January/March 2016 schedule by NWFC

JANUARY/MARCH 2016

BOLLYWOOD 50 YEARS OF INDIAN CINEMA

REEL MUSIC FESTIVAL 33

PLUS! CONTACT DANCE

WIM WENDERS PORTRAITS ALONG THE ROAD

CLASSES & WORKSHOPS FOR ADULTS & YOUTH

AND...TREASURES FROM THE UCLA FILM & TELEVISION ARCHIVE

1219 SW PARK AVE. PORTLAND, OR 97205

FROM BOMBAY TO

PORTLAND, OR PERMIT NO. 664

PAID NON-PROFIT ORG U.S. POSTAGE

STAFF NORTHWEST FILM CENTER DIRECTOR: BILL FOSTER EDUCATION DIRECTOR: ELLEN THOMAS FILMMAKER SERVICES MANAGER: BEN POPP

HARRY & ROSE MOYER ADMINISTRATIVE OFFICES & NORTHWEST FILM CENTER SCHOOL OF FILM 934 SW SALMON STREET ALL SCREENINGS TAKE PLACE, UNLESS OTHERWISE NOTED, AT THE

NORTHWEST FILM CENTER WHITSELL AUDITORIUM PORTLAND ART MUSEUM 1219 SW PARK AVENUE

MAILING ADDRESS 1219 SW PARK AVENUE PORTLAND, OR 97205

EXHIBITION PROGRAM MANAGER & PROGRAMMER: MORGEN RUFF PUBLICITY AND PROMOTIONS MANAGER: NICK BRUNO PR AND MARKETING MANAGER: BENNA GOTTFRIED EDUCATION PROGRAMS MANAGER: MIA FERM DEVELOPMENT MANAGER: RACHEL RECORD EQUIPMENT & FACILITIES MANAGER: DAVE HANAGAN MEMBERSHIP AND INDIVIDUAL GIVING COORDINATOR: BAILEY CAIN ADMINISTRATIVE COORDINATOR: SEAN GROSSHANS EDUCATION SERVICES COORDINATORS: STEPHANIE HOUGH ANDREW PRICE MILES SPRIETSMA EDUCATION PROGRAM ASSISTANTS: FELISHA LEDESMA HAZEL MALONE ZSUZANNA MANGU HEAD PROJECTIONIST: ARIKA OGLESBEE THEATRE MANAGER: MICAH VANDERHOOF

WRONG MOVE P.20 CONTACT DANCE PAGE 3

FROM BOMBAY TO BOLLYWOOD:

50 YEARS OF INDIAN CINEMA PAGES 4-5

NW TRACKING PAGE 6

REEL MUSIC FESTIVAL 33 PAGES 7-8, 17-18

SCHOOL OF FILM PAGES 9-15

SPECIAL SCREENINGS PAGE 19

WIM WENDERS:

PORTRAITS ALONG THE ROAD PAGES 20-21 TREASURES FROM THE

UCLA FILM & TELEVISION ARCHIVE PAGES 22-23

GENERAL ADMISSION $9 GENERAL $8 PAM MEMBERS, STUDENTS, SENIORS $6 SILVER SCREEN CLUB FRIENDS SPECIAL ADMISSION PRICES AS NOTED. ALL PROGRAMS ARE SINGLE ADMISSION, UNLESS OTHERWISE NOTED. SILVER SCREEN CLUB DIRECTORS, PRODUCERS, BENEFACTORS & SUSTAINERS RECEIVE FREE ADMISSION TO ALL REGULAR ADMISSION PROGRAMS, INCLUDING FESTIVALS. SEATS FOR ADVANCE TICKET HOLDERS AND SILVER SCREEN CLUB MEMBERS ARE HELD UNTIL 10 MINUTES BEFORE SHOWTIME, AT WHICH POINT ANY UNFILLED SEATS ARE RELEASED TO THE PUBLIC. BOX OFFICE OPENS 30 MINUTES BEFORE SHOWTIME.

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NWFILM.ORG

ISSUE NUMBER: VOL. 44; ISSUE 1

NWFILM CENTER JANUARY/MARCH 2016 503-221-1156 NWFILM.ORG

WELCOME As November’s 42nd Northwest Filmmakers Festival takes new form as our annual “Best of the Northwest” touring program, we’d like to give a last tip of the hat to this year’s Festival Judge, Steve Anker, whose extraordinary consideration shaped three stellar shorts programs featuring 31 works by filmmakers from throughout the region. His choices, and the results of the Festival audience balloting, have helped shape this year’s touring program, which will bring the work of regional makers to audiences in five states. The Tour lineup, as well as the winners of the Festival’s Audience Awards, are on the Film Center’s website. Look for the “Best of the Northwest” to make a stop at the Film Center later in the year—we hope you’ll take the opportunity to revisit some of your favorite entries from the Festival. Another salute is due to our long-time Festival Manager and Northwest Tracking programmer Thomas Phillipson, who is off on a new adventure in Germany after doing so much to advance the work of regional media artists. Taking the reins of our artist service programs is Portland filmmaker Ben Popp, and we look forward to seeing the ways in which he will build on Thomas’s legacy with new and exciting ideas for advancing the work and recognition of our Northwest Filmmakers. Key support for this year’s Festival and Tour came from the Oregon Cultural Trust, and—with a just announced $25,000 award from the Media Arts Program of the National Endowment for the Arts—we’re thrilled that these programs will continue to flourish. Such recognition signals a high regard for the region’s media arts community and will help to build upon the ongoing support we continue to receive from LAIKA and our many film community friends and supporters. The Film Center is also proud to receive renewed support from the James F and Marion L Miller Foundation—an investment that will, over four years, provide $160,000 in support for all of the Center’s exhibition, education and filmmaker service programs. Gaining the support of these great funders comes from earned income and, most importantly, member support and individual gifts. Joining the Silver Screen Club or giving a gift membership to your favorite film lover is a great way to both see the best in cinema and keep the Center’s programs flourishing. With January’s Reel Music and From Bombay to Bollywood series, February’s Portland International Film Festival, March’s Wim Wenders retrospective and UCLA Treasures, and the Best of the Northwest tour headed to regional audiences, it’s an exciting time to become part of what makes it all possible.

Bill Foster DIRECTOR NORTHWEST FILM CENTER

MISSION

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

PRESENTING

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

TEACHING

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

SUPPORTING FILMMAKERS AND COMMUNITY

In addition to offering filmmakers exhibition and teaching opportunities, the Film Center circulates traveling exhibition programs featuring work by regional artists, administers the Oregon Media Arts Fellowship, offers fiscal agent services for independent producers in need of non-profit sponsorship, provides low-cost equipment access, and engages in consulting services to community producers and organizations. THE NORTHWEST FILM CENTER IS FUNDED IN PART BY THE OREGON ARTS COMMISSION, REGIONAL ARTS & CULTURE COUNCIL, NATIONAL ENDOWMENT FOR THE ARTS, 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.

CONTACT DANCE

SONATA

ENSO

ESCUALO PAUL TAYLOR CREATIVE DOMAIN

The Northwest Film Center and Portland’s premiere dance company, BodyVox, are pleased to partner in presenting the first annual Contact Dance Film Festival, a showcase featuring award-wining collaborations between filmmakers, dancers, and choreographers from around the world. Portland has long been a mecca for dance of all forms. With films from the Northwest and across the globe—and an entire program curated by filmmaker and frequent BodyVox collaborator Mitchell Rose--the Contact Dance Film Festival represents the latest evolution of an art form bursting with hybrid creativity. The screenings will take place at both the Bodyvox Dance Center, 17th and NW Northrup, and the Northwest Film Center’s Whitsell Auditorium. We hope you’ll hop between the two venues and that the series’ eclectic choices will get your 2016 off on just the right foot.

JAN 7 THUR 7 PM @ BODYVOX JAN 7 THUR 9 PM @ NWFC JAN 9 SAT 9 PM @ NWFC

JAN 8 FRI 7 PM @ NWFC JAN 8 FRI 9 PM @ BODYVOX

DANCE@30FPS ON THE ROAD

ESCUALO

SHORTS 2: INTERNATIONAL STEPS

mitchell rose presents:

US 2015 DIRECTORS: UK 2000 MARTIN AND DIRECTOR: DAVID HINTON FINLAND/JAPAN 2013 FACUNDO LOMBARD Birds do the dancing in this found A powerful new tap piece from DIRECTOR: JOPSU RAMU A performance drawn from both footage film. (10 mins.) the Lombard Twins' Piazzolla subjective and objective perspecSuite. (4 mins.) tives. (7-1/2 mins.) GLOBE TROT US 2014 ENSO BALLET SPIRAL DIRECTOR: MITCHELL ROSE US 2014 BELGIUM 2014 An international crowdsourced DIRECTORS: dance-film project, in which 50 FAITH MORRISON, DIRECTOR: SAM ASAERT An eerie journey through a frozen filmmakers from all seven con- ROBERT UEHLIN tinents each shoot two seconds Conveying a kinesthetic expemoment of ballet. (3-1/2 mins.) of dance by choreographer Bebe rience of sand, grasses, sea, Miller. (5 mins.) WELL CONTESTED and space, ENSO was filmed SITES in the Oregon Dunes National SONATA Recreation Area. (12-1/2 mins.) US 2013 DIRECTOR: AUSTIN FORBORD BELGIUM 2013 A dance of previously incarcerat- DIRECTOR: NADIA MICAULT MARTIALITY, ed men filmed on Alcatraz Island. An animation of rotoscoped chore- NOT FIGHTING (14 mins.) ography. (11 mins.) CHINA 2012 DIRECTORS: MARIANNE SLOW OFF GROUND KIM, CHENG-CHIEH YU THE NETHERLANDS 2013 THE NETHERLANDS 2013 A young dancer performs the DIRECTOR: KAREN VAN DIRECTOR: BOUDEWIJM role of a conscientious objecLAERE KOOLE tor through the pedestrian The human body is rendered A dance of loss and longing and the abstract to deliberate defenseless as a man is dragged between a boy and his dying moth- the question “to fight or not to through Taiwan by an electric er. (13 mins.) fight?” (11 mins.) winch. (6-1/2 mins.)

ME—STORY OF A PERFORMANCE

BIRDS

DANCE@30FPS ON THE ROAD—The Ohio State University Dance-Film Festival is curated and presented by Mitchell Rose.

JAN 7 THUR 7 PM @ NWFC JAN 7 THUR 9 PM @ BODYVOX JAN 9 SAT 7 PM @ NWFC

PAUL TAYLOR CREATIVE DOMAIN

US 2014 DIRECTOR: KATE GEIS Among the most acclaimed choreographers in American history, Paul Taylor has been reinventing the roles of music, movement and theme in dance for nearly 60 years. Kate Geis’s fascinating documentary offers a rare glimpse at the iconoclastic artist’s creative process as Taylor and his dance company stage a new work. “Three Dubious Memories,” Taylor's 133rd dance, is a RASHOMON-like exploration of memory in which three romantically entangled characters recount very different memories from their relationship. “In the beginning there was Martha Graham, who changed the form. Then there was Merce Cunningham, who showed us dance’s heart. And then, Paul Taylor, who let the sun shine in." – Laura Shapiro, Newsweek. (82 mins.)

CANADA 2015 DIRECTOR: MARLENE MILLAR Ten dancers, musicians, and singers communicate a universal feeling of loss while evoking a paradoxical sense of intimacy. (8 mins.)

GONE

ICELAND 2014 DIRECTOR: HEKENA IONSDOTTIR Who is living your life at this moment? A physical meditation on identity and the self. (16

CRACKS

SPAIN 2013 DIRECTOR: ALEX PACHON A soloist dances to the sounds of his own joints cracking and popping. (3-1/2 mins.)

MIGRATION

CONTINUUM

CANADA 2015 DIRECTOR: FRÉDÉRIQUE COURNOYER-LESSARD Throughout her life, Rose has followed her passion for dance by using it as a singular method of communication essential to connecting with her surroundings. (14-1/2 mins.)

BALLETLUJAH

mins.)

CANADA 2015 DIRECTOR: MARLENE MILLAR A migratory journey of percussive dancers who rely on their AMANDI hands, feet, and sonic bodies SPAIN 2014 to create a unique soundtrack DIRECTOR: FRANCESC as they move through water, STIGES-SARADÀ, wind, and sand while interpretELISABET PRANDI ing the preparation, departure, A blend of nature, woods, and and flight of their collective weird landscapes featuring journey. (6 mins.) two characters in constant transformation. (6-1/2 mins.)

PAS

TRASH DANCE

LAY ME LOW

FRANCE 2014 DIRECTOR: NATALIANNE BOUCHER Our perception of time and its connection with space is explored in movement through the symbolism of shifting sand. (9 mins.)

JAN 8 FRI 7 PM @ BODYVOX 9 PM @ NWFC TRASH DANCE

US 2012 DIRECTOR: ANDREW GARRISON Sometimes inspiration is found in unexpected places. Choreographer Allison Orr sees beauty and grace in garbage trucks and in the men and women who pick up our trash. She joins city sanitation workers to listen, learn, and try to convince them to collaborate in a unique dance performance. The trash collectors' lives are already full with work, family, and dreams of their own, but two dozen of them step forward with their trucks to perform in an extraordinary spectacle. On an abandoned airport runway, thousands of people show up to see how a garbage truck can “dance.” (68 mins.)

JAN 9 SAT 7 & 9 PM @ BODYVOX—VISITING ARTISTS BALLETLUJAH

CANADA 2015 DIRECTOR: GRANT HARVEY Produced by the Canadian Broadcasting Corporation, BALLETLUJAH celebrates the music of one of Canada's--and now Portland's--most iconic artists, k.d. lang, and follows the creation of a ballet based on her music. A special friendship and spiritual connection emerges between lang and Alberta Ballet Artistic Director Jean Grand-Maître as they work together to create celebratory performance pieces set on the vast golden prairies of Alberta—the place that inspired her music. (60 mins.) k.d. lang and producer Heather Edwards will introduce the film.

NWFILM.ORG 503-221-1156 JANUARY/MARCH 2016 NWFILM CENTER



FROM BOMBAY TO

BOLLYWOOD: 50 YEARS OF INDIAN CINEMA

DILWALE DULHANIA LE JAYENGE Indian cinema boasts the most prolific output of any national film industry on the planet—its films, stars, and songs are beloved at home and by millions around the world, yet remains largely unknown to many audiences in the West. Often incorrectly referred to as “Bollywood” (a term which actually only applies to the Hindi cinema of Mumbai, one of many film production centers in the country), Indian cinema is much more than the “song and a wedding” fare typically referenced in Western pop culture. Blending the traditions of musical storytelling and popular myth with dozens of different genres—often all in the same movie—Indian cinema eschews easy classification and demands recognition for its diversity and vitality. This ten-film retrospective offers a primer on popular Indian cinema and a rare opportunity to celebrate these classic films as they are meant to be seen—big movies on the big screen. Sponsored by the Directorate of Film Festivals, Ministry of Information and Broadcasting, Government of India, East India Grill, Anjali School of Dance, and DJ Anjali and the Incredible Kid.

JAN 9 SAT 12 PM

AWAARA

INDIA 1951 DIRECTOR: RAJ KAPOOR Known as “The Showman” by his contemporaries, Raj Kapoor produced, directed and starred in some of the most lasting classics of Indian cinema’s Golden Age, including BARSAAT (1949) and SHREE 420 (1955). Released a scant five years after India achieved its independence from Britain when Indian national cinema was still getting its footing, AWAARA stars Kapoor and his longtime muse (and off screen love) Nargis, and tells the story of the intertwining lives of a poor tramp and the privileged young woman he loves. Effortlessly blending comedy, romance, and pointed social commentary, Kapoor’s film nods to the classics of Hollywood cinema while forging a distinctly Indian identity all its own. “Kapoor’s singular and gargantuan talent subsumes a variety of influences and affinities—Chaplin, Frank Capra, Orson Welles—with even a touch of Russ Meyer apparent in the later work.”—Elliot Stein, “Raj Kapoor: The Showman Auteur of Indian Cinema.” (193 mins.) Archival 35mm print courtesy of TIFF Cinematheque. A performance by students at the Anjali School of Dance will precede the film. Film will be followed by a reception at the Portland Art Museum’s Mark Building with refreshments provided by East India Grill and Sierra Nevada and music by DJ Anjali and the Incredible Kid.

JAN 10 SAT 6:30 PM

JAN 17 SUN 2 PM

INDIA 1957 DIRECTOR: GURU DUTT Sensitive, lyrical filmmaker Guru Dutt was only 39 when he died of an apparent suicide, but he nevertheless left behind a lasting mark on India’s cinematic history. PYAASA (“Thirsty”), the most autobiographical of his works, is the story of a struggling young poet (Dutt) whose genius goes unrecognized until he is mistaken for dead and his work is “posthumously” published through the efforts of a golden-hearted prostitute (Waheeda Rehman). Suffused with an air of romantic longing, PYAASA is both a celebration of the creative spirit and a harsh condemnation of society’s hypocritical attitude towards artists. Of all the remarkable films produced during Indian Cinema’s Golden Age, this is “the most soulfully romantic of the lot.”—Richard Corliss, Time Magazine. (146 mins.)

INDIA, 1965 DIRECTOR: SATYAJIT RAY The personal favorite film of famed Bengali director Satyajit Ray (THE APU TRILOGY), CHARULATA tells the story of the titular lonely housewife of an affluent Bengali family. While her husband spends his days toiling at his beloved newspaper, Charulata paces the confines of her mansion like a caged bird, dreaming of becoming a writer and breaking free of her restrictive life. The catalyst for rebellion arrives in the form of her husband’s handsome cousin, who inspires her to both pick up a pen and fall in love. The simple tale is sensitively rendered through Madhabi Mukherjee’s inspired portrayal of Charulata, which offers glimpses of the hidden fires burning beneath her seemingly restrained demeanor. With this exquisitely shot, deeply felt film, “Ray effortlessly transcends categorization; words like ‘realist’, ‘humanist’ and ‘miniaturist’ fall pitifully short of describing what he was capable of.”—British Film Institute. (117 mins.)

PYAASA

JAN 16 SUN 1 PM

MOTHER INDIA

INDIA 1957 DIRECTOR: MEHBOOB KHAN Unabashedly patriotic, MOTHER INDIA is an epic celebration of the indomitable spirit that weathered seemingly insurmountable hardships following the country’s independence from Britain. Allegorically told through the many trials and tribulations faced by Radha, a poor village woman (played from youth to old age by charismatic superstar Nargis), the story follows its heroine as she weathers the storms of abandonment, destitution, floods, and fires with the same steely, selfless resolve. Often compared to GONE WITH THE WIND for its epic scope, it was the first Indian film to be nominated for the Best Foreign Film Academy Award. “A defining film in the history of Bollywood. . .often said to have helped set the pattern for the nearly 50 years of Indian film that followed it.”—The New York Times. (172 mins.) 35mm print courtesy of BFI Distribution.

04 NWFILM CENTER JANUARY/MARCH 2016 503-221-1156 NWFILM.ORG

CHARULATA

JAN 24 SUN 3 PM

SHOLAY

INDIA 1975 DIRECTOR: RAMESH SIPPY Often credited as the most popular film in the history of India and perhaps the one with the greatest impact on the India’s pop culture, SHOLAY’s stunning scenes have retained iconic status. Legendary stars Dharmendra and Amitabh Bachchan—here at the height of his “angry young man” persona—are charismatic outlaws recruited by a former policeman to help bring down a ruthless bandit. With nods to the Spaghetti westerns of Sergio Leone, SHOLAY is considered one of the great examples of the genre mixing masala film, here blending romance, action, buddy film, slapstick comedy and melodrama into one dizzyingly entertaining spectacle. “There are many ways to achieve greatness and the way here is with heroism, villainy, redemption, revenge, true love, and as many stars as there are in the sky.”—Rogerebert.com. (204 mins.)

 SHOLAY

SALAAM BOMBAY! LAGAAN

DEVDAS CHARULATA

FEB 6 SAT 6 PM

MAR 6 SUN 3 PM

INDIA 1998 DIRECTOR: RAM GOPAL VARMA SATYA, a surprise breakout hit, has been critically lauded for its realistic depiction of gang violence in Mumbai, and was eventually credited as having ushered in the genre of Mumbai noir. A mysterious young man named Satya (J.D. Chakravarthy) becomes embroiled in a gangland turf war, and quickly finds himself in over his head as he struggles to keep his violent life of crime secret from the object of his affections (Urmila Matondkar.) Varma skillfully paints a complex portrait of the criminal underworld in which every character exists not in black and white, but in unsettling shades of gray. “Rejoice. India’s answer to Quentin Tarantino is here. . .Ram Gopal Varma belts it out straight, like a prize-boxer delivering a knockout punch.”—Filmfare Magazine. (171 mins.) 35mm print

INDIA 2002 DIRECTOR: SANJAY LEELA BHANSALI Operatic in every sense of the word, Bhansali’s adaptation of the legendary Bengali novel features dazzling sets and costumes, impossibly beautiful stars, and stunning musical numbers. When star-crossed childhood sweethearts (Shah Rukh Khan and former Miss World Aishwarya Rai) are wrenched apart by circumstance and harsh societal strictures, it sends them both into a tragic downward spiral. An opulent spectacle and a grand, sweeping eulogy to eternal love lost, “DEVDAS has a grandeur the old Hollywood moguls would have loved.”— Richard Corliss, Time Magazine. (185 mins.)

SATYA

courtesy of the Directorate of Film Festivals, India.

FEB 7 SUN 6 PM

DILWALE DULHANIA LE JAYENGE JAN 31 SUN 4 PM

SALAAM BOMBAY!

UK/INDIA/FRANCE 1988 DIRECTOR: MIRA NAIR Tender in its compassion for its young subjects and unflinching in its portrayal of the harsh realities of life on the streets of Bombay, SALAAM BOMBAY! tells the story of Krishna, a young boy who must fend for himself as he struggles to earn 500 rupees to pay for his brother’s damaged bike. “A lively, strangely celebratory look at the resilience of India’s street children. It’s a savvy, sentimentalized first feature by director Mira Nair, a documentarian who finds innocence and a harsh playfulness in this asphalt nursery.”—The Washington Post. Nominated for the 1989 Academy Award for Best Foreign Language Film. (114 mins.) 35mm print courtesy of Park Circus.

INDIA 1995 DIRECTOR: ADITYA CHOPRA One of India’s the best-loved romances is also its longest running: the film is still in its original theatrical release, having recently celebrated its 20th year at the Maratha Mandir theatre in Mumbai. Chopra’s directorial debut broke box-office records and made superstars out of its two talented young leads, Shah Rukh Khan and Kajol, who play Raj and Simran, two non-resident Indians who meet on holiday in Europe and fall in love. Even though Simran’s marriage has already been arranged to another man, Raj follows Simran to India to win over her parents and make her his bride. The film’s enormous popularity speaks to its universal appeal: it embraces both the romanticism of following one’s heart and the importance of family. “One of the world’s favorite films. Raj and Simran…are among the immortal screen couples.”—Scott Jordan Harris, Rogerebert.com. (181 mins.)

DEVDAS

MAR 12 SAT 2 PM

LAGAAN

INDIA 2001 DIRECTOR: ASHUTOSH GOWARIKER At the height of the British Raj (colonial rule) in the district of Champaner, extreme drought forces a poor village to appeal to the local governor for relief from their high taxes (“lagaan”). When the handsome young villager Bhuvan insults the commanding officer of the cantonment, the village is offered a wager: beat the British officers in a game of cricket and enjoy three years free of tax—or lose, and pay triple tax. Nominated for the 2002 Academy Award for Best Foreign Language Film and featuring an exuberant soundtrack from renowned composer A.R. Rahman (SLUMDOG MILLIONAIRE), LAGAAN is a timeless, endlessly entertaining fable—not to mention the best epic-sports-movie-musical-romance you’ll ever see (no previous knowledge of cricket required). “The answer to those who ask why they don’t make movies like they used to: They do, but in India.”—Jami Bernard, New York Daily News. (225 mins.) 35mm print courtesy of the Directorate of Film Festivals, India.

NWFILM.ORG 503-221-1156 JANUARY/MARCH 2016 NWFILM CENTER

NW TRACKING THE SOMNABULISTS

AN EVENING WITH LION ATTACK MOTION PICTURES

THE LYRIC PROJECT

FEB 3 WED 7 PM

THE LYRIC PROJECT

Our Northwest Tracking programs showcase 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, Northwest Tracking offers testimony to the creativity and talent in our flourishing media arts community. Northwest Tracking is supported in part by the Oregon Cultural Trust.

PORTLAND 2015 DIRECTOR: EZEKIEL BROWN What was the song with which you first fell in love? “An anthology love letter to music” is how cinema artist Brown, aka the Chocolate Giant, explains his 12-part film, which asks friends and strangers to record themselves reciting the lyrics of a personally meaningful song. Using his subjects’ lyrical recitations and backstories, Brown fashions a dozen short pieces inspired by the songs and the people who love them. Subjects range from The National’s “Pink Rabbits”, Lauryn Hill’s “That Thing”, The Deftones’ “RX Queen,” to Built to Spill’s “Velvet Waltz.” With THE LYRIC PROJECT, Brown fashions not only music videos, but “powerful reminders of a certain place in time and lyrics that can sink in and stick with you forever--for better or worse.” —AP Kryza, Willamette Week. (73 mins.)

JAN 6 WED 7 PM—VISITING ARTIST

JAN 14 THURS 7 PM—VISITING ARTIST

MAR 24 THUR 7 PM—VISITING ARTIST

PORTLAND 2014 DIRECTOR: MARK ANDRES Self-described as a “kinographic novel,” THE SOMNAMBULISTS combines stylized drawings, inter-titles and music to fashion an intriguing combination of graphic novel and early silent cinema. In the year 2047, a new drug called Somnambula, which does away with the need for sleep, arrives to a city below the Moon’s surface. As the residents wander about in a sleepless daze, Bruno, a former circus performer, searches for his missing partner, a boy who has mysteriously disappeared. Bruno’s search leads him to the inventor of Somnambula, who seems to have the power to control others with his mind. Winner of the Best Animated film at the 2015 Independent Filmmakers’ Showcase in Los Angeles, Andres’s film is a hypnotic fantasy and a meditation on the nature of love. (94 mins.) An exhibition of drawings from the film is currently on display at the

MONTANA 2015 DIRECTOR: JESSICA JANE HART Taking its title from the Lakota name “Mako Shika,” meaning “bad land,” MAKOSHIKA focuses on the lonely prairie landscapes of eastern Montana, where graduating classes of local one-room schoolhouses can often be composed of only a single student. First-time feature director Hart weaves alternating first-person narratives together with engrossing historical commentary to tell the story of a region in transition, largely due to oil development fueled by the nearby Bakken shale formations. Like the prospectors of years past, modern-day fortune hunters are making their way into these remote lands...while holding the fates of local communities in the balance. (65 mins.) Jessica

Winner of the 2014 Oregon Media Arts Fellowship, Portland filmmaker Kurtis Hough’s work blends animation, documentary, and the surreal into an investigation of the musical undertones found in abstract patterns of nature. Beginning with time-lapse photography of landscapes from around the planet, Hough’s work captures the lyricism and movements of unseen microscopic formations and natural events that typically go unnoticed by the human eye. The program includes STUMBLE THEN RISE ON SOME AWKWARD MORNING (2004), MOSSGROVE/ BED OF MOSS (2011), CRYOSPHERE (2012) and TO SEE MORE LIGHT (2015), as well as the premiere of his new film PAINTED HILLS (2016). (80 mins.) Kurtis Hough will

THE SOMNAMBULISTS

Augen Gallery. Mark Andres will introduce the film.

JAN 13 WED 7 PM—VISITING ARTISTS

AN EVENING WITH LION ATTACK MOTION PICTURES

Filmmakers Austin Will, Sam Kuhn and Fantavious Fritz form a collective known as Lion Attack Motion Pictures. The energetic group began their careers in the Pacific Northwest before expanding their operations to New York, Toronto and Miami. Join us on this special night as the three filmmakers return to their home state of Oregon to screen a selection of their award-winning films. The program will include PARADISE FALLS (2014), an idiosyncratic tale of two boys’ adventures in an abandoned suburban mansion, IN SEARCH OF THE MIRACULOUS (2015), an ironic homage to the enigmatic Dutch artist Bas Jan Ader, and LONG WAY GONE (2014), a surreal portrait following a lost soul navigating ghostly landscapes in search of shelter from a vicious storm.

MAKOSHIKA

Jane Hart will introduce the film.

JAN 21 THUR 7 PM

OPEN SCREENING: NW MUSIC VIDEOS

As part of this year’s Reel Music Festival program, we invite regional makers to share recent music videos of any style or genre. If you have a new work you’d like to see on the big screen, contact Ben Popp (ben@nwfilm.org) by January 15. Along with our crowdsourced submissions, we’ve invited some great new Northwest artists to share their work, so count on a lively, eclectic evening of collaborations by filmmakers and musicians. Admission is free; screening takes place at the Skype Live Studio, 1210 SW 6th Avenue.

(80 mins.) The filmmakers will introduce the program.

06 NWFILM CENTER JANUARY/MARCH 2016 503-221-1156 NWFILM.ORG

AN EVENING WITH KURTIS HOUGH

introduce the films.

MAR 30 WED 7 PM—VISITING ARTIST

AN EVENING WITH JODI DARBY

Portland filmmaker and educator Jodi Darby has been making festival rounds with her award-winning 2014 documentary ARRESTING POWER: RESISTING POLICE VIOLENCE IN PORTLAND OREGON, which she co-directed with Julie Perini and Erin Yanke. Darby will join audiences at the Northwest Film Center to present a program of some of her earlier short works, including STONEWALL (2010), an essay film exploring the American Civil War through a queer lens; 100 SUNS (2011), a found footage work utilizing film from a Los Alamos nuclear testing lab and set to a score by Marisa Anderson; MAN MOVIE (2013), a deconstructive look at male-centric cinematic action, and CONSTELLATION (2014), a visual documentary exploring the border wall between the US and Mexico and the ideological divide it represents for the two cultures on either side of the fence. (80 mins.) Jodi Darby will introduce the program.

JANUARY 15 - FEBRUARY 5, 2016

SPONSORED BY:

Welcome to our 33rd annual edition of Reel Music. We’ve been on the lookout all year for new works—and timely classics—to feature in our annual celebration of sound, music, and image. Whether your passion is jazz, blues, rock, soul, opera, classical, avant-garde—or anything in between—we hope you find something to discover and inspire you in this eclectic mix of the familiar and unknown. As always, our special thanks go to Music Millennium, Willamette Week, Walker, KINK.fm, MusicFestNW, All Classical Portland, PDX Jazz, XRAY.FM, KMHD, KBOO, PDX Pipeline, Oregon Music News, and Marmoset. KORLA

JAN 16 SAT 9:30 PM

THEORY OF OBSCURITY: A FILM ABOUT THE RESIDENTS

THE BIG BEAT: FATS DOMINO AND THE BIRTH OF ROCK AND ROLL

JAN 15 FRI 7 PM

JAN 16 SAT 4:30 PM

US 2015 DIRECTOR: JOE LAURO From New Orleans to Blueberry Hill, the teaming of Antoine “Fats” Domino Jr. and Dave Bartholomew is remembered as a legendary partnership that changed the course of mid-century American music. After meeting at a Ninth Ward dive called The Hideaway, the two became songwriting partners. Under the banner of Imperial Records (where Bartholomew served as producer, arranger, and bandleader), they sold over 60 million records between 1949-62—a time when segregation and the civil rights movement dominated the cultural consciousness. Director and archivist Joe Lauro uses footage unearthed in the French National Archives to fashion a compelling portrait of this remarkable collaboration, charting the influence of New Orleans R&B upon the nascent genre of rock and roll, and featuring candid interviews with its still-vibrant subjects. (90 mins.)

DIRECTOR: PHIL GRABSKY Over the course of four years, director Phil Grabsky followed celebrated Norwegian concert pianist Leif Ove Andsnes’ attempt to understand and interpret one of the greatest sets of music ever written for piano: Ludwig van Beethoven’s five piano concertos. However, CONCERTO is more than a document of a famous musician’s world tour; it is also an exploration of the deep relationship that emerges between composer and pianist. As Andsnes delves into the life and passion of Ludwig van Beethoven and his work, he begins to invoke the composer’s spirit in a way never before seen. Gransky’s film movingly chronicles Andsnes’ devotion to his passion project and bears cinematic witness to what is increasingly being regarded as one of the greatest interpretations of these five timeless pieces of music. (92 mins.) Sponsored by All Classical Portland.

THE BIG BEAT: CONCERTO: FATS DOMINO AND THE A BEETHOVEN JOURNEY BIRTH OF ROCK AND ROLL UK 2015

JAN 15 FRI 9:15 PM

ROXY: THE MOVIE

US 1973/2015 DIRECTOR: FRANK ZAPPA Filmed over three nights in December 1973 at the Roxy Theatre in Hollywood, ROXY: THE MOVIE perfectly encapsulates the qualities that made Frank Zappa such a revolutionary musical pioneer. Thanks to advances in digital technology, this never-before-released film—which sat in the Zappa vaults for decades because its sound didn’t meet Zappa’s technical standards—is finally being shared with music lovers around the world. ROXY features the unparalleled composer and guitarist leading one of the most iconic iterations of his backing band the Mothers (including keyboardist George Duke, trombonist Bruce Fowler, flutist Napoleon Murphy Brock, bassist Tom Fowler, drummers Ralph Humphrey and Chester Thompson, and percussionist Ruth Underwood) through some of Zappa’s most challenging and rewarding music. A unique big screen treat. (95 mins.) Sponsored by KBOO.

JAN 16 SAT 7 PM

THE AMAZING NINA SIMONE

US 2015 DIRECTOR: JEFF LIEBERMAN Nina Simone (1933-2003) defied labels—musical, sexual, or political—and today enjoys a popularity and recognition never realized in her lifetime. Lieberman’s extensively researched film draws upon interviews with dozens of friends, family members, band members, lovers, and fellow activists, who not only recall her astounding musicianship and genius, but her fearless demand for respect--whether from segregationists, record companies, or audiences. Director Lieberman follows Simone through the ups and downs of her career: growing up in a small, segregated town, becoming a teen classical piano prodigy, gaining experience as a bar singer, rising to stardom in the late 1950s with “I Loves You, Porgy,” and, finally, emerging as a fiery activist through songs such as “Mississippi Goddam”--all while struggling with a complicated bisexual love life and battling bipolar disorder. Simone’s story, like her music, is startlingly unique. (118 mins.)

08 REEL MUSIC FESTIVAL 33 NWFILM.ORG/FESTIVALS/REELMUSIC

US 2015 DIRECTOR: DON HARDY The avant-garde music and multimedia collective known as The Residents has never revealed the identity of its members, who always appear in costume in extravagant live musical performances and filmed projects. Don Hardy’s witty film tells the story of the group’s start in rural Louisiana, its artistic awakening in late-‘60s San Francisco, and follows its members to the present day, where they are still actively creating and performing. The film showcases a trove of archival materials alongside contemporary performances and interviews with the band’s longtime “business managers,” the Cryptic Corporation, and features appearances by a wide variety of creative minds—including Penn Jillette, Jerry Harrison, Les Claypool of Primus, Simpsons’ creator Matt Groening and members of Neurosis, Henry Cow and Ween—all of whom were drawn to the group’s uncompromising focus on creative control over conventional commercial success.

THEORY OF OBSCURITY: A FILM ABOUT THE RESIDENTS

JAN 17 SUN 7 PM

BILL EVANS, TIME REMEMBERED

US 2015 DIRECTOR: BRUCE SPIEGEL In the pantheon of great jazz pianists, few remain as influential as Bill Evans. His arrival in the late 1950s heralded a new lyricism rooted in the romantic composers of the 19th century, and marked the birth of a groundbreaking impressionist harmonic framework that riveted musicians and listeners alike. While many post-bebop pianists were consumed with how fast they could play, Evans showed the world how slow he could play—and audiences loved him for it. In 1958, Evans joined the Miles Davis sextet, which would go on to produce some of the most celebrated (87 mins.) Sponsored by KBOO. and lasting music of the twentieth century. In the early 1960s Evans teamed up with bassist JAN 17 SUN 5 PM Scott LaFaro and drummer Paul Motian to form the legendary Bill Evans Trio, a group that would US 2015 redefine the concept of the jazz trio. Through interviews with many of Evans’ peers and colDIRECTOR: JOHN TURNER With his sparking jeweled turban, organist Kor- laborators, Spiegel traces a career and life full of la Pandit (1921-1998) was an alluring enigma, brilliance, tragedy, revolutionary innovation, and television pioneer, and the godfather of exotica lasting cultural impact. (84 mins.) Sponsored by Portmusic. Though he never spoke a word on any of land Jazz Festival. the 900 episodes of his groundbreaking 1950s FOLLOWED BY TV program, Korla nevertheless captured the hearts of countless Los Angeles housewives with his soulful, hypnotic gaze and theatrical performances, which expertly showcased both popular US 2014 tunes and East Indian compositions on the newly DIRECTOR: ELIJAH HASAN developed Hammond B3 organ. In the ‘90s he Portland filmmaker Elijah Hasan’s portrait of acresurfaced as a cult figure with tiki/lounge music claimed jazz bassist Israels from his days playing aficionados and was immortalized in the 1994 with Bill Evans to current collaboration in Portfilm ED WOOD. Korla lived up to his reputation land today. (27 mins.) as a “man of mystery” by taking an amazing secret with him to his grave—a secret which the KORLA film KORLA finally reveals. Among Korla’s musical admirers are Carlos Santana, Booker T. Jones and Steven Halpern, all of whom are interviewed in the film. (78 mins.) Sponsored by XRAY.FM.

KORLA

Chuck israelS: rhythm and romance

THE AMAZING NINA SIMONE

CLASSES & WORKSHOPS WINTER 2016

We are a place where individuals find and cultivate their personal voices as storytellers and image-makers. Our classrooms and facilities bring a diverse cross-section of community members together for skill-building, friend-making, and technical support. We’re a center where access, aesthetics, and action combine to help people realize their aspirations and where new films and filmmakers are launched into the world onto screens both large and small.

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 somewhere in between. Enrollment is open to all—simply sign up for what interests you. Explore career options and gain new skills, whether you are degree-bound or post-degree.

FACILITY

Our 10,000-square-foot building in downtown Portland contains classrooms, editing labs, a well-stocked 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. Hailing from among our region’s finest documentary, narrative, and experimental filmmakers, our faculty’s award-winning work appears in film festivals, art houses, microcinemas, and exhibition programs worldwide.

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 on many aspects of film production, including cinematography, editing, and screenwriting. 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.

LIKE US

HAVE A LOOK

OUR NEWSROOM

facebook.com/nwfilmcenter

@schooloffilm

vimeo.com/schooloffilm

newsroom.nwfilm.org

NWFILM.ORG 503-221-1156 JANUARY/MARCH 2016 NWFILM CENTER 09

WINTER 2016

WINTER OFFERINGS AT-A-GLANCE

Faculty

Tuition

# Sessions

Start Date

16mm Cinematography

Ballard

$875

Jan 19

Digital Editing

Minty

$365

Jan 19

Art of Filmmaking I

Minty

$1,145

Jan 20

Lighting Scenes on Location

Nolton

$765

Jan 20

Screenwriting: Fundamentals

Aldrich

$765

Jan 21

Ackerman

$765

Jan 21

Faculty

$1,125

TBD

Canon XA-10 Operation

Faculty

$55

Jan 30

WANT MORE?

Lighting Basics

Faculty

$65

Jan 30

Sound Recording

O’Brien

$95

Feb 21

Popp

Feb 1

Visiting Artist

$15

Mar 5

iFilm Shooting: Tips & Tricks

Tvetan

$35

Jan 9 or Feb 27

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.

iFilm Editing: Editing Tips & Tricks

Tvetan

$45

Jan 9 or Feb 27

ADULT CLASSES

Stop Motion Animation Art of Filmmaking III, Part I

ADULT WORKSHOPS

Get Your Work Into Film Festivals Engaging With LGBT Content

iFILM SERIES

YOUTH CLASSES Winter Break Camp for 4th-6th Grades

Tvetan

$145

Dec 21

Digital Moviemaking for 4th-6th Grades

Tvetan

$195

Jan 23

Digital Moviemaking for 6th-8th Grades

Tvetan

$195

Jan 24

EVENTS School of Film Student Screening NWFC Community Open House 10

Staff

NWFILM CENTER JANUARY/MARCH 2016 503-221-1156 NWFILM.ORG

Free

Jan 9

Free

Feb 8

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.

JUST SIGN UP 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 right).

COLLEGE CREDIT Portland State University students in the College of the Arts may receive credit for selected NWFC classes by requesting a transfer of credit upon successful completion of the course. Please note that NWFC class credits do not count towards PSU full time status. NWFC classes offers cross-registration with Marylhurst University. For more information, please contact info@nwfilm.org.

WINTER ADULT CLASSES ART OF FILMMAKING I

16MM CINEMATOGRAPHY

LIGHTING SCENES ON LOCATION

Shoot and edit two beginning-level short films as an introduction to visual cinematic storytelling. This is the first part of our three-class Core Sequence.

Explore the unique potential of 16mm film as a storytelling tool. Draw on the traditions of analog 16mm filmmaking to make a contemporary visual statement. Learn how lenses, film stocks, lighting, framing, and movement influence 16mm’s unique look.

Learn to light a variety of scenes and actors in locations typically used in narrative filmmaking. This relaxed, fun, yet informative class takes you beyond the basics.

WEDNESDAYS, JAN 20-APR 13, 6:30-9:30 PM + TWO SESSIONS TBA—NO CLASS MAR 23 14 SESSIONS • TUITION: $1,145 PAMELA MINTY

Topics: The components of film language and properties of the image The filmmaking process: pre-production, production, post-production Creating treatments and/or scripts and storyboards Digital camera operation and shooting techniques 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 Textbook: SHOT BY SHOT: A PRACTICAL GUIDE TO FILMMAKING, 4th Edition, by John Cantine, Susan Howard, & Brady Lewis (ISBN 978-0-9637433-8-1) The class includes step-by-step guidance and feedback from instructor. Tuition includes all needed production equipment and access to Film Center Edit Lab. Prerequisites: None.

ART OF FILMMAKING II TO BE OFFERED FALL TERM 2016

ART OF FILMMAKING III

PART I - PRE-PRODUCTION & PRODUCTION WINTER TERM 2016 DATE/TIME TBD WITH REGISTERED STUDENTS 14 SESSIONS • TUITION: $1,245 FACULTY PART II - POST-PRODUCTION SUMMER TERM 2016 + NOVEMBER 2016 PUBLIC SCREENING 14 SESSIONS • TUITION: $1,245 FACULTY Plan, write, shoot, and edit a polished film with professional-quality production values in any genre or combination of styles and present the finished film before a public audience. This is the third part of our three-class Core Sequence. Topics: Defining your creative eye by envisioning a 12-15 minute film Turning a concept into a treatment Re-working the treatment for clarity, continuity and impact Writing and re-writing the script/screenplay Budgeting Pre-production and scheduling Casting Drawing upon class members (and others) to create a full crew Crewing on at least one other class project Getting sufficient coverage during the shooting process Turning the rough cut into a final cut Color correction Sound mixing Planning for special effects Writing an artist statement, biography and synopsis

TUESDAYS, JAN 19-MAR 15, 6:30-9:30 PM 9 SESSIONS • TUITION: $875 SCOTT BALLARD

WEDNESDAYS, JAN 20-MAR 16, 6:30-9:30 PM 9 SESSIONS • TUITION: $765 GARY NOLTON

Topics: Components and technical operation of Bolex and Arriflex-S 16mm cameras Characteristics and settings of lenses Characteristics of different film stocks and filters; how to test film stocks Loading/unloading film, setting the diopter, tripod mounts Metering of incident and reflected light, setting exposure Types of lighting kits and tools (light stands, C-stands, barndoors, gels, diffusion, flags) Creating specific lighting set-ups for different shooting situations Camera framing, sequencing, and movement--including blocking actors and continuity Working as a cameraperson with other members of a small crew Budgeting for shooting in 16mm, working with a film lab Demo of hand-processing, flatbed editing, audio syncing with rewinds, and Super16mm Students will shoot three short projects in a variety of visual styles. Tuition includes all necessary camera and lighting equipment, an allocation of film stock, film processing, and access to the Film Center edit lab. Prerequisites: Basic knowledge of photography will be helpful.

DIGITAL EDITING

TUESDAYS, JAN 19-FEB 9, 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 editing workflow. Topics: How editing (sound and picture) creates meaning Features and layout of Final Cut Pro X software Setting up a project and organizing your materials Defining what you are trying to accomplish Principles of continuity: matching action and montage editing styles Experimenting with rhythm and pacing Adding sound effects, text, music, and narration Basics of titles How to troubleshoot along the way Instructor feedback and guidance will be provided throughout the course of the editing process. Tuition includes access to Film Center Edit Lab. Prerequisites: None.

Emphasis in this class is on student-generated feedback with faculty acting as mentors and facilitators. Tuition includes access to Film Center production equipment and Edit Lab. Out-of-facility expenses are a student responsibility. Prerequisites: ART OF FILMMAKING I and ART OF FILMMAKING II. Still image from Winter 2015 Stop-Motion Animation by student Mark Landers

Topics: Initial classroom demonstrations on location lighting concepts and styles Teaming up and working as the hands-on lighting crew in a different location every week Using various types of lighting units from large and professional to budget and low-cost Common and not-so-common lighting approaches for day/interior and day/exterior shoots Common and not-so-common lighting approaches for night/interior and night/exterior shoots Protocols of working with lighting on a film set Lighting actors and objects within a scene Location management as it relates to lighting Keeping the look consistent as the sun shifts The latest lighting tools being used in digital media Tuition includes all necessary lighting equipment and supplies. Note: Class size is limited. Please register early. Prerequisites: Basic understanding of lighting.

SCREENWRITING FUNDAMENTALS THURSDAYS, JAN 21-MAR 17, 6:30-9:30 PM 9 SESSIONS • TUITION: $765 KYLE ALDRICH

Learn how screenwriters develop a story idea into a feature-length screenplay. Students will utilize screenplay structure and formatting to create characters, scenes, and outlines that can then be used for their own projects. Topics: The purpose and technique of creating treatments and outlines Creating characters with depth and purpose Conflict and resolution as story structure Writing effective dialogue The difference between plot and story Structuring scenes and sequences Transitions and timing Solving the second act droop Instructor feedback will be provided throughout the course as students develop and hone their screenwriting technique. Prerequisites: None.

STOP MOTION ANIMATION

THURSDAYS, JAN 21-MAR 17, 6:30-9:30 PM 9 SESSIONS • TUITION: $765 DAN ACKERMAN This course explores the techniques and tools of motion storytelling— one frame at a time. Topics: Components of a basic stop motion shooting setup Camera setup, control, and movement, lighting and light control Dragonframe software, including capture tool functions and operations Developing your message and storyline Concepts of squash/stretch, ease in/ease out, metamorphosis and the walk cycle Staging, framing and composition Low budget sets and lights The tools and techniques of a variety of drawn animation approaches (e.g. white boards, cutouts, sand, pin screen, painting with clay) The tools and techniques of a variety of object animation approaches (e.g. pixilation, simple wire puppets) Students will animate each week in and out of class and receive on-going feedback from their instructor as they create an individual short animated film in a style of their choice. Class includes a class field trip to a professional animation studio; tuition includes a basic Dragonframe stop motion animation stand. Prerequisites: None.

NWFILM.ORG 503-221-1156 JANUARY/MARCH 2016 NWFILM CENTER

WINTER WORKSHOPS

VISITING ARTISTS

CANON XA-10 CAMERA OPERATION

ENGAGING AUDIENCES WITH LGBT CONTENT

The basics of shooting with our HD camera workhorse.

This lively panel discussion will take its audience of artists, creatives, filmgoers, and filmmakers on a behind-the-scenes look at some of the current approaches being used to capture and celebrate LGBT voices on film: traditional time-based media (e.g., live audience film screenings and festivals) and emerging models outside of theatrical settings (e.g., site specific programs and events). Hear about new curatorial and programmatic strategies, and how this type of engagement is turning LGBT film exhibition into a form of community building and celebration. What unique or special aspects of LGBT filmmaking should be celebrated? Who is the preferred audience for LGBT work, how can they be reached, and how might this audience expand? Are there ongoing challenges to be addressed? Are new challenges emerging even as acceptance of LGBT perspectives and content continues to grow? Bring your questions as they will shape the conversation!

SATURDAY, JAN 30, 9:30 AM-12:30 PM 1 SESSION • TUITION: $55 FACULTY

Topics: Manual focus and exposure Proper use of external microphones Basics of utilizing the touchscreen Recommended presets How to download the AVCHD footage to your computer Rental options for NWFC cameras Prerequisites: None. Note: This workshop is REQUIRED for all renters of this camera.

LIGHTING BASICS

SATURDAY, JAN 30, 1-5 PM 1 SESSION • TUITION: $65 FACULTY Use basic light kits to dramatically vary the mood and quality of light in a scene. Topics: Using key, fill, backlight, and kicker/rim light How cookies, flags, scrims, and silks affect a light source Using light meters Lighting the interview subject Lighting an outdoor scene Tips and tricks in the field Students will practice simple lighting set-ups and get instructor feedback along the way. Prerequisites: None.

SOUND RECORDING SUNDAYS, FEB 21 & 28 1-5 PM 2 SESSIONS • TUITION: $95 AMY O’BRIEN

SATURDAY, MAR 5, 2-4 PM 1 SESSION BRADFORD NORDEEN & GUESTS

DAVID WEISSMAN is a founder and co-programmer of QDOC, the only festival in the U.S. devoted exclusively to LGBT documentaries. Founded in 2007 with an emphasis on visiting artist interaction, this curated festival highlights award-winning films fresh from Sundance, Berlin, Hot Docs, Tribeca, Amsterdam and other top-tier festivals. Past subjects have included historical films, personal stories, artist biographies, experimental work and topical films dealing with current controversies. The festival has hosted emerging filmmakers as well as three Academy Award-winning directors. CARLA ROSSI, Portland’s premiere drag clown, programs and hosts QUEER HORROR, a bimonthly festival of genre works by queer artists, performers and filmmakers at the Hollywood Theatre. QUEER HORROR questions horror’s relation to queerness and what it means to identify with the “monster.” Carla’s human avatar, ANTHONY HUDSON, is a multidisciplinary artist, performer and filmmaker. Together they have been featured at PICA’s TBA festival, Conduit Dance’s DANCE+ Festival, Seattle PrideFest and other events, and they recently premiered CARLA ROSSI SINGS THE END OF THE WORLD, a semi-one-woman cabaret set somewhere between Weimar Germany and America today. BRADFORD NORDEEN is a bi-coastal curator and the founder of DIRTY LOOKS, a monthly platform for queer experimental film and video. Other work includes the site-specific large scale series DIRTY LOOKS: ON LOCATION, a month of queer interventions in New York City spaces, and SESION CONTINUA, which was screened in a 24-hour porn theatre in Echo Park. Working with a vast array of venues from MOMA and The Kitchen to historic gay bars, video stores, and “buddy booths,” he has organized screenings internationally at venues like PARTICIPANT INC, the Hammer Museum, Yerba Buena Center for the Arts, White Columns, Artists Space, and Judson Memorial Church. His writing has been published in Art In America, the Huffington Post, Lambda Literary, Little Joe, X-TRA Contemporary Art Quarterly, and Butt Magazine, among others. He holds an MA in Cinema Cultures from King’s College London and a BFA in Photography and Media from CalArts. He lives in Brooklyn, NY.

Use professional sound gear to record scripted dialogue and interviews while receiving instructor coaching and feedback during practice recording sessions. 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 Rental options for NWFC sound gear Note: Second session is devoted entirely to hands-on practice. Prerequisites: None.

GET YOUR WORK INTO FILM FESTIVALS MONDAY, FEB 1, 7-9 PM 1 SESSION • TUITION: $5 BEN POPP

PHOTO BY ERIC MCNATT

This course will provide practical advice for filmmakers interested in submitting their work to film festivals. The class will cover ways in which to navigate the many festival options available as well as strategies to get your film noticed. Course will include feedback from the Northwest Filmmakers’ Festival coordinator. Topics: Practical overview of the film festival submission process How to research different festivals and prepare a submission What film festival programmers are looking for What exactly happens inside the film festival jury room What you can do to ensure that your work receives due consideration Preparing a strategy for your particular film The nuts and bolts of writing compelling and useful synopses, biographies, and taglines Common pitfalls to avoid Examples of effective press releases, synopses, and promotional materials How to complete the Northwest Filmmakers’ Festival entry form step by step Prerequisites: None. Note: Northwest Filmmakers’ Festival deadline is August 1. 12

NWFILM CENTER JANUARY/MARCH 2016 503-221-1156 NWFILM.ORG

PHOTO BY SAM RICHARDSON

YOUTH CLASSES DIGITAL MOVIEMAKING FOR 4TH-6TH

SECTION 1: MONDAY-WEDNESDAY, DEC 21-23, 8:45 AM-3:30 PM 3 SESSIONS • TUITION: $145 MELISSA TVETAN SECTION 2: SATURDAYS, JAN 23-FEB 20, 1:30-4:30 PM 5 SESSIONS • TUITION: $195 MELISSA TVETAN Try your hand at live-action directing, shooting, and editing. Learn how filmmakers use camera angles, lighting, sound, and editing to tell stories, and explore the ways in which film crews work together to make movies. You’ll create your own storylines in small groups, experimenting with different styles and visual storytelling techniques while working both behind and in front of the camera. You’ll make props and costumes, and draw on the magic of iPad technology and green screen backgrounds to transport your characters to far-off lands and distant universes. Thanks to the skills learned in this class, you’ll be able to continue making your own films on an iPhone or iPad once the class is over. The class will culminate in a family screening--complete with popcorn! Completed films will be compiled and uploaded to a special class online video album.

DIGITAL MOVIEMAKING FOR 6TH-8TH GRADES SUNDAYS, JAN 24-FEB 14, 1:30-4:30 PM 5 SESSIONS TUITION: $195 MELISSA TVETAN

Learn the basics of working as part a movie crew, operating a professional-level digital video camera, working with green screen, creating sets, directing actors, recording sound, editing scenes, and--for those so inclined--appearing on camera. We’ll provide a script with just the right amount of wacky humor and sci-fi inspiration. Everyone will have a chance to try out a variety of crew positions as the scenes are shot and edited. By the end of the last class, you’ll know all about working with “pro-sumer” camera equipment and your short film will be “in the can.” Families and friends are invited to a screening on the final day--complete with popcorn! The completed film will be uploaded to a special class online video album.

iFILMMAKING iFILM SHOOTING: TIPS & TRICKS SELECT ONE OF TWO IDENTICAL SECTIONS SECTION 1: SATURDAY, JAN 9, 9:30AM-NOON SECTION 2: SATURDAY, FEB 27, 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, complete with instructor feedback and troubleshooting advice. 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 tripod How optional accessories can improve or affect quality Practice shooting different indoor and outdoor scenes Bring your own iPhone or iPad or use a Film Center iPad (for in-class use only).

iFILM EDITING: TIPS & TRICKS

EVENTS NORTHWEST FILM CENTER COMMUNITY OPEN HOUSE MONDAY, FEB 8, 6-8 PM LOCATION: SCHOOL OF FILM FREE

What goes on at the Northwest Film Center? Whether you’re new to Portland or have been curious about us for some time, we invite you to find out. With filmmaking classes, year-round movie screenings, services for emerging and established filmmakers, and equipment rentals, we have a lot to share! Staff will be on hand throughout the evening for informal conversations and to answer your individual questions about our offerings. For budding filmmakers and professionals with an interest in digital storytelling, find out about our current and upcoming course offerings, including the Certificate Program in Film. For local filmmakers, meet our Equipment Room staff and Filmmaker Services Manager to find out about fellowships, equipment and other resources. For the cinephile, hear from our film programmers about exciting upcoming screenings, series and retrospectives, including a sneak peek at the Portland International Film Festival! Receive two comp tickets to our regular admission programs in the Whitsell Auditorium as thanks for your attendance. Pre-registration not required, but we’d love to hear from you if you plan to attend (email info@nwfilm.org).

SCHOOL OF FILM STUDENT SCREENING SATURDAY, JAN 9, 4:30 PM LOCATION: WHITSELL AUDITORIUM

SELECT ONE OF TWO IDENTICAL SECTIONS SECTION 1: SATURDAY, JAN 9, 1-5 PM SECTION 2: SATURDAY, FEB 27, 1-5 PM TUITION: $45

Everyone is invited to watch the many short films created by students in the classes of Fall Term 2015. Whether the first attempt of a beginner or something more ambitious from an advanced student, it’s an uncurated, all-comers program for anyone who has decided they’re ready to show their work on the big screen. Join us in congratulating them on this important step in their journey toward self-expression through film. Free admission. (120 mins.)

Turn your iPhone or iPad into a video editing station under the guidance of an experienced instructor. This beginner-level workshop shows how much you can accomplish using iMovie on an iOS device.

GLOBAL CLASSROOM SCREENINGS

Topics: Basic concepts of video editing In-depth instruction on iMovie for iOS Media management and sharing files from an iOS to a computer Combining narration, music, and sound effects (audio mixing)Editing different kinds of footage together Exporting your project to social media sites Bring your iPhone or iPad or use a Film Center iPad (for in-class use only).

FOR HIGH SCHOOL CLASSES MONDAY-FRIDAY, FEB 22-26, 10 AM & 12:30 PM FREE

In conjunction with the Portland International Film Festival, the Film Center’s Global Classroom program draws from the Festival lineup to screen teen-friendly, content-rich independent and foreign films to classes of high school students. Screenings take place during the school day in the Whitsell Auditorium, and are free of charge to all attendees. Pre-registration is required. Screenings also take place each fall and spring in conjunction with the Film Center’s year-round exhibition series. For more information, contact info@nwfilm.org.

NWFILM.ORG 503-221-1156 JANUARY/MARCH 2016 NWFILM CENTER

CHALLENGE YOURSELF

CERTIFICATE PROGRAM IN FILM

Challenge yourself beyond simply taking a filmmaking class or two. Our optional, non-degree Certificate Program in Film helps budding filmmakers advance from a beginning to advanced level, while supporting them in creating a portfolio of work that showcases their achievements as emerging filmmakers. Participants may be at any stage of their formal education (pre-college, in college, post-college, pre-graduate school). There are no prerequisites. As a Certificate student, you will receive ongoing advising and mentorship from faculty and staff, and are invited to special Certificate Program events and screenings. Upon completion of the program, you will become eligible for mentorships, internships, and entry-level employment opportunities. Move along at your own pace and take up to six years to complete the requirements below. The Certificate 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 (Winter Term 2016) ART OF FILMMAKING II—three intermediate-level film projects (Fall Term 2016) ART OF FILMMAKING III—one professional-quality advanced film project (Winter & Summer Terms 2016) (see page 11 for class listings) 2) ELECTIVE CLASSES—SELECT ANY FIVE DIGITAL CINEMATOGRAPHY

FILM DIRECTING

DIGITAL EDITING

FILM COMPOSING

16MM CINEMATOGRAPHY

STOP MOTION ANIMATION

NARRATIVE PRODUCTION

ART DIRECTION

DOCUMENTARY PRODUCTION

POST-PRODUCTION MANAGEMENT

SCREENWRITING: FUNDAMENTALS

MULTI-CAMERA PRODUCTION

SCREENWRITING: ADVANCED

LIGHTING ON LOCATION

DIALOGUE WRITING

GRANTWRITING FOR FILM

DOCUMENTARY WRITING

+ OTHER 4-12 WEEK CLASSES OFFERED IN THE FUTURE

INTERVIEW TECHNIQUES

(see page 11 for this term’s class listings)

3) ELECTIVE WORKSHOPS—SELECT A TOTAL OF 10 OR MORE HOURS BASIC LIGHTING SOUND RECORDING GETTING INTO FILM FESTIALS CASTING MEDIA MANAGEMENT + OTHER WORKSHOPS OFFERED IN THE FUTURE (hours vary per workshop, see page 12 for this term’s workshop listings)

HOW AND WHEN TO APPLY Set up an appointment to discuss your interest with Education Programs Manager Mia Ferm (mia@nwfilm.org, 503 221-1156 x25). Applications are accepted twice a year on September 15 and May 15. Notification will be made within four weeks of receipt of application. Acceptance is based upon the clarity of your stated goals and whether they align with the School of Film mission and Certificate curriculum. 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, credits will automatically be transferred onto a Certificate transcript (a letter grade of B or higher is required.) 14

NWFILM CENTER JANUARY/MARCH 2016 503-221-1156 NWFILM.ORG

WINTER FACULTY DAN ACKERMAN, Director of Photography, owner of Ackerman Films and Stage-13 (www.ackermanfilms.com), is a graduate of the Cal-Arts Experimental Animation Program who specializes in camera and motion controls as well as lighting/rigging set-ups for complex shooting set-ups. His works for specialty houses include Bent Image Lab and LAIKA, and his credits include the animated short JINGLE & BELL (DP), feature film ONE CRAZY SUMMER (Animation Technical Director), THE PJ’S (Lighting Cameraman), WHAT THE BLEEP DO YOU KNOW (2nd Unit DP), CORALINE (Lighting/Camera), and MEET THE OWLS (Director/DP/ Animator). His commercial clients include Nike, Adidas, Keen, North, Wieden & Kennedy, Sony Computer Entertainment, Vice Media, and many others.

ANDY BLUBAUGH’s experimental documentaries have screened at the Sundance, Clermont-Ferrand, Edinburgh, and Seattle International film festivals, among others, and have been broadcast by the PBS program “POV” and the Logo Network. He is the recipient of a fellowship from the Tribeca Film Institute and was identified as one of “25 New Faces of Independent Film” by Filmmaker Magazine. His debut feature, THE ADULTS IN THE ROOM, premiered at the FrameLine Film Festival in San Francisco and won Best Narrative Feature at the 37th Northwest Filmmakers’ Festival. ELIZABETH FEDERICI is the producer/director of numerous feature length documentaries, including the upcoming AMERICA’S FIRST FOODIE: THE INCREDIBLE LIFE OF JAMES BEARD, a collaboration with American Masters slated for national broadcast this spring, SPACE, LAND AND TIME: UNDERGROUND ADVENTURES WITH ANT FARM, which screened in the Film Center’s exhibition program and won a Cine Gold Eagle Award, and NEITHER HERE NOR THERE, a documentary about struggling refugee communities that was nominated for a regional Emmy Award. With a background in community media television, she has taught documentary filmmaking and media literacy at the K-12 and adult levels for many years, and holds a Masters degree in Public Administration from the University of Missouri.

KYLE ALDRICH is a writer, producer, art department director and post-production supervisor for feature films, commercials and web content with an MFA in Creative Writing from Goddard College. 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 art directed), Filmed By Bike Film Festival and the Oregon Independent Film Festival. He has taught at Lights Film School in New York and the PAMELA MINTY is a visual artist whose film and photography Art Institute of Portland, where he led the Digital Film and Video work explores geography, home, and community through the Program. mechanisms of sound recording, still photography, and motion SCOTT BALLARD (ScottBallardFilms.com) has produced six picture. Her film and video work has screened at Anthology Film feature films and several shorts, and has written, directed, and Archives, Center for Documentary Studies, Cornell Cinema, Film produced three of his own feature films (A STANDING STILL, Studies Center at University of Chicago, Hallwalls Contemporary WELCOMING DEPARTURE, and DEATH ON A ROCK, which Art Center, International House Philadelphia, Los Angeles screened at this year’s Northwest Filmmakers’ Festival). As a Filmforum, Margaret Mead Film Festival, Portland Art Museum, director of photography, he has shot for a host of independent San Francisco Cinematheque, and Vancouver International Film directors in the HD and 16mm formats. As the creator of Great Centre, as well as other venues throughout North America. She Notion Filmmaker’s Collective, he has taught directing and cin- holds an MFA in Art Practice from Portland State. Website: www. ematography at the Seattle Film Institute and PCC. He holds an pamminty.com. MFA in Film Production from Boston University.

GARY NOLTON, owner of Limbo Films (www.limbofilms.com) is an award-winning Director/Cinematographer with over 25 years’ experience creating stunning and effective visual imagery for television commercials, corporate clients, documentaries, and dramatic films. His portfolio includes nearly 400 television commercials for such entities as Nike, Coca-Cola, Honda, the Portland Trail Blazers, Adidas and many more. A graduate of the Art Center College in Pasadena, he has also completed over 2,000 print assignments as a still photographer. AMY O’BRIEN is a documentary and narrative filmmaker/editor with a background in theater and web design. Through her production company, Purple Macaroni Productions, she creates short films that document personal stories and explore the lighter side of life. These have included FOUR, which screened in the Northwest Filmmakers’ Festival, and NO SOLICITING, which screened at the Columbia Gorge International Film Festival. She also creates promotional films for nonprofits such as Literary Arts and the Tucker-Maxon School for the Deaf and has recently edited “Blue Fiddles,” a new web series. A member of Women in Film PDX, she studied media at the New School for Social Research after taking classes at the School of Film. Website: www.purplemacaroni.com. MELISSA TVETAN was an editorial manager for six years at the animation studio house LAIKA, where she worked on commercials for Sony, M&Ms, Honda and Planters Peanuts. She has also served as post-production supervisor for the annual Sundance Institute Directors Lab since 2008, providing editorial support to the emerging filmmakers in residence. A former student at the School of Film, she screened her new experimental film, OUT OF THIS WORLD, in the Experimental Film Festival Portland Throwdown 2014. She also participated in the trailer invitational for this year’s Northwest Filmmakers’ Festival.

RENT ME

THANK YOU!

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.

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 Multnomah County Cultural Coalition Individual Donors and Friends

CAMERAS FOR RENT: Canon XA-10 Camera Package Panasonic DVX-100 Camera Package JVC EX555 Handycam Package Canon, Minolta and Beaulieu Super-8mm Cameras Arri and Bolex 16mm Cameras

OTHER EQUIPMENT FOR RENT: Microphones and Sound Mixers Digital Audio Recorders Light Kits and Grip Equipment On-camera LED Lights Tripods Portable Green Screen

EDITING STATIONS FOR RENT: Soundtrack Pro Audio Work Station Avid Media Composer Work Station Final Cut Pro 7 Work Station Final Cut Pro X Work Station

FACILITIES FOR RENT: Voiceover Recording Room Casting and Audition Rooms Small Screening Room (private screenings only) FILM STOCK FOR SALE: 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

NWFILM.ORG 503-221-1156 JANUARY/MARCH 2016 NWFILM CENTER

THREE WEEKS. 60 COUNTRIES. 140 FILMS. ONLY ONE CARD CAN TAKE YOU THERE. join the silver screen club.

The Portland International Film Festival is on its way—and you won’t want to miss a single moment. Join the Silver Screen club at the Director level or above for an all-access pass to the upcoming 39th Portland International Film Festival! Membership includes invitations to special events, receptions, and advance screenings. Spoil the cinema lover in your life with the gift of film. For more information about membership in the Silver Screen Club, please visit our website at www.nwfilm.org or call us at 503-221-1156 x19. 16

NWFILM CENTER JANUARY/MARCH 2016 503-221-1156 NWFILM.ORG

LEE SCRATCH PERRY: VISIONS OF PARADISE

SEYMOUR: AN INTRODUCTION

SONS OF THE WIND

JAN 21 THUR 7 PM

LANDFILL HARMONIC

NW MUSIC VIDEOS OPEN SCREENING

As part of this month’s NORTHWEST TRACKING, the Film Center’s ongoing showcase of work by regional filmmakers, we invite musicians and filmmakers to share recent music videos of any style or genre. If you have a new work you’d like to see on the big screen contact Ben Popp (ben@nwfilm.org) by January 15. Along with the surprise submissions, we’ve invited some great new work from other Northwest filmmakers, so count on sharing a lively, eclectic evening of collaborations by filmmakers and musicians. Admission is free; screening takes palce at the Skype Live Studio, 1210 SW 6th Avenue. Sponsored by KINK.fm.

JAN 22 FRI 7 PM

LEE SCRATCH PERRY: VISIONS OF PARADISE

GERMANY 2015 DIRECTOR: VOLKER SCHANDER A visionary record producer and pioneer in both reggae and dub music, Lee Scratch Perry’s life has been an ongoing quest for spiritual liberation through sound. Schander followed Lee Perry for 15 years to fashion this intimate “fairytale documentary,” an almost impossible-to-believe portrait of “The Prophet” of the international Rastafari movement, one of the icons of the Black Power movement, and arguably the inventor of Jamaican music as we know it. From Perry’s legendary Black Ark studio in Kingston, where he recorded Bob Marley and The Wailers, to his home today in the Swiss Alps, VISIONS OF PARADISE is a comprehensive guide for how to change the world through music—one positive “vibration” at a time. (100 mins.) Sponsored by KBOO.

JAN 22 SAT 9:15 PM

WE ARE TWISTED F***ING SISTER

US 2015 DIRECTOR: ANDREW HORN When Twisted Sister got their big break in 1983, they became one of the biggest glam rock bands of the 1980s, drawing sell-out crowds to their live shows and defining early MTV through their outlandish music videos. But the band that killed disco was no overnight success. WE ARE TWISTED F***ING SISTER recounts the wickedly appealing and never-before-told story of the ten grueling years leading up to Twisted Sister’s legendary break, as directly recalled by the band, their managers and their biggest fans. “Very, very, very entertaining. Engrossing. . . often hilarious.”—The Hollywood Reporter. (136 mins.) Sponsored by KINK.fm.

THE MAN WITH A MOVIE CAMERA

JAN 23 SAT 3PM

SEYMOUR: AN INTRODUCTION

US 2014 DIRECTOR: ETHAN HAWKE This intimate portrait of classical pianist, composer, author, teacher, and sage Seymour Bernstein offers a wise and charismatic reflection on art and life. The question “why make art?” winds its way through conversations with Bernstein’s accomplished friends, including art critic Michael Kimmelman and religious scholar Andrew Harvey. As Bernstein reflects on the careers of such pianists as Glenn Gould and Clifford Curzon (seen in archival footage), his deep love and knowledge of piano music proves infectious. “Calling to mind MY DINNER WITH ANDRE, his film is full of urbane conversation and infused with the sophisticated rhythms of New York City. Whether aficionados or newcomers to the world of classical music, viewers will find much to gain from this introduction to Seymour.”—Toronto Film Festival.

JAN 24 SUN 7 PM

SONS OF THE WIND

FRANCE 2012 DIRECTOR: BRUNO LE JEAN Director Bruno Le Jean set out to make a musical documentary about “gypsy jazz,” but ended up with a unique portrait of four guitar virtuosos who share common bonds of humor, fraternity, history, and impressive musical chops. Forged by the warm friendship between master musicians Angelo Debarre, Tchavolo Schmitt, Ninine Garcia, and Moreno, SONS OF THE WIND offers a (81 mins.) Sponsored by All Classical Portland. peek into the musicians’ extended families and the ways in which their nomadic gypsy heritage JAN 23 SAT 7PM is coming to an end. Heirs to a musical tradition made famous by the legendary Django Reinhart, these men learned techniques that were handed down through their families’ oral traditions, amid USSR 1929 the camps and caravans where they were born DIRECTOR: DZIGA VERTOV We welcome Los Angeles composer and bassist to live and breathe music. “The gypsy-jazz guitar Tom Peters for a live performance of his score is the star of a valentine to the Romani way of for Vertov’s classic city symphony. Demonstrat- life.”—The Hollywood Reporter. (90 mins.) ing his famed “kino-eye” theory, which endows the movie camera with the flexibility of the hu- JAN 26 THUR 7 PM man eye, Vertov’s groundbreaking film retains the infectious exuberance that has made it an US 2014 enduring classic. Though the film is part docu- DIRECTOR: BRAD ALLGOOD, GRAHAM TOWNSLEY mentary—a portrait of a city and its inhabitants A testament to the transformative power of muand a veiled political rumination on the state of sic and the resilience of the human spirit, LANDthe Soviet Union—it is also a witty compendium FILL HARMONIC follows the Recycled Orchesof extravagant camera techniques and editing tra of Cateura, a Paraguayan musical group that tricks, forever commenting on itself and the per- plays instruments made entirely out of garbage. spective of the cinema audience. Appropriately, When their story goes viral, the orchestra is at the end of the film the “man with the movie suddenly catapulted into the global spotlight. camera” comes out from behind the lens to Under the guidance of idealistic music director take a well-deserved bow. Tom Peters is a 2014 Favio Chavez, the band must learn to navigate Grammy ® Award nominee in the Best Chamber a strange new world of arenas and sold-out conMusic/Small Ensemble Performance catego- certs. However, when a natural disaster strikes ry for the recording “Cage: The Ten Thousand their country, Favio must find a way to keep the Things.” Special thanks to Walker. (84 mins.) Spon- orchestra intact and provide a source of hope for sored by All Classical Portland. their town. (84 mins.) Sponsored by KBOO.

THE MAN WITH A MOVIE CAMERA

LANDFILL HARMONIC

JAN 27 WEDS 7 PM

JACO

US 2015 DRECTORS: STPHEN KIJAK, PAUL MARCHAND In 1976, Jaco Pastorius’ (1951-1987) melodic “singing” bass style redefined the role of the bass in modern jazz and rock music. Almost overnight, critics hailed him as “the future of modern music,” alongside popular visionaries such as David Bowie, Tom Waits, Patti Smith, Bryan Ferry, Lou Reed, and Herbie Hancock. Produced by Metallica’s Robert Trujillo, JACO examines the famous bassist’s life and music using insights from an array of artists including Flea, Joni Mitchell, Sting, Wayne Shorter, Herbie Hancock, Geddy Lee, Bootsy Collins, Carlos Santana and others, as well as Jaco’s family and friends. (110 mins.) Sponsored by Portland Jazz Festival.

JAN 28 THUR 7 PM

SAM LAY IN BLUESLAND

US 2015 DIRECTOR: JOHN ANDERSON The man some call “the greatest drummer of all time” is mostly recognized for his signature double-shuffle beat—but is almost as famous for the capes, crowns, canes and cowbells that are the stuff of his legend. Sam Lay has played a key role in the evolution of blues music for almost 60 years; he was on drums when Bob Dylan went electric at Newport, was a founding member of the groundbreaking Paul Butterfield Blues Band, and spent decades in the studio and on the road with blues greats such as Howlin’ Wolf, Muddy Waters, Little Walter and James Cotton. And, at 80 years old, Lay is still an active part of the Chicago blues scene. Anderson tells this remarkable story through Lay’s own words, music, and home movies, and features interviews with past bandmates including Elvin Bishop, Charlie Musselwhite, and James Cotton. (90 mins.)

NWFILM.ORG/FESTIVALS/REELMUSIC reel music festival 33

JAN 31 SUN 7 PM

SYL JOHNSON: ANY WAY THE WIND BLOWS

MAVIS!

JAN 30 SAT 5 PM

EVERYBODY’S CAGE

THE GLAMOUR & THE SQUALOR

JAN 29 FRI 7 PM

THE GLAMOUR & THE SQUALOR

GERMANY 2015 DIRECTOR: SANDRA TROSTEL When John Cage (1912-1992), one of the most influential composers of New York’s 20th century avant-garde, was asked to summarize himself in one sentence, he said humorously: “Get out of whatever cage you‘re in.” Cage systematically scrutinized the underlying principles of the arrangements in music and society, developing musical forms free of hierarchy, judgmental structures, and the individual taste of the composer. EVERYBODY’S CAGE imagines a conversation with Cage, connecting his musical work with his philosophical thoughts, and considers his principles in the context of the present day. Pianist and composer Francesco Tristano and a small team interpret Cage’s VARIATIONS IV—a score without notes--and perform it in the public environment of New York City, inviting an expedition to a place of tranquility in one of the world´s busiest cities. “If, as the Buddhists say, ‘the mind is a restless monkey,’ EVERYBODY’S CAGE is an invitation to drink some water and listen to the sounds of the jungle.”—Sandra Trostel. (81 mins.) Sponsored by XRAY.FM.

US 2015 DIRECTOR: MARQ EVANS Rock and Roll Hall of Fame disc jockey Marco Collins became a radio star in the 1990s, serving as the inaugural music director at Seattle’s commercial alternative station, 107.7 The End, and helping to launch world-renowned acts like Nirvana and Beck. Identifying with punk rock in his teens, he found his way to radio just as the grunge movement was beginning to emerge. Numerous musicians, including Mike McCready (Pearl Jam), and Ben Gibbard (Death Cab for Cutie), credit him for helping launch their bands into the mainstream consciousness and establish Seattle as a world music center. Gay at a time when the music scene wasn’t quite as accepting JAN 30 SAT 7 PM as it is today, Collins plunged from his golden era on radio into a less-glamorous world of odd jobs and stints in rehab. In Evans’ stirring portrait, he UK 2015 emerges bloodied but unbowed, a true North- DIRECTOR: JEANIE FINLAY west music hero. (82 mins.) Sponsored by XRAY.FM. As a teenager in 1960s Alabama, Jimmy Ellis’ wonderful singing voice was unlike any other... JAN 29 FRI 9 PM except, that is, for one Elvis Presley. Hampered by his over-resemblance to the King, Jimmy’s US 2015 own singing career floundered. Then, in 1979, he DIRECTOR: JESSICA EDWARDS found fame as a masked singer called “Orion,” a At age 75, soul music legend and civil rights icon persona deliberately evolved to create intrigue in Mavis Staples and her family group, The Staples the wake of Presley’s untimely death. Over the Singers, are making the most vital music of her next years he played to legions of grieving Elvis career. Featuring powerful live performances fans and developed his own fanatical fan base, and conversations with friends and contem- many of whom remained in willful denial about poraries including Bob Dylan, Prince, Bonnie the true identity of their masked idol. With his Raitt, Levon Helm, Jeff Tweedy, Chuck D, and contract stipulating that he never remove his dismore, MAVIS! reveals the struggles, successes, guise in public, Ellis’ success came at a high price and intimate stories of her journey. Through 60 for a singer still hoping to succeed on his own years of performing across musical genres and terms. Finlay’s nuanced portrait of Ellis serves as through monumental societal shifts, Mavis has a riveting cautionary tale of the music industry, never forgotten the importance of family and and a memorable exploration of fame and idenher message of love and equality. (85 mins.) tity. (89 mins.) Sponsored by KINK.fm.

US 2015 DIRECTOR: ROB HATCH-MILLER Aside from a couple of minor hits, Chicago soul singer Syl Johnson retired from the music industry in the 1980s having never quite having achieved the success he longed for. But with the dawn of hip hop came the unexpected, widespread embrace of his 1967 song “Different Strokes”—sampled by artists as diverse as RunDMC, Michael Jackson, the Wu-Tang Clan, Public Enemy, Beastie Boys, A$AP Rocky, Kid Rock, En Vogue, Usher and Kanye West, among many others—and new opportunities for the savvy performer emerged. Rob Hatch-Miller’s lively film chronicles the ups and downs of “the best soul singer you’ve ever heard—even if you’ve never heard of him.” (85 mins.)

FEB 2 TUE 7 PM

COOl CATS

DENMARK 2015 DIRECTOR: JANUS KØSTER-RASMUSSEN In the 1960s, many American jazz greats traveled--and often permanently relocated--to Europe. Seeking to escape from systemic American police violence, racial discrimination, and destructive drug culture, these artists sought out work, artistic appreciation, and human connections. Among these expatriates were tenor saxophonist giants Ben Webster (1909-1973) and Dexter Gordon (1923-1990), who independently settled in Copenhagen and found themselves accepted and celebrated in a surprisingly warm fashion by their newfound countrymen. Drawing on rare interviews and performance footage from Danish television and films, contemporary interviews with friends, girlfriends, and musicians of the era, and an extraordinary treasure trove of Ben Webster’s own, touching 8mm home movies—this intimate portrait of bittersweet exile connects past and present in a moving fashion. (83 mins.) Sponsored by Portland Jazz Festival.

ORION: THE MAN WHO WOULD BE KING

SYL JOHNSON: ANY WAY THE WIND BLOWS

FEB 4 THUR 7 PM

MAGICARENA

ITALY 2014 DIRECTORS: ANDREA PRANDSTRALLER, NOCCOLÒ BRUNA “Built 2,000 years ago, the majestic Verona amphitheater—the biggest opera venue in the world—is, indeed, a ‘magic arena.’ Prandstraller and Bruna chronicle the Spanish theatre troupe La Fura Dels Baus’ rehearsals and opening night presentation of Verdi’s Aida, staged 100 years after its original performance there, and capture revelatory glimpses of many of the 2,000 workers responsible for this epic undertaking. As La Fura Dels Baus evoke a magical world and apply their innovative approach to updating the opera for the third millennium, the filmmakers capture an enthralling balance between life on stage and behind the scenes, between private life and public show, and between sacred enactment and secular entertainment, revealing the art of opera like it’s never been seen before.”—Vancouver International Film Festival. (91 mins.) Sponsored by KINK.fm.

FEB 5 FRI 7 PM

AMERICAN EPIC

UK/US 2016 DIRECTORS: BERNARD MACMAHON Presented by Robert Redford, T Bone Burnett and Jack White, and produced for the BBC’s Arena and PBS, MacMahon and a host of co-producers piece together the extraordinary 1920s story of record companies leaving the big city to tour America’s backroads and capture for the first time the raw musical expressions of rural cultures. These field recordings, initially aimed for the rural markets from which they came, democratized music and gave a voice to the most marginalized demographics in the nation. Following the trail to rediscover the families whose music was recorded, and whose legacy has left a lasting impact on popular music, AMERICAN EPIC reveals the remarkable lives of these seminal musicians through previously unseen film footage, unpublished photographs, and exclusive interviews with some of the last living witnesses to that era. In this special advance screening of one of the three episodes in the series, the filmmakers travel deep into the Hopi nation and its musical traditions, explore the origins of Hawaiian slack-key guitar, discover the hybrid of cultures expressed in Tejano music, head through bayou country and its Cajun music, and end up in Avalon, Missisippi to explore the history of the delta blues and its innovator, Mississippi John Hurt. (82 mins.) Sponsored by KBOO.

MAVIS!

REEL MUSIC FESTIVAL 33 NWFILM.ORG/FESTIVALS/REELMUSIC

COOL CATS

MAGICARENA

SPECIAL SCREENINGS OUT 1: NOLI ME TANGERE

JAN 20 WED 7 PM

silver screen club and portland jewish film festival preview

SON OF SAUL

HUNGARY 2015 DIRECTOR: LASZLO NEMES Saul is a member of the Sonderkommando, a group of Jewish prisoners forced to assist the Nazis in the disposal of gas chamber victims. While working in one of the crematoriums, Saul discovers the body of a boy he believes to be his son. As other members of the Sonderkommando plan a rebellion, Saul decides to carry out an impossible task: save the child’s body from the flames, find a rabbi to recite the mourner’s Kaddish, and offer the boy a proper burial. “A film that looks into the abyss, this shattering portrait of the horror of Auschwitz. . . [is] a bombshell debut . . .an utterly harrowing, ultra-immersive experience, and not for the fainthearted.”—New York Film Festival. (107 mins.) This year’s Hungarian submission for the Best Foreign Language Film Academy Award. Screening open to Silver Screen members and Portland Jewish Film Festival sponsors only.

EPISODES 1 & 2: MAR 5 12 SAT 6:30PM EPISODES 3 & 4: MAR 7 14 MON 6:30PM EPISODES 5 & 6: MAR 8 16 TUES 6:30PM WED 6:30PM EPISODES 7 & 8: MAR 9 17 WED 6:30PM THUR 6:30PM

OUT 1: NOLI ME TANGERE

FRANCE 1971 DIRECTOR: JACQUES RIVETTE Produced on a tight schedule between Rivette’s acclaimed L’AMOUR FOU and CELINE AND JULIE GO BOATING, OUT 1 was, until now, one of the most chronically unseeable films of the latter half of the 20th century. The film follows the activities of two theater troupes rehearsing productions of Aeschylus and two outsiders peripherally circling the proceedings. The outliers are a charlatan (JeanPierre Léaud) and a scam artist (Juliet Berto) who claim to have correspondence proving the existence of a secret society mysteriously called The Thirteen, with which some members of the troupes may be involved. Rivette’s magnum opus provides a critical lens through which to view post-1968 French society and its discontents. “In OUT 1, Rivette used a formidable tool—a made-for-television 16 mm camera he pointed at a bunch of actors/friends he respected, and at a city he loved. A camera that would allow him to shoot in long takes (some lasting up to 13 minutes) and to follow the improvisational rhythm of the action. He never faced head-on the trauma of May ‘68 (Noli me tangere)—but he composed one of the most accurate expressions of his time. One of the most real.”—Bérénice Reynaud. “The cinephile’s holy grail.”—Dennis Lim, The New York Times. (ep. 1 & 2, 199 mins.; ep. 3 & 4, 215 mins.; ep. 5 & 6, 190 mins.; ep. 7 & 8, 171 mins.) All screenings will feature a 15-minute intermission between episodes. Digitally restored by Technicolor, for Sunshine with the support of the Centre national du cinéma et de l’image animée. Color grading supervised by the film’s cinematographer, Pierre-William Glenn, AFC.

FRIDAY FILM CLUB: PORTRAITS

The theme of our second Friday Film Club discussion series is PORTRAITS—literal, narrative, existential and cinematic. Friday Film Club screenings are presented monthly when the Portland Art Museum’s galleries are open late on Friday evenings. Each screening is accompanied by a post-film discussion led by Film Center staff and Art Museum docents, in which a work from the Art Museum galleries is utilized to spark dialogue and debate about the film. Special Admission: $5.

MAR 11 FRI 5:30PM

LAURA

US 1944 DIRECTOR: OTTO PREMINGER Widely hailed as one of the most influential and expertly crafted film noirs ever made, LAURA is also one of the greatest products to come out of the classical Hollywood studio system. The film was produced under difficult conditions at 20th Century Fox under the supervision of legendary producer Darryl F. Zanuck, who held a long-standing grudge against director Otto Preminger. Despite these difficulties, however, the film became an immediate critical and box office smash upon release. Laura Hunt (Gene Tierney), a young advertising executive, turns up dead one evening and cavalier New York City detective Mark McPherson (Dana Andrews) is assigned to the case. McPherson begins investigating those closest to Laura, including her mentor, eccentric dandy Waldo Lydecker (Clifton Webb), and her fiancé, soft-spoken southerner Shelby Carpenter (Vincent Price). The investigation leads McPherson through Laura’s diaries and letters as well as a series of rose-tinted stories recounted by Waldo, Shelby, and others—all of whom have something to hide. Against the jaded cop’s best instincts, he finds himself falling in love with a ghost... watched over all the while by the haunting and transcendent portrait of Laura hanging on her living room wall. Winner of the 1945 Academy Award for Best Cinematography. (88 mins.) 35mm print courtesy of the Library of Congress.

NEXT UP: APRIL 8, 2016

AU HASARD BALTHAZAR (ROBERT BRESSON, 1966, FRANCE, 35mm) MAY 13, 2016

IRMA VEP (OLIVIER ASSAYAS, 1996, FRANCE, 35mm) JUNE 10, 2016

PERSONA (INGMAR BERGMAN, 1966, SWEDEN, 35mm) NWFILM.ORG 503-221-1156 JANUARY/MARCH 2016 NWFILM CENTER

 THE GOALIE’S ANXIETY AT THE PENALTY KICK

WIM WENDERS PORTRAITS ALONG THE ROAD Beginning with his key role within the coterie of German filmmakers who took flight in the 1970s, Wim Wenders has since become one of world cinema’s greatest directors— and possibly its most poetic. Following an extensive restoration project of Wenders’ best-known works and most sought-after rarities, the Film Center is pleased to present this 14-program retrospective. Wim Wenders: Portraits Along the Road features critically-acclaimed classics such as PARIS, TEXAS (1984) and THE AMERICAN FRIEND (1977), while offering several long-unavailable films including Wenders’ feature debut, THE GOALIE’S ANXIETY AT THE PENALTY KICK (1974), and the complete fivehour director’s cut of the legendary UNTIL THE END OF THE WORLD (1991). The series highlights the important ways in which Wenders’ career has been shaped by his long-standing collaborations—with the producer Peter Przygodda, the cinematographer Robby Müller, the novelist and screenwriter Peter Handke, and the actors Rüdiger Vogler and Bruno Ganz. Much like the rock ‘n’ roll bands Wenders so adored through his youth and adulthood, these recurring collaborators form something of a backing band to Wenders’ frontman. His films—best seen on the big screen in the company of family, friends, lovers, and strangers—offer a glimpse of hope in a time of strife, and are profoundly resonant in a time where cinematic poetry has come to inhabit an increasingly marginal role in our collective lives. Synopses adapted from Janus Films’ “Portraits Along the Road” tour website: janusfilms.com/wenders/. For notes on the restoration project, please visit wimwendersstiftung. de/en/digitization/. Special thanks to the Wim Wenders Stiftung and Janus Films for restoring these key works and coordinating the touring program.

MAR 4 FRI 7 PM

THE GOALIE’S ANXIETY AT THE PENALTY KICK

WEST GERMANY/AUSTRIA 1972 DIRECTOR: WIM WENDERS Goalkeeper Josef Bloch (Arthur Brauss) is sent off after committing a foul during an away game; a seemingly simple act that causes him to completely lose his bearings. He wanders aimlessly through an unfamiliar town, spends the night with the box-office attendant of a movie theater (Erika Pluhar), and strangles her the next morning. But instead of turning himself in or fleeing, Bloch then goes to the country place of his ex-girlfriend (Kai Fischer) and passively waits there for the police to come and arrest him. As Wenders himself has stated, the visual idiom of Alfred Hitchcock’s films provided the model for this, his debut film. Adhering minutely to the thoroughly “cinematic” source (a novel by Peter Handke) and working with cameraman Robby Müller and editor Peter Przygodda—both of whom had already worked with him on his thesis film at the HFF (University of Television and Film Munich)—Wenders’ first cinematic collaboration would weld his team together for years to come. (100 mins.)

WINGS OF DESIRE

MAR 5 SAT 3:30 PM

MAR 11 FRI 8 PM

WEST GERMANY 1975 DIRECTOR: WIM WENDERS Glückstadt in northern Germany, a palace along the Rhine, a housing project on the outskirts of Frankfurt, and finally the Zugspitze—these are the stations of the journey that young Wilhelm Meister (Rüdiger Vogler) hopes will save him from the gloomy irritability and despondency that plague him in his hometown. It is in these alien environs that he hopes to finally satisfy his most uncontrollable urge: to write. Imagining that the journey will broaden his horizons and develop his voice as an author, this unusual path actually leads Wilhelm through an unbroken series of failures. Each successive disaster is the result of his own faults as well as the shortcomings of the people he meets along the way: Laertes (Hans Christian Blech), the street singer struggling with his Nazi past, the mute girl Mignon (Nastassja Kinski in her first role), the poet (Peter Kern), and the actress Therese (Hanna Schygulla). (103

WEST GERMANY/US/PORTUGAL/FRANCE/SPAIN/ NETHERLANDS/UK 1982 DIRECTOR: WIM WENDERS THE STATE OF THINGS is a highly personal film about filmmaking in Europe and America. A film crew finds itself stranded at the westernmost tip of Europe, where the director, Friedrich Munro (Patrick Bauchau), his cameraman (Sam Fuller), scriptwriter, and actors have been abandoned by their producer. After shooting their last feet of film, there is nothing left for them to do but wait. Friedrich finally sets out for Los Angeles to search for the missing producer (Allen Garfield) and finds him hiding in his RV on Sunset Boulevard, attempting to evade a group of unscrupulous gangsters. Friedrich unwillingly finds himself pulled into the underworld conflict, armed with only a Super 8 camera for protection. (100 mins.)

WRONG MOVE

mins.)

MAR 6 SUN 7 PM

ALICE IN THE CITIES

WEST GERMANY 1974 DIRECTOR: WIM WENDERS ALICE IN THE CITIES is technically Wenders’ fourth film, but he often refers to it as his first, because it was during the making of this film that he discovered the “road movie,” the genre that would eventually become his signature. It was also his first film to be shot (partially) in the U.S. and the first to feature his alter ego, Philip Winter (Rüdiger Vogler). Winter, a German journalist, wants to write a story about America but is unable to produce anything apart from a series of Polaroids. The day before Winter is set to return home, a woman convinces him to take her daughter Alice (Yella Rottländer) with him. Saying that she has urgent business to take care of, the woman agrees to meet them in Amsterdam to reclaim her daughter. When the mother fails to appear as planned, Winter and Alice set out to try to find Alice’s grandmother in the Ruhr region of Germany. During their search together, their initial mutual dislike gradually transforms into a heartfelt affection. (112 mins.)

MAR 10 THUR 7 PM

KINGS OF THE ROAD

WEST GERMANY 1976 DIRECTOR: WIM WENDERS Wenders began shooting KINGS OF THE ROAD in an era of mass cinematic extinction, relying not on a script but on a pre-discovered route which took him through the little towns along the Berlin Wall that still contained movie theaters. KINGS OF THE ROAD is about a friendship between two men: Bruno, a.k.a. King of the Road (Rüdiger Vogler), who repairs film projectors and travels along the inner German border in his truck, and the psychologist Robert, a.k.a. Kamikaze (Hanns Zischler), who is fleeing from his own past. After driving his old Volkswagen straight into the Elbe River in a half-hearted suicide attempt, Robert is fished out of the river by Bruno. Thus begins a shared journey through a German no-man’s-land, a journey that leads them from the Lüneburg Heath to the Bavarian Forest. The men’s old moving van, outfitted with film projectors in the back, becomes a metaphor for the history of film—it is no coincidence that the film is dedicated to legendary German director Fritz Lang. (175 mins.)

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THE STATE OF THINGS

MAR 13 SUN 4:30 PM

THE AMERICAN FRIEND

WEST GERMANY/FRANCE 1977 DIRECTOR: WIM WENDERS Jonathan Zimmermann (Bruno Ganz) believes that he will soon die of leukemia. An unscrupulous American named Tom Ripley (Dennis Hopper) learns of his plight and exploits Zimmermann’s illness for his own purposes. He introduces Zimmermann to underworld figure Minot (Gérard Blain), who offers to hire the terminally ill man as a professional hit man. He is to be paid extravagantly for his work, thus enabling him to leave something behind for his wife (Lisa Kreuzer) and their child. What does he have to lose, since he is going to die anyway? The cast of Wenders’ film includes not only the directors Hopper and Blain but also Hollywood legends Sam Fuller and Nicholas Ray, as well as Peter Lilienthal, Daniel Schmid, and Jean Eustache. (126 mins.)

MAR 13 SUN 7:15 PM

PARIS, TEXAS

WEST GERMANY/FRANCE/UK/US 1984 DIRECTOR: WIM WENDERS This unconventional road movie is based on a script by Pulitzer Prize-winning writer Sam Shepard and tells the story of Travis (Harry Dean Stanton), a man who one day wanders out of Mexico and into the blazing heat of the South Texas desert. Travis does not speak a word and seems to have lost much of his memory, but he is driven by a desire to find and reunite his family: his young wife, Jane (Nastassja Kinski), whom he estranged through his pathological jealousy, and his seven-yearold son, Hunter (Hunter Carson). Travis is helped in his quest by his brother Walt (Dean Stockwell) and Walt’s wife Ann (Aurore Clément), who have cared for Travis’s son in the years he’s been missing. Winner of the Palme d’Or at the 1984 Cannes Film Festival.” The movie lacks any of the gimmicks used to pump up emotion and add story interest, because it doesn’t need them: It is fascinated by the sadness of its own truth.”-Roger Ebert. (148 mins.)

 PARIS, TEXAS

THE STATE OF THINGS

MAR 19 SAT 7 PM

WINGS OF DESIRE

WEST GERMANY/FRANCE 1987 DIRECTOR: WIM WENDERS WINGS OF DESIRE marked Wenders’ homecoming and was his first German film after eight years in America. The main characters are guardian angels—benevolent, invisible beings in trench coats—who listen to the thoughts of mortals and attempt to comfort them. One of them, Damiel (Bruno Ganz), wishes to become human after he falls in love with the beautiful trapeze artist Marion (Solveig Dommartin). Actor Peter Falk, playing himself, helps Damiel during his transformation by introducing him to life’s little pleasures. The film is narrated from the perspective of the angels, who see the world in black and white. Only when Damiel becomes human does a world of color reveal itself to him. (128 mins.)

TOKYO-GA

UNTIL THE END OF THE WORLD

MAR 21 MON 7 PM

THE LEFT-HANDED WOMAN

WEST GERMANY 1978 DIRECTOR: PETER HANDKE “Writer-director Handke and producer Wenders present a new digital restoration of this exquisite—and little seen—film of the 1970s. A married woman living in the suburbs of Paris separates from her husband and begins adjusting to a life alone. She translates Flaubert, putters around the kitchen, picks up her father from the train station, and hikes with her son. As the banal particulars of her daily routine proceed in a rigorously poetic fashion, every spoken word and gesture feels deliberate and momentous. With its austere compositions, minimal camera movement, and delicately restrained performances by Edith Clever and Bruno Ganz, THE LEFT-HANDED WOMAN APR 2 SAT 2 PM is a powerful meditation on autonomy, self-preservation, and NOTEBOOK ON CITIES liberation. Handke cited Chantal Akerman as a key influence AND CLOTHES when the film premiered at Cannes, though the family dramas of Yasujiro Ozu seem equally apt.”—The Museum of Modern WEST GERMANY/FRANCE 1989 DIRECTOR: WIM WENDERS Art. (115 mins.) This “diary film,” as Wenders calls it, investigates the similarities of the filmmaking craft to that of the Tokyo-based fashion designer Yohji YaMAR 27 SUN 7 PM mamoto, who, in the early 1980s, shocked and revolutionized the fashTOKYO-GA ion world with his avant-garde designs. Wenders shot the film on his WEST GERMANY/US 1985 own, without the use of a film crew. During this unusual production, DIRECTOR: WIM WENDERS which stretched out over the course of a year, Yamamoto and Wenders Seeking to recover the past from the tide of time, Wenders became friends. “Fashion. I got nothing to do with that. At least that travels to Tokyo in order to find traces of the cinema of famed was my reaction when the Centre Georges Pompidou in Paris asked Japanese auteur Yasujiro Ozu within the modern-day metrop- me if I would like to make a short film about a fashion designer . . . The olis. Lacing his film with “pillow shots” in the style of Ozu and world of fashion. I am interested in the world, not in fashion. But maybe featuring profoundly moving interviews with Ozu collaborators my judgment was premature. Why shouldn’t I try to approach the topic Chishu Ryu and Yûharu Atsuta, Wenders’ film becomes a lament without prejudices? Why not look at fashion like any other industry, the for Ozu’s Tokyo, contrasting the cinema of his idol with images of film industry, for example?”—Wim Wenders. (83 mins.) neon pachinko parlors, bullet trains, and high-rise office towers. Wenders’ film becomes a portrait not only of one of cinema’s APR 2 SAT 4 PM most singular artists but also of a city ready to unceremoniously UNTIL THE END OF THE WORLD usher in the postmodern era. “If there were still sanctuaries in our century . . . if there was something like a ‘holy treasure of cine- (DIRECTOR’S CUT) ma,’ for me, that would be the work of Japanese director Yasujiro GERMANY/FRANCE/AUSTRALIA/US 1991 Ozu. Ozu’s work doesn’t need my appraisal. And such a ‘holy DIRECTOR: WIM WENDERS treasure of cinema’ is just imaginary. So my journey to Tokyo was In order to enable his blind wife (Jeanne Moreau) to see, Dr. Farber no pilgrimage. I was curious to see if I could discover something (Max von Sydow) invents a process that makes it possible to transmit from this time, whether something was left of his work, images the images recorded in the brains of sighted people directly into the perhaps, or people even . . . Or if in the twenty years since Ozu’s visual systems of blind people. Farber’s son Sam (William Hurt) sets out death so much changed in Tokyo that there was nothing left to on a journey around the world in order to “see” and record the various stations of his mother’s life for her. Struck by the poetry of his journey, be found.”—Wim Wenders. (92 mins.) the Frenchwoman Claire (Solveig Dommartin) falls in love and sets out PRECEDED BY in pursuit of him. She, in turn, is followed by author Eugene (Sam Neill), who is recording her adventure. Eugene notes: “In the beginning was REVERSE ANGLE the word. What would happen if only the image remained in the end?” WEST GERMANY/FRANCE/US 1982 Forced by his distributors to hack down his original eight-hour cut to DIRECTOR: WIM WENDERS “REVERSE ANGLE was my first diary film. It is about “new a more commercially viable three hours, UNTIL THE END OF THE wave music” (among others Jim Jarmusch’s Del Byzanteens), WORLD was critically and financially unsuccessful upon its release and about straying in New York, about the editing process of HAM- Wenders himself was thoroughly dissatisfied with the result. However, METT in the presence of Francis Ford Coppola, about a novel two years after its initial 1990 theatrical run, Wenders created a direcby Emanuel Bove and about Edward Hopper. And, somehow, tor’s cut of the film which--at a length of almost five hours-- lives up to the whole thing was a reflection about filmmaking in Europe his intentions and to the epic nature of the story. (295 mins.) and America.”—Wim Wenders. (17 mins.)

BUENA VISTA SOCIAL CLUB

APR 3 SUN 4:30 PM

BUENA VISTA SOCIAL CLUB

GERMANY/FRANCE/US/UK/CUBA 1999 DIRECTOR: WIM WENDERS In 1998, Wenders embarked on a trip to Havana with his old friend and collaborator Ry Cooder, who wanted to record a series of musical collaborations with local Cuban musicians. Accompanied by a small film crew, Wenders was able to capture the inception and execution of a project which grew into a worldwide cultural phenomenon. Calling themselves the Buena Vista Social Club, the collective of Cuban musicians (many of whom were unknown outside of their native country) recorded fourteen songs over the course of only six days. The resulting album, entitled The Buena Vista Social Club, was nominated for multiple industry awards and has to date sold over 12 million copies. From beginning to end, Wenders was able to observe and accompany the musicians on their global and musical journey; following them as they recorded the album in Havana, then on their April 1998 trip to Amsterdam for their first-ever public performance (having never played together outside a studio), and finally to their triumphal concert at New York’s Carnegie Hall in July 1998. The resulting film is a remarkable document of cross-cultural collaboration, musical inspiration, and of the meteoric rise in worldwide fame enjoyed by some of Cuba’s most legendary and long-overlooked musicians. (105 mins.)

APR 3 SUN 7 PM

WIM WENDERS’ SHORT FILMS

WEST GERMANY 1967-69 DIRECTOR: WIM WENDERS Before delving into the world of feature filmmaking, Wenders got his start with several short films made in the last years of the 1960’s, which he shot on both 16mm and 35mm film stock. The films include the structuralist experiment in color entitled SAME PLAYER SHOOTS AGAIN (1967); SILVER CITY (1969), one of Wenders’ student films, comprised of a series of window shots from his Munich residence set to 78r PM records found in his school’s attic; the “slapstick” POLICE FILM (1969), dealing with the police response to Munich’s 1968 student riots; the mysterious Dylan- and Coltrane-inspired ALABAMA: 2000 LIGHT YEARS FROM HOME (1969); and 3 AMERICAN LPs (1969), which explores the relationship between the German landscape and American rock ‘n’ roll. (90 mins.)

NWFILM.ORG 503-221-1156 JANUARY/MARCH 2016 NWFILM CENTER

 MEN IN WAR

TREASURES FROM THE

UCLA FILM & TELEVISION ARCHIVE

The UCLA Film & Television Archive is, after the Library of Congress, the largest collection of media materials in the United States and ranks among the premier film preservation institutions in the world. The Archive’s annual preservation efforts—an ambitious, eclectic range of everything from lost silents to at-risk mid-century features, shorts, and documentaries—find new audiences in each year’s Festival of Preservation in Los Angeles and in the works selected for a smaller touring program. We are honored to present the 2015 UCLA Festival of Preservation program, a surprise-filled treasure trove sure to delight cinema lovers of many persuasions. “Forget Cannes, Sundance, even the Oscars: This is the cinematic event I look forward to most of all. That’s because no other movie festival comes close to it in the magnificent breadth of neglected but compelling American film material it puts on display. ”— Kenneth Turan, Los Angeles Times. Special thanks to Shannon Kelley, Head of Public Programs; Steven Hill, Circulation; Todd Weiner, Archivist; and Dr. Jan-Christopher Horak, Director, UCLA Film & Television Archive, for making these new 35mm preservation prints available. Program notes are adapted from the Festival of Preservation Program catalogue (www.cinema.ucla.edu/programs/ucla-festival-preservation), which includes additional information about the films and the Archive’s ambitious preservation efforts.

MAR 18 FRI 7PM

MAR 19 SAT 4:30PM

US 1957 DIRECTOR: ANTHONY MANN MEN IN WAR represents a pinnacle of achievement in both the war movie genre and for director Anthony Mann. In the early days of the Korean War, a cut-off platoon tries to get back to its battalion, as Mann’s mythic brother-against-brother theme is played out between a war-weary lieutenant (Robert Ryan), an opportunistic loner (Aldo Ray), and a strange, mute father figure (Robert Keith). From the opening tracking shot across a smoking wasteland, the terrain is established as a palpable, living force that has to be fought through inch by inch. “Stunningly shot . . .War on the ground has rarely been done much better than this.”—David Denby, The New Yorker. (104 mins.)

US 1940 DIRECTOR: JOHN FORD Between 1939 and his departure for the war in 1942, director John Ford was in the middle of a remarkable string of masterpieces. Gregg Toland, one the greatest-ever cinematographers, was revolutionizing film style with the deep-focus camera techniques that would culminate in his work on CITIZEN KANE. Together, Toland and Ford transformed this adaptation of four one-act plays by Eugene O’Neill (who considered it the best film version of his work) into a melancholy shadow-play about a group of sailors manning an explosives-carrying freighter. In the powerful final act, the sailors flounder amidst the onshore nightlife of a desolate harbor-side town. “An essential work . . . as personal and as deeply felt as any of the more recently canonized Ford masterpieces.”—Jonathan Rosenbaum, Chicago Reader. (105 mins.) Preservation funding provided by the Hollywood

MEN IN WAR

Preservation funding provided by the Packard Humanities Institute.

THE LONG VOYAGE HOME

Foreign Press Association and The Film Foundation.

MAR 20 SUN 4:30PM

MY BEST GIRL

US 1927 DIRECTOR: SAM TAYLOR Mary Pickford was the most popular star of the silent era, whose celebrity surpassed even that of Chaplin and Valentino. MY BEST GIRL was her last silent film, and is widely regarded as one of her best. The story’s Cinderella romance between a spunky department-store stock girl (Pickford) and the owner’s son (Charles “Buddy” Rogers) is enriched by a motif of role-playing and disguise (he pretends not to be wealthy; she pretends not to be virtuous.) Cinematic highlights include a romantic stroll through the city, whose enchanted ordinariness evokes F.W. Murnau’s SUNRISE, made the same year. (72 mins.) Preservation funding provided by The Mary Pickford Foundation, The Packard Humanities Institute, and The Film Foundation. Preceded by two short films featuring early Mary Pickford performances: THE SON’S RETURN (US, 1909, 11 mins.), by D.W. Griffith, and A MANLY MAN (US 1911, 10 mins.), by Thomas H. Ince.

MAR 20 SUN 7PM

SPRING NIGHT, SUMMER NIGHT

US 1967 DIRECTOR: J.L. ANDERSON Disregarded as an exploitation film (complete with tacked-on nude scenes) before dropping out of sight completely for forty years, this remarkable rediscovery has been hailed as an important classic in the New American Cinema tradition of SHADOWS, WANDA, THE EXILES, and KILLER OF SHEEP. Steeped with regional flavor, the story is set in a backwater of southeastern Ohio, where a young man impregnates a young woman who may or may not be his sister. Forcefully blending cinéma-vérité immersion with art-film sophistication, this unique film is a tour de force of sustained ambiguity, from the uncertain blood relationship between the two main characters to the idyllic/infernal nature of the world in which they live. “A compelling and beautiful drama that held its own with the very best of independent cinema.”—Ross Lipman, Sight and Sound. (82 mins.) Preservation funding provided by the Packard Humanities Institute.

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 HER SISTER’S SECRET

BACHELOR’S AFFAIRS

MAR 22 TUES 7PM

MAR 26 SAT 7PM

US 1932 DIRECTOR: ALFRED L. WERKER With a nod to his offscreen playboy persona, debonair star Adolph Menjou plays an aging, wealthy lothario who is railroaded into marrying a full-bodied but empty-headed young blonde (Joan Marsh). Exhausted by her non-intellectual demands, the over-taxed husband conspires to find a younger man to divert the desires of his lusty new bride. Saucy, cynical, and fast-paced, BACHELOR’S AFFAIRS is a prime example of the “pre-Code” interregnum of mature Hollywood content. “There’s just one word to describe it: hilarious.”—Leonard Maltin, Indiewire. (64 mins.)

US 1932 DIRECTOR: VICTOR HALPERIN I WALKED WITH A ZOMBIE, NIGHT OF THE LIVING DEAD, and countless other films trace their lineage back to WHITE ZOMBIE, widely regarded as the first zombie movie. The film is dominated by Bela Lugosi’s compelling performance as a Haitian voodoo master who uses a combination of magic potions and mind control to turn natives into docile slave workers for his sugar mill...and to impose his will upon a comely visitor (Madge Bellamy). A low-budget independent production, WHITE ZOMBIE cannily transcends its financial restraints with sets recycled from DRACULA and FRANKENSTEIN as well as a robust soundtrack of chanting natives, screeching buzzards, and, above all, the creaking, groaning machinery of the sugar mill. (68 mins.) Preservation funding provided by the Packard Humanities

BACHELOR’S AFFAIRS

Preservation funding provided by the Packard Humanities Institute.

MAR 25 FRI 7PM

FIRST LEGION

US 1951 DIRECTOR: DOUGLAS SIRK One of Sirk’s most unusual and explicitly philosophical films, this adaptation of Emmet Lavery’s 1934 play centers on a Jesuit seminary where an apparent miracle draws hordes of hysterical supplicants and sparks an internal debate over the validity of the alleged visitation. Working in a very different vein from the baroque flamboyance of his later color melodramas (WRITTEN ON THE WIND, ALL THAT HEAVEN ALLOWS), Sirk’s deep-focus black-and-white style keeps skepticism and faith in a delicate balance. Anchored by Charles Boyer’s superb performance as a lawyer-priest whose integrity turns him into a reluctant detective, the excellent cast includes William Demarest in an unusually substantial and moving role as the go-to parish sorehead, and little-remembered character actor Lyle Bettger as an intriguing, agnostic antihero. (86 mins.) Preservation funding provided by The Louis B. Mayer Foundation and The Carl David Memorial Fund for Film Preservation.

MAR 26 SAT 4:30PM

THE BIG BROADCAST

US 1932 DIRECTOR: FRANK TUTTLE In 1932 Paramount rounded up an impressive roster of radio personalities and threw them into this lightly plotted story about a radio station managed by George Burns (with partner Gracie as his logic-bending stenographer), bankrolled by an eccentric Texan (Stuart Erwin), and headlined by chronically tardy crooner “Bing Hornsby” (Bing Crosby, in his first starring role). The guest stars include the classy African American quartet The Mills Brothers harmonizing to “Tiger Rag,” patriotic powerhouse Kate Smith warbling “When the Moon Comes Over the Mountain,” and Harlem hipsters Cab Calloway and His Orchestra belting out a raucous rendition of “Kickin’ the Gong Around,” complete with simulated coke-snorting. “Playful, exuberant, and zany to the max.”— Kenneth Turan, Los Angeles Times. (80 mins.) Preservation funding provided by the Packard Humanities Institute and Universal Pictures. With ME AND THE BOYS (UK, 1929, 7 mins.) by Victor Saville, which features a 20-year-old clarinet player named Benny Goodman.

WHITE ZOMBIE

Institute.

DOUBLE FEATURE WITH

THE CRIME OF DOCTOR CRESPI

US 1935 DIRECTOR: JOHN H. AUER Loosely based on Poe’s “The Premature Burial,” the low-budget chiller THE CRIME OF DR. CRESPI features Erich von Stroheim as a brilliant surgeon who nurses a secret grudge against the colleague who stole away the woman he loved. A critical illness lands the rival on Stroheim’s operating table, setting the stage for a hideous revenge. Stroheim’s committed performance is the film’s main attraction, with a striking use of extreme close-ups to convey his startling mood swings from soft-spoken civility to snarling contempt. (63 mins.) Preservation funding provided by the Packard Humanities Institute.

MAR 27 SUN 4:30PM

THE LONG VOYAGE HOME

HER SISTER’S SECRET

US 1946 DIRECTOR: EDGAR G. ULMER B-picture auteur Ulmer took advantage of one of his biggest budgets to craft this intelligently scripted, solidly acted, amazingly subtle wartime drama--while still retaining his characteristically subversive attitude toward conventional morality. The story centers on a young New Orleans woman named Toni (Nancy Coleman), who is impregnated by a soldier on leave and reluctantly gives up the baby to her childless and wealthier older sister (Margaret Lindsay). Things become complicated when Toni begins to reconsider her decision. Struck from the original camera negative, this print represents a rare opportunity to see a “Poverty Row” production in its pristine state. “In this feverishly romantic, visually resplendent war-at-home melodrama . . .Ulmer cuts loose with a wild creativity that yoked his theatrical imagination to a keen view of the traumatic times.”—Richard Brody, The New Yorker. (86 mins.) Preservation funding provided by The Film Foundation and the Franco-American Cultural Fund.

FIRST LEGION

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FILM CALENDAR

JANUARY/MARCH 2016

FILMS SCREENED AT NORTHWEST FILM CENTER • WHITSELL AUDITORIUM—PORTLAND ART MUSEUM, 1219 SW PARK AVENUE

SUNDAY

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

SATURDAY 1

ALICE IN THE CITIES—P.20

7 PM @ NWFC 9 PM @ BODYVOX SHORTS 2: INTERNATIONAL STEPS (P.3) 7 PM @ BODYVOX 9 PM @ NWFC TRASH DANCE (P.3)

12 PM AWAARA (P.4) 4:30 PM SCHOOL OF FILM STUDENT SCREENING (P.13) 7 PM @ NWFC PAUL TAYLOR CREATIVE DOMAIN (P.3) 7 PM & 9 PM @ BODYVOX BALLETLUJAH (P.3) 9 PM @ NWFC DANCE@30FPS ON THE ROAD (P.3)

7 PM AN EVENING WITH LION ATTACK MOTION PICTURES (P.6)

7 PM MAKOSHIKA (P.6)

7 PM THE BIG BEAT: FATS DOMINO AND THE BIRTH OF ROCK AND ROLL (P.8) 9:15 PM ROXY: THE MOVIE (P.8)

1 PM MOTHER INDIA (P.4) 4:30 PM CONCERTO: A BEETHOVEN JOURNEY (P.8) 7 PM THE AMAZING NINA SIMONE (P.8) 9:30 PM THEORY OF OBSCURITY: A FILM ABOUT THE RESIDENTS (P.8)

2 PM CHARULATA (P.4) 5 PM KORLA (P.8) 7 PM BILL EVANS, TIME REMEMBERED FOLLOWED BY CHUCK ISRAELS: RHYTHM AND ROMANCE (P.8)

7 PM SILVER SCREEN CLUB MEMBERS AND PJFF PREVIEW: SON OF SAUL (P.19)

7 PM OPEN SCREENING: NW MUSIC VIDEOS (P.6)

7 PM LEE SCRATCH PERRY: VISIONS OF PARADISE (P.17) 9:15 PM WE ARE TWISTED F***ING SISTER (P.17)

3 PM SEYMOUR AN INTRODUCTION (P.17) 7 PM THE MAN WITH A MOVIE CAMERA (P.17)

3 PM SHOLAY (P.4) 7 PM SONS OF THE WIND (P.17)

7 PM JACO (P.17)

7 PM SAM LAY IN BLUESLAND (P.17)

7 PM THE GLAMOUR & THE SQUALOR (P.18) 9 PM MAVIS! (P.18)

5 PM EVERYBODY’S CAGE (P.18) 7 PM ORION: THE MAN WHO WOULD BE KING (P.18)

4 PM SALAAM BOMBAY! (P.5) 7 PM SYL JOHNSON: ANY WAY THE WIND BLOWS (P.18)

7 PM MAGICARENA (P.18)

39TH PORTLAND INTERNATIONAL FILM FESTIVAL

7 PM THE SOMNAMBULISTS (P.6)

MOTHER INDIA—P.4

6:30 PM PYAASA (P.4)

6 PM DILWALE DULHANIA LE JAYENGE (P.5)

7 PM @ NWFC 9 PM @ BODYVOX PAUL TAYLOR CREATIVE DOMAIN (P.3) 7 PM @ BODYVOX 9 PM @ NWFC DANCE@30FPS ON THE ROAD (P.3)

OUT 1: NOLI ME TANGERE—P.19

AMERICAN EPIC—P.18

4:30 PM NWFC COMMUNITY OPEN HOUSE (P.13)

7 PM LANDFILL HARMONIC (P.17) 7 PM COOL CATS (P.18)

7 PM THE LYRIC PROJECT (P.6)

FEBRUARY

7 PM AMERICAN EPIC (P.18)

6 PM SATYA (P.5)

MAKOSHIKA—P.6

6:30 PM OUT 1: NOLI ME TANGERE—EP 3 & 4 (P.19)

4:30 PM THE AMERICAN FRIEND (P.20) 7:15 PM PARIS, TEXAS (P.21)

6:30 PM OUT 1: NOLI ME TANGERE—EP 3 & 4 (P.19)

4:30 PM MY BEST GIRL (P.22) 7 PM SPRING NIGHT, SUMMER NIGHT (P.22)

7 PM THE LEFTHANDED WOMAN (P.20)

4:30 PM HER SISTER’S SECRET (P.23) 7 PM TOKYO-GA PRECEDED BY REVERSE ANGLE (P.21)

4:30 PM BUENA VISTA SOCIAL CLUB (P.22) 7 PM WIM WENDERS’ SHORT FILMS (P.22)

3 PM DEVDAS (P.5) 7 PM ALICE IN THE CITIES (P.20)

JANUARY

BILL EVANS, TIME REMEMBERED—P.8

MARCH 6:30 PM OUT 1: NOLI ME TANGERE— EP 5 & 6 (P.19)

7 PM BACHELOR’S AFFAIRS (P.23)

4 OUT 1: NOLI ME TANGERE—P.19 SATYA—P.5

7 PM THE GOALIE’S ANXIETY AT THE PENALTY KICK (P.20)

2 PM ENGAGING AUDIENCES WITH LGBT CONTENT (P.12) 3:30 PM WRONG MOVE (P.20) 6:30 PM OUT 1: NOLI ME TANGERE— EP 1 & 2 (P.19)

AN EVENING WITH JODI DARBY—P.6

6:30 PM OUT 1: NOLI ME TANGERE— EP 7 & 8 (P.19)

7 PM KINGS OF THE ROAD (P.20)

5:30 PM FRIDAY FILM CLUB: LAURA (P.19) 8 PM THE STATE OF THINGS (P.20)

2 PM LAGAAN (P.5) 6:30 PM OUT 1: NOLI ME TANGERE— EP 1 & 2 (P.19)

6:30 PM OUT 1: NOLI ME TANGERE— EP 5 & 6 (P.19)

6:30 PM OUT 1: NOLI ME TANGERE—EP 7 & 8 (P.19)

7 PM MEN IN WAR (P.22)

4:30 PM THE LONG VOYAGE HOME (P.22) 7 PM WINGS OF DESIRE (P.21)

7 PM AN EVENING WITH KURTIS HOUGH (P.6)

7 PM FIRST LEGION (P.23)

4:30 PM THE BIG BROADCAST (P.23) 7 PM WHITE ZOMBIE DOUBLE FEATURE WITH THE CRIME OF DOCTOR CRESPI (P.23)

BALLETLUJAH—P.3

2 PM NOTEBOOK ON CITIES AND CLOTHES (P.22) 4 PM UNTIL THE END OF THE WORLD (P.22)

7 PM AN EVENING WITH JODI DARBY (P.6)

5 $9 GENERAL6 ADMISSION

$8 PAM MEMBERS/STUDENTS/SENIORS $6 SILVER SCREEN FRIENDS/ CHILDREN UNDER 12

APRIL

8 before showtime. BOX OFFICE OPENS 30 minutes 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.