JANUARY/FEBRUARY 2020
Julia Reichert Agnès Varda
nwfilm.org
20/20 Vision 2020 is promising to be a time for new ways of seeing. Having just returned from visiting New York City’s reimagined MoMA, and working with the newest crop of international filmmakers accepted into the Venice Biennale College Cinema, I am happy to report back that the Film Center is in incredibly good company in its quest for a creative reimagining—changing the narrative on how, by, and for whom cinematic stories are told. As a valued member of our community, we invite you to make a resolution alongside us to broaden your palate, take risks in your viewing habits, and be open to cinematic watching—and listening—in all its forms. Cinema takes many shapes—how lucky we all are to have such a creative feast to choose from this season! Not sure how to start? • Explore what stories you have to tell with new classes in Computer Animation and Episodic Narrative Storytelling. • Check out films and filmmakers that may not be household names—yet. These include Julia Reichert, The Disappearance of My Mother, or our double feature of Perry Henzell’s The Harder They Come and No Place Like Home. • Try a new form of cinema arts—shorts, animation, immersive storytelling, and audio storytelling are all incredible ways to enhance your palate. • Encourage a new friend or family member in your life to join you for a screening or talk, to bring fresh perspectives into the Whitsell. And, of course, we’d love nothing more than to see you at our yearly fundraiser, the Film Center’s Cinema Unbound Awards on Monday, March 9, where we’ll honor a mighty band of internationally renowned artists, creatives, and curators working somewhere in the middle of the Venn diagram of cinema and unboundedness. We invite these honorees to Portland not only to shine a spotlight on what they’ve done in the past or a new project they’re currently promoting, but also to honor folks for being uniquely, impactfully themselves. See cinemaunbound.org for tickets and more information. We hope you will attend, support our creative community, and share in our efforts to bring the world to Portland—and show the world who the Film Center, and our Portland-based community, is: welcoming, visionary, and more vital than ever. Join us this winter as we double down on this global movement in arts and culture that strives to reward diversity, fight for equality, and create open spaces to nurture tomorrow’s storytellers—and those who champion them—today. Happy New Year from all of us at the Northwest Film Center. We’re looking most forward to seeing you soon!
Amy Dotson Director, Northwest Film Center Curator, Film & New Media, Portland Art Museum
January 24–February 16 The 37th edition of the beloved Reel Music festival features cutting-edge work focused on some of today’s—and yesteryear’s—most thrilling musicians. Whether in new films detailing careers and legacies, or in archival films unspooling some of the greatest concert footage ever committed to celluloid, Reel Music strives to unearth the best in music-on-film. Sponsored by The Oregonian and Willamette Week. Friday, January 24, 7 pm Once Were Brothers: Robbie Robertson and the Band, US, 2019 dir. Daniel Roher (100 mins., documentary, DCP)
Saturday, January 25, 6 pm Lisbon Beat, Portugal, 2019
This Scorsese-produced love letter sits down with frontman Robbie Robertson, who reminisces about The Band’s career as both Bob Dylan’s backers during his early electric period and their own mercurial rise and abrupt end.
This pulsating film tracks the musical explorations of a crew of Lisbon music producers from diverse backgrounds— immigrants from Angola, São Tome, Cabo Verde, and Guinea Bissau who have shaped the Lisbon sound in the last several years.
Saturday, January 25, 3 pm The Last Waltz, US, 1978 dir. Martin Scorsese (117 mins., concert film, DCP)
Saturday, January 25, 8 pm Who Let the Dogs Out, US, 2019 dir. Brent Hodge (70 mins., documentary, DCP)
One of the greatest concert films ever made sees The Band teaming up with a slew of like-minded heavy hitters for a tear-down-the-walls performance of their greatest hits—the final time they’d play together.
dir. Vasco Viana & Rita Maia (75 mins., documentary, DCP)
In this hilarious, unpredictable mystery-doc, Ben Sisto digs deep into the origins of the Baha Men’s 2000 globalsmash track “Who Let the Dogs Out,” coming away with legitimately surprising findings and more than a few crushed dreams.
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Amazing Grace
Sunday, January 26, 4:30 pm Amazing Grace, US, 1973/2018 dirs. Alan Elliott & Sydney Pollack (89 mins., concert film, DCP)
Finished in late 2018 after 40 years languishing, this unbelievable two-day gospel concert film sees Aretha Franklin at her captivating best—and will come to be known as one of the greatest concert films, best seen on the big screen. Gimme Shelter
Saturday, February 1, 6:30 pm The Harder They Come, Jamaica, 1972 dir. Perry Henzell (103 mins., crime drama, DCP)
Reggae star Jimmy Cliff stars in this unforgettable film that introduced the effervescent, uplifting music to the West and became a cult hit on release, only gaining stature as the years have worn on. New restoration! double feature with
No Place Like Home, Jamaica, 1974/2006 dir. Perry Henzell (90 mins., drama, DCP)
Perry Henzell’s reggae-laced follow-up to The Harder They Come peels back the tourist’s view of Jamaica in its story of a New York producer whose shampoo-commercial shoot goes awry when the star (PJ Soles) disappears into the island. New restoration!
Sunday, February 2, 7 pm Mr. Jimmy, US/Japan, 2019 dir. Peter Michael Dowd (113 mins., documentary, DCP) Monday, January 27, 7 pm Gimme Shelter, US, 1970 dirs. Albert Maysles, David Maysles, & Charlotte Zwerin (91 mins., documentary, DCP)
This tragic, harrowing film follows the Rolling Stones on their 1969 US tour, which ended with the violent debacle at Altamont. Gimme Shelter is one of the great concert films— and in 2020 celebrates its 50th anniversary.
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As a teenager Akio Sakurai, the son of a Tokyo kimono tailor, became obsessed with Led Zeppelin. He carried the obsession through to adulthood and refashioned himself as “Mr. Jimmy,” a guitarist who knows, and plays, practically every note recorded by Jimmy Page. Mr. Jimmy
Friday, February 7, 7 pm You Gave Me a Song: The Life and Music of Alice Gerrard, US, 2019 dir. Kenny Dalsheimer (80 mins., documentary, DCP
This loving portrait of old-time music pioneer Alice Gerrard, replete with performances from her long career and interviews with key collaborators, provides an intimate glimpse into her pathbreaking life.
Where Does a Body End?
Saturday, February 15, 7 pm Where Does a Body End?, US, 2019 dir. Marco Porsia (121 mins., documentary, DCP)
Saturday, February 8, 7 pm Other Music, US, 2019 Michael Gira and his band Swans are one of industrial dirs. Puloma Basu & Rob Hatch-Miller (83 mins., documentary, music’s heaviest and most emotionally shattering groups. DCP) Filmmaker Porsia went behind-the-scenes for years to Forward-thinking NYC institution Other Music—known for their plucky spirit and encyclopedic knowledge (and stocking) of outside-the-mainstream music—is the focus of this loving ode to independent record stores that face many challenges in the streaming era.
fashion this wide-ranging ode to Swans’ unique brand of unsettling, transcendent music.
Sunday, February 16, 4:30 pm The Unicorn, US, 2019 dir. Isabelle Dupuis & Tim Geraghty (92 mins., documentary, DCP)
In 1974, outsider musician Peter Grudzien made the first openly-gay country album, pressing 500 copies and selling few. Rediscovered in 2000, Grudzien had since fallen on hard times, but maintained his rebellious spirit—as this eyeopening, years-in-the-making portrait attests. Other Music
Sunday, February 9, 4:30 pm Patrinell: The Total Experience, WA, 2019 dirs. Andrew Elizaga & Tia Young (94 mins., documentary, DCP)
Founded in 1973 by Reverend Patrinell “Pat” Wright in the historically black neighborhood of Seattle’s Central District, the Total Experience Gospel Choir has sung in over 20 countries, and played for Presidents Bill Clinton and Barack Obama. This documentary follows the life of the extraordinarily talented gospel singer as she strives to continue the group in the changing landscape of Seattle.
The Unicorn
Wednesday, February 12, 7 pm @ Jupiter NEXT Northwest Music Video Showcase, OR, WA, MT, 2019 dir. Various (approx. 90 mins., music videos, digital)
The Northwest has a strong tradition in music video creation, and we celebrate it with an evening of music videos from Northwest directors. The music will vary, but the unique visual styles from our talented regional creators will keep the flow moving. Free admission!
Northwest Music Video Showcase JAN/FEB 2020 NWFC
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JULIA REICHERT: 50 YEARS IN FILM JANUARY 11–19
Julia Reichert’s exceptional body of work is one of American independent cinema’s most important and wide-ranging, garnering several major award nominations and a host of accolades throughout her fifty-year career. Reichert has been at the heart of the American documentary field, blazing a path for young filmmakers to make and self-distribute their work in lieu of commercial distribution. That idea led to her cofounding of New Day Films in the early 1970s, a company which has since been at the cutting edge of non-fiction filmmaking, well-known for getting films into the hands of those they might most directly affect. Starting in 1971 with her eye-opening debut feature Growing Up Female, which explores the subtle ways that American girls become socialized through both interpersonal means and the media, Reichert has since directed a long string of vital films that probe the collective experience of this country and its bedrock institutions. Many of Reichert’s films deal with labor and workers’ rights, whether organized through labor unions or via informal channels—including the ground-breaking work of early-20th-century union formation Union Maids (1974); the tragic, multifaceted tales of political persecution in Seeing Red: Stories of American Communists (1983); and the effects of globalization and neoliberal policies in The Last Truck: The Closing of a GM Plant (2009). All of these films were nominated for Academy Awards. Reichert has also trained her lens on the art world, focusing on the building of an opera in Making Morning Star (2016) and a contemporary dancer’s return to performance in Sparkle (2012), both exceptional portraits of artists at work. Reichert has also approached the American healthcare landscape from two very different angles and many years apart: In the shocking exposé Methadone: An American Way of Dealing (1974), and in A Lion in the House (2006), an Emmy-winning film that meticulously follows five families battling pediatric cancer in Cincinnati. Reichert’s recent work continues her already-established legacy of activist filmmaking and a deeply empathetic approach to ordinary people struggling under capitalism. American Factory (2019), an exceptional film that won best director at the Sundance Film Festival—and is the first film under the Obamas’ Netflix production deal—details the re-opening of a Dayton, Ohio industrial factory under Chinese ownership. And Reichert’s latest, 9to5: The Story of a Movement (2019), tells the real story of women fighting for workplace equality in the early 1970s. On January 12, Reichert will give a lecture called 50 Years in Film, full of experience and insight from which filmmakers and film lovers of all generations can benefit. Later that evening, Reichert and collaborator Steven Bognar will join us for a Q&A following a screening of American Factory, along with discussing 9to5: The Story of a Movement on January 13. 6
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SCREENING SCHEDULE: Saturday, January 11, 4:30 pm Growing Up Female, US, 1971
dirs. Julia Reichert & Jim Klein (52 mins., documentary, DCP)
Methadone: An American Way of Dealing, US,
1974 dirs. Julia Reichert & Jim Klein (60 mins., documentary, DCP)
Sparkle, US, 2012
dirs. Julia Reichert & Steven Bognar (18 mins., documentary, DCP) Sparkle
The Last Truck
Friday, January 17, 7 pm Union Maids, US, 1976
dirs. Julia Reichert, Jim Klein, & Miles Mogulescu (48 mins., documentary, DCP)
The Last Truck: The Closing of a GM Plant, US,
2009 dirs. Julia Reichert & Steven Bognar (40 mins., documentary, DCP)
Making Morning Star, US, 2016
dirs. Julia Reichert & Steven Bognar (37 mins., documentary, DCP)
Sunday, January 12, 5 pm 50 Years in Film—a lecture by Julia Reichert Saturday, January 12, 7:30 pm American Factory, US, 2019
Saturday, January 18, 7 pm Seeing Red: Stories of American Communists, US, 1983
dirs. Julia Reichert & Jim Klein (100 mins., documentary, DCP)
dirs. Julia Reichert & Steven Bognar (115 mins., documentary, DCP) Post-film Q&A with Julia Reichert and Steven Bognar.
Seeing Red
Sunday, January 19, Noon A Lion in the House, US, 2006
dirs. Julia Reichert & Steven Bognar (225 mins., documentary, DCP) American Factory
Monday, January 13, 7 pm 9to5: The Story of a Movement, US, 2019
dirs. Julia Reichert & Steven Bognar (85 mins., documentary, DCP) Post-film Q&A with Julia Reichert and Steven Bognar.
A Lion in the House JAN/FEB 2020 NWFC
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VARDA: A RETROSPECTIVE JANUARY 31–FEBRUARY 29
In early 2019, global cinema lost a major voice with the passing of the French/Belgian filmmaker, photographer, and artist Agnès Varda at age ninety. Her exceptional body of work spans nearly seven decades and a mind-boggling array of styles, movements, and friends. Varda tackled many of the critical issues of her day, with particularly focus on women’s issues and how they relate to society at large. Starting her filmmaking career somewhat abruptly and almost whimsically in 1955, with her debut La Pointe Courte, Varda lit the spark for the boys’-club of the French New Wave—a movement with which she was often confusingly associated, most often with “West Bank” filmmakers like Alain Resnais, Chris Marker, and the love of her life, Jacques Demy. Despite this loose association (usually made by others), over the course of the next sixty-plus years, Varda forged a uniquely spirited filmmaking path all her own, with masterpieces like Cléo From 5 to 7, Vagabond, The Gleaners and I, and Daguerrotypes living comfortably alongside idiosyncratic documentaries, freewheeling short films, photography, and installation work. In the late 1970s, she founded her own production studio, Ciné-Tamaris, whose cat-centric logo is familiar to fans worldwide. Varda’s key filmmaking philosophy, cinécriture (or, “film writing”), courses strongly through her work. Simply, the idea is that each part of filmmaking is a choice or decision, and that each choice must be undertaken deliberately and with intention. Through this mode of working, Varda tends to every idea and, via her art, allows us to see the world in a completely new—and usually more playful—light. She was always generous with her life’s experience and acquired knowledge about art-making and the world, but this tendency grew in her later years, which saw her giving charming talks about film and life all over the world. The Northwest Film Center is pleased to present this near-complete retrospective of Varda’s incredible films throughout February 2020. Sponsored in part by TV5MONDE.
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SCREENING IN THIS RETROSPECTIVE: Early feminist masterpieces: La Pointe Courte (1955), Cléo from 5 to 7 (1961), Le Bonheur (1965) The California films: Lions Love (...and Lies) (1969), Mur Murs (1981), and Documenteur (1981), plus several shorts
Cléo From 5 to 7
Tributes to her beloved husband, Jacques Demy: Jacquot de Nantes (1991), The World of Jacques Demy (1995), and Young Girls Turn 25 (1993)
Groundbreaking nonfiction work, sometimes created in hybrid with narrative experiments: Daguerrotypes (1976), Jane B Par Agnès V (1987), The Gleaners and I (2000), The Beaches of Agnès (2008), Agnès Varda: From Here to There (2011), Faces Places (2017), and Varda by Agnès (2019) Mid- and late-career essential narratives, often covering difficult subject matter yet holding on to their fighting spirit: One Sings, the Other Doesn’t (1976), Vagabond (1985), and Kung-Fu Master! (1987) Three programs of rarely-seen short films, feature experiments, and more!
One Sings, the Other Doesn’t
Please see the calendar on pages 14–15 for screening schedule, and visit nwfilm.org for tickets and more information! Mur Murs
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Adult Classes & Workshops
Northwest Tracking
Arri Alexa Camera Operation
The Film Center’s Northwest Tracking program showcases the work of independent filmmakers living and working in the Northwest—Alaska, British Columbia, Idaho, Montana, Oregon, and Washington—whose work reflects the vibrant cinematic culture of the region. Whether presenting single artist retrospectives, new features, documentaries, or inspired collections of short works, Northwest Tracking offers testimony to the creativity and talent in our flourishing media arts community.
Primer on our primo rental camera
January 4 (half day) Art of Filmmaking
The 101 of film production and analysis
Starts January 22 (12 weeks) Bolex Camera Operation
16mm loading, metering and film stocks
January 25 (half day) Cinematic Lighting
Illuminate small and large scale environments
Starts January 9 (4 days) Computer Animation
Explore the Animate/Photoshop possibilities
Starts January 10 (3 days) Stop Motion Animation
Experiment with dimensional approaches
Starts January 21 (9 weeks) Editing Fundamentals
Basics of editing with Adobe Premiere
Starts January 23 (5 weeks)
International Screenwriters Association (free) Third Thursday gathering of Portland Chapter
January 16, February 20, Mar 19 (evening) Lighting Basics
Use a light kit to create various effects
February 15 (half day)
Narrative Filmmaking
Creating original dramatic shorts
Starts January 21 (10 weeks)
Screenwriting Fundamentals Basics of dramatic scriptwriting
Starts January 22 (10 weeks) Writing the Episodic Pilot
Turn your idea for a series into scenes
February 1/2 + February 8/9 (two weekends)
Thursday, January 16, 7 pm Grickle: The Cartoon World of Graham Annable, Oregon, 2006–2019 dir Graham Annable (60 mins., animation, DCP)
Oscar-nominated cartoonist and animator Graham Annable presents an evening of short works from his humorously imaginative world of Grickle. Filled with googly-eyed individuals in absurdist stories, Annable’s work is akin to independent animators such as Bill Plympton, Don Hertzfeldt, and Amy Lockhart.
Thursday, January 23, 7 pm Seven Years of Screendance: Films by Robert Uehlin, Oregon, 2012 - 2019 dir. Robert Uehlin (75 mins, dance, DCP)
Specializing in the translation of contemporary choreography into the language of film, current resident curator of the annual DanceBARN Screendance Festival, director Robert Uehlin, is also one of the Northwest’s luminaries in the growing cinematic genre of “Screendance.”
Thursday, February 6, 7 pm, Free Stories from the River, WA/OR, 2019
dir. Woodrow Hunt (38 mins., documentary, DCP
A shorts series created in partnership with Confluence and Woodrow Hunt (Klamath/Modoc, Cherokee) of Tule Films. Indigenous elders and leaders from the Columbia River share personal stories and insights about the history, culture and ecology of the land and its people. Presented in partnership with the Native American Arts Council.
Weekend Engagements New and exciting first-run films.
January 3-6 The Disappearance of My Mother, Italy, 2019 dir. Beniamino Barrese (94 mins., documentary, DCP)
Barrese’s enveloping, complex portrait of his mother, the radical feminist model Benedetta Barzini, who, starting in the 1960s, revolted against the overwhemling power of the Italian fashion industry. “Makes the personal ferociously political.”—Manohla Dargis, The New York Times.
Thursday, January 2, 7 pm Sunday, January 5, 7 pm Redoubt, US, 2019 dir. Matthew Barney (134 mins., performance, DCP)
Fine artist Barney’s latest hypnotic foray into large-scale moving image finds him in Idaho’s Sawtooth Mountains fashioning a cosmic, hushed tale of wilderness survival structured as a series of hunts.
HANK WILLIS THOMAS: ALL THINGS BEING EQUAL... Eternal Sunshine of the Spotless Mind
Sunday, January 5, 2 pm Eternal Sunshine of the Spotless Mind, US, 2004 dir. Michel Gondry (108 mins., drama, 35mm)
From a Charlie Kaufman script, Gondry’s fantastical vision finds an estranged couple (Kate Winslet and Jim Carrey) meeting again after undergoing a surgical procedure to erase each other from their memories.
Sunday, January 12, 2 pm An Oversimplification of Her Beauty, US, 2012 dir. Terence Nance (84 mins., comedy/drama/animation, DCP)
Visionary filmmaker Terence Nance wrote, produced, directed, and stars in this kaleidoscopic film about an artist exploring the notions of personal identity and missed opportunities. Followed by In Dialogue, a post-film discussion—see nwfilm.org for details. Redoubt
Wednesday, January 15, 7pm @ Jupiter Hotel DreamTENT A Hard Day’s Night, UK, 1964
dir. Richard Lester (87 mins., musical comedy, Blu-Ray)
This legendary Beatles film stars the Fab Four running through their days and nights—a cheeky peek inside the life of the world’s biggest rock ‘n’ roll stars. Free admission!
Sunday, January 5th / 4:30pm Fall Term Student Screening Directed by Various
Whitsell Auditorium Celebrate the many short films and projects created by our students during the 2019 Fall Term, including Art of Filmmaking I and Digital Cinematography. Also live scene reads from our Screenwriting Fundamentals course and more. Free and open to the public.
An Oversimplification of Her Beauty
Saturday, January 18, 3pm Things Left Behind, US/Japan/Canada, 2013 dir. Linda Hoaglund (80 mins., documentary, Blu-Ray)
“Hiroshima,” the first major international art exhibition devoted to the atomic bomb, featured 48 large-scale photographs by Miyako Ishiuchi—a process and exhibition that Things Left Behind poignantly documents. Featuring a post-film panel discussion with Miyako Ishiuchi, director Linda Hoaglund, and Portland Japanese Garden Curator of Art Laura J. Mueller. Co-presented with the Portland Japanese Garden as part of their exhibition Spirits Rising: ひろしま / hiroshima by Miyako Ishiuchi. $25 general / $15 Japanese Garden members and Silver Screen Club members. JAN/FEB 2020 NWFC
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Downtown 81
Essential Cinema Familiar and rediscovered classics presented on both 35mm and new digital restorations. Saturday, January 4, 4:30 pm Trouble in Paradise, US, 1932
Sunday, January 19, 4:30 pm California Split, US, 1974
Lubitsch’s whip-smart pre-code love triangle sees thieves Herbert Marshall and Miriam Hopkins team up on the rich of the Riviera, with only the well-to-do Kay Francis standing in the way.
Pro gambler Charlie (Elliott Gould) and novice Bill (George Segal) form a unique bond in Robert Altman’s New Hollywood ode to smoky casino rooms and the desperate men that populate them.
dir. Ernst Lubitsch (83 mins., comedy, DCP)
Trouble in Paradise
dir. Robert Altman (108 mins., comedy/drama, 35mm)
Sunday, February 23, 4:30 pm Cane River, US, 1982
dir. Horace B. Jenkins (104 mins., drama, DCP)
Filmmaker Horace B. Jenkins tragically passed away shortly after the premiere of Cane River, his long-lost Southern drama that follows an ex-football player who returns home to grapple with his complex racial identity. New 4K restoration! Cane River
Friday, January 10, 7 pm Downtown 81, US, 1981/2000
dir. Edo Bertoglio (72 mins., comedy/drama, 35mm)
This legendary, vibrant portrait of downtown NYC in the early 80s features artist Jean-Michel Basquiat on an odyssey to sell his work and pay rent, encountering a who’s who of the scene along the way: artists, musicians, writers, patrons, and potential lovers. New 35mm print! 12
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Underscan A thematic review of cult & genre films with an eye towards the margins. January and February 2020 focuses on Queer Crime Films. Saturday, January 11, 7 pm Faster, Pussycat! Kill! Kill!, USA, 1965
dir. Russ Meyer (83 mins., crime/comedy, 35mm)
A formidable troupe of go-go dancers play chicken with totally unprepared local school kids and run wild through the Californian desert—leaving broken hearts, wrecks, and corpses in their wake.
Sunday, January 26, 7 pm Madame X: An Absolute Ruler, West Germany, 1978 dir. Ulrike Ottinger (147 mins., fantasy, 16mm)
Madame X (Tabea Blumenschein) heads the pirate ship Orlando with an iron fist, recruiting women to leave their boring lives for adventures on the open seas in Ulrike Ottinger’s debut film.
Sunday, February 16, 7 pm Bound, USA, 1996
dirs. Lana Wachowski, Lilly Wachowski (109 mins., crime/ romance/suspense, DCP)
Faster, Pussycat! Kill! Kill!
The Wachowskis’ first feature follows ex-convict/plumber Corky (Gina Gershon) and Violet (Jennifer Tilly), the girlfriend of mob money-launderer Ceasar (Joe Pantoliano). The two fall in love and plot to steal a small fortune that Ceasar has been entrusted with.
Sunday, January 19, 7 pm Multiple Maniacs, USA, 1970
dir. John Waters (91 mins., crime/comedy, DCP)
When Lady Divine (Divine) discovers that her lover, Mr. David (David Lochary), is stepping out on her, she flies into a rage-fueled, murderous rampage as her life slowly descends into chaos.
Bound
Multiple Maniacs
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TUESDAY
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7 PM Gimme Shelter
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4:30 PM Amazing Grace 7 PM Madame X: An Absolute Ruler
A Lion in the House
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NOON A Lion in the House 4:30 PM California Split 7 PM Multiple Maniacs
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FEBRUARY 1 7 PM La Pointe Courte & Cléo 4:30 PM Agnès Varda Shorts From 5 to 7 Program 1
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3 PM The Last Waltz 6 PM Lisbon Beat 8 PM Who Let the Dogs Out
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7 PM Union Maids / The Last 3 PM Things Left Behind Truck: Closing of a GM Plant / Making Morning Star 7 PM Seeing Red: Stories of American Communism
7 PM Seven Years of 7 PM Once Were Brothers: Screendance: Films by Robert Robbie Robertson and the Uehlin Band
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7 PM Grickle: Aniamted films of Graham Annable
4:30 PM Growing Up Female / Methadone: An American Way of Dealing / Sparkle 7 PM Faster, Pussycat! Kill! Kill!
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4:30 PM Trouble in Paradise 7 PM The Disappearance of My Mother
7 PM The Disappearance of My Mother
7 PM Redoubt
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15 7 PM A Hard Day’s Night @ Jupiter Hotel DreamTENT
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2 PM An Oversimplification of 7 PM 9to5: The Story of a Her Beauty Movement 5 PM Julia Reichert 7:30 PM American Factory
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Downtown 81
SATURDAY 4
FRIDAY 3
THURSDAY 2
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JANUARY 1
WEDNESDAY
@ nwfilm.org. join the silver screen club.
7 PM Downtown 81
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The Disappearance of My Mother
MONDAY
watch film all year round
2 PM Eternal Sunshine of the 7 PM The Disappearance of Spotless Mind My Mother 4:30 PM Fall Term Student Screening 7 PM Redoubt
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SUNDAY
JANUARY/FEBRUARY 2020
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7 PM Daguerrotypes
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4:30 PM Patrinell: The Total Experience 7 PM One Sings, the Other Doesn’t
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7 PM The Gleaners & I & Two Years Later
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4:30 PM Cane River 7 PM One Hundred and One Nights
4:30 PM The Unicorn 7 PM Bound
The Unicorn
7 PM Agnès Varda Shorts Program 2
4:30 PM Le Bonheur 7 PM Mr. Jimmy
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3
2
25
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$8 PAM Members, Students, Seniors
6:30 PM Agnès Varda: From Here to There
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7 PM Jane B par Agnès V & Kung-fu Master!
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7 PM Cinevardaphoto
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$5 Silver Screen Club Friends, New Wave & Children
7 PM The Beaches of Agnès
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7 PM Vagabond
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7 PM Mur Murs & Documenteur
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7 PM You Gave Me a Song: The Life and Music of Alice Gerrard
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visiting artist
subtitles
4:30 PM Faces Places 7 PM Varda by Agnès
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7 PM The World of Jacques Demy & Young Girls Turn 25
4:30 PM Jacquot De Nantes
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4:30 PM Agnès Varda Shorts Program 3 7 PM Where Does a Body End?
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4:30 PM Lion’s Love (...and Lies) 7 PM Other Music
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6:30 PM The Harder They Come & No Place Like Home
Unless otherwise noted, all films screen at the Northwest Film Center—Whitsell Auditorium located inside the Portland Art Museum, 1219 SW Park Avenue
$10 General Admission
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7 PM Northwest Music Video Showcase @ Jupiter NEXT
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You Gave Me a Song
7 PM Stories from the River
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La Pointe Courte & Cléo From 5 to 7
$5 Silver Screen Club Friends, New Wave & Children Unless otherwise noted, all films screen at the Northwest Film Center—Whitsell Auditorium located inside the Portland Art Museum, 1219 SW Park Avenue
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The Northwest Film Center is funded in part by the James F. and Marion L. Miller Foundation, Henry H. Hillman Jr. Foundation, Regional Arts & Culture Council, Oregon Arts Commission, The Ted R. Gamble Film Fund, the Citizens of Portland through the Arts and Education Access Fund, and the support of numerous sponsors, members, and friends.
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JAN/FEB 2020