Northwest Film Center - June July August 2015 schedule by NWFC

NWFilmCenter PORTLAND ART MUSEUM

JUNE/JULY/AUGUST 2015

THE ART OF REINVENTION: PAUL THOMAS ANDERSON & HIS INFLUENCES 23RD PORTLAND JEWISH FILM FESTIVAL TOP DOWN: ROOFTOP CINEMA

PLUS

JUNE 22 – AUGUST 21

School of Film

ABSURDLY HUMAN: THE FILMS OF ROY ANDERSSON DRIVE-IN AT ZIDELL YARDS NORTHWEST TRACKING SPECIAL SCREENINGS

JOIN OUR LEARNING COMMUNITY

PORTLAND, OR PERMIT NO. 664

NORTHWEST FILM CENTER 1219 SW PARK AVENUE PORTLAND,OR 97205

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STAFF

WELCOME

NORTHWEST FILM CENTER DIRECTOR: BILL FOSTER EDUCATION DIRECTOR: ELLEN THOMAS FILMMAKER SERVICES MANAGER: THOMAS PHILLIPSON HARRY & ROSE MOYER ADMINISTRATIVE OFFICES & NORTHWEST FILM CENTER SCHOOL OF FILM 934 SW SALMON STREET

EXHIBITION PROGRAM ASSISTANT: MORGEN RUFF

ALL SCREENINGSTAKE PLACE, UNLESS OTHERWISE NOTED, ATTHE

EDUCATION PROGRAMS MANAGER: MIA FERM

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

MAILING ADDRESS (FOR ALL) 1219 SW PARK AVENUE PORTLAND, OR 97205

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PUBLICITY AND PROMOTIONS MANAGER: NICK BRUNO PR AND MARKETING MANAGER: BENNA GOTTFRIED

SPONSORSHIP AND EVENTS MANAGER: RACHEL RECORD EQUIPMENT & FACILITIES MANAGER: DAVE HANAGAN MEMBERSHIP AND INDIVIDUAL GIVING COORDINATOR: BAILEY CAIN ADMINISTRATIVE COORDINATOR: KAREN WENNSTROM EDUCATION SERVICES COORDINATORS: STEPHANIE HOUGH ANDREW PRICE MILES SPRIETSMA EDUCATION PROGRAM ASSISTANTS: FELISHA LEDESMA HAZEL MALONE CORSER DUPONT GEOFF PETERSON HEAD THEATRE MANAGER & PROJECTIONIST: MELINDA KOWALSKA

NORTHWEST TRACKING PAGE 3

23RD PORTLAND JEWISH FILM FESTIVAL PAGE 4-5

SPECIAL SCREENINGS PAGES 6 & 19

SCHOOL OF FILM PAGES 7-14

FILM CAMP FOR KIDS +TEENS CENTER PULLOUT

TOP DOWN: ROOFTOP CINEMA PAGE 15

THE ART OF REINVENTION: PAUL THOMAS ANDERSON & HIS INFLUENCES PAGE 16-18

G ENERA L ADM I S S I ON $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.

SCRIP BOOKS: $50 (10 TICKETS) PURCHASE ADVANCE TICKETS AT NWFILM.ORG. IDENTIFICATION STATEMENT PUBLICATION TITLE:

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THEATRE STAFF: KATIE BURKART ERIK MCCLANAHAN ARIKA OGLESBEE TONY OLSEN-CARDELLO ALEX SMITH ILANA SOL LISA TRAN VERONICA VICHIT-VADAKAN LARISA ZIMMERMAN OFFICE INTERNS & VOLUNTEERS: FORD BROWN MICHAEL COLLINS JOHN CLAYTON LEE DANIELLE DUHAIME HANNAH FLEMING NOAH HALE GRACE SHAFFER IAN WESTMORLAND BRETT WRIGHT THEATRE VOLUNTEERS: SARAH BLUVAS JEANNE DEVON CONNIE GUIST DOUGLAS HANES RICHARD HOLLWAY MAGGIE HORTON JESSE IIAMS-HAUSER TRISKA LEE INGEBORG MUSSCHE CRISTINA OLIVA KAY OLSEN PHYLLIS OSTER WARREN OSTER NANDINI RANGANATHAN DEBBIE STOLLER HANNAH VAN LOON AARON WOLFER AND MANY MORE… PORTLAND ART MUSEUM BOARD OF TRUSTEES CHAIR: WILLIAM WHITSELL VICE CHAIR: RICHARD LOUIS BROWN SECRETARY: LAURA MEIER TREASURER: JIM WINKLER NW FILM CENTER COMMITTEE: LINDA ANDREWS, CHAIRMAN MARK FRANDSEN MARY HINCKLEY BOB WARREN ALICE WIEWEL DON VAN WART PORTLAND ART MUSEUM MARILYN H. & DR. ROBERT B. PAMPLIN JR. DIRECTOR: BRIAN FERRISO NW FILM CENTER CORRESPONDENCE TO: NORTHWEST FILM CENTER 1219 SW PARK AVENUE PORTLAND, OR 97205

STATEMENT OF FREQUENCY:

PUBLISHED 6 TIMES PER YEAR AUTHORIZED ORGANIZATION NAME AND ADDRESS:

NORTHWE ST FILM CENTER PORTLAND ART M USEUM 1219 SW PARK AVENUE PORTLAND, OR 97205 ISSUE NUMBER: VOL.

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EMAIL: INFO@NWFILM.ORG PHONE: 503-221-1156 FAX: 503-294-0874

NWFILM.ORG

As a supporter of the Northwest Film Center, you understand the ways in which film can empower storytellers in our community and around the world. Every year the Northwest Film Center’s scholarship program provides $10,000 in scholarships, which allows deserving adults and children to participate in our School of Film classes and programs. Often, these individuals are facing challenges—homelessness, family unemployment, learning disabilities, recent immigration, and more. Participation in our School of Film classes offers these students an artistic outlet to express their creative visions, giving voice to stories that may not otherwise be heard. We hope that you will consider making a contribution to the Center’s scholarship fund. By doing so, you will give a student in need the resources to pursue his or her passion for the art of filmmaking and the opportunity to achieve their personal and artistic goals. Your support will help the Film Center provide a safe place for our students to create and explore the art of film, collaborate with others, and shoot and edit their dream project. Your tax-deductible donation— you can go to http://nwfilm.org/donate/donate—empowers members of our community who most need to be heard. You can also support the Center by joining the Silver Screen Club, which, in addition to helping underwrite the Center’s rich exhibition program, offers you priority access to the more than 500 screenings annually including the Portland International Film Festival, Northwest Filmmakers’ Festival, and Portland Jewish Film Festival. At screenings each month this summer, we’re holding a “Pop-Up Membership Drive,” offering the opportunity to join Silver Screen Club on the spot and receive a 10% discount. The Silver Screen club is already one of the great cultural bargains in Portland—a deal we’re making even better—and we hope you’ll join in support. The schedule of events can be found on page 19. While this year’s Summer Camps for Kids + Teens are bustling along with exhibition screenings indoor and out, plans are being laid for the fall’s 42nd Northwest Filmmaker’s Festival, our annual showcase of outstanding film and filmmakers in our part of the world. If you are a maker, Festival entries are due August 1. If you’re a fan looking forward to this year’s celebration but missed last year’s event, come see the “Best of the 41st Festival” program, which has been touring five states and comes home for screenings June 7 and 11 as part of our Northwest Tracking program. Bill Foster DIRECTOR NORTHWEST FILM CENTER

MISSION

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

PRESENTING

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

TEACHING

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

SUPPORTING FILMMAKERS AND COMMUNITY

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

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NORTHWEST FILM CENTER

JUNE/JULY/AUGUST 2015 503-221-1156 NWFILM.ORG

NORTHWEST TRACKING BARD IN THE BACKCOUNTRY

SITTING ON THE EDGE OF MARLENE

AUG 5 WED 7 PM—VISITING ARTISTS

OPEN SCREENING DIRECTORS: VARIOUS

Northwest Tracking highlights the work of independent filmmakers living and working in the Northwest— Alaska, British Columbia, Idaho, Montana, Oregon, Washington—whose work reflects the vibrant cinematic culture of the region. Whether presenting single-artist retrospectives, new features, documentaries, or inspired collections of short works, this ongoing showcase offers testimony to the creativity and talent in our flourishing media arts community.

THE WAY WE TALK

Tonight the screen is yours. We throw open the doors of the Whitsell Auditorium and invite you to show your new short work. If you have something you’re proud of, sign up by contacting Thomas Phillipson —thomas@nwfilm.org—by July 31. First come, first served as time allows with preference given to works under ten minutes. Invite your friends—admission is free!

DIRECTOR: MICHAEL TURNER

AUG 11 TUES 7 PM—VISITING ARTIST

JUNE 19 FRI 7 PM—VISITING ARTIST po rtlan d 20 1 5

Michael Turner (THE LIFE OF VESPER GEER), winner of the 2015 Oregon Media Arts Fellowship, suffers one of medical science’s most baffling and enduring disabilities—he stutters. On the surface, stuttering is syllable repetitions, prolongations, blocks, and various physical tics. But as Dr. Joseph Sheehan points out in the film, stuttering is like an iceJUNE 7 11 SUN 4:30 PM, THURS 7 PM—VISITING berg, with the major symptoms below the surface. Emotions ARTISTS associated with the disorder— anxiety, depression, denial, THE BEST OF THE 41ST and a negative self-image—are rarely confronted in speech NORTHWEST FILMMAKERS’ therapy or even by people who stutter. Turner explores his own experiences with stuttering and presents the stories FESTIVAL of others who are part of the self-help movement within the DIRECTORS: VARIOUS Each year, following November’s Northwest Filmmakers’ stuttering community—stories that are relatable to anyone Festival, a program of shorts tours the region to find new who has experienced feelings of separateness, isolation, or audiences and inspire new artists. Tonight the tour returns inadequacy in any area their life. (75 mins.) Michael Turner will home, offering the chance to see Audrey Hall’s PAINTING introduce the film. JOHN, a portrayal of a portrait artist’s process; Amanda Harryman’s MAIKARU, about a young man overcoming his JUNE 26 FRI 7 PM—VISITING ARTIST victimization from violence and human trafficking; Clancy AND WE WERE YOUNG Dennehy’s REZ CARS, which brings to life stories held within M I SSO U LA 20 1 5 the ghosts of abandoned cars; Amy Enser and Drew Christie’s DIRECTOR: ANDY SMETANKA THE BEAST INSIDE, an animated tale recounting memories of Andy Smetanka’s work has ranged from creating a short homelessness told through rap; Malia Jenson’s THE BEAR’S segment for Guy Maddin’s MY WINNEPEG to ‘The Bachelor PROGRESS, which follows an inhabited bear costume wander- and the Bride,’ a music video for the Decemberists. For his ing through the landscape doing what bears do and do not first feature-length film, Smetanka turned to his fascinado; Marshall Axani’s ANXIOUS OSWALD GREENE, about a man tion with World War I. Three years and over 250,000 who visits a fantastical clinic attempting to cure his crippling individual frames in the making, AND WE WERE YOUNG is a anxiety; Joshua Cox’s PROXIMITY, a tale of love and revenge stop-motion animated oral history of American soldiers in told through kitschy collectibles; Mike A. Smith’s COOPED, France in the last days of the Great War, performed entirely a rambunctious cartoon about an excitable dog with cabin by black-paper puppets and filmed on Super 8 against fever; Kyle Eaton’s TACO NIGHT, in which two bros’ evening translucent paper backgrounds. Brooding, brutal and devolves into drinking games with a combative couple; and hauntingly beautiful, this epic is a vision of war beyond your Evangeline LaRoque’s DAVE’S BEARD, which uncovers the noc- wildest dreams and nightmares. (115 mins.) Andy Smetanka will introduce the film. turnal secret life of Dave’s adventurous whiskers. (85 mins.)

JUNE 7 SUN 7 PM—VISITING ARTIST

BARD IN THE BACKCOUNTRY m i sso u la 20 14

DIRECTORS: CINDY STILLWELL, TOM WATSON

BARD IN THE BACKCOUNTRY chronicles a summer season of Montana Shakespeare in the Parks, a professional traveling theater company based in Bozeman who not only perform, but also act as their own roadies, make-up artists, and set builders. The film features the season’s cast of ten actors from around the U.S. as they encounter the Montana landscape, culture, and people, many for the first time. Sometimes traveling hundreds of miles every day to set up their stage, don their costumes, and perform their roles, they learn about discipline, the generosity of spirit needed to become part of a team, and the sheer magnitude of the terrain found across Montana. At the heart of the story is a sense of transformation—for the players and for audiences touched by this beloved company. (57 mins.) Cindy Stillwell will introduce the film.

JULY 15 WED 7 PM—VISITING ARTIST

SONGS SHE WROTE ABOUT PEOPLE SHE KNOWS VAN CO UVER, B C

DIRECTOR: KRIS ELGSTRAND

“A timid office worker becomes both pariah and Pied Piper when she unleashes her confessional, scathingly honest pop compositions upon friends and co-workers in this hilarious comedy from Vancouver’s Kris Elgstrand. In his work as a playwright, screenwriter, and filmmaker, Elgstrand has wittily and often hilariously chronicled the foibles of bohemians. Following his collaboration with Dylan Akio Smith on 2009’s DOPPELGANGER PAUL, Elgstrand now makes his solo directorial debut with SONGS, which takes caustic aim at art therapy, the contemporary music scene, and the suppressed artistic yearnings of middle managers—which, it turns out, are better left suppressed.”—Toronto International Film Festival. (80 mins.) Kris Elgstand will introduce the film.

MOTHERING INSIDE / THE FAMILY PRESERVATION PROJECT

PO RTLAN D 20 1 5 DIECTOR: BRIAN LINDSTROM PORTLAND 2015 The Family Preservation Project at Wilsonville’s Coffee Creek Correctional Facility works to keep imprisoned mothers in contact with their children, the common-sense theory being that the family that stays together stays out of jail together. Through emotional testimony from participants and intimate observation of the time they spend with their kids, Lindstrom makes a strong argument for the FPP as a humane and worthwhile expenditure of public money. The State of Oregon disagrees, and the program will be phased out later this year. The film hopes to reverse that decision by publicizing the program and its benefits, which include a recidivism rate of exactly zero percent. MOTHERING INSIDE is a continuation of the cinematic empathy Lindstrom has demonstrated since his first films, KICKING and FINDING NORMAL. (30 mins.)

WITH

FINDING NORMAL

DIRECTOR: BRIAN LINDSTROM U S 20 07 Lindstrom’s powerful documentary takes an unflinching look at the daunting difficulties in overcoming addictions and the dynamic within Portland’s Central City Concern’s recovery mentor program. With a 70% success rate, the program’s strength lies in its ability to promote a strong sense of community and connectedness with peers and mentors, all former addicts committed to helping others as they help themselves. “The film is raw and real, filled with undeniable moments of pain and elation and human personality. It’s impossible to imagine a more honest look at this all-too-common world.”—Shawn Levy, The Oregonian. (77 mins.) Brian Lindstrom, who teaches at the Film Center, will be on hand to discuss his films.

AUG 12 WED 7 PM—VISITING ARTIST

SITTING ON THE EDGE OF MARLENE VAN CO UVER, B C

DIRECTOR: ANA VALINE

Vancouver director Ana Valine’s first feature follows clean living, but experienced, 16 year-old Sammie, who, waiting for her father to get out of prison, is drawn into the family con business by her pill-popping friend Marlene. Adapting Billie Livingston’s novella “The Trouble with Marlene,” the film takes us on a bittersweet, emotional journey, skating on either side of the law and Christian morals, through dysfunction, love, and addiction toward a kind of deliverance for this compelling mother and daughter duo. “The depth of characters explored are matched only by the incredible performances from the actors... demands an audience to question their own definitions of tragedy and survival, hope and despair...”—Women in Film + Television. (90 mins.) Ana Valine will introduce the film.

NWFILM.ORG 503-221-1156 JUNE/JULY/AUGUST 2015

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23RD PORTLAND JEWISH FILM FESTIVAL MAGIC MEN Welcome to the 23rd annual Portland Jewish Film Festival, produced by the Northwest Film Center and co-presented with the Institute for Judaic Studies. While the Festival specifically celebrates the diversity of Jewish history, culture, and identity, we hope that these films, and the stories they tell, resonate beyond their settings and speak to universal experiences and issues that confront our common humanity.

JUNE 18 THUR 7 PM, WED 8:30 PM

Special thanks to our sponsors: Oregon Israel Fund of OJCF; Leonard & Lois Schnitzer Charitable Supporting Fund of OJCF; Diane Solomon, Family fund; Cedar Sinai Park; Schnitzer Care Foundation; Reuben & Liz Menashe; Carolyn Weinstein, Hasson Realtors; Jewish Federation of Greater Portland; Community Warehouse; Mittleman Jewish Community Center; Portland Jewish Academy; Holzman Foundation; JStreet; German Consulate; Jewish Family & Child Services and Oregon Jewish Museum and Center for Holocaust Education; Cong. Neveh Shalom and Cong. Shaarie Torah. We hope you’ll support PJFF by purchasing a Patron Pass.

Kabi and his family face an uncertain future, as do all Jews living in Baghdad. It’s 1950 and each member of Kabi’s circle has a different dream: his mother wants to return to the Muslim quarter where she felt safer; his father wants to emigrate to Israel; Salim, his headmaster, wants Arabs and Jews to be equal, and Abu just wants to care for his adored doves. Nissim Dayan’s film—based on the popular novel of the same name— recalls a lost and treasured time before expulsion to Israel, when almost 130,000 Jews lived in Iraq using the almostextinct language of Jewish Iraqis, Judea/Arabic. (105 mins.)

JUNE 14 SUN 7 PM

JUNE 16 25 TUE 7 PM, THUR 8:30 PM

I S RAEL 20 13

MAGIC MEN

A PLACE IN HEAVEN

DIRECTOR: GUY NATTIV, EREZ TADMOR

In this moving road trip comedy, 78-year-old Greek-born atheist and Holocaust survivor Avraham and his estranged, middle-aged, Hasidic rapper son travel from Israel to Greece searching for the man who saved the father’s life during World War II. Arriving there against the backdrop of the ongoing financial crisis, the two are forced to confront their prickly relationship and a cross-cultural, cross-generational adventure takes shape as the men reclaim the past. Punctuated by touching moments of humor and affection, spectacular panoramas of the Adriatic coast, and a vibrant, Greek-infused musical score, MAGIC MEN was nominated for four Israeli Academy Awards, with a win for Best Actor Makram Khoury. (100 mins.)

JUNE 15 MON 7 PM

THE MUSES OF ISAAC BASHEVIS SINGER I S RAEL 20 14

DIRECTOR: YOSSI MADMONI

In this tale within a tale, an uncompromising army officer nicknamed Bambi, who wins every military battle in the name of Zionism, somehow fails the daily tests of life. Returning from a daring mission, the secular military man strikes an unholy bargain with a devout young Holocaust survivor. The impulsive decision has providential consequences over the ensuing decades, as Bambi struggles in his pursuit of the Yemenite woman he loves and an illustrious career cut short by scandal. His tragic flaws are never more so felt than in his relationship with son Nimrod, who spurns his obstinate father and follows his own path as a religious Jew. Tackling big themes of parenthood, the afterlife, and unrequited love, Madmoni’s emotional meditation was nominated for ten Israeli Academy Awards including Best Screenplay, Best Actress, and Best Cinematography. (113 mins.)

JUNE 17 WED 7 PM

DIRECTORS: ASAF GALAY, SHAUL BETSER

Considered one of the most influential Jewish writers of the twentieth century, best known for YENTL THE YESHIVA BOY and GIMPEL THE FOOL, Singer received the Nobel Prize for Literature “for his impassioned narrative art which, with roots in a Polish-Jewish cultural tradition, brings universal human conditions to life.” Betser’s and Galay’s fascinating film reveals Singer’s literary inspirations, including his “harem full of translators”—dozens of women who translated his signature Yiddish prose to reach international audiences. Through archival footage and the intimate in-depth recollections of many of the women who brought Singer’s stories to life, a previously unknown and eccentric chapter in this unlikely ladies’ man’s history comes to life. In English, Hebrew, and Yiddish with English subtitles. (72 mins.)

PRECEDED BY

NORTHWEST FILM CENTER

I S RAEL 20 13

DIRECTOR: NISSIM DAYAN

JUNE 20 SAT 8 PM

DOUGH U K 20 14

DIRECTOR: JONATHAN GOLDSCHMIDT

Widowed and down on his luck, Nat Dayan is desperate to save his bakery in London’s East End. His customers are dying off, his sons have no interest in keeping the family business afloat, and hostile businessman Sam has his own greedy plans for the property. In a pinch, Nat reluctantly enlists the help of teenager Ayyash, a refugee from Darfur. The Muslim boy assists with the bakery’s daily chores while selling cannabis on the side to help his struggling mother make ends meet. One day, when Ayyash accidently drops his stash into the dough, the challah starts flying off the shelf, and an unlikely friendship forms between the old Jewish baker and his young apprentice. (94 mins.)

TO LIFE

JUNE 21 23 SUN NOON, TUES 8:30 PM

DIRECTOR: JEAN-JACQUES ZILBERMAN

N ETH ER LAN DS 20 14

FRAN C E 2 0 14

Zilbermann sets his engaging drama in postwar Paris where Hélène (Julie Depardieu), a young Auschwitz survivor rebuilds her life while searching for her friends Lily and Rose (Johanna ter Steege, Suzanne Clément). When the women are finally reunited, they share a watershed vacation in the seaside town of Berck-Plage, enjoying the intimacies of life, love, and faith. An emotionally complex film about the sustaining power of women’s friendship is “...delicate and profound…an infectious ode to life and collective ritual to overcome horror through friendship, irony, the most intimate confessions and a desire to look towards the future.”– Cineuropa. (105 mins.)

REVERENCE (2015), Collin Korfeind’s exploration of custom and branded yarmulkes. (12 mins.) PAGE 04

THE DOVE FLYER

JUNE/JULY/AUGUST 2015 503-221-1156 NWFILM.ORG

SECRETS OF WAR DIRECTOR: DENNIS BOTS

During World War II, everyone had to keep secrets to survive, but at what price? Lambert and Tuur, two 12-year-old boys living in a small village in Nazi-occupied Holland, share a strong friendship. But even this bond is put at risk with the arrival of a lively young girl named Maartje, carrying with her a heavy secret about her past. As Tuur and Maartje become close, the estranged Lambert grows increasingly jealous and acts irrationally, exposing Maartje’s secret with far-reaching consequences that are beyond his understanding. The danger and the humanity of wartime friendships asks three children to find maturity far beyond their years. Winner, Best Live Action Feature, Chicago International Children’s Film Festival. (95 mins.) Ages 10+.

JUNE 21 SUN 2 PM

DOUGH

THE ZIONIST ERA

EAST JERUSALEM/ WEST JERUSALEM I S RAEL 20 14

DIRECTORS: EREZ MILLER, HENRIQUE CYMERMAN

This rousing and inspiring documentary focuses on iconic Israeli singer/songwriter David Broza, who sets out to realize his dream of cooperation and dialogue between Israelis and Palestinians through music. During eight days and nights of creation with American musician/producer Steve Earle and a host of international artists in an East Jerusalem studio, a hopeful message of equality and unity arises. “He did more for the Middle East peace process in eight days than Secretary of State John Kerry has done in two years. Is he a diplomat or religious leader? No, he’s a singer-songwriter, and if no one else is going to try and heal the world, he will.”—Vanity Fair. In Arabic, English, and Hebrew with English subtitles. (80 mins.)

THE ZIONIST ERA

JUNE 21 SUN 5:30 PM

ALMOST FRIENDS I S RAEL 20 14

DIRECTOR: NITZAN OFIR

ALMOST FRIENDS is a touching documentary about two Israeli girls—an Arab and a Jew—who live only 67 kilometers apart but in wildly different circumstances. Participating in an online program that fosters educational exchange and friendship, the two eventually get to meet face-to-face, and the result is a profoundly moving experience for them, their families, and the audiences who see this touching film. Ofir’s film is a poignant reminder of the hope that exists behind the headlines. In Arabic and Hebrew with English subtitles. (60 mins.)

JUNE 21 SUN 7 PM

A BORROWED IDENTITY (AKA DANCING ARABS) I S RAEL/FRAN CE/G ER MANY 20 13

DIRECTOR: ERAN RIKLIS

TO LIFE

JUNE 23 TUE 6:30 PM

JUNE 27 SAT 8 PM

U S 20 1 5

G ER MANY/FRAN CE 20 14

RAISE THE ROOF

RUN BOY RUN

DIRECTORS: CARY WOLINSKY, YARI WOLINSKY

The Wolinskys’ fascinating film tells the inspiring story of how a decimated wooden Polish synagogue is brought back to life and given a permanent home in the new Polin Museum of the History of Polish Jews in Warsaw. Prior to their destruction by the Nazis, Poland was home to over 200 wooden synagogues, including the synagogue of Gwozdziec. Over a period of two summers, Boston-based artists and professors Rick and Laura Brown lead a team of students, traditional artisans, and builders to reconstruct Gwozdziec synagogue’s complex roof. Using original methods and tools, the team vividly unveils the forgotten artistry, science, and culture of Poland’s Jewish architectural heritage. In English and Polish with English subtitles. (85 mins.)

Eyad, who grew up in an Arab town in Israel, is given the chance to go to a prestigious Jewish boarding school in Jerusalem. The first and only Arab to be accepted there, he desperately tries to fit in with his Jewish schoolmates. After falling in love with a Jewish girl named Naomi, Eyad has to leave school when their relationship is discovered, forcing the realization that he will JUNE 24 WED 6:30 PM have to sacrifice his identity in order to be accepted. Faced with a difficult choice, Eyad will make a decision that will change his THE MYSTERY OF HAPPINESS life forever. “Eran Riklis’ (THE SYRIAN BRIDE, LEMON TREE) ARG ENTI NA/B RAZI L 20 14 strongest film in years!”—Variety. In Hebrew and Arabic with DIRECTOR: DANIEL BURMAN Often called the Woody Allen of Argentinan cinema, Daniel English subtitles. (105 mins.) Sponsored by JStreet. Burman’s wistful comedy is part buddy movie, part detective story, and part romance. “Life-long business partners JUNE 22 MON 7 PM Santiago and Eugenio understand each other without words, THEODORE BIKEL: IN THE care for each other, and need each other. When Eugenio vanSHOES OF SHOLEM ALEICHEM ishes without a clue, Santiago and Eugenio’s wife Laura join U S 20 14 forces to solve the mystery of his disappearance. What they DIRECTOR: JOHN LOLLOS discover is neither what they set out to find nor what you would Portraits of beloved icons Sholom Aleichem and Theodore expect, and their shared journey becomes a surprising and Bikel are woven together to reveal two men with much in com- lighthearted meditation on friendship, love, and loyalty.”— mon: wit, wisdom, and talent—all shot through with deep New York Jewish Film Festival. In Spanish with English subhumanity and Yiddishkeit. Theodore Bikel, the unstoppable titles. (92 mins.) performer whose career spans more than 150 screen roles and countless stage and musical productions, is also the JUNE 25 THUR 6:30 PM foremost interpreter of Sholom Aleichem’s work, including LET’S GO the classic “Fiddler on the Roof.” (75 mins.) G ER MANY 20 14

FOLLOWED BY

SHOLEM ALEICHEM: LAUGHING IN THE DARKNESS U S 20 1 1

DIRECTOR: JOSEPH DORMAN

Dorman’s engrossing film tells the tale of a rebellious genius who created an entirely new literature. Plumbing the depths of a Jewish world locked in crisis and on the cusp of profound change, Aleichem was not just a witness to the creation of a new modern Jewish identity, but one of the very men who shaped it. “A rich . . . modern history of East European Jewry. . . Conjures the look and vitality of shtetl life so vividly you can almost . . . smell the pungent aromas of the cooking.”— Stephen Holden, New York Times. (93 mins.)

A BORROWED IDENTITY

DIRECTOR: MICHAEL VERHOEVEN

DIRECTOR: PEPE DANQUART

Based on the real life story of Yoram Fridman, who escaped the Warsaw Ghetto when he was eight years old, we meet Srulik on the run in winter of 1942/1943. The Polish countryside through which he traverses underscores both his diminutive frame and the sheer solitude of his trek. Through a flashback, we learn Srulik’s father’s parting advice: to be brave, to be strong, to change his name, but to never forget he is Jewish. And Srulik—who renames himself Jurek Staniak—is ever faithful to his father’s words. Under the constant threat of Nazis, Srulik acquires the necessary skills to survive through the kindness of strangers, including a group of Jewish orphans, a kindly Catholic mother, and a compassionate blacksmith, but he can never stay in one place long. In Polish, Yiddish, Hebrew, and German with English subtitles. (112 mins.)

JUNE 28 SUN 4:15 PM

THE ZIONIST IDEA I S RAEL 20 14

DIRECTORS: JOSEPH DORMAN, OREN RUDAVSKY

This ambitious examination of the origins, meaning and future of the Jewish national movement chronicles birth at a moment of crisis to the thriving democracy of today. The film opens in the shtetls of Eastern Europe, and then recounts the early settlement of Palestine and the resulting Arab clashes, the evolution of disputed occupied territories, the rise of the revisionist movement, and the ensuing ideological debate over Zionist ideals. Resisting one-sided historical interpretations, Dorman and Rudavsky take a multifaceted approach to a polarizing subject, weaving interviews with politicians, academics, and activists—both Israeli and Palestinian—among exceptional archival footage. At a time when Israel’s direction is questioned by friends and enemies more than ever, THE ZIONIST IDEA seeks to contextualize the triumphs and trials of the Jewish homeland. (150 mins.)

JUNE 28 SUN 7:30 PM

24 DAYS

fran c e 2 0 14

In 1968, 20-year-old Laura returns to Munich to attend her father’s funeral. Overcome with grief, she and her mother must face the family’s traumatic history. Having survived the Holocaust, Laura’s parents stayed in postwar Germany to start a new life, but not without their horrific experiences looming over their daily lives. Verhoeven, whose previous works include THE WHITE ROSE and THE NASTY GIRL, fashions a beautifully made drama that offers both a biting commentary on postwar German society and probing examination of the complex notion of German-Jewish identity. (90 mins.)

DIRECTOR: ALEXANDRE ARCADY

In 2006, 23-year-old cellphone salesman Ilan Halim was abducted on the outskirts of Paris by a multiracial gang and held for ransom. Though just an ordinary, working-class guy, the thinking was that because he was Jewish, he must be rich. Faithfully reenacting events from the perspective of various characters, 24 DAYS dramatically tracks a massive, but futile, police investigation doomed by near-misses and a failure to recognize the case as a hate crime. Paralleling the hunt and Halim’s harrowing captivity, is the story of a powerless family having no choice but to put their trust in the hands of authorities as they endure the torment of the captors. A white-knuckle thriller, Arcady’s film raises troubling questions about the state of anti-Semitism and race relations in contemporary France. “Gripping. Impossible to forget.”—Los Angeles Times. (110 mins.)

NWFILM.ORG 503-221-1156 JUNE/JULY/AUGUST 2015

NORTHWEST FILM CENTER

PAGE 05

SPECIAL SCREENINGS AN EVENING WITH JAY ROSENBLATT— THE DARKNESS OF DAY

JUNE 9 TUES 7 PM

EVERY THREE SECONDS

THE TALES OF HOFFMAN

DIRECTOR: DANIEL KARSLAKE

AI WEIWEI: NEVER SORRY

U S 20 14

According to UNICEF, every three seconds, someone dies of extreme poverty—usually the victim is a child, and typically the cause is a preventable disease. Daniel Karslake tells the unforgettable stories of five regular folks—a boy, a college student, a thirty-something, and two seniors—whose lives went from ordinary to extraordinary based on one simple decision—to engage. Each chose action over apathy, and in the process, each one has had a significant and lasting impact on two of the most challenging, yet solvable, issues of our time: hunger and extreme poverty. EVERY THREE SECONDS is about doing well by doing good – about changing the world and changing one’s own life in the process. Co-presented with Women for Women International, Team Congo PDX and Run for Congo Women. (99 mins.)

JUNE 10 WED 7 PM — VISITING ARTIST

AN EVENING WITH JAY ROSENBLATT

JULY 9 12 THURS 7 PM, SUN 3 PM

San Francisco filmmaker Jay Rosenblatt has made some two-dozen films since 1980, earning him numerous international awards and recognitions for a body of work that while personal, also explores the emotional and psychological core of human experience. A master of the found-footage form and the texturing of diverse visual and aural source material, this program provides a stimulating sampling of his masterful work, including: A LONG WAY FROM HOME (2015), a hand processed celluloid invocation of Jesus’ last hours that hints at the relationship between the spirit and the flesh; INQUIRE WITHIN (2012), a hypnotic, apocalyptic examination of false choices, double binds, vulnerability and faith; THE D TRAIN (2011), in which an old man reflects on his entire life; THE DARKNESS OF DAY (2009), a tender found footage collage meditation on suicide;I JUST WANT TO BE SOMEBODY (2006), a grimly humorous take on singer and anti–gay rights crusader Anita Bryant; AFRAID SO (2006), a film about fear and anxiety narrated by Garrison Keillor; and PHAMTOM LIMB (2005), a haunting expression of loss and grief. (80 mins.) Jay Rosenblatt will present the films.

JUNE 12 13 FRI 7 PM, SAT 1, 4 & 7 PM

THE TALES OF HOFFMAN U K 1 9 51

DIRECTORS: MICHAEL POWELL, EMERIC PRESSBURGER

Martin Scorsese’s Film Foundation and the British Film Archive teamed up for this dazzling digital restoration of one of the masterpieces of British, and musical, cinema. In many ways an artistic companion piece to THE RED SHOES, Powell and Pressburger’s adaptation of French composer Jacques Offenbach’s 1881 opera tells the tale of a melancholy poet who dreams of three women—a mechanical performing doll, a bejeweled satanic siren and a consumptive opera singer—all of whom break his heart in different ways. While in their earlier film the narrative was propelled by music and dance, HOFFMAN is a pure opera, composed entirely of music, dance, color, light, and rhythm. “An audacious essay in film fantasy! It’s crazy, twee, camp, exhilarating, trite, bold! It’s lip-sync opera, multilayered meta-theater, a kitsch extravaganza of luridly colored design, and keenly musical ballet.”—Alastair Macaulat, New York Times. “The perfect combination of music, dance, song, acting, design and beautiful women. As Cecil B. DeMille had said, you can have everything.”– Michael Powell. (138 mins.) PAGE 06

NORTHWEST FILM CENTER

AI WEIWEI: NEVER SORRY U S 20 1 2

DIRECTOR: ALISON KLAYMAN

Ai Weiwei is China’s most famous international artist and its most outspoken domestic critic. Against a backdrop of strict censorship and an unresponsive legal system, Ai expresses himself and organizes people through art and social media. In response, Chinese authorities have taken many steps to muzzle his provocations, including curtailing his internet access, beating him up, bulldozing his newly built studio, and holding him in secret detention. AI WEIWEI: NEVER SORRY is the inside story of a defiant, digital-age dissident who inspires global audiences and blurs the boundaries of art and politics. From 2008-2010, Klayman gained unprecedented access to Ai while working as a journalist in China, and her detailed portrait provides a nuanced exploration of contemporary China and one of its most compelling public figures. “I feel like a chess player. My opponent makes a move and then I make the next one.”—Ai Weiwei. (91 mins.) Presented in conjunction with the Portland Art Museum’s exhibition of Ai Weiwei’s “Circle of Animals/Zodiac Heads: Gold,” on view through September 13. Free admission for Portland Art Museum members.

JULY 19 SUN 4:30 PM

AI WEIWEI: THE FAKE CASE D EN MAR K/CH I NA/G R EAT B R ITAI N 20 13

DIRECTOR: ANDREAS JOHNSEN

Against a backdrop of strict censorship and an unresponsive legal system, Ai has continued to meet the full force of the Chinese authorities, who have done everything they can to stifle his attempts to express himself and organize people through art and social media. Following his 2011 arrest and subsequent solitary confinement, THE FAKE CASE follows Ai Weiwei after his parole through his battle with a thwarting suit for tax evasion: a lawsuit that he dubs “the Fake Case.” But the troubles with his enemies only continue to provide inspiration for making new art, the only outlet to vent his frustration. “The film picks up where AI WEIWEI: NEVER SORRY left off, serving as not just an update but an even more galvanizing call for reform. Ai’s voice carries louder than ever before.”—Variety. (86 mins.) Presented in conjunction with the Portland Art Museum’s exhibition of Ai Weiwei’s “Circle of Animals/Zodiac Heads: Gold,” on view through September 13. Free admission for Portland Art Museum members.

JUNE/JULY/AUGUST 2015 503-221-1156 NWFILM.ORG

Drive, bike, or take the streetcar to our drive-in under the stars—and the striking Ross Island Bridge—at Zidell Yards. The gates open at 7 PM and films start at dusk, with food and drink for sale by local foodcart vendors. If you don’t have a car, bring a chair and warm, cushy blankets and find your spot in front for some pop cinema classics. The Zidell Yards entrance is at 3030 SW Moody Avenue, a few blocks north of the tram and streetcar stop at OHSU. Admission: $8; tickets available exclusively at the gate. Payment options: cash or card. Please, no outside food or drink. Sound will be broadcast via FM radio transmission and outdoor speaker system. Co-presented by Zidell and the Northwest Film Center.

AUG 27 THUR

CLUELESS U S 1 99 5

DIRECTOR: AMY HECKERLING

Inspired by Jane Austen’s EMMA, CLUELESS takes a deep dive into the life of Cher and her crew of spoiled Beverly Hills teens—a world featuring the original flip phone and more “as ifs” and “whatevers” than you can count. (97 mins.)

AUG 28 FRI

AN AMERICAN WEREWOLF IN LONDON US 1981

DIRECTOR: JOHN LANDIS

Landis’ unlikely mix of intense body horror and wry comedy has had lasting influence on the horror genre and become a modern classic. (97 mins.)

AUG 29 SAT

JURASSIC PARK U S 1 993

DIRECTOR: STEVEN SPIELBERG

What could go wrong with breeding extinct predators and opening an amusement park where children can come see them...? (127 mins.)

AUG 30 SUN

NORTH BY NORTHWEST U S 1 9 59

DIRECTOR: ALFRED HITCHCOCK

Roger O. Thornhill (Cary Grant), trying to prove he’s not who they think he is, encounters people who are not who they appear to be as he breezes through danger and romance in thrilling fashion. (136 mins.)

AUG 31 MON

PEE-WEE’S BIG ADVENTURE U S 1 9 85

DIRECTOR: TIM BURTON

What would you do for the love of your bicycle? Pee-Wee’s charmed life, filled with wonder and delight, comes crashing down when his bike is stolen. (91 mins.)

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

PHOTO BY RICHARD BLAKESLEE

STUDENTS

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

PHOTO BY JOEL CONRAD BECHTOLT

FACILITY

Our 10,000-square-foot building in downtown Portland contains classrooms, editing labs, an equipment cage, and the Film Centerâ&#x20AC;&#x2122;s administrative offices. Equipment is provided with class registration. Our friendly equipment room staff will answer your technical questions and will make equipment check-out as easy as possible. We also rent a variety of equipment to the general public.

FACULTY

Our faculty are working filmmakers who humanize and enrich the learning process by teaching and guiding from real life experience, encouraging class dialogue and supportive critique. Among our regionâ&#x20AC;&#x2122;s finest documentary, narrative, and experimental filmmakers, their award-winning work appears in film festivals, art houses, microcinemas, and exhibition programs worldwide.

PHOTO BY ROBERT LAYGO

CURRICULUM

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

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REGISTER NOW AT NWFILM.ORG DROP-IN TOURS AND ADVISING: Tuesday, Thursday, Friday–10 AM & 2 PM 934 SW Salmon Street, Portland, OR 97205 Corner of 10th & Salmon APPOINTMENTS: info@nwfilm.org.

SUMMER OFFERINGS AT-A-GLANCE

Faculty

Tuition

# Sessions

Start Date

Claymation™ Studio

Vinton

$795

June 17

Directing Studio

Ballard

$595

June 17

Slay

$845

June 24

Ballard

$1,145

June 25

Dialogue Writing

Doughton

$345

July 1

Documentary Writing

Blubaugh

$345

July 9

Multi-Camera Editing

Slay

$365

Aug 6

Phillipson

$10

June 3

O'Brien

$95

June 7

Eifert

$95

June 27

Lighting Basics

Faculty

$65

July 11

Canon XA-10 Camera Operation

Faculty

$55

July 11

Schaefer

$65

July 11

Tvetan

$345

July 16

Hermann

$225

Aug 13

iFilmmaking Basics: Shooting Tips & Tricks

Tvetan

$35

June 27 or Aug 1

iFilmmaking Basics: Editing Tips & Tricks

Tvetan

$45

June 27 or Aug 1

Blubaugh

$485

June 22

Art of Filmmaking I

Ballard

$1,145

June 25

Art of Filmmaking II

Azzouz

$1,245

Fall '15

Art of Filmmaking III, Part 1

Azzouz

$1,145

Winter '16

Art of Filmmaking III, Part 2

Azzouz

$1,145

Summer '15

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

CLASSES

Multi-Camera Production Art of Filmmaking I

WORKSHOPS Get Your Work Into Film Festivals Sound Recording Time-Lapse Cinematography

Storyboarding Creative Visual Storytelling Interview Techniques

iFILMMAKING

FOR TEACHERS Digital Filmmaking for K-12 Teachers

CORE SEQUENCE

WANT MORE ?

If simply taking a class or two doesn’t seem focused or challenging enough, consider enrolling in our optional Certificate Program in Film. Certificate students complete the Core Sequence above and select Topic 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 9 for more information.

8 JUNE/JULY/AUG 2015

nwfilm.org/school

COLLEGE

CREDIT

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

SUMMER CLASSES CLASSES BY START DATE JUNE 17 JUNE 17 JUNE 22 JUNE 24 JUNE 25 JULY 1 JULY 9 AUG 6

CLAYMATION™ STUDIO FILM DIRECTING STUDIO DIGITAL FILMMAKING FOR TEACHERS MULTI-CAM PRODUCTION + EDITING ART OF FILMMAKING I DIALOGUE WRITING DOCUMENTARY WRITING MULTI-CAMERA EDITING

CLAYMATION™ STUDIO WEDNESDAY-SUNDAY, JUNE 17-21, 9AM-4PM 5 sessions Tuition: $795 WILL VINTON Make your own Claymation™ short film mentored by the style’s Oscar-winning inventor and with access to Dragonframe shooting stations. Topics: Dragonframe capture tool functions and operations (provided) Camera set-up, control and movement Lighting and light control Developing your own original animated clay characters Concepts of squash/stretch, ease in/out, the walk cycle Achieving metamorphosis Armatures, fabrication, sculpting, gesture, walks, and lip sync Creating low cost sets and backdrops Building skills through tests, exercises and experiments Planning and executing your personal project Get instructor guidance and feedback throughout Tuition includes all needed production equipment (Dragonframe shooting stations) and access to the Film Center edit lab. Students to provide own art supplies. Prerequisites: None

FILM DIRECTING STUDIO WEDNESDAY-SUNDAY, JUNE 17-21, 9AM-4 PM 5 sessions Tuition: $595 SCOTT BALLARD Shoot and direct a scene(s) with professional actors and a small crew, and have the option to edit it to a finished product. Topics: Developing your unique “director’s eye” Casting, blocking, rehearsing, and coaching actors How directors lead the filmmaking departments (such as locations, wardrobe, make-up, set design, editorial) Communicating with cast and crew to command the set Determining a workable shooting schedule Approaches to lighting, framing, and camera movement The Director’s Line and continuity Get the coverage you need for editing See a range of approaches by crewing for other directors Get instructor, actor, and peer feedback for your directing How to market yourself and your project as a director Tuition includes all needed production equipment (cameras, lights, microphones etc.) and access to the Film Center edit lab. Prerequisites: None

MULTI-CAMERA PRODUCTION WEDNESDAYS, JUNE 24, JULY 1, 8, & 22, 6:30-9:30 PM NO CLASS JULY 15 + XRAY.FM SHOOT, SATURDAY, JULY 11, 1-5 PM + PICKATHON SHOOT, THURSDAY-SUNDAY, JULY 30AUG 2, Times TBD 10 sessions Tuition: $845 (includes free pass to Pickathon) DAVE SLAY Shoot live music performances and events as a trained camera person, technical director, and director. Topics: When and why to go multi-cam versus single-cam Who does what on a multi-cam crew Types of equipment used for multi-cam Camera placements, control room location, cable runs, etc. The pre-show set-up and rollout schedule Shooting techniques with tripod, hand held, remote/robotic, and other cameras Camera composition for multi-cam Enhancing the shoot with Steadicam Merlin, jib, and dolly Getting good audio What’s in the director’s mind when calling shots How camera operators respond to director commands How the technical director supports the director Capturing the venue as well as the performance itself Get Instructor and peer feedback for your shooting and directing Tuition includes Pass to Pickathon and all needed production equipment, including Steadicam Merlin, camera jib, and dolly. Prerequisites: None, but some previous camera experience is helpful.

ART OF FILMMAKING I THURSDAYS, JUNE 25-AUG 20, 6:30-9:30 PM + SATURDAYS, AUG 8-22, 10AM-2PM for MENTORED EDITING LAB SESSIONS 12 sessions Tuition: $1,145 SCOTT BALLARD Shoot and edit two individual or collaborative short films as an introduction to visual, cinematic storytelling. Topics: The components of film language and properties of the image The filmmaking process: pre-production, production, and postproduction Creating treatments and/or scripts and storyboards HD digital camera operation, and sound recording Shot composition Continuity and relations between images Cinematic coverage: shooting to edit Adding in external microphone recording Downloading footage from the camera Setting up a project for editing, editing steps HD file management and workflow Importing sounds, layering and mixing soundtracks Adding titles and effects Moving from first edit to revision and final edit Get extensive Instructor coaching and feedback on your work

MULTI-CAMERA EDITING THURSDAYS, AUG 6-27, 6:30-9:30 PM 4 sessions Tuition: $365 DAVE SLAY Cut together live performance and event footage (yours or ours) sourced from multiple cameras. Topics: Setting up a multi-cam project in Final Cut Pro X The importance of storage and data transfer rates in multi-cam Basic steps to creating a multi-cam clip Syncing multi-cam clips Changing clip order Editing audio separately from video Adding effects, stills, montages, and transitions Building fluidity and continuity across clips Get Instructor feedback for your multi-cam editing Cut provided footage (from XRAY.fm shoot, see Multi-Camera Production) or bring in your own (music, sports, events etc.). Prerequisites: None though basic understanding of Final Cut Pro X is helpful.

DIALOGUE WRITING WEDNESDAYS, JULY 1-29, 6:30-9:30 PM 5 sessions Tuition: $345 STEVE DOUGHTON Unlock the potential of dialogue in your writing for the screen. Topics: How dialogue relates to structure and character Dialogue’s role in building characters and propelling the story forward Different approaches to dialogue by master storytellers How to “hear” what your characters are saying How to include exposition in dialogue and the script Exercises and approaches for road-testing dialogue Getting unstuck when it isn’t working Finding your own creative process as a writer Get Instructor feedback for your dialogue writing. Prerequisites: Basic understanding of storytelling structure.

DOCUMENTARY WRITING THURSDAYS, JULY 9-AUG 6, 6:30-9:30 PM 5 sessions TUITION: $345 ANDY BLUBAUGH Write a script, outline or treatment for your documentary project.

Tuition includes all needed production equipment and access to Film Center edit lab.

Topics: How doc writing relates to the written word, and how it doesn’t The roles of narrative progression and rhetoric in documentary When and how to begin writing (before/during/after shooting) To script or not to script Writing third person narration Writing first person narration Establishing interview subjects as characters Extracting structure from interview footage Organizing clips and making transitions as a form of writing Integrating facts and figures Creating high emotional impact Making a writing scratch track to test the flow The re-writing process (draft and revision) Get Instructor feedback at different stages of your writing

Prerequisites: None

Textbook: SHOT BY SHOT: A PRACTICAL GUIDE TO FILMMAKING, 4th Edition, by John Cantine, Susan Howard, & Brady Lewis (ISBN 978-0-9637433-8-1)

SUMMER WORKSHOPS WORKSHOPS BY START DATE JUNE 3 JUNE 7 JUNE 27 JUNE 27 JUNE 27 JULY 11 JULY 11 JULY 11 JULY 16 AUG 1 AUG 1 AUG 13

GET YOUR WORK INTO FESTIVALS SOUND RECORDING TIME LAPSE CINEMATOGRAPHY iFILM SHOOTING iFILM EDITING CANON XA-10 OPERATION LIGHTING BASICS STORYBOARDING CREATIVE VISUAL STORYTELLING iFILM SHOOTING iFILM EDITING INTERVIEW TECHNIQUES

GET YOUR WORK INTO FILM FESTIVALS WEDNESDAY, JUNE 3, 7-9 PM 1 session Tuition: $10 THOMAS PHILLIPSON

TIME-LAPSE CINEMATOGRAPHY SATURDAY, JUNE 27, 10 AM-4 PM + TUES, JULY 7, 6:309:30 PM 2 sessions Tuition: $95 MARK EIFERT Participate in a group digital time-lapse shoot and then undertake your own. Topics: Which video and DSLR cameras are the best to use and why Selecting scenes and locations that will shine with time-lapse Making camera moves with geared pan heads and slider track Setting proper exposure in changing light (auto, manual) Using the camera’s histogram to monitor exposure Stabilizing the camera in windy conditions How neutral density filters blend still frames together How to stage multiple cameras shooting at the same time Planning and executing your own shoot between classes Transferring the still file sequence into movie files for playback Get instructor guidance and feedback Tuition includes camera for in-class use (or bring your own time-lapse enabled camera)

Practical advice for navigating the myriad of choices out there. 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 consideration Preparing a strategy for your particular film Writing compelling 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 Get feedback from the NW Filmmakers’ Festival coordinator Prerequisites: None Upcoming festival submission deadline: Northwest Filmmakers’ Festival, August 1.

Prerequisites: Basic knowledge of photography or videography recommended.

CANON XA-10 CAMERA OPERATION SATURDAY, JULY 11, 9:30 AM-12:30 PM 1 session Tuition: $55 FACULTY The basics of shooting with our HD camera workhorse. Topics: Manual focus and exposure Proper use of external microphones Basics of the touch screen Recommended presets How to download the AVCHD footage to your computer Rental options for NWFC cameras Note: This workshop is REQUIRED for renters of this camera.

SOUND RECORDING

Prerequisites: None

SUNDAYS, JUNE 7, 1-5 PM + JUNE 14, 1-5 PM 2 sessions Tuition: $95 AMY O’BRIEN Use professional sound gear to record scripted dialogue and interviews Topics: Overview of microphone types and uses from lavaliers to shotguns Single versus dual system recording Basics of recording dialogue, interviews, narration, and effects Audio recorder operation (Marantz PMD-660, Sound Devices 702, Zoom H4N) Field mixer operation (Sound Devices MixPre and 302) Protocols of a recording session Setting up and conducting a recording session, step by step Get Instructor coaching and feedback on practice sessions Rental options for NWFC sound gear Note: Second session is devoted entirely to hands-on practice.

LIGHTING BASICS

STORYBOARDING SATURDAY, JULY 11, 10 AM-3 PM 1 session DAN SCHAEFER Tuition: $65 Storyboard your film, shot by shot, with a professional storyboard artist. Topics: How storyboarding saves precious dollars The role of the storyboard artist on a crew How the storyboard artist works with a director Shorthand instruction in figure drawing, composition, and perspective How to incorporate blocking techniques, camera angles, and camera moves Create your own storyboard through an extended hands-on class exercise Get instructor coaching and feedback Prerequisites: None. Suitable for drawing novices as well as the highly skilled; open to filmmakers and creatives of all levels.

CREATIVE VISUAL STORYTELLING THURSDAYS, JULY 16 & 23 + AUG 6 & 13, 6:30-9:30 PM No Class JULY 30 4 session Tuition: $345 MELISSA TVETAN Shoot and edit a short film combining techniques of fiction, documentary, and experimental filmmaking. Topics: Reflection, essay, collage, movement, and autobiography as inspirations in filmmaking Story pre-visualization techniques Planning and executing your personal project (step by step) Basics of camera operation, lighting, shooting, microphones, and audio recording Writing and recording narration Incorporating personal archives and ephemera Creative editing techniques Adding titles and music Share work-in-progress with peers Get instructor guidance and feedback throughout Tuition includes all needed production equipment and access to Film Center edit lab.

SATURDAY, JULY 11, 1-5 PM 1 session Tuition: $65 FACULTY

Prerequisites: None

Use basic light kits to dramatically vary the mood and quality of a scene.

THURSDAYS, AUG 13-27, 6:30-9:30 PM 3 sessions Tuition: $195 COURTNEY HERMANN

Topics: Using key, fill, backlight, and kicker/rim light How cookies, flags, scrims, and silks affect a light source Using light meters Lighting the interview subject Lighting an outdoor scene Practice simple lighting set-ups and get Instructor feedback Tips and tricks in the field Prerequisites: None

Prerequisites: None

INTERVIEW TECHNIQUES

Direct and shoot multiple interview sessions and get substantial feedback. Topics: Different interviewing styles Selecting interview subjects Planning and researching the interview Formulating questions Choosing locations for filming Basic lighting, sound recording, and shooting techniques Relaxing and empowering the interviewee Thinking on your feet as the interview unfolds Ethical considerations Get Instructor coaching and feedback on your interviewing Tuition includes all needed interviewing equipment (camera, microphone, lights). Prerequisites: none

10 JUNE/JULY/AUG 2015

nwfilm.org/school

JUNE 22 – AUGUST 21 2015

BY J O PHOTOS

ENTERING GRADES 2–12

EL CONR

AD BECH

T O LT

Calling all kids + teens grades 2-12 with an interest in creative selfexpression, hands-on learning, and fun with technology! The film arts are an excellent way to learn about group decision-making, build selfconfidence, and uncover and nurture those special talents within. Experiment with and learn about media arts and technology from our School of Film faculty. No previous experience is required—just the desire to participate in an active, fun, and educational learning experience. All equipment and supplies are included. You bring the ideas!

The Northwest Film Center School of Film, initiated in 1972, is one of the largest and oldest community film schools in the nation, offering classes and workshops on an avocational basis, as well as for academic credit in partnership with local colleges and universities. School of Film faculty are working artists who devote a portion of their professional lives to teaching. An optional Certificate Program in Film allows individuals to pursue a sequential course of study toward their personal goals in film. The School’s statewide outreach arm, the Young Filmmakers Program for Kids + Teens, conducts hands-on filmmaking projects with schools and community groups, provides professional development for K-12 teachers, and produces the annual student recognition program Fresh Film Northwest for teens. The School operates in tandem with the Film Center’s year-round exhibition program of foreign, classic, experimental, and independent works which showcases a wide array of regional, national, and international cinema and includes the annual Portland International Film Festival and Northwest Filmmakers’ Festival.

FILM CAMP 2015 nwfilm.org/school

REGISTER ONLINE Register online at nwfilm.org/school. Tuition and lab fees are due at time of registration. Returning students already have an account on file. Please contact the School of Film at info@nwfilm.org or 503-221-1156 to obtain your user name and password. You will receive a confirmation of your registration by email. When maximum enrollment is reached, a wait list will be generated, and you will be contacted as space becomes available. Classes may be canceled due to under-enrollment, in which case students will be contacted by phone in advance and a full refund issued.

FINANCIAL ASSISTANCE Families with a high-interest child or teen and significant financial need may request tuition assistance to any of the camps offered. Applications will be accepted until this year’s funds are exhausted. Download the application form at nwfilm.org/school/ info/camp. REFUNDS The refund policy is as follows: 30 or more days before the first day of camp – 90% refund; 15-29 days before the first day of camp – 50% refund; 0-14 days before the first day of camp – NO refund.

NOTE: Grade level refers to Fall 2015.

Location: Northwest Film Center, 934 SW Salmon Mailing Address: 1219 SW Park Avenue, Portland, OR 97205

ANDREW BLUBAUGH is a filmmaker and performance artist whose work has screened at Sundance, the Ann Arbor Film Festival, Clermont-Ferrand, PDX Fest, and the Seattle International Film Festival. He has taught Film Camp classes for ten years and regularly instructs the Media Arts Academy for Teens. EMILIE-ROSE (POSIE) CURRIN teaches filmmaking and art at the youth and adult levels with a focus on inspiration and collaboration. Her films merge conversation, poetry, community building, and sometimes visual art and dance. She holds an MFA in Studio Practice from PSU. This is her second year with Film Camp. BRENDA GRELL is an experimental filmmaker with an MFA from the Rhode Island School of Design who works in digital design and new media. This is her fourth year teaching computer animation for Film Camp. She also teaches at Washington State University, Vancouver. BETH FEDERICI is an award winning documentary filmmaker and television producer. She is currently producing/directing a documentary about food author and lover James Beard, “America’s First Foodie: The Incredible Life of James Beard” She teaches media literacy and production throughout the year at the School of Film. LEE KRIST specializes in hand-processed film techniques and the century-old tradition of the hand-crank projector. His work includes BIG FILMS, screened at the Whitney Museum and San Francisco Cinematheque, and TABLEAUX VIVANTS, an installation. This is his eighth year of teaching Film Camp.

Staff Help: Monday–Friday 9 AM–5 PM 503-221-1156 Register online: nwfilm.org/school

MADDIE LOFTESNES is a freelance illustrator/ animator with a background in art and design. As part of the Animated Arts Program at the Pacific NW College of Art, she facilitates technical support for students. She also teaches stop motion animation at Open Meadow High School. This is her second year of teaching Film Camp. HAZEL MALONE has worked as an animation set dresser, prop maker and character fabricator for such entities as Bent Image Lab, Ackerman Films and LAIKA. She has been teaching animation to young people for more than seven years. This is her fourth year of teaching Film Camp. JEAN MARGARET THOMAS, a graduate of the Pacific Northwest College of Art, is a director of photography, gaffer, and electrician for the stopmotion animation and live-action film industries, working on feature films, television shows, commercials, independent films, and music videos. She returns for a third year of Film Camp. MELISSA TVETAN is an experimental filmmaker with a background in both live action and animation. As an editorial manager at LAIKA/house, she worked on commercials for Sony, M&Ms, and Planters Peanuts. For the Sundance Institute Directors Lab, she helps emerging filmmakers. This is her second year of teaching Film Camp.

CAMP

Grade

JUNE 22

JUNE 29

JULY 6

Digital Moviemaking

2-4

Digital Moviemaking

4-6

Stop Motion Animation

4-6

Digital Moviemaking

6-8

Computer Animation

6-8

Green Screen Visual Effects

6-8

Stop Motion Animation

6-8

16 mm Shoot + Process + Edit

9-12

Vintage Film Remix

9-12

Computer Animation

9-12

Media Arts Academy for Teens

9-12

JULY 13

X X

JULY 20

JULY 27

AUGUST 3

X X

AUGUST 10

AUGUST 17 X

X X X

X X X X

DIGITAL MOVIEMAKING FOR 2ND-4TH

DIGITAL MOVIEMAKING FOR 6TH-8TH

COMPUTER ANIMATION FOR 6TH-8TH

SECTION 1: MON-FRI, JUNE 22-26, 8:45 AM-3 PM SECTION 2: MON-FRI, JULY 20-24, 8:45 AM-3 PM SECTION 3: MON-FRI, AUG 3-7, 8:45 AM-3:00 PM SECTION 4: MON-FRI, AUG 17-21, 8:45AM-3:00 PM Learn how filmmakers use camera angles, lighting, sound, and editing to tell stories and how film crews work together to make movies. Experiment with different visual storytelling techniques. You’ll make several short films in different styles, trying your hand at live-action directing, shooting, and editing. You’ll gain the insight and skills to keep making your own movies! The week will culminate in a family screening, complete with popcorn. Completed films will be compiled and uploaded to a special class online video album. Enrollment Limit: 12. Select one of four sections. TUITION: $295 EQUIPMENT/LAB FEE: $50

SECTION 1: MON-FRI, JULY 6-10, 9 AM-3 PM SECTION 2: MON-FRI, JULY 13-17, 9 AM-3PM SECTION 3: MON-FRI, JULY 27-31, 9 AM-3 PM SECTION 4: MON-FRI, AUG 3-7, 9 AM-3 PM Make a dramatic movie in five days! The pace will be fast, but you’ll learn the basics of working together as a movie crew, operating a professional-level digital video camera, directing actors, sound recording, and digital editing. At the end of the week, a short drama will be “in the can.” The week will culminate in a family screening, complete with popcorn. Completed films will be uploaded to a special class online video album. Enrollment Limit: 14. Select one of four sections. TUITION: $295 EQUIPMENT/LAB FEE: $50

SECTION 1: MON-FRI, JULY 13-17, 9 AM-1 PM SECTION 2: MON-FRI, JULY 27-31, 9 AM-1 PM SECTION 3: MON-FRI, AUG 3-7, 9 AM-1 PM Bring two-dimensional graphic artwork to life using Adobe Flash software on Apple digital workstations. Learn how animators create motion using techniques such as squash and stretch, staging, timing, and parallax scrolling. Animate video and/or scan in and manipulate your own artwork. Record your own voiceovers and sound effects and create your own animated sequences frame by frame. The week will culminate in a family screening, complete with popcorn. Completed films will be uploaded to a special class online video album. Enrollment Limit: 11. Select one of three sections. TUITION: $295 EQUIPMENT/LAB FEE: $50

DIGITAL MOVIEMAKING FOR 4TH-6TH SECTION 1: MON-FRI, JULY 6-10, 8:45 AM-3 PM SECTION 2: MON-FRI, JULY 13-17, 8:45 AM-3 PM SECTION 3: MON-FRI, JULY 20-24, 8:45 AM-3 PM SECTION 4: MON-FRI, AUG 3-7, 8:45 AM-3 PM SECTION 5: MON-FRI, AUG 10-14, 8:45 AM-3 PM SECTION 6: MON-FRI, AUG 17-20, 8:45 AM-3 PM Learn how filmmakers use camera angles, lighting, sound, and editing to tell stories and how film crews work together to make movies. Experiment with different visual storytelling techniques. You’ll make several short films in different styles, trying your hand at live-action directing, shooting, and editing. You’ll gain the insight and skills to keep making your own movies! The week will culminate in a family screening, complete with popcorn. Completed films will be compiled and uploaded to a special class online video album. Enrollment Limit: 12. Select one of six sections. TUITION: $295 EQUIPMENT/LAB FEE: $50

GREEN SCREEN VISUAL EFFECTS FOR 6TH-8TH MON-FRI, JULY 27-31, 1:30-5:30 PM We’ll start by filming you and/or your props in front of a green background. Then you’ll go into the editing lab to pick your own backdrop and, using professional digital editing software, electronically transport yourself and/or your objects to another world: outer space, foreign cities, underwater, or...your own idea. Go ahead—wear a green shirt to camp and watch your body disappear! The week will culminate in a family screening, complete with popcorn. Completed films will be uploaded to a special class online video album. Enrollment Limit: 11. TUITION: $215 EQUIPMENT/LAB FEE: $50

STOP-MOTION ANIMATION FOR 6TH-8TH SECTION 1: MON-FRI, JULY 20-24, 9 AM-3PM SECTION 2: MON-FRI, AUG 17-21, 9AM-3PM Bring your drawings, artwork, three-dimensional objects, cutouts, and graphic images to life. Learn how animators create movement using traditional stop-motion animation and a video camera to shoot sets. Record your action frame by frame to make up your own animation sequences. The week will culminate in a family screening, complete with popcorn. The completed films will be uploaded to a special class online video album. Enrollment Limit: 14. Select one of two sections. TUITION: $295 EQUIPMENT/LAB FEE: $50

STOP-MOTION ANIMATION FOR 4TH-6TH SECTION 1: MON-FRI, JULY 6-10, 8:45 AM-3 PM SECTION 2: MON-FRI, JULY 27-31, 8:45 AM-3 PM SECTION 3: MON-FRI, AUG 10-14, 8:45 AM-3 PM Bring your drawings, artwork, three-dimensional objects, cutouts, and graphic images to life. Learn how animators create movement using traditional stop-motion animation and a video camera to shoot sets. Record your action frame by frame to make up your own animation sequences. The week will culminate in a family screening, complete with popcorn. The completed films will be uploaded to a special class online video album. Enrollment Limit: 14. Select one of three sections. TUITION: $295 EQUIPMENT/LAB FEE: $50

PHOTO BY JOEL CONRAD BECHTOLT

FILM CAMP 2015 nwfilm.org/school

16MM SHOOT + PROCESS + EDIT FOR 9TH-12TH MON-WED, JUNE 22-24 & MON-WED, JUNE 29-JULY 1, 12-5 PM This is your chance to experience actual black-and-white celluloid motion picture film, the industry standard until the arrival of videotape and digital video. Learn to load and operate a basic 16mm film camera. Sharpen your understanding of cinematography techniques as you plan and shoot a series of short outdoor scenes in the downtown area. Then work with the instructor to handprocess the film and prepare it for transfer to a digital file. Using the Film Center digital editing lab, edit your footage into a finished short “collage” film. The week will culminate in a family screening, complete with popcorn. Completed films will be uploaded to a special class online video album. Enrollment Limit: 11. Lab fee includes film stock and supplies. TUITION: $295 EQUIPMENT/LAB FEE: $50

COMPUTER ANIMATION FOR 9TH-12TH MON-FRI, AUG 3-7, 1:30-5:30 PM Bring two-dimensional graphic artwork to life using Adobe Flash software on Apple digital workstations. Learn how animators create motion using techniques such as squash and stretch, staging, timing, and parallax scrolling. Animate video and/or scan in and manipulate your own artwork. Record your own voiceovers and sound effects and create your own animated sequences frame by frame. The week will culminate in a family screening, complete with popcorn. Completed films will be uploaded to a special class online video album. Enrollment Limit: 11. TUITION: $295 EQUIPMENT/LAB FEE: $50

VINTAGE FILM RE-MIX MON-FRI, JULY 6-10, 1:00-5:00 PM We’ve pulled some cool-looking 16mm films from the 1950s and 1960s out of storage and transferred them to digital just for fun (sports, documentaries, educational, industrials, TV shows and more). Now its your turn to lay down a music “bed” (bring in something you love or select from our music library) and exercise your creative powers to edit everything together into something that’s truly your own. Using Final Cut Pro X software, you’ll learn to set up a project, organize shots, add sound effects and text. Experiment with rhythm and pacing and learn about “matched action” and “montage” editing styles. The week will culminate in a family screening, complete with popcorn. Completed films will be uploaded to a special class online video album. Enrollment Limit: 11. TUITION: $225 EQUIPMENT/LAB FEE: $50

This is the ultimate destination class for the highly motivated, film-interested teen. SECTION 1: MON-FRI, JULY 13-17 & MON-WED, JULY 20-22, 9 AM-5 PM SECTION 2: MON-FRI, AUG 10-15 & MON-WED, AUG 17-19, 9 AM-5 PM ANDY BLUBAUGH If you’re thinking about going to film/art school, or want to experience the excitement (and challenges) of creating an entire dramatic film from scratch, you don’t have to go to New York or Los Angeles. Now in its 16th year, the MEDIA ARTS ACADEMY FOR TEENS is the School of Film’s premier opportunity for teens to: t Learn with award-winning film professionals t Use professional HD digital video equipment t Be part of a film crew t Get involved in scripting, planning, casting, directing, working with actors, shooting, t Learn industry editing standard software lighting, sound recording, editing, and more! Bring several script ideas to the first day. You’ll work as a group to determine what is produceable, and what attributes make a story great. One or more ideas will come together into an original screenplay, and production will begin! Come prepared to work hard and learn an amazing amount! Expect at least one long shooting day during the class. The week will culminate in a screening for family and friends in the Film Center’s state-of-the-art Whitsell Auditorium. Tuition includes catered lunches. No previous experience is required. Completed films will be uploaded to a special class online video album. Enrollment Limit: 14. Select one of two sections. TUITION: $995 EQUIPMENT/LAB FEE: $125 HIGH SCHOOL CREDIT: The Academy may qualify for high school arts or elective credit through your school district. Inquire with your local guidance counselor.

CALL FOR ENTRIES! FRESH FILM NORTHWEST TEEN FILM FESTIVAL ENTRY DEADLINE: AUGUST 20 Open to any young person, age 13-19, living in Oregon, Washington, Idaho, Montana, and Alaska. Chosen films are included in a free public screening presented in November in the Whitsell Auditorium as part of the 2015 Northwest Filmmakers’ Festival. No entry fee. For more information, visit nwfilm.org/festivals.

DIGITAL FILMMAKING FOR K-12 TEACHERS: INTEGRATIVE APPROACHES MON-FRI, JUNE 22-26, 9 AM-4 PM A five-day intensive opportunity for K-12 educators from all endorsement areas to learn the hands-on basics of media production. See complete class description on page 11.

FILM CAMP 2015 nwfilm.org/school

THE FRANK HOOD SCHOLARSHIP: A full scholarship to the MEDIA ARTS ACADEMY FOR TEENS is available on a competitive basis to an individual with high interest and demonstrated capacity (need may also be a factor). The application deadline is JUNEe 12, 2014. Download the application form at nwfilm.org/school/info/scholarships.

THANKS TO OUR CONTRIBUTORS Oregon Arts Commission Henry Lea Hillman Jr. Foundation James F. and Marion L. Miller Foundation Sonic Media King Family Foundation Women in Film PDX Frank Hood Fund of the Oregon Community Foundation Portland State University ZGF Architects Regional Arts & Culture Council Marylhurst University Pro Photo Supply Anne E. Berni Foundation Harold & Arlene Schnitzer CARE Foundation Juan Young Trust

FOR K-12

TEACHERS

SOUND iFILM BYTE SERIES

DIGITAL FILMMAKING FOR K-12 TEACHERS

iFILMMAKING BASICS: SHOOTING TIPS & TRICKS

SOUND EVENTS BYTE

MONDAY-FRIDAY, JUNE 22-26, 9 AM-4 PM OPTIONAL OPEN LAB THURSDAY, JUNE 25, 4-9 PM ANDY BLUBAUGH Tuition: $485

Select one of two identical sections SECTION 1: SATURDAY, JUNE 27, 9:30AM-NOON SECTION 2: SATURDAY, AUG 1, 9:30AM-NOON Tuition: $35

Learn to conduct small-scale filmmaking projects that foster integrative learning in the K-12 classroom.

Shoot on your iPhone or iPad with skill and confidence.

Topics: How digital filmmaking promotes proficiency in social studies, language arts, and other core subjects How digital filmmaking helps students develop skills in critical thinking, leadership, and media literacy Basics of camera operation, lighting, sound recording, editing Planning and leading simple, replicable digital filmmaking activities with students Creating continuity in both documentary and narrative styles Strategies for engaging beginners Leading groups through the scriptwriting process Approaches for production of larger filmmaking projects Components of filmmaking lesson plans Success stories, best practices, and words of advice from guest teacher presenters Get Instructor feedback for shooting, editing, and lesson plans Tuition includes all needed production equipment and access to Film Center edit lab. Available for 35 PDUs.

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 Get instructor feedback and trouble-shooting advice Bring your iPhone or iPad or use a Film Center iPad (for in-class use only).

SATURDAY, JUNE 20, 4:30 PM LOCATION: WHITSELL AUDITORIUM Everyone is invited to watch the many short films created by students in the Winter Term and Spring Term 2015 classes. Whether the first attempt of a beginner or something more ambitious from an advanced student, it’s an uncurated, allcomers program for anyone who has decided they’re ready to show their work on the big screen. Join in congratulating them on this important step in their journey toward self-expression through film. Free admission. (120 mins.)

iFILMMAKING BASICS: EDITING TIPS & TRICKS Select one of two identical sections SECTION 1: SATURDAY, JUNE 27, 1-5 PM SECTION 2: SATURDAY, AUG 1, 1-5 PM Tuition: $45 Turn your iPhone or iPad into a video editing station. Topics: Basic concepts of video editing In-depth instruction on iMovie for iOS Media management and sharing files from iOS to computer Combining narration, music, sound effects (audio mixing) Exporting your project to social media sites Practice editing different kinds of footage together Get instructor feedback and trouble-shooting advice Bring your iPhone or iPad or use a Film Center iPad (for in-class use only).

THANK YOU!

SCHOOL OF FILM STUDENT SCREENING

SCHOOL OF FILM OPEN HOUSE WEDNESDAY, AUG 19, 6 PM LOCATION: SCHOOL OF FILM Find out about the School of Film and whether its offerings, including the Certificate Program in Film, are right for you. This evening, we’ll review current and upcoming course offerings, and talk about how the Certificate Program fits in. Learn about the Core Sequence, planning your course of study, scholarship options, and college credit options. Hear from current and past students about their experiences and plans. Equipment Room staff will discuss our equipment. Registration staff will be on hand to answer your questions. Open to prospective and enrolled School of Film students. Attendees are invited to attend the 7 PM NW TRACKING program in the Whitsell Auditorium (see p.3). Free admission.

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

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

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

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

CHALLENGE YOURSELF

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

REQUIREMENTS CORE SEQUENCE ART OF FILMMAKING I—two beginning-level film projects ART OF FILMMAKING II—three intermediate-level film projects ART OF FILMMAKING III—one professional-quality advanced film project (see right for full class listings) PUBLIC SCREENING OF ADVANCED FILM PROJECT LEVEL ONE Core Sequence (above) + 3 or more selected Topic Classes + 10 hours selected Workshops LEVEL TWO Core Sequence (above) + 6 or more selected Topic Classes + 15 hours selected Workshops

HOW TO APPLY

CORE SEQUENCE ART OF FILMMAKING I SUMMER TERM 2015, FALL TERM 2015, WINTER TERM 2016 12 sessions Tuition: $1,145 BUSHRA AZZOUZ Beginning-level introduction to the basics of visual, cinematic storytelling. Topics: The components of film language; basics of HD digital camera operation, sound recording, shooting, and editing; hands-on working knowledge of basic HD digital video production process and workflow; shoot and edit two individual or collaborative short films; bring in work-in-progress for class critique. Textbook: SHOT BY SHOT: A PRACTICAL GUIDE TO FILMMAKING, 4th Edition, by John Cantine, Susan Howard, & Brady Lewis (ISBN 978-0-9637433-8-1) Projects: Two individual or collaborative projects Allocated gear: Canon XA-10 cameras, basic sound and lighting gear, Film Center Avid Edit Lab Prerequisites: None

ART OF FILMMAKING II FALL TERM 2015 14 sessions Tuition: $1,245 BUSHRA AZZOUZ Intermediate-level exploration of cinematic storytelling skills and techniques. Topics: More ambitious shooting styles and lighting techniques, refining your creative eye by envisioning a scene or concept; in-depth pre-production and planning techniques to support your vision; art direction and mise en scene; shooting and hand-processing 16mm film as well as HD video; editing for character, story, and rhythm; all phases of post-production including color correction and sound design; as part of a crew, shoot and edit three short individual and collaborative projects (either HD or 16mm); bring in work-in-progress for class critique. Projects: Three individual and collaborative projects Allocated gear: Canon XA-10 cameras and Bolex 16mm cameras, professional shotgun/ wireless microphones and field mixers, lighting and grip gear, Film Center Avid Edit Lab. Tuition includes film stock and film processing. Prerequisites: ART OF FILMMAKING I or previous shooting and editing experience

ART OF FILMMAKING III PART I – Pre-Production & Production WINTER TERM 2016 14 sessions Tuition: $1,145 BUSHRA AZZOUZ PART II – Post-Production SUMMER TERM 2015 + NOVEMBER PUBLIC SCREENING SUMMER TERM 2016 + NOVEMBER PUBLIC SCREENING 14 sessions Tuition: $1,145 BUSHRA AZZOUZ Produce a professional-quality personal project showcasing your skills and interests.

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

12 JUNE/JULY/AUG 2015

nwfilm.org/school

Topics: Plan, write, shoot, and edit a polished film with professional-level production values, in any genre or combination of styles, with a finished running time of up to 12 minutes; assume one or more primary creative roles on the film (e.g., director, cinematographer, editor, writer), drawing upon others to create a full crew; crew on at least one other class project in a supporting role (e.g., producer, assistant director, or technical position); progress through rough cut, final cut, color correction, sound mix, music, titles, and final outputting; create an artist statement, biography, and synopsis for the film and present the film to a public audience; emphasis is on student-generated critique and feedback, with faculty acting as mentors and facilitators. This is a continuous two-term class. Enrollment for Part II immediately follows completion of Part I. Projects: One individual project Allocated gear: Canon XA-10 cameras and 16mm cameras, professional shotgun/wireless microphones and field mixers, lighting and grip gear, Film Center Avid Edit Lab. Tuition includes 10-day use of HD or 16mm camera package. Out-of-facility expenses are a student responsibility. Prerequisites: ART OF FILMMAKING I and ART OF FILMMAKING II or instructor consent

SUMMER TERM FACULTY BIOS KLYE ALDRICH is a writer, producer, art department director, and post production supervisor for feature films, commercials, and web content with an MFA in Creative Writing from Goddard College. His is the writer and producer of such films as THE STATEMENT OF RANDOLPH CARTER, selected by Cthulhucon: H.P. Lovecraft Film Festival, and D IN SPACE, Winner of Best In Show at the 48 Hour Film Festival in 2011. Other projects have screened at such competitions as the Northwest Filmmakers’ Festival (THE FURTHER ADVENTURES OF ANSE AND BHULE IN NO-MAN’S LAND, which he associate produced), Filmed By Bike Film Festival, and Oregon Independent Film Festival. He first taught screenwriting at Lights Film School in New York. Currently, he teaches screenwriting and film production at the Art Institute of Portland and serves as a pitching consultant for Willamette Writers.

COURTNEY HERMANN is an award-winning documentary filmmaker whose films have won grant funding from The Paul Robeson Fund for Independent Media, Native American Public Telecommunications, “POV”/American Documentary (CPB), The Playboy Foundation, The Seventh Generation Fund, and other sources, including multiple highly successful Kickstarter campaigns. Among her recent projects are a film appearing in the Oregon Cultural Heritage Commission’s travelling exhibition, UPROOTED, about Japanese farm labor camps during World War II; STANDING SILENT NATION, chronicling the Lakota Indians’ struggle against the US Drug Enforcement Administration, which screened on PBS’s “POV” series, and EXOTIC WORLD AND THE BURLESQUE REVIVAL, about the last days of an old Route 66 roadside attraction. Holding an MFA in Film from BUSHRA AZZOUZ, lead faculty member for 20 years, is the director of the award-winning Columbia College, she has an extensive background as an educator at the adult level. documentary AND WOMAN WOVE IT IN A BASKET..., an exploration of traditional Klickitat river culture AMY O’BRIEN is a documentary and narrative filmmaker/editor with a background in theater and through a contemporary Native American woman’s point of view. Her two recent films, NO NEWS, a web design. Through her production company Purple Macaroni Productions, she creates short personal reflection on 9/11, and WOMEN OF CYPRUS, a collaboration with the women of the divided films that document personal stories and explore the lighter side of life. These have included FOUR, island, investigate the imprint of war on everyday life. She holds a BA from Reed College and an MA which screened in the Northwest Filmmakers’ Festival, and NO SOLICITING, which screened at the from San Francisco State. She is the lead mentor on the School of Film’s Project Viewfinder and is Columbia Gorge International Film Festival. She also creates promotional films for nonprofits such currently working on A MIDSUMMER NIGHT’S DREAM IN PRISON, which follows inmates at an Oregon as Literary Arts and the Tucker-Maxon School for the Deaf and recently edited “Blue Fiddles,” a web state prison as they produce Shakespearian comedies. series. An active member of Women in Film PDX, she studied media at the New School for Social SCOTT BALLARD (ScottBallardFilms.com) has produced six feature films and several shorts, and has Research after taking classes at the School of Film. purplemacaroni.com DAN SCHAEFER has contributed to film and television productions as a concept artist for more than 23 years. His list of projects varies from animation (“Teenage Mutant Ninja Turtles” television series), advertising campaigns (BMW, Adidas, Nike, Intel, HP, Clorox) and feature films (for NBC/Universal, MGM, Lions Gate, Paramount) and the television shows “Leverage” (TNT), “Grimm” (NBC), and “Graceland” (USA). His diverse skill set has led him into art direction (“Valley of Light” for Hallmark) and producing (associate producer on the film for Sony’s DEEP WINTER starring Michael Madsen). He has worked with such directors as Gus Van Sant, Guillermo Arriga, and Ellory Elkayam as both a ANDY BLUBAUGH’s experimental documentaries have screened at the Sundance, Clermont- pre-visualization artist and additional writer. He has completed three feature-length documentaries Ferrand, Edinburgh, and Seattle International Film Festivals, among others, and have been broadcast including, MANIA, which premiered at the Northwest Filmmakers’ Festival; KINGS OF THE ROAD; and by the PBS program “POV” and the Logo Network. He is the recipient of a fellowship from the Tribeca FIGARO. Most recently he finished the film, THE HOUSE BY THE SIDE OF THE ROAD. Film Institute and was identified as one of “25 New Faces of Independent Film” by Filmmaker DAVE SLAY, Director for Pickathon Music Festival Video Crew for 7 years and lead Trainer and Magazine. His debut feature, THE ADULTS IN THE ROOM, premiered at the FrameLine Film Festival in Director for the last three festivals, is a veteran Director/Camera Operator who shoots multi-camera San Francisco and won Best Narrative Feature at the 37th Northwest Filmmakers’ Festival. music and sports events all over the West Coast for various production companies. His background STEVE DOUGHTON is the writer and director of the feature film BUOY (www.buoythemovie.com), includes more than three decades in local, national, and international broadcasting, including over which won the Audience Favorite Award at the Northwest Filmmakers’ Festival in 2012, and the a decade in the management of local community media centers, operating multi-cam systems for Best Screenplay Award at Bend Film in 2013. His filmmaking career began in the 80’s when, after national music acts at the Clark County Fairgrounds, and freelance video production for ESPN, NBC, studying painting and drawing at the Pacific Northwest College of Art, he moved to New York City CNN, Nike, Intel, Freightliner, the US Forest Service, and many other entities. written, directed, and produced three of his own feature films locally (A STANDING STILL, WELCOMING DEPARTURE, DEATH ON A ROCK). These have played widely in film festivals around the world, and have been featured in the Film Center’s NORTHWEST TRACKING series. As a Director of Photography, he has shot for a host of independent directors in the HD and S16mm formats. Co-owner of the studio Portland Film Works and Creator of Great Notion Filmmaker’s Collective, he has taught directing and cinematography at the Seattle Film Institute and PCC. He holds an MFA in Film Production from Boston University.

to be represented by Civilian Warfare Gallery and soon began making experimental short films including AROUND CLOWN with David Wojnarowicz, FERRUM 5000, DELTA, and CIRCUIT. These works screened at such venues as The Kitchen, Artist’s Space, The New Museum, Marianne Boesky Gallery, The Viennale in Vienna, and L.A.C.E. in Los Angeles, and were reviewed or featured in ART IN AMERICA, SPIN, ROLLING STONE, and other publications. He also shot and/or directed music videos for Aphex-Twin, Iggy Pop, Blonde Redhead, Pavement, and others, and was a resident artist at The Nantucket Screenwriter’s Colony. He is currently in pre-production on his next feature film, like BUOY, to be set and produced in Portland.

JEAN MARGARET THOMAS is a director of photography, gaffer, and electrician for the stop-motion animation and live-action film industries, working on feature films, television shows, commercials, independent films, and music videos, in formats from 35mm and 16mm to High Definition and RED. A graduate of the Pacific Northwest College of Art in photography, she also has more than a decade of experience lighting for dance, opera, and music performance organizations and for museum exhibitions at OMSI. She has also taught at The Art Institute of Portland and PNCA.

MELISSA TVETAN has a background as an editorial manager for six years at the animation studio LAIKA/house, where she worked on commercials for Sony, M&Ms, Sony, Honda, and Planters Peanuts. MARK EIFERT is a Director of Photography and Motion Control Operator for animation studios in She has also served as post-production supervisor for the annual Sundance Institute Director’s Portland and Los Angeles, including Screen Novelties, Shadow Machine, Starburns, and Bent Image Lab since 2008, supporting editorial support to the emerging filmmakers in residence. A former Lab. As a time-lapse cinematographer, he is represented by Corbus Motion. His time-lapse footage student at the School of Film, she screened her new experimental film OUT OF THIS WORLD in the has been used for television shows like “Men in Trees”, “Monk”, and “American Experience”; the Experimental Film Festival Portland Throwdown 2014. Thom Yorke music video HARROWDOW HILL; and the short film WIND. In addition, he has worked WILL VINTON, Academy Award- and primetime Emmy Award-winning director/producer, is the with Chel White, Jim Blashfield, and many others locally on a variety of short films. Most recently, he world-renowned Claymation pioneer, having coined and trademarked the word and created some shot a short film for Charlie Vaughn and Julie Sullivan called 33, now in post-production. of the most innovative dimensional animation in the industry. Among the world-famous characters he has directed and produced are “The California Raisins” and the computer-animated M&Ms “Red” and “Yellow.” As the founder of Will Vinton Studios, he was the executive producer for the acclaimed television series “The PJs” and “Gary & Mike.” Now, as principal of Free Will Entertainment, he is directing, developing, and producing animation for film, television, and commercial markets.

RENT ME

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

Cameras for rent:

Editing Stations for rent:

Other equipment for rent:

Facilities for rent:

Film stock for sale:

Canon XA-10 Camera Package Panasonic DVX-100 Camera Package JVC EX555 Handycam Package Canon, Minolta and Beaulieu Super8mm Cameras Arri and Bolex 16mm Cameras

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

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

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

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

SOUND BYTE Film Center Certificate Program student ZSUZSANNA MANGU talks about green cards, nomadic living and the art of pole dancing. You’re originally from Hungary and then studied abroad in Taiwan. What brought you to the United States? I came to the United States to live with my husband whom I met in Taiwan. At first I didn’t want to move to the USA, as I wanted to work right away instead of going through the long and painful immigration process. I came to visit him for two weeks in February 2013, and we got married.

SOUND BYTE

You have a Master’s Degree in diplomacy and international relations. What made you want to study film? When I was working as an administrator for the city government of my hometown—Debrecen, Hungary—I was always trying to do something creative, but it wasn’t quite possible. When I first came to the USA, I had a lot of free time since I wasn’t authorized to work yet. I passed by the Film Center building a few times and thought I would try out a class. I took my first class with Andy Blubaugh in the summer of 2013 and I loved it. Then I took ART OF FILMMAKING I with Bushra Azzouz and made a personal film called ANTICIPATION IN EMPTINESS, about a woman waiting for her green card to be approved. Then I decided to enroll in the Certificate Program. I feel really lucky that my passion will now also be my career path. You were a camera person at the Pickathon Music Festival as part of the School of Film’s Multi-Camera Production class. What was that experience like? Multi-Camera Production is one of my favorite classes at the NWFC. I love the excitement of music festivals, the energy that flows around, the nomadic style of living and the music playing everywhere. It was great to be part of a video team working together towards the same goal. I didn’t have any experience with multi-camera production before taking the class, and it was a fun way to get an overview. I recommend it enthusiastically. You’ve received two scholarships as a Film Center student. How have they helped your education? Both the Women in Film Scholarship and David King Scholarship were a great financial help and they were also a great encouragement. As I was starting down a new career path, it was easy for me to doubt my abilities. These scholarships gave me the affirmation that helped me to push through some difficult times. They have also connected me to mentors and supporters, so they were worth much more than the monetary award itself. You’ve worked in a number of internships. How did you come to these opportunities?

PHOTO BY JASON E. KAPLAN

14 JUNE/JULY/AUG 2015

The Film Center is a great help in passing job/internship information along to the students. I saw a crew call on the NWFC’s bulletin board and applied for a second assistant director position on a short narrative called GAGE. It connected me with many people working in the film industry and it also helped me understand what happens on a film set. I also have a paid internship as a video producer with the Portland Water Bureau that I learned about from the Film Center staff, and a paid position doing video editing with Mercy Corps that grew out of an internship.

nwfilm.org/school

Some of your work involves teaching young people about filmmaking. What are you trying to share with them? Teaching is important to me because I think it’s very important to pass our knowledge and share our experiences, and making videos is great exercise for the mind. I was an English language instructor in Taipei and I really enjoy teaching. The Film Center is giving me several opportunities to expand my teaching into film. This summer I will be a Summer Camp teaching assistant for the Media Arts Academy for Teens. I am also helping a group of youth from Latino Network to make a PSA about mental health awareness. You’re currently working on your thesis film for the Film Center Certificate Program. What is it about? It’s a short documentary about the art of pole dancing. The dance studio, Ecdysiast, regularly performs at the Alberta Rose Theater. Last year they told the story of Alice in Wonderland through pole dancing. I thought that it is amazing that you can tell a children’s story with pole dancing. My documentary will tell the story of the studio’s owner and director parallel to the history of pole dancing. I made a short film about a few of the studio’s pole dancers last year, and decided to expand to a larger project this year. It will screen in the Whitsell Auditorium in November, along with the films of the other graduating Certificate Program students. How do you see your background in diplomacy and your new career in filmmaking working together? I’m great to have a background in politics so I can make films that are related to it and have a better understanding of how to approach them. In the future I want to do a documentary related to a very sensitive issue: which is the Great Hungary ideal or Hungarian nationalism.

ROCK ‘N’ ROLL HIGH SCHOOL MONTY PYTHON’S THE MEANING OF LIFE

Join us atop the Hotel deLuxe’s parking structure at SW 15th and Yamhill for our 11th annual program of cinema under the stars. Doors open at 7 PM with food and beverages available for purchase from select food carts and Sierra Nevada Brewing Company. Music begins at 8 PM and films begin around dusk. Entry for advance ticket holders is guaranteed until 8:30 PM. Advance tickets ensure that you will not have to wait in the ticket purchase line but do not guarantee entry after 8:30 PM. A limited number of chairs are available on a firstcome, first-served basis, so feel free to bring a chair, pillow, or blanket, along with a light sweater or jacket. Advance ticket holders who arrive after 8:30 PM but are not admitted to the screening (in the case of a sell-out) may exchange their tickets for another Top Down screening. There are no refunds or exchanges for arrivals after the film begins (c. 9 PM) or for entirely missed screenings. We appreciate your understanding. Please, no pets or outside food or drink. Day-of weather updates at nwfilm.org.

SONG OF THE THIN MAN

AUG 13 THURS 8 PM

ROCK ‘N’ ROLL HIGH SCHOOL U S 1 979

DIRECTOR: ALLAN ARKUSH

Thanks to our sponsors: Hotel deLuxe, Peter Corvallis Productions, Sierra Nevada Brewing Company, Portland Mercury, Yelp! Portland, KIND Healthy Snacks, PDX Pipeline, Artslandia and 94/7 FM KNRK.

THE 10TH VICTIM

Advance tickets are available at nwfilm.org: $9 general; $8 student/senior/Portland Art Museum member; $6 Silver Screen Club Friend. Tickets at the door are $11 general; $10 student/senior/PAM member; $8 Silver Screen Club Friend.

JULY 16 THURS 8 PM

JULY 30 THURS 8 PM

U S 1 947

ITALY/FRAN CE 1 9 65

SONG OF THE THIN MAN DIRECTOR: EDWARD BUZZELL

The last of the six classic THIN MAN films pairs William Powell as Nick Charles—the nattiest ex-cop you’ll ever meet—and the inimitable Myrna Loy as Nora, his wry urbane socialite wife. The story begins with a murder on a yacht and leads the crime-fighting couple through Manhattan jazz clubs offering them plenty of cocktails and hep-cat lingo along the way. Sure, a few people get murdered, but it’s all so very stylish and civilized. (86 mins.)

JULY 23 THURS 8 PM

SEXY BEAST U K/S PAI N 20 0 0

DIRECTOR: JONATHAN GLAZER

Famed music video director (Radiohead, Blur) Jonathan Glazer’s first feature updates the classic heist film with equal doses of sharp comedy and chilling menace. Gal (Ray Winstone), a London gangster retired to the south of Spain with his porn star wife and pool boy, is reluctantly pulled back into a life of crime by his old mentor, Don Logan (Ben Kingsley), a frighteningly and hilariously unhinged maniac. “Spouting profanity, staring daggers at any perceived enemy, and talking nuts to himself in a mirror like De Niro in a Cockney TAXI DRIVER, Kingsley creates an unforgettable monster.”—Rolling Stone. (89 mins.)

THE 10TH VICTIM

AUG 20 THURS 8 PM

DIRECTOR: ELIO PETRI

“Petri’s black comedy imagines the hunting of humans as a government-sanctioned, globally televised sport, a gladiatorial combat meant to relieve tension and settle conflicts in an otherwise anesthetized world devoted to mindless consumption. THE 10TH VICTIM amusingly remains a classic ‘commedia all’italiana’ of the 1960s, with Marcello Mastroianni in his archetypical role as the castrated Casanova struggling to maintain his inbred macho poise as he is assaulted not only by Ursula Andress’s gun-toting Amazon, but by a mercenary wife (Luce Bonifassy) and an impatient mistress (Elsa Martinelli), who have joined forces against him.”—The New York Times. (92 mins.)

AUG 6 THURS 8 PM

WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN S PAI N 1 9 8 8

DIRECTOR: PEDRO ALMÓDOVAR

When Principal Togar tries to confiscate ex-cheerleader and aspiring songwriter Riff Randall’s (P.J. Soles) ticket to the upcoming Ramones concert and burn their records, the students enlist the Ramones in a punk-style coup. With rollicking performances by the Ramones and a wall-to-wall soundtrack that includes Chuck Berry, Devo, Alice Cooper, Fleetwood Mack, Nick Lowe, and more, B-movie master Roger Corman’s spoof of 50’s musicals and ode to personal freedom still rocks. (93 mins.)

The film that made the director an international cinema icon, WOMEN—in typical Almodóvar style—weaves an array of colorful characters into a single, manic-depressive symphony. Carmen Maura highlights as the heroine Pepa, a TV star heartbroken by her lover Ivan (Fernando Guillén), and desperate to find her bearings. “Gorging on the bad, bad world of TV soap operas, tabloid news, and those Roy Lichtenstein cartoons where anguished women lament their lives with ‘Brad’, Almodovar gets a wonderful rise out of life’s lows.”—Washington Post. (90 mins.)

STRANGERS ON A TRAIN U S 1 9 51

DIRECTOR: ALFRED HITCHCOCK

Tennis pro Guy Haines is in a bad marriage when he’s approached by a perfect stranger, Bruno (Robert Walker), who idly contemplates the perfect murder. Bruno speculates that if he gets Guy’s wife out of the way, then Guy could take care of Bruno’s untenable father and each could have an alibi for the murder they’d be suspected of and no discernable motive for the crime they committed. “Bruno’s manner is pushy and insinuating, with homoerotic undertones . . . not a psychological study, however, but a first-rate thriller with odd little kinks now and then.”—Roger Ebert. (101 mins.)

AUG 27 THURS 8 PM

MONTY PYTHON’S THE MEANING OF LIFE U K 1 9 83

DIRECTORS: TERRY JONES, TERRY GILLIAM

With something to offend most any sensibility, the comedy troupe of Monty Python offers this comprehensive and nonsensical guide to life—from birth to death. Filled with uproariously funny sketches and songs, the film is a grab bag of outrageous contemplations of the absurdity of life where everything is over the top and nothing is sacred ...well, perhaps one thing. (107 mins.)

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444 HARD EIGHT AKA SYDNEY

THE ART OF REINVENTION: PAUL THOMAS ANDERSON & HIS INFLUENCES Paul Thomas Anderson occupies a unique position in the American film industry: a cinephile auteur working within the confines of the major Hollywood studios but making his own brand of idiosyncratic, distinctive films with an eye for art over commerce. Anderson’s films cover wide dramatic terrain, from the inner workings of American pseudo-cults in BOOGIE NIGHTS and THE MASTER, to the sprawling interrogation of family in MAGNOLIA, to the Southern California oil boom at the turn of the 20th century in THERE WILL BE BLOOD. A child of Los Angeles, his work has largely focused on the marginalia of the City of Angels, off the well-worn, glamorous path, shaping everyday lives into poetic meditations on modern existence. In addition to Anderson’s seven features we are pleased to offer 14 films that have influenced his work over the years. As all of Anderson’s films have been shot on film, most of the films in the retrospective will be screened on 35mm prints—an increasingly limited possibility in the era of digital cinema.

JULY 24 25 FRI 7 PM SAT 4:30 PM

HARD EIGHT AKA SYDNEY U S 1 99 6

DIRECTOR: PAUL THOMAS ANDERSON

JULY 25 SAT 7 PM

THE KILLING OF A CHINESE BOOKIE U S 1 976

DIRECTOR: JOHN CASSAVETES

Cassavetes’ foray into the crime genre follows small-time nightclub owner Cosmo Vitelli (Ben Gazzara), who jumps from one big debt to another when, following his pay-off of a major gambling debt, he celebrates by losing $23,000 in a poker game that same night. However, the men to whom he owes the money have other ideas about the payment, forcing Cosmo to become a hit man instead. Through his depiction of the out-ofhis-element Cosmo, representing a microcosm of declining American masculinity, Gazzara delivers a tour-de-force performance. “One of the things that comes through in the film is the agony of confrontation with the powerful—an inevitable aspect of the film business, or of any business, but one that must have left scars on the soul of even as fiercely driven an artist as Cassavetes was.”—Richard Brody, The New Yorker.

NORTHWEST FILM CENTER

BOOGIE NIGHTS U S 1 997

DIRECTOR: PAUL THOMAS ANDERSON

With a script first developed in his teens and a story previously filmed as a short, Anderson delivered this wake-up call to the American cinema, weaving a poignant, tragic-yet-ultimately hopeful tapestry of lives in the late-70s Southern California “adult film” industry. Jack Horner (Burt Reynolds), patriarch of a small studio in the San Fernando Valley, discovers Eddie Adams (Mark Wahlberg), an aimless young man, who—once Horner convinces Eddie of his potential— transforms overnight into porn juggernaut Dirk Diggler. The rotating cast of characters surrounding Jack and Dirk include matriarch Amber Waves (Julianne Moore) and budding star Rollergirl (Heather Graham), among others, who form a makeshift family, having been cast adrift from their own. “One of the most ambitious films to have come out of Hollywood in some time.”—Emanuel Levy, Variety. (155 mins.)

(135 mins.)

AUG 1 SAT 7 PM

JULY 26 7 PM

U S 1 997

HOUSE OF GAMES

Anderson’s first feature announced a powerful new voice in U S 1 9 87 American cinema at a time when Quentin Tarantino and the DIRECTOR: DAVID MAMET Coen brothers were taking cinemas by storm with their film- Having won the Pulitzer Prize for his play GLENGARRY GLEN history-inflected, sweeping creations. Anderson opts instead ROSS, Mamet turned his attention to the silver screen with for a part-70s crime flick, part-chamber drama focused on a this no-nonsense, elemental peek into the world of con small group of wayward souls: Sydney (Philip Baker Hall), an men—centered around card games specifically—for which aging gambler, John (John C. Reilly), a troubled young man he wrote the screenplay and directed. Margaret (Lindsay whom Sydney takes under his wing, and Clementine (Gwyneth Crouse) is a successful psychiatrist who becomes drawn Paltrow), a Reno cocktail waitress. Sydney, the poker-faced into this shady yet tantalizing world after one of her patients moral and philosophical center of the group, leads his young- confesses that he’s deep in debt and in trouble, beholden to er companions out of the trouble they naturally stir up, but Mike (Joe Mantegna), a hustler at the House of Games. As holds a huge secret of his own, one which threatens to shat- Margaret’s curiosity about Mike’s world gets the better of her, ter the delicate balance they’ve created. “Movies like HARD she sets off down a path that may be irreversible. “A welcome EIGHT remind me of what original, compelling characters the throwback to the primacy of character and careful story construction, at a time when narrative intricacy was in short supmovies can sometimes give us.”—Roger Ebert. (102 mins.) ply on American movie screens.”—Kent Jones. (102 mins.) PAGE 16

JULY 31 AUG 1 FRI 7 PM SAT 4 PM

JUNE/JULY/AUGUST 2015 503-221-1156 NWFILM.ORG

JACKIE BROWN DIRECTOR: QUENTIN TARANTINO

Tarantino’s perhaps underappreciated crime drama stars Pam Grier as Jackie Brown, a flight attendant for a small Mexican airline who smuggles drugs for Ordell Robbie (Samuel L. Jackson) on the side. Ordell has a network of smugglers and couriers working for him, but also has ATF agent Nicolette (Michael Keaton) hot on his trail. Jackie, arrested for drug possession, runs out of options and takes matters into her own hands and with the help of unassuming bondsman Max Cherry (Robert Forster), She turns the tables on everyone, although Ordell’s circle—including Bridget Fonda’s stoner surfer Melanie and Robert De Niro’s smarmy ex-con Louis—offers Jackie resistance at every step. “You savor every moment of JACKIE BROWN. Those who say it is too long have developed cinematic attention deficit disorder. I wanted these characters to live, talk, deceive, and scheme for hours and hours.”—Roger Ebert. (154 mins.)

BOOGIE NIGHTS

THERE WILL BE BLOOD

AUG 8 SAT 7 PM

AUG 15 SAT 7 PM

JAPAN 1 949

U S 1 9 53

THE BAND WAGON

STRAY DOG

DIRECTOR: AKIRA KUROSAWA

DIRECTOR: VINCENTE MINNELLI

AUG 9 SUN 6 PM

AUG 16 SUN 7 PM

U S 1 993

FRAN C E 1 9 6 0

Kurosawa’s neorealist, post-war tale of urban malaise follows homicide detective Murakami (Kurosawa regular Toshiro Mifune) during a sweltering heat wave in which he has his gun stolen on a crowded bus. Riddled with shame and guilt, Murakami sets out on an odyssey to recover the weapon, encountering a wide array of unique individuals as he journeys through the bombed-out depths of a nearly unrecognizable Tokyo. Kurosawa, just a year before his masterpiece RASHOMON, provides an acute study of the pathos that arises when one’s back is against the wall in all possible ways. “It’s in its suggestion, through a multiplicity of rhythms, textures, and moods, of the range of human possibilities and of multiple worlds that ignore each other, that STRAY DOG is most fervent and haunting.”—Chris Fujiwara. (122 mins.)

SHOOT THE PIANO PLAYER!

SHORT CUTS PUNCH-DRUNK LOVE

AUG 2 SUN 7 PM

I AM CUBA

CU BA/U SS R 1 9 64

DIRECTOR: MIKHAIL KALATOZOV

DIRECTOR: ROBERT ALTMAN

Adapting several short stories by the Pacific Northwest author Raymond Carver and transplanting them to a bristling early-90s Los Angeles, Altman deploys his trademark restless camera coupled with overlapping, densely layered sound to concentrate on the idea of the American family in the ReaganBush era while exploring dominant notions of masculinity and marital fidelity. As the several stories in the film begin to intertwine, a complex tapestry emerges—each connected to each other by thin strands. A who’s-who cast (including Robert Downey, Jr., Andie MacDowell, Tim Robbins, Lyle Lovett, and Julianne Moore, among others) flesh out Altman’s anxietyridden vision of modern America to create “A rich, unnerving film, as comic as it is astringent.”—Kenneth Turan, The Los Angeles Times. (187 mins.)

For a film ostensibly dealing with the Cuban Revolution, and produced essentially as Communist propaganda, I AM CUBA has somehow managed to transcend those typically drab descriptors to remain one of the most innovative films ever made. More impressionistic than plotdriven, Kalatozov’s detailed-yet-freewheeling look at Cuba of the late50s and early-60s—made in collaboration with the Russian poet Evgeniy Evtushenko and cinematographer Sergey Urusevskiy (THE CRANES ARE FLYING, LETTER NEVER SENT) —is a startling vision of a country in flux, especially 50 years later as Cuba opens to the West. “Undeniably monstrous and breathtakingly beautiful, ridiculous and awe inspiring, I AM CUBA confounds so many usual yardsticks AUG 14 15 FRI 7 PM SAT 4:30 PM of judgment that any kind of star rating becomes inadequate…to put it PUNCH-DRUNK LOVE simply, the world doesn’t make allowances for a freak of this kind.”— U S 20 0 2 Jonathan Rosenbaum. (141 mins.) DIRECTOR: PAUL THOMAS ANDERSON

AUG 7 8 FRI 7 PM SAT 3 PM

MAGNOLIA U S 1 999

DIRECTOR: PAUL THOMAS ANDERSON

Anderson’s third feature takes the theme of chance and applies it to the stories of a cadre of Angelinos on the brink, where chance meetings both threaten to disrupt a fragile order and offer a shot at redemption springing from unexpected sources. Two classic, titanic father-figures structure the film’s expansive focus: dying movie mogul Earl Partridge (Jason Robards) and falling-from-grace quiz show host Jimmy Gator (Philip Baker Hall), from whose turbulent lives flower intertwining threads: estranged children, disillusioned spouses, and the aftermath of fame, both real-time and in reflection. However, with such colossal downfall comes unexpected, life-saving absolution. MAGNOLIA, a huge critical success upon release, significantly widens the scope and complexity of Anderson’s interrogation of the American family in spectacular fashion. (188 mins.)

This Technicolor extravaganza came at a time when MGM could do no wrong, especially the Freed Unit (named for producer Arthur Freed), which released the justly famous SINGIN’ IN THE RAIN the prior year to rapturous critical and audience reception. Minnelli’s film—produced by Freed and written by the same team behind SINGIN’—while lesser known, offers much of the same visual and aural pleasure and self-reflexivity while adding a melancholic edge, focusing on declining star Tony Hunter (Fred Astaire), who seeks to revitalize his career on Broadway. However, Tony, along with co-star Gaby (Cyd Charisse), must overcome a pretentious director who seeks to turn a light comedy into a retelling of the Faust legend—and, somehow, fall in love on the way to saving the show. (112 mins.)

With two sprawling, epic works preceding it, with this film Anderson sought to make a “Friday night film,” a short, compact entertainment in the classical mode—as much as possible with Anderson, anyway. Reinvigorating Adam Sandler’s career as Barry Egan, a neurotic plunger salesman with seven sisters and a newfound harmonium, this unassuming, highly unconventional film finds its nucleus with a fledgling relationship between Barry and Lena Leonard (Emily Watson). However, when Barry calls a phone sex line, he’s dragged into a tangled web of fraud and threats of violence from a ring led by a sleazy Philip Seymour Hoffman. This brings Lena into danger, and Barry must act to preserve not only her safety but also, ultimately, the one meaningful relationship he’s ever forged. “What Mr. Anderson wants to do is recapture, without nostalgia, the giddiness and sweep of old movies, and his mastery of the emotional machinery of the medium is breathtaking.”—A.O. Scott, The New York Times. (95 mins.)

DIRECTOR: FRANÇOIS TRUFFAUT

Truffaut, hot off THE 400 BLOWS, his masterpiece of adolescent dread, completely changes directions with SHOOT THE PIANO PLAYER, a film influenced by Hollywood gangster movies that trades in claustrophobic framing for black-andwhite Cinemascope grandeur and invention on a small scale. “France’s Frank Sinatra” Charles Aznavour (THE TIN DRUM, UN FLIC) stars as Charlie Koller/Eduoard Saroyan, a nightclub pianist in the depths of depression following the death of his wife. Léna (Marie Dubois), a waitress, is falling in love with Charlie, but his past, unclear at best, begins to catch up with him—threatening not only his newfound love but much, much more. “Even more than BREATHLESS, this 1960 Truffaut was the movie that broke the French new wave on American audiences. The mode is romantic gangster soulfulness; the theme is the audio equivalent of a pack of Gitanes.”—J. Hoberman, The Village Voice. (92 mins.)

AUG 21 22 FRI 7 PM SAT 4 PM

THERE WILL BE BLOOD U S 20 07

DIRECTOR: PAUL THOMAS ANDERSON

Anderson’s features, while always sharpening their edges as they go, have never been hard-as-nails as this adaptation of Upton Sinclair’s novel OIL!. Daniel Day-Lewis inhabits oilman Daniel Plainview, a leathery explorer intent on creating and quickly expanding an oil empire during the late-19th Century. With his adopted son as his partner, Plainview soon strikes it rich on the land of the Sunday family—and, ultimately, the surrounding land—until he’s nearly bought up an entire town. With his newfound success, Plainview is bombarded on all sides: by an estranged brother, by a larger oil company in search of a buy-out, and finally, by Eli Sunday (Paul Dano), an old school, up-and-coming evangelist with a new church inextricably wrapped into the local fabric. Structuring the film are the pull of capital and the spirit of discovery at all costs—an American odyssey with a spiking trajectory mirroring stock market booms and crashes. (158 mins.)

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THE ART OF REINVENTION: PAUL THOMAS ANDERSON & HIS INFLUENCES GIANT

THE MASTER

GOODFELLAS INHERENT VICE

AUG 28 29 FRI 7 PM SAT 4 PM

SEPT 4 5 FRI 7 PM SAT 4 PM

U S 20 1 2

U S 20 14

THE MASTER

DIRECTOR: PAUL THOMAS ANDERSON

WWII veteran and consummate alcoholic Freddie Quell (Joaquin Phoenix), aimless and adrift following the end of the war and his reintroduction into American society, takes up with Lancaster Dodd (Philip Seymour Hoffman) and his wife Peggy (Amy Adams). Dodd, the leader of a shadowy movement called “The Cause”—which bears more than a passing resemblance to Scientology—takes a liking to Freddie, particularly his homemade moonshine, and launches into a series of increasingly odd psychological experiments on the somewhat shell-shocked vet. But while “The Cause” looks like the home Freddie has been looking for, signs point to things going sour for him because he’s simply too strange to fit in. A major critical success with Oscar nominations for all three leads, THE MASTER demonstrates that Anderson’s “cinema has entered its visionary stage—and boy, let’s hope it stays in it.”—Gabe Klinger, Cinemascope. (144 mins.)

PUTNEY SWOPE

AUG 22 SAT 7 PM

BAD DAY AT BLACK ROCK

U S 1 9 55 DIRECTOR: JOHN STURGES This hard, economical, hybrid Western noir follows onearmed WWII vet John Macreedy (Spencer Tracy) as he stops in the small desert town of Black Rock, looking for a man named Komoko. Initially rebuffed, as Macreedy digs deeper, he learns that not only has the train failed to stop in Black Rock for four years, but also that Reno Smith (Robert Ryan) has been bullying the townspeople into silence about Komoko and his whereabouts. But Smith has friends as well, who threaten Macreedy at every turn, leading to an explosive finale. “You can learn more from John Sturges’ audio track on the BAD DAY AT BLACK ROCK laserdisc than you can in 20 years of film school.”—Paul Thomas Anderson. (81 mins.)

AUG 29 SAT 7 PM

PUTNEY SWOPE U S 1 9 68

DIRECTOR: ROBERT DOWNEY, SR.

INHERENT VICE DIRECTOR: PAUL THOMAS ANDERSON

Adapting a Thomas Pynchon novel for the screen is a task at which none have succeeded before Anderson, who sculpts a highly amusing, atmospheric screenplay out of Pynchon’s novel of the same name. Joaquin Phoenix returns for his second work with Anderson as Larry “Doc” Sportello, an incessantly pot-smoking private detective on the trail of several cases: keeping ex-girlfriend Shasta Fay Hepworth’s (Katherine Waterston) affair with a married man from exploding, hunting down a member of the Aryan Brotherhood with a debt to pay, and finding the missing, adrift Coy Harlingen (Owen Wilson). As all of these cases begin to intertwine, Doc comes in contact with a cadre of characters that could only populate the beaches and canyons of Los Angeles in the early 1970s—and could only come from a mingling of the eccentric imaginations of Pynchon and Anderson. (148 mins.)

SEPT 5 SAT 7 PM

GOODFELLAS U S 1 99 0

DIRECTOR: MARTIN SCORSESE

Scorsese’s masterpiece of late-American Dream excess and the decaying effects of a ceaseless lust for money follows Henry Hill (Ray Liotta), a young man who idolizes the mobsters he sees in his neighborhood every day, as he works his way up the Brooklyn mafia hierarchy over a thirty-year period. Perched above him in the pecking order is a ferocious trio: soft-spoken patriarch Paul Cicero (Paul Sorvino), the charismatic “Jimmy the Gent” (Robert DeNiro), and the terrifying, high-strung Tommy DeVito (Joe Pesci). As we learn the deep inner workings of the Italian-American mafia through Hill’s experiences, longtime Scorsese cinematographer Michael Ballhaus’s camera incessantly roves, capturing every minute detail, while the late Thelma Schoonmaker’s crisp editing propels the story along at near-breakneck pace. (146 mins.)

GIANT

Downey, Sr., always the incisive provocateur, here fabricates a kind of fable in which the chairman of the board of a Madison Avenue advertising firm—seen in an entirely different light in the TV drama MAD MEN—dies and Putney Swope (Arnold Johnson in his debut role), the token black man on the board, is installed as the new chairman. In a key twist, Swope whittles down the firm’s client list, banning any work for the tobacco, alcohol, or military industries, meanwhile firing every white employee (save one), repopulating the staff with his radical friends, and renaming the company “Truth and Soul, Inc.” Through this setup, at every turn the film goes into totally unexpected territory, adding up to one of the most SEPT 3 6 THURS 7 PM, SUN 7 PM remarkable and subtly hilarious works of the new American THE BIG SLEEP cinema. (84 mins.) U S 1 945/46

DIRECTOR: GEORGE STEVENS

AUG 30 SUN 7 PM

AUG 23 SUN 6 PM U S 1 9 56

Featuring James Dean in the final role of his mercurial career, GIANT transcends it’s myth-laden reputation to be a key film of the mid-50s. A grand, sprawling epic, it follows two generations of a Texas cattle family in the years leading up to and following World War II. Rock Hudson plays patriarch Bick opposite Elizabeth Taylor as his new bride Leslie, leading the family ranch through an oil boom against the backdrop of institutional discrimination, here focusing on Mexican immigrants employed by the family. Dean’s Jett Rink troubles the waters while working for Bick’s sister when he becomes enamored with Leslie—leading to inevitable tragedy. In addition to the excellent performances by the three leads, the film builds room for several key supporting roles, including turns by Dennis Hopper, Mercedes McCambridge, Sal Mineo, and Carroll Baker. (201 mins.) PAGE 18

NORTHWEST FILM CENTER

MELVIN AND HOWARD US 1980

DIRECTOR: JONATHAN DEMME

Demme’s fifth feature and first major critical success is a film dealing with the peculiarities of American lower-middle-class life that is ostensibly focused on the legend of Howard Hughes and his mysterious, nine-figure last will and testament. Hughes (Jason Robards) might be the big draw, but in this intimate work Demme is happy to follow Melvin Dummar (Paul Le Mat) through various trials and tribulations while he searches for his American Dream. As it turns out, a chance encounter and short car ride with Hughes will change Melvin’s life forever—much to his chagrin. A “sharp, engaging, very funny, anxious comedy.”—Vincent Canby, The New York Times. (95 mins.)

JUNE/JULY/AUGUST 2015 503-221-1156 NWFILM.ORG

DIRECTOR: HOWARD HAWKS

One of the key noirs of the 1940s, THE BIG SLEEP features several legends of the American page and screen—Lauren Bacall, Humphrey Bogart, Howard Hawks, Raymond Chandler, William Faulkner, and Leigh Brackett—collaborating on a messy masterpiece that, fittingly, lacks traditional narrative logic but more than makes up for it with dripping atmosphere and fine performances. Bogart stars as private detective Philip Marlowe, hired by an elderly tycoon to ostensibly track down a man blackmailing his daughter, who has gotten into some gambling trouble. The enigmatic, sharp-talking Vivian Rutledge (Bacall) —the tycoon’s elder daughter—warns Marlowe to more nefarious things at play, and as he chances upon increasingly shady dealings, the two get closer while the treachery multiplies at a gallop. (114 mins.) Screening on Thursday is the 1945 pre-release version,

Hawks’ preferred cut. Screening on Sunday is the 1946 wide-release version, which Rober Ebert has called “a case where ‘studio interference’ was exactly the right thing.”

SPECIAL SCREENINGS A SWEDISH LOVE STORY

SONGS FROM THE SECOND FLOOR

ABSURDLY HUMAN

THE FILMS OF ROY ANDERSSON “Life is a tragedy. There’s no happy end for any of us. We all die. But there’s a lot of comedy in it. There’s comedy and vulnerability . . . I’m trying to show what it’s like to be human.”—Roy Andersson. Hailed by the Toronto International Film Festival as “the most distinctive Swedish filmmaker since Ingmar Bergman, Roy Andersson’s biting, idiosyncratic films—droll, absurd, observational comedies—delight as they surface both the nightmare and joy of human existence.” Leading up to the Portland premiere of his newest film, A PIGEON SAT IN A BRANCH REFLECTING ON EXISTENCE, which won the Golden Lion at the Venice Film Festival, we are pleased to offer an Andersson primer, a retrospective of three of the four meticulously crafted features that have established his singular place in international cinema. Though his output of only five feature films over 45 years may be considered modest by one standard, the achievement is grand and singular. Thanks to Magnolia Pictures, Kino International, and the Co-production Office for providing the films.

JULY 10 11 FRI 7 PM, SAT 9 PM

A SWEDISH LOVE STORY

SWED EN 1 970 DIRECTOR: ROY ANDERSSON Andersson’s first feature, his thesis project at the Swedish Film Institute, was a great critical and popular success in his home country. With the gorgeous Swedish summer as a backdrop, the film portrays the pure love that arises between the daughter of a refrigerator salesman and the son of a car mechanic, offering a glimpse into the lives and homes of the people of the Swedish Social Democracy during its heyday. Andersson’s debut is a typically stirring mélange of comedy and melancholy, the ordinary and the absurd. Best Film, Swedish Guldbagge Awards, the top recognition in Sweden. (119 mins.)

JULY 11 12 SAT 7 PM, SUN 5 PM

SONGS FROM THE SECOND FLOOR

SWED EN 20 0 0 DIRECTOR: ROY ANDERSSON Anderson won the Grand Prize at the Cannes Film Festival for this first part of a “trilogy about being a human being.” Consisting of 60 vignettes set in a post-industrial, post-religious society, the quirky characters include the likes of a magician accidentally bisecting an audience member, a boy who cannot stop writing poetry, and a man who torches his furniture shop to start a new business selling crucifixes. In Andersson’s bleakly funny and brilliantly visioned film, these and other unrelated scenarios depict a place that is unraveling and characters who are giving up hope. “You have never seen a film like this before. You may not enjoy it but you will not forget it.”—Roger Ebert. (98 mins.)

A PIGEON SAT ON A BRANCH RELECTING ON EXISTENCE

JULY 12 13 SUN 7 PM, MON 7 PM

YOU, THE LIVING

SWED EN 20 07 DIRECTOR: ROY ANDERSSON YOU, THE LIVING hilariously explores man’s existence, behavior, thoughts, worries, happiness, sorrow, and a profound longing for validation and love in 50 interconnected shorts inspired by Goethe’s poetry series Roman Elegies. Throughout the film, dream sequences and music (both as background and performed on camera) are used to reflect the woes and desire of the characters. Andersson’s flawless and creative shots create sympathy with his characters yet draw amusement from the fact that each thinks his or her suffering is unique. “This is the work of a real original - I might almost say a genius. He is radically different from anyone else, with a technical, compositional rigor that puts other moviemakers and visual artists to shame. And he really is funny.”— Peter Bradshaw, The Guardian. (95 mins.)

JUL 17 18 19 20 FRI 7 & 9 PM, SAT 5, 7 & 9 PM, SUN 2 & 7 PM, MON 7 PM

A PIGEON SAT ON A BRANCH RELECTING ON EXISTENCE

SWED EN 20 14 DIRECTOR: ROY ANDERSSON Winner of the Golden Lion at the Venice Film Festival, Andersson’s new film mirrors a bird’s panoramic perspective of the world and shares the fear of a coming apocalypse should humans choose not to intervene. Specifically, the bird watches two comedic traveling salesmen peddling unusual novelty items. Other characters appear in numerous vignettes that explore a wide range of topics, from the serious (the immediacy of death) to the mundane (repeating phrases in phone conversations). Naturally, Andersson finds humor in all of his scenarios, each a reminder that things could be worse. “A mixture of absurdist, hilariously deadpan humor, shock, and utter horror.”—Toronto International Film Festival. “Why would anyone write about a Roy Andersson film? You might as well dance about a cake.”—The Daily Telegraph. (100 mins.)

SILVER SCREEN CLUB POP-UP MEMBERSHIP DRIVE Join the Silver Screen Club as a Supporter ($200) or Director ($400) and get 10% off your first year’s membership! To receive this offer, attend one of these Northwest Film Center screenings:

June 14—MAGIC MEN (OPENING NIGHT OF THE 23RD PORTLAND JEWISH FILM FESTIVAL); July 16—SONG OF THE THIN MAN (OPENING NIGHT OF TOP DOWN); July 31—BOOGIE NIGHTS; August 21—THERE WILL BE BLOOD; Current Silver Screen Club members can receive 10% off their next membership renewal by referring a new member who signs up at the film! Offer available on June 14, July 16 & 31, and August 21 in person only at the Whitsell Auditorium. One discount per current Silver Screen Club Member.

NWFILM.ORG 503-221-1156 JUNE/JULY/AUGUST 2015

NORTHWEST FILM CENTER

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FILM CALENDAR

NWFilmCenter

JUNE/JULY/AUGUST 2015

FILMS SCREENED AT NORTHWEST FILM CENTER s WHITSELL AUDITORI5- s 0/24,!.$ !24 -53%5- 1219 SW PARK AVENUE

SUNDAY

MONDAY

TUESDAY

WEDNESDAY

THURSDAY 7 PM THE TIMES OF HARVEY MILK

support the NW Film Center! Join the silver screen CLub! POP-UP MEMBERSH I P DR I VES—JUNE 14, JULY 16 & 31, AUG 21

7 PM EVERY THREE SECONDS (P.6)

(SEE NWFILM.ORG FOR DETAILS)

SEE nwfilm.org or call 503-221-1156 for details 4:30 PM THE BEST OF THE 41ST NORTHWEST FILMMAKERS’ FESTIVAL (P.3) 7 PM BARD IN THE BACKCOUNTRY (P.3)

FRIDAY 7 PM

MILK

(SEE NWFILM.ORG FOR DETAILS)

JUNE

SATURDAY

7 PM WE CAN’T GO HOME AGAIN WITH DON’T EXPECT TOO MUCH

(SEE NWFILM.ORG FOR DETAILS)

7 PM AN EVENING WITH JAY ROSENBLATT (P.6)

7 PM THE BEST OF THE 41ST NORTHWEST FILMMAKERS’ FESTIVAL (P.3)

7 PM THE TALES OF HOFFMAN (P.6)

1, 4 & 7 PM THE TALES OF HOFFMAN (P.6)

7 PM MAGIC MEN (P.4)

7 PM THE MUSES OF ISAAC BASHEVIS SINGER (P.4)

7 PM A PLACE IN HEAVEN (P.4)

7 PM TO LIFE (P.4)

7 PM THE DOVE FLYER (P.4)

7 PM THE WAY WE TALK (P.3)

4:30 PM SCHOOL OF FILM STUDENT SCREENING (P.11) 8 PM DOUGH (P.4)

NOON SECRETS OF WAR (P.4) 2 PM EAST JERUSALEM/WEST JERUSALEM (P.5) 5:30 PM ALMOST FRIENDS (P.5) 7 PM A BORROWED IDENTITY (P.5)

7 PM THEODORE BIKEL

6:30 PM RAISE THE ROOF (P.5) 8:30 PM SECRETS OF WAR (P.4)

6:30 PM THE MYSTERY OF HAPPINESS (P.5) 8:30 PM THE DOVE FLYER (P.4)

6:30 PM LET’S GO (P.5) 8:30 PM A PLACE IN HEAVEN (P.4)

7 PM AND WE WERE YOUNG (P.3)

8 PM RUN BOY RUN (P.5)

4:15 PM THE ZIONIST IDEA (P.5) 7:30 PM 24 DAYS (P.5)

FOLLLOWED BY

SHOLEM ALEICHEM (P.5) STRANGERS ON A TRAIN P.15

JULY

7 PM AI WEIWEI: NEVER SORRY (P.6)

2 & 7 PM A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE (P.19) 4:30 PM AI WEIWEI:THE FAKE CASE (P.6)

7 PM HOUSE OF GAMES (P.16)

7 PM SONGS FROM THE SECOND FLOOR (P.19) 9 PM A SWEDISH LOVE STORY (P.19)

7 PM SONGS SHE WROTE ABOUT PEOPLE SHE KNOWS (P.3)

8 PM @ Hotel deLuxe SONG OF THE THIN MAN (P.15)

7 & 9 PM A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE (P.19)

5, 7 & 9 PM A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE (P.19)

7 PM HARD EIGHT AKA SYDNEY (P.16)

4:30 PM HARD EIGHT AKA SYDNEY (P.16) 7 PM THE KILLING OF A CHINESE BOOKIE (P.16)

7 PM BOOGIE NIGHTS (P.16)

4 PM BOOGIE NIGHTS (P.16) 7 PM JACKIE BROWN (P.16)

7 PM MAGNOLIA (P.17)

3 PM MAGNOLIA (P.17) 7 PM STRAY DOG (P.17)

MAGNOLIA P.17

7 PM I AM CUBA (P.17)

AUGUST

6 PM SHORT CUTS (P.17)

7 PM YOU, THE LIVING (P.19)

7 PM A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE (P.19)

A PLACE IN HEAVEN PM @ Hotel deLuxe 22 8SEXY P.4 BEAST (P.15)

29 7 PM OPEN SCREENING (P.3)

7 PM SITTING ON THE EDGE OF MARLENE (P.3)

8 PM @ Hotel deLuxe ROCK ‘N’ ROLL HIGH SCHOOL (P.15)

7 PM PUNCHDRUNK LOVE (P.17)

4:30 PM PUNCH-DRUNK LOVE (P.17) 7 PM THE BAND WAGON (P.17)

8 PM @ Hotel deLuxe STRANGERS ON A TRAIN (P.15)

7 PM THERE WILL BE BLOOD (P.17)

4 PM THERE WILL BE BLOOD (P.17) 7 PM BAD DAY AT BLACK ROCK (P.18)

7 PM THE MASTER (P.18) 7 PM @ Zidell Yards AN AMERICAN WEREWOLF IN LOND0N (P.6)

4 PM THE MASTER (P.18) 7 PM PUTNEY SWOPE (P.18) 7 PM @ Zidell Yards JURASSIC PARK (P.6)

4 PM INHERENT VICE (P.18) 7 PM GOODFELLAS (P.18)

THE DOVE FLYER P.4

JACKIE BROWN P.16

7 PM MOTHERING INSIDE/ THE FAMILY PRESERVATION PROJECT WITH FINDING NORMAL(P.3)

8 PM @ Hotel deLuxe THE 10TH VICTIM (P.15)

6 PM GIANT (P.18)

THE WAY WE TALK 26 7 PM @ Zidell Yards P.3 CLUELESS(P.6) 8 PM @ Hotel deLuxe MONTY PYTHON’S THE MEANING OF LIFE (P.15)

7 PM @ Zidell Yards NORTH BY NORTHWEST (P.6) 7 PM MELVIN AND HOWARD (P.18)

7 PM THE BIG SLEEP (P.18)

@ Zidell Yards

PEE-WEE’S BIG ADVENTURE (P.6)

THE TALES 18 6 PM SCHOOL OF HOFFMAN OF FILM OPEN P.6 HOUSE (P.11)

8 PM @ Hotel deLuxe WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN (P.15)

7 PM SHOOT THE PIANO PLAYER! (P.17)

7 PM

SEPTEMBER $9 GENERAL

7 PM A SWEDISH LOVE STORY (P.19)

BOOGIE NIGHTS P.16 3 PM AI WEIWEI: NEVER SORRY (P.6) 5 PM SONGS FROM THE SECOND FLOOR (P.19) 7 PM YOU, THE LIVING (P.19)

$8 PAM MEMBERS/ STUDENTS/SENIORS

7 PM THE BIG SLEEP (P.18)

7 PM INHERENT VICE (P.18)

10 30 minutes before showtime. BOX OFFICE OPENS 11 ADVANCE TICKETS are available online at nwfilm.org SILVER SCREEN CLUB Directors, Producers, Benefactors

All programs are single admission unless otherwise noted. Special admission prices may apply.

$6 SILVER SCREEN FRIENDS/ CHILDREN UNDER 12 & Sustainers receive free admission to all REGULAR ADMISSION programs.