little bit Zach Galifianakis, a little bit Snuff Smith, a little bit Unabomber.”—Matt Groening. “Hilarious ... Wayne rails against the pretentious, pointyheaded high-art establishment, serving as a compelling folk hero for those who never knew art could be fun.”—Variety. (87 mins.)
OCT 11 21 SUN 2 PM, WED 7 PM
DIRECTOR: JAMES CRUMP
As part of the 1960s/1970s rebellion against materialistic values sweeping American culture, a cadre of artists sought to create a new, epic art that transcended the limitations of painting and sculpture and was one with the outdoor environment. Converging architecture, landscape, sculpture, technology, archaeology, and photography, they strove to make work that—they thought—would make it hard to buy and own. TROUBLEMAKERS unearths the history of the monumental scale and the outsized ambition of these iconoclasts and includes rare footage and interviews centering on the enigmatic lives and careers of storied artists Robert Smithson (Spiral Jetty), Walter De Maria (The Lightning Field), and Michael Heizer (Double Negative) —a headstrong troika that established the genre and influences the work of such other artists as Nancy Holt, Dennis Oppenheim, Carl Andre, and Vito Acconci. (72 mins.)
OCT 24 SAT 2 PM
JEAN-MICHEL BASQUIAT: THE RADIANT CHILD U S 20 1 0
DIRECTOR: TAMRA DAVIS
U S 20 1 5
In his short career, Jean-Michel Basquiat was a phenomenon. From his early, cryptic street art to his meteoric rise to prominence in the New York art world, Basquiat exhibited genius. He infused his work with an intentional childishness that contrasted sharply with his catalog of intellectual, anatomical, sociopolitical, historical, and graphic influences. By the time of his premature death in the 1980s he was no less than the prince of the post-pop scene. Combining never-before-seen interview footage with commentary from friends and contemporary art world luminaries, Davis offers a compelling introduction to a singularly driven creative personality, an artist who could paint masterpieces in an hour (earning him Andy Warhol’s extreme jealousy) and find endless inspiration in the oversaturated culture from which he emerged. (88 mins.)
THE SALT OF THE EARTH
GREGORY CREWDSON: BRIEF ENCOUNTERS
GREGORY CREWDSON: BRIEF ENCOUNTERS
OCT 31 NOV 4 WED 7 PM, SAT 4:30 PM
U S 20 1 2
US 1981
DIRECTOR: BEN SHAPIRO
DIRECTOR: EDO BERTOGLIO
Gregory Crewdson’s riveting photographs are elaborately staged, elegant narratives compressed into a single, large-scale image, many of them taken at twilight. Set in small towns in western Massachusetts or in meticulously recreated interior spaces, his strange tableaus call to mind the haunting worlds of Alfred Hitchcock, David Lynch, and Edward Hopper. Shapiro’s fascinating profile includes stories from Crewdson’s childhood (in which he tried to overhear his psychologist father’s patients), his summers in the bucolic countryside (which he now imbues with a sense of dread and foreboding), and his encounter with Diane Arbus’s work in 1972 at age 10. Novelists Rick Moody and Russell Banks and fellow photographer Laurie Simmons comment on the motivation behind their friend’s haunting images. But Crewdson remains his own best critic: “Every artist has one central story to tell. The struggle is to tell and retell that story over again—and to challenge that story. It’s the defining story of who you are.” (78 mins.)
DOWNTOWN 81
This fanciful urban fairytale is an essential time capsule of post-punk club land in Lower East Side Manhattan in the early 1980s. The not yet famous artist Jean-Michel Basquiat stars, along with such hipsters as John Lurie, Lydia Lunch, Vincent Gallo, Deborah Harry, and rap legend Melle Mel, as he makes his way in a scene exploding with new wave music, new painting, hip-hop, and graffiti. Among the leading bands of the era captured onscreen are Kid Creole and the Coconuts, James White and the Blacks, DNA, Tuxedo Moon, The Plastics, Walter Steding and the Dragon People, Suicide, and Basquiat’s own band, Gray. (73 mins.) On view at the Portland Art Museum, Nov
4–Feb 21, is “Paige Powell: The Ride,” a three-channel digital projection and installation featuring her personal archive of never-seen recordings and images of Andy Warhol, Keith Haring, Jean-Michel Basquiat, and the New York art world in the 1980s.
SILVER SCREEN CLUB POP-UP MEMBERSHIP DRIVE Join the Silver Screen Club as a Supporter ($200) or Director ($400) and get 10% off your first year’s membership! To receive this offer, attend one of these Northwest Film Center screenings:
September 25—JANE B. PAR AGNÈS V. October 1—THE SALT OF THE EARTH
Current Silver Screen Club members can receive 10% off their next membership renewal by referring a new member who signs up at the film! Offer available on September 25 or October 1 in person only at the Whitsell Auditorium. One discount per current Silver Screen Club Member.
NWFILM.ORG 503-221-1156 SEPTEMBER/0CTOBER 2015
NORTHWEST FILM CENTER
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THE GRUMP
NEW SCANDINAVIAN CINEMA As regular Northwest Film Center attendees know—from recent retrospectives of Swedish directors Roy Andersson and Reuben Östlund to the continuing Nordic treasures premiering in the Portland International Film Festival each year— Scandinavian film remains one of cinema’s great founts of creativity. While a few of the most exciting dramas, comedies, and thrillers from Denmark, Finland, Norway, Sweden, and Iceland find scattered commercial distribution in the United States, most never make it to Portland screens. We hope this showcase of recent films offers partial remedy and discovery. Special thanks the Danish, Finnish, Icelandic, Norwegian, and Swedish Film Institutes for their assistance in organizing what we hope will be an annual celebration. Our thanks also go to the Scandinavian Heritage Foundation, Portland, The Scandinavian-American Foundation, New York, and the Scan|Design Foundation, Seattle for supporting the series.
OCT 23 FRI 8:30 PM
OCT 24 SAT 6:30 PM
FI N LAN D 20 14
N O RWAY 20 14
DIRECTOR: DOME KARUKOSKI
DIRECTOR: BENT HAMER
OCT 24 SAT 4 PM
mins.)
THE GRUMP In his Jussi (Finnish Oscar) award-winning performance, legendary Finnish actor Antti Litja plays “the grump,” a cantankerous, pernickety eighty year-old farmer who is fiercely opposed to modernization. When he is forced to move in with his son and his wife in the city, they instantly butt heads with hilarious consequences. But there’s more to the old man than the couple originally thought, and likewise, he has a thing or two to learn from the younger generation. This bittersweet satire on “the good old days” was last year’s biggest hit in Finland. (103 mins.)
GOOD THINGS AWAIT
THE SCANDINAVIAN-AMERICAN FOUNDATION
D EN MAR K 20 14
DIRECTOR: PHIE AMBO
OCT 23 FRI 6 PM
INGRID BERGMAN: IN HER OWN WORDS SWED EN 20 1 5
DIRECTOR: STIG BJÖRKMAN
Ingrid Bergman becomes more of an icon with every passing year, and writer, director and film critic Stig Björkman’s intimate portrait captures the magic and legend of her appeal. Tracing her life from Sweden to Hollywood and then Italy, a combination of neverbefore-seen family films, notes, letters, diaries, and interviews with Bergman’s children (Pia Lindström, Isabella and Ingrid Rossellini, and son Renato Rossellini) results in a documentary that is both celebratory and revelatory. In all, a captivating look behind-the-scenes of the remarkable life of a young Swedish girl who became one of the most beloved and celebrated actresses of American and European cinema.
Ambo’s pastoral documentary follows a herd of rare cattle and their idealistic owners over a year. For centuries, Red Danish was the dominant breed in the region. In hopes of reviving their fortunes, Niels Stockholm and his partner Rita buy a farm and stock it with these attractive russet cows. Niels and Rita have clear ideas about how their biodynamic farm should be run, with plants and animals coexisting in harmony. While their produce gets the seal of approval from Copenhagen’s famous Noma restaurant, Niel and Rita’s holistic methods aren’t popular with the authorities and their Thorshøjgaard farm is under threat. “In a period when concerns about food and health are paramount, GOOD THINGS AWAIT makes arguments for biodynamic principles and practices that are both logically and cinematically compelling.” – Variety. (100 mins.)
(114 mins.)
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NORTHWEST FILM CENTER
SEPTEMBER/OCTOBER 2015 503-221-1156 NWFILM.ORG
1001 GRAMS In this deadpan romantic comedy that recalls the absurdistobservational style of Jacques Tati, recently divorced scientist Marie travels to a scientific convention in Paris with Norway’s national kilo prototype and a broken heart, finding love amid the beauty of the City of Lights. “Despite the weighty title, this is an extremely light, delicate art film that rarely makes a false move. For those who know Bent Hamer’s work (O HORTON, KITCHEN STORIES, EGGS), this Norwegian-Parisian love story between two scientists will come as another pleasant installment in his warm stories about human beings and their need for each other.”—The Hollywood Reporter. (88
OCT 24 SAT 8:45 PM
A SECOND CHANCE D EN MAR K 20 14
DIRECTOR: SUSANNE BIER
Andreas is a promising young detective with a lot on his plate. He and his wife Anne are struggling with their newborn son who cries constantly, and Andreas must also try to rein in his recently divorced partner Simon, who is drinking too much. Called to a domestic disturbance, the detectives discover a drug-addicted couple with a young baby suffering terrible neglect, but there is seemingly nothing that can be done to save the child from horrible fate. When Andreas is faced with a personal tragedy, however, he makes a decision that will have severe moral and ethical repercussions. Tension-filled and heartbreaking, A SECOND CHANCE poses wrenching ethical questions while retaining sharp focus on the conflicted individuals skewed by life’s dilemmas. (105 mins.)
INGRID BERGMAN: IN HER OWN WORDS
THE GRANDAD
A SECOND CHANCE
GOOD THINGS AWAIT
OCT 25 SUN 2 PM
OCT 27 TUES 7 PM
i celan d 20 14
I CELAN D 20 1 5
RAMS
DIRECTOR: GRÍMUR HÁKONARSON
Funny, moving and stunningly shot, RAMS was awarded the top prize of Un Certain Regard at this year’s Cannes Film Festival. In a secluded valley, brothers Gummi and Kiddi live side by side, tending to their sheep. Their ancestral stock is considered one of the country’s best. But although they share the land and a way of life, the two have not spoken to each other in over 40 years. Their world is upended, however, when the valley comes under threat from infection. While others abandon their land, Gummi and Kiddi don’t give up so easily, and each brother tries to stave off disaster in his own fashion. As the authorities close in, the brothers will need to come together to save the special breed passed down for generations—and themselves—from extinction. (93 mins.)
OCT 25 SUN 4:30 PM
THE GRANDAD
VIRGIN MOUNTAIN DIRECTOR: DAGUR KÁRI
Fúsi is a mammoth of a man who, at 43 years of age, is still living at home with his mother. Shy and awkward, he hasn’t quite learned how to socialize with others, leaving him an untouchable virgin. That is, until his family pushes him to join a dance class. There he meets the equally innocent but playful Sjöfn. Acclaimed Icelandic writer-director Dagu Kári introduces us to the pains of first love between these two late-blooming loners with subtly and wicked wit. Winner of the Best World Narrative Award, Tribeca Film Festival. (94 mins.)
OCT 28 WED 7 PM
OUT OF NATURE N O RWAY 20 14
DIRECTOR: MARTE VOLD, OLE GIAEVER
Thorsson’s touching (and sometimes hilarious) film about life at the crossroads and the meaning of it all centers on mild-mannered Guðjón, a father of two who is approaching retirement. When a dream trip to the Canary Islands with his wife doesn’t turn out the way he expects Guðjón is forced to take a good, hard look at his marriage and the inevitable aging process. “This smart cinematic adaptation of director Bjarni Haukur Þórsson’s wildly successful play features spot-on comic timing and an extremely sympathetic performance from Sigurður Sigurjonsson, one of Iceland’s best-known and most versatile actors.”— Screen International. (90 mins.)
Ole Giæver writes, directs, and stars in this unique and endearing depiction of middle age and first-world anxieties. Martin (Giæver) is clearly out of place both in his office and at home with his wife and son. As he embarks on a trek, searching for solace in the stunning Norwegian wilderness, he can’t seem to find peace; his incessant stream of thoughts are endlessly commenting and fantasizing about disturbing “what ifs”: what if he got a divorce? What if his wife died? What if he were a cripple? Immersed in the breathtaking beauty of the Norwegian mountains with a stream-of-consciousness narrative that swings toward the witty and likable, OUT OF NATURE is a comically contemplative film about dissatisfaction, the desire for change, and trying to find solace in solitude. (80 mins.)
OCT 26 MON 7 PM
NOV 1 SUN 2:30 PM
I CELAN D 20 14
DIRECTOR: BJARNI THORSSON
THEY HAVE ESCAPED FI N LAN D 20 14
DIRECTOR: JUKKA-PEKKA VALKEAPÄÄ
DIRECTOR: SANNA LENKEN
SWED EN 20 1 5
Winner of the Crystal Bear (Best Film, Children’s Jury, Berlin), as well as an audience award at the Goteborg Film Festival, MY SKINNY SISTER tells the insightful story of two sisters: chubby Stella and teenage Katja. Like many siblings, they have a humorous, love-hate relationship, with squabbles over belongings and personal space. Katja is an obsessive iceskater, out on the rink day and night preparing for performances. Stella tries to emulate her big sis but spends most of the time butt down on the ice. Beneath Katja’s bright success, however, is the onset of an eating disorder, something her troubled parents ignore and her little sister frets about. (95 mins.)
MY SKINNY SISTER
NOV 1 SUN 4:15 PM
MONICA Z swed en 20 13
MY SKINNY SISTER
Dreams, memories, hallucinations, and harsh reality interweave in Finnish filmmaker Valkeapää’s dark drama-thriller. Joni (Teppo Manner) is a shy, stuttering boy who has fled military service and is assigned to a halfway house for troubled youth. There he meets Raisa (Roosa Söderholm), who is like a wild animal trying to break free of her chains. Their shared disregard for rules, laws, and convention leads them to steal a car and embark on a journey that takes them from a drug-fuelled island idyll to an encounter with a hippie trinket salesman, and eventually on a trip to Raisa’s childhood home –where things shift from ill-starred romance to something far more troubling. Winner of the Jussi Award for Best Film, Best Director, and Best Cinematography. (100 mins.)
THEY HAVE ESCAPED
DIRECTOR: PER FLY
Winner of Guldbagge Awards for Best Direction, Best Actress, Best Supporting Actor and Best Costume Design, MONICA Z chronicles the real-life triumphs and tragedy of popular Swedish jazz-singer Monica Zetterlund, played by an enchanting Edda Magnason who sings her own smoky, elegant vocals. Monica, a young, rebellious small town girl, is determined to make it as a singer in the vibrant sixties jazz clubs of Stockholm, and even New York City. Beautiful and sensual, she embarks on the singing career of her dreams and evolves as an exquisite singer and actress in the golden era of jazz. But behind all the glamour, Monica struggles to face the dark side of fame and success. The jazz life can take its toll, and with a string of broken love affairs, a father she can never please, and a daughter to whom she’ll never be the perfect mother, Monica finds herself living the blues. (111 mins.)
NWFILM.ORG 503-221-1156 SEPTEMBER/0CTOBER 2015
NORTHWEST FILM CENTER
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FILM CALENDAR
NWFilmCenter
SEPTEMBER/OCTOBER 2015
FILMS SCREENED AT NORTHWEST FILM CENTER • WHITSELL AUDITORIUM PORTLAND ART MUSEUM 1219 SW PARK AVENUE
SUNDAY
MONDAY
TUESDAY
WEDNESDAY
THURSDAY
7 PM support the NW Film Center! Join the silver 1screen CLub! 2 THE BIG SLEEP POP-UP MEMBERSH I P DR I VES—S EPTEMBER 25 & O C TOBER 1
FRIDAY 3
(P.6)
SATURDAY
7 PM INHERENT VICE (P.6)
4
SEE nwfilm.org or call 503-221-1156 for details 7 PM THE BIG SLEEP (P.6)
6
SEPTEMBER
7
8
14
15
4:30 PM LIMITE (P.15) 7 PM LOSING GROUND (P.15)
13
2 PM HOME FROM HOME (P.6) 7 PM BREATHING EARTH (P.16)
20
7 PM THE LIVES OF HAMILTON FISH (P.6)
21
4:30 PM SOL LEWITT (P.16) 7 PM FROM MAYERLING TO SARAJEVO (P.15)
27
7 PM JANE B. PAR AGNÈS V. WITH KUNG-FU MASTER (P.16)
28
9
5
7 PM END OF THE WORLD (P.3)
10
5:30 PM DAYS OF HEAVEN (P.6) 8 PM LOSING GROUND (P.15)
11
4:30 PM SCHOOL OF FILM STUDENT SCREENING (P.3) 7 PM LIMITE (P.15)
12
16
7 PM HOCKNEY (P.16)
17
6:30 PM HOME FROM HOME (P.6)
18
4 PM BREATHING EARTH (P.16) 6:30 PM HOME FROM HOME (P.6)
19
22
23
7 PM STATION TO STATION (P.16)
24
7 PM 25 JANE B. PAR AGNÈS V. WITH KUNG-FU MASTER (P.16)
4:30 PM FROM MAYERLING TO SARAJEVO (P.15) 7 PM JANE B. PAR AGNÈS V. WITH KUNGFU MASTER (P.16)
26
29
VIRGIN MOUNTAIN 30 P.19
7 PM THE SALT OF THE EARTH (P.16)
1
7 PM WE COME AS FRIENDS (P.4)
7 PM OPEN SCREENING (P.3)
THE THOUGHTS THAT ONCE WE HAD P.6 7 PM SOL LEWITT (P.16)
4 PM INHERENT VICE (P.6) 7 PM GOODFELLAS (P.6)
2
4:30 & 7 PM WE COME AS FRIENDS (P.4)
OCTOBER
3
4:30 PM WE COME AS FRIENDS (P.4) 7 PM CARTOONISTS: FOOT SOLDIERS OF DEMOCRACY (P.4)
4
5
6
7 PM MANUFACTURED LANDSCAPES (P.16)
7
7 PM 50 FEET FROM SYRIA FOLLOWED BY THE WANTED 18 (P.4)
8
7 PM ONLY ANGELS HAVE WINGS (P.15)
9
4:30 PM BEAUTY IS EMBARRASSING (P.17) 7 PM ONLY ANGELS HAVE WINGS (P.15)
10
2 PM JEAN-MICHEL BASQUIAT: THE RADIANT CHILD (P.17) 4:30 PM ONLY ANGELS HAVE WINGS (P.15) 7 PM THE TRIALS OF SPRING (P.5)
11
12
13
7 PM TROUBLEMAKERS: THE STORY OF LAND ART (P.17)
14
7 PM OF MEN AND WAR (P.5)
15
5:30 PM IN THE MOOD FOR LOVE (P.6) 8 PM GASLIGHT (P.15)
16
2-5 PM @ Hollywood Theatre HOME MOVIE DAY (P.6) 2:30 PM TROUBLEMAKERS: THE STORY OF LAND ART (P.17) 4:30 PM THE BELLS OF ST. MARY’S (P.15) 7 PM SOMETHING BETTER TO COME (P.5)
17
SOMETHING BETTER TO COME P.5 4:30 PM GASLIGHT (P.15) 7 PM DREAMCATCHER (P.15)
18
7 PM THE BELLS OF ST. MARY’S (P.15)
19
7 PM MEMORY & OBSERVATION (P.3)
20
7 PM JEAN-MICHEL BASQUIAT: THE RADIANT CHILD (P.17)
21
22
6 PM INGRID BERGMAN: IN HER OWN WORDS (P.18) 8:30 PM THE GRUMP (P.18)
23
2 PM GREGORY CREWDSON: BRIEF ENCOUNTERS (P.17) 4 PM GOOD THINGS AWAIT (P.18) 6:30 PM 1001 GRAMS (P.18) 8:45 PM A SECOND CHANCE (P.18)
24
2 PM RAMS (P.19) 4:30 PM THE GRANDAD (P.19) 7 PM THE THOUGHTS THAT ONCE WE HAD (P.5)
25
7 PM THEY HAVE ESCAPED (P.19)
26
7 PM VIRGIN MOUNTAIN (P.19)
27
7 PM OUT OF NATURE (P.19)
28
29
7 PM GRISLY, GHASTLY, GHOULISH ANIMATED HORROR (P.3) 9:15 PM I WALKED WITH A ZOMBIE (P.3)
30
4:30 PM DOWNTOWN 81 (P.17) 7 PM NORWAY (P.3)
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JEAN-MICHEL BASQUIAT: THE RADIANT CHILD P.17
2:30 PM MY SKINNY SISTER (P.19) 4:15 PM MONICA Z (P.19) 7 PM (T)ERROR (P.5)
1
4 PM DOWNTOWN 81 (P.17) NORTHWEST FILMMAKERS’ FESTIVAL
8
NOVEMBER 12–17
DAYS OF HEAVEN 2 P.6
9
3
7 PM DOWNTOWN 81 (P.17)
4
7 PM NO LAND’S SONG (P.5)
NOVEMBER
$9 GENERAL ADMISSION $8 PAM MEMBERS/STUDENTS/SENIORS $6 SILVER SCREEN FRIENDS/ CHILDREN UNDER 12
5
DOUBLE FEATURE
8:45 PM I WALKED WITH A ZOMBIE (P.3)
6
NORWAY P.3
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.
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