SEPTEMBER/OCTOBER 2019
The Traveler
nwfilm.org
FALL ADULT CLASSES Hands-On Learning for Creatives & Community Members
REGISTRATION NOW OPEN After Effects Fundamentals
Editing Fundamentals
Starts September 24 (5 weeks)
Starts September 26 (5 weeks)
Overview of the AE software
Basics of editing with Adobe Premiere
Cinematography
Motion Graphics
Starts September 24 (10 weeks)
Starts November 5 (6 weeks)
The art of crafting moving images
Titling, animating and layer control in AE
Screenwriting: Advanced
Color Correcting
Starts September 24 (10 weeks)
Starts November 7 (5weeks)
Take your writing to the next level
Color management in Premiere
Art of Filmmaking
Computer Animation
Starts September 25 (12 weeks)
Starts January 10 (3 days)
The 101 of film production and analysis
Screenwriting: Fundamentals Basics of dramatic scriptwriting
Starts September 25 (10 weeks)
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NWFC SEP/OCT 2019
Explore the Animate/Photoshop possibilities
FALL ADULT WORKSHOPS Hands-On Learning for Creatives & Community Members
REGISTRATION NOW OPEN International Screenwriter’s Association (free)
Super 8mm Camera Operation
September 19, Oct 17, Nov 21 (evening)
October 19 (half day)
Third Thursday gathering of Portland Chapter
Arri Alexa Camera Orientation
Primer on our primo rental camera
September 28 (half day)
Bolex Camera Orientation
16mm loading, metering, and film stocks
September 28 (half day) Lighting Basics
Use a light kit to create various effects
October 5 (half day)
Rotoscoping Experimental Images
Shoot in the analog home movie format
Hand Processing
How to process and handle Super-8 and 16mm film negative
October 26 (half day) Diary Filmmaking
Explore the boundaries between art and life
November 2 (full day) Sound Recording
How to record high quality audio
November 16 (full day)
Make magic with After Effects’ Roto Brush tool
October 19 (half day)
EQUIPMENT RENTAL SPECIAL 2019 Get the gear you need to make films this year!
Details at nwfilm.org/equipment SEP/OCT 2019 NWFC
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Northwest Tracking 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. Tuesday, September 24, 7 pm A Perfect 14, British Columbia, 2018
dir. Giovanna Morales Vargas (105 mins., documentary, DCP)
The Qualities of Being Human
Thursday, September 12, 7 pm The Qualities of Being Human: Films by Evan Raymond Spitzer, Oregon, 2014 – 2019
Presenting the parallels between society and the fashion industry, A Perfect 14 examines the segregation plus-size models face as they work to reshape the fashion industry and society’s beauty standards. Co-presented with Portland Fashion Week. Come early for a 6 pm reception and stay for a post-screening question and answer with director Giovanna Morales Vargas and Producer James O’Brien.
dir. Evan Raymond Spitzer (85 mins., documentary/animation, DCP)
Oregon-based filmmaker Evan Raymond Sptizer presents three uniquely crafted films, each using different techniques to explore cinema’s capacity for presenting a story.
Thursday, September 19, 7 pm Women in Film PDX: Member Screening,
Oregon, 2019 dir. Various (70 mins., drama/documentary, DCP)
Join Women in Film PDX as they present their fourth annual member screening, in which recent films made by members will be screened amongst a handful of curated films by women directors. Come early for a 6 pm reception and stay for an insightful post-screening dialogue. A Perfect 14
Convergence and Cacophony
Thursday, October 17, 7 pm Convergence and Cacophony: Experimental Documents from Dustin Zemel,
Washington, 2007 – 2019 dir. Dustin Zemel (72 mins., experimental, DCP)
Combining multiple layers of visuals and audio, filmmaker, artist, and scholar Dustin Zemel pushes the boundaries on stable environments in the cinematic-sphere. He will also conduct a rotoscoping workshop on October 19 (see page 3).
Thursday, October 24, 7pm The I Never Trilogy, Oregon, 2015 – 2019
dir. Mig Windows and Rory Owens (60 mins. Horror, DCP) An anthology of ghost stories exploring themes of heartbreak, infidelity, suicide, and the supernatural.
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Jonas Mekas In His Own Images, Sounds, and Words Pioneering 16mm filmmaker Jonas Mekas, who lived a long and fruitful life, died earlier this year at the age of 96. Mekas, a leading light of not only filmmaking but of living as an artist in the contemporary world, forged a career from his own experiences, often filming his immediate surroundings, friends, family, and acquaintances. With this series running through the end of 2019, we pay tribute to Mekas through his diary films—a major body of work full of beauty and wisdom. “We need less perfect but more free films.”—Jonas Mekas. Sunday, September 15, 1 pm Diaries, Notes, and Sketches (aka Walden), US, 1969 dir. Jonas Mekas (177 mins., experimental, 16mm)
Mekas’s first major diary film is a vibrant portrait of underground filmmaking in the 1960s, and sees the filmmaker developing his signature style—beautiful music and oral stories over vibrant 16mm images of his life. Mekas founded Anthology Film Archives in New York shortly after he made this film.
Lost Lost Lost
Saturday, October 12, 3:30 pm Lost Lost Lost, US, 1976
dir. Jonas Mekas (178 mins., experimental, digital)
Covering the years 1949-1963, this trove of “lost” material features Mekas’s arrival in New York and the subsequent hand-to-mouth years; an immigrant’s life weaving with the counterculture and peace movements.
Reminiscences of a Journey to Lithuania
Sunday, September 29, 4:30 pm Reminiscences of a Journey to Lithuania,
UK/West Germany, 1972 dir. Jonas Mekas (88 mins., experimental, 16mm)
In the early 1970s, Mekas returned to his homeland, Lithuania, with trusty Bolex 16mm camera in hand, creating this diary of his family and friends, which is one of his most beautiful films.
Saturday, October 26, 4:30 pm Paradise Not Yet Lost, or Oona’s Third Year, US, 1980 dir. Jonas Mekas (96 mins., experimental, 16mm)
Mekas’s fourth major diary film was shot in 1977, the third year of his daughter Oona’s life, in which they spend time in New York and visiting his 90-year-old mother in Lithuania. “It’s a diary film but also it is a meditation on the theme of Paradise.”—Jonas Mekas. Visiting Artist Julie Perini leads a hands-on workshop on diary filmmaking, November 2 (see page 3).
SCREENING NOVEMBER–DECEMBER 2019: He Stands in a Desert Counting the Seconds of His Life (1996), As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (2000), and Out-Takes from the Life of Happy Man (2012).
SEP/OCT 2019 NWFC
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Taste of Cherry
Abbas Kiarostami: A Retrospective Global film culture lost one of its most poetic voices with the passing of Iranian master Abbas Kiarostami in late 2016. Born in 1940, Kiarostami immersed himself in the fine arts early in life, but upon the 1969 establishment of Kanoon, the Iranian state cinema agency, he became deeply involved in filmmaking at a friend’s urging. Immediately establishing a hybrid fact/fiction style free from the confines of commercial cinema, Kiarostami started by making children’s films, applying his deft philosophical touch to simple issues, made profound via the camera’s lens, the microphone, and the editing bench. Showing his ability to work effectively inside a repressive regime, Kiarostami subsequently made a long string of poetic masterpieces, beginning with his Koker Trilogy (1987-94) and including Close-up (1990), the Palme d’Or-winning Taste of Cherry (1997), The Wind Will Carry Us Close-up (1999), and many others, up to his late work overseas, Certified Copy (2010) and Like Someone in Love (2012). A massive influence on not only generations of Iranian filmmakers, including Jafar Panahi and Asghar Farhadi, Kiarostami has influenced myriad global artists with an interest in blending documentary and fiction to excavate deeper truths about being human. Always beautifully shot, ethical and humanist in equal measure, Kiarostami’s films appear together for the first time with this career-spanning retrospective, featuring new restorations and rare screenings of long-unavailable works.
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“When we reveal a film’s world to the members of an audience, they each learn to create their own world through the wealth of their own experience. As a filmmaker, I rely on this creative intervention for, otherwise, the film and the audience will die together. Faultless Through the Olive Trees stories that work perfectly have one major defect: they work too well to allow the audience to intervene. I believe in a type of cinema that gives greater possibilities and time to its audience. A half-created cinema, an unfinished cinema that attains completion through the creative spirit of the audience, so resulting in hundreds of films. It belongs to the members of that audience and corresponds to their own world.” —Abbas Kiarostami, “An Unfinished Cinema,” 1995.
FILMS SCREENING IN THIS RETROSPECTIVE: The Palme d’Or-winning Taste of Cherry (1997) and follow-up The Wind Will Carry Us (1999), both in new 4K restorations.
Where is the Friend’s House?
Kiarostami’s masterful Koker Trilogy, including Where is the Friend’s House? (1987), And Life Goes On (1992), and Through the Olive Trees (1994)—one of world cinema’s greatest trilogies. Early works made in association with Kanoon (Iran’s state cinema agency), including The Traveler (1974), A Wedding Suit (1976), The Report (1977), Case No. 1 Case No. 2 (1979), alongside several formerly-impossible-to-see shorts, all newly restored.
Essential children’s documentaries Homework (1989) and ABC Africa (2001) Late-career overseas films, including Certified Copy (2010), for which Juliette Binoche won the Cannes Film Festival Best Actress prize, and Like Someone in Love (2012), his homage to classic Japanese cinema. 21st-century conceptual works including Ten (2002), Five Dedicated to Ozu (2003), Shirin (2008), and 24 Frames (2017). A Wedding Suit
Piercing doc/fiction hybrid Close-up (1990), routinely voted amongst the greatest films ever made.
VISIT NWFILM.ORG FOR A FULL SCHEDULE, INFORMATION, AND TICKETS. SEP/OCT 2019 NWFC
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Cassandro the Exotico!
Weekend Engagements September 13-15 Say Amen, Somebody, US, 1982
dir. George T. Nierenberg (100 mins., documentary, DCP)
Paris is Burning
September 6-8 Paris is Burning, US, 1990
dir. Jennie Livingston (71 mins., documentary, DCP)
Jennie Livingston’s legendary documentary goes inside NYC ballroom culture of the late 1980s, diving deep into sublime performances, rival houses, and the hopes, fears, and dreams of a generation of performers during the AIDS crisis. Newly restored!
September 7-8 Cassandro the Exotico!, France, 2018
dir. Marie Losier (73 mins., documentary, DCP)
Exóticos, lucha libre performers who wrestle in drag, are a major force in the Mexican wrestling scene—but none had won the championship belt until Cassandro, a magnetic and openly-gay luchador (known as “the Liberace of lucha libre”), who lights up the screen in this loving portrait courtesy of off-kilter documentarian Marie Losier. 8
NWFC SEP/OCT 2019
Gospel takes center stage in this newly restored, pulsating, up-close documentary featuring intimate performances by Thomas A. Dorsey, Mother Willie Mae Ford Smith, the Barrett Sisters, and the O’Neal Twins; the film is at turns hilarious, spirited, and uplifting.
September 14-15 Chulas Fronteras, US, 1976
dir. Les Blank & Chris Strachwitz (58 mins., documentary, DCP)
Along the Texas-Mexico border, Musica Norteña can be heard far and wide, an expression of cultures co-mingling through the joy and sorrow of everyday life—with no better chronicler than documentary legend Les Blank. Screens with Del mero corazón (1979, Les Blank & Maureen Gosling). Newly restored! Chulas Fronteras
Special Screenings TIME-BASED ART FESTIVAL Monday, September 9, 7 pm A Body in Fukushima, Japan, 2018
dir. Eiko Otake (80 mins., video art, digital)
A specially-edited film crafted from thousands of photographs taken by William Johnston, fine artist Eiko Otake grapples with the irradiated landscapes of post-nuclear meltdown Fukushima, Japan. Eiko will be present at the screening and will introduce and lead a conversation after the viewing.
Saturday, September 21, 1:30 pm Island of the Hungry Ghosts, Germany/UK/
Australia dir. Gabrielle Brady (98 mins., documentary, DCP)
Brady’s exceptionally incisive and powerful documentary puts the climate crisis up against the global immigration crisis on a small island off the coast of Australia, where thousands of migrants await their fate—or freedom—with a lone trauma counselor their only connection to the outside world. Co-presented with Mercy Corps, who will lead a post-film discussion.
Tuesday, September 10, 7 pm SHAKEDOWN, US, 2018
dir. Leilah Weintraub (72 mins., documentary, DCP)
SHAKEDOWN is the story of Los Angeles’ black lesbian strip club scene and its genesis. Owned and operated by women, underground and illegal in nature, the club Shakedown is the darker, faster, younger iteration of dance culture—SHAKEDOWN is a window into this world. Walking on Water
The Scar of Shame
COLOR LINE: BLACK EXCELLENCE ON THE WORLD STAGE Saturday, October 5, 2 pm Birthright, US, 1939
dir. Oscar Micheaux (74 mins., drama, DCP)
Saturday, September 14, 2 pm Monday, September 16, 7 pm Walking on Water, Italy/Germany/United Arab
Emirates/US, 2018 dir. Andrey Paounov (105 mins., documentary, DCP)
In this thrilling behind-the-scenes doc, art world legend Christo, famous for large-scale textile pieces (most made with his late wife, Jean-Claude), embarks on his latest adventure: a massive cloth bridge spanning a large body of water in Italy, hordes of press in tow.
Near the end of a long and storied career, black American filmmaking pioneer Oscar Micheaux’s late work sees a black Harvard graduate confronting racism in this nuanced portrait of one man’s struggle.
Saturday, October 19, 2 pm The Scar of Shame, US, 1929
dir. Frank Peregini (68 mins., drama, DCP)
One of the first feature films with an all-black cast and specifically made for a black audience—but nonetheless produced and directed by white men—The Scar of Shame is notable for its grappling with issues of respectability and bourgeois values. A Body in Fukushima
Special Screenings continued October 3, 4, 5, 7pm Portland Dance Film Festival
The Portland Dance Film Festival is a multi-night festival showcasing films from around the world by artists making relevant, inspired dance for film. The 2019 Festival will include 20 dance films, 3 mini docs, and the Oregon Dance Film Commission. The ODFC is a program that brings together two artists: one choreographer and one filmmaker to create, shoot, edit and complete a dance film to be premiered at the festival. For more information & schedule visit nwfilm.org
Wednesday, October 9, 7 pm Strange Territories: The Short Films of Miri Gossing & Lina Sieckmann, Germany, 2014-19 dirs. Miri Gossing & Lina Sieckmann (approx. 120 mins., experimental, 16mm/digital)
Cologne, Germany-based filmmakers Gossing and Sieckmann make films examining urban and private architecture, hyper-staged environment, subcultural individuals, and the notion of desire—all while combining documentary imagery with fiction and found footage. Co-presented with the Portland State University School of Film.
The Two Faces of a Bamiléké Woman
Saturday, October 26, 7 pm Chez Jolie Coiffure & The Two Faces of a Bamiléké Woman, Cameroon/Belgium, 2018
dir. Rosine Mbakam (TRT 147 mins., documentary, DCP)
Cameroonian filmmaker Rosine Mbakam delivers two affecting portraits: Chez Jolie Coiffure, which centers on a vibrant hair salon in Brussels run by Cameroonian women, and The Two Faces of a Bamiléké Woman, Mbakam’s autobiographical film about her return to Cameroon to visit her mother.
Saturday, October 26, 2 pm City Limits: The Problems and Virtues of City Life Alain Le Tourneau presents three stunning 16mm prints from the 40 Frames collection, all grappling with the complexity of urban life and the question of what makes a city. Films screening:
City Limits, Canada, 1971 dir. Laurence Hyde (28 mins., documentary, 16mm) Organism, US, 1975
dir. Hilary Harris (19 mins., documentary, 16mm) The Short Films of Miri Gossing & Lina Sieckmann
Bunker Hill, US, 1956 dir. Kent Mackenzie (17 mins., documentary, 16mm) Organism
James Baldwin: The Price of the Ticket
Hank Willis Thomas: All Things Being Equal... Presented in conjunction with Hank Willis Thomas: All Things Being Equal..., a major solo exhibition at the Portland Art Museum on view October 12-January 12, artist Hank Willis Thomas has selected a wide-ranging series of films that grapple with mass media, race, and representation in the contemporary United States. “These films impacted my life and whole understanding of the power of art to shape our notions of the truth and therefore reality.”—Hank Willis Thomas. Sunday, October 13, 2 pm They Live, US, 1988
Sunday, October 27, 2 pm James Baldwin: The Price of the Ticket, US, 1989
Legendary horror director John Carpenter’s mass-mediaskewering masterpiece pulls back the curtain on the ruling classes, exposing them as aliens in control of subliminal messaging littering American streets, with only hero “Rowdy” Roddy Piper and his media-blocking sunglasses in the way of total domination.
A great portrait of a great man, The Price of the Ticket charts James Baldwin’s early life, school years, and finally his formation into one of the great public intellectuals of American life—an unparalleled truth-teller about the roots and contemporary symptoms of racism in this country.
dir. John Carpenter (94 mins., horror, 35mm)
They Live
dir. Karen Thorsen (87 mins., documentary, digital)
Screenings November 2019-January 2020 include: A Litany for Survival: The Life and Work of Audre Lorde (1995, Ada Gay Griffin & Michelle Parkerson), The Corporation (2003, Mark Achbar), Koyaanisqatsi (1982, Godfrey Reggio), Life and Debt (2001, Stephanie Black), Malcolm X: Make it Plain (1988, Orlando Bagwell), American Revolutionary: The Evolution of Grace Lee Boggs (2013, Grace Lee), Eternal Sunshine of the Spotless Mind (2004, Michel Gondry), and An Oversimplification of Her Beauty (2012, Terence Nance).
SEP/OCT 2019 NWFC
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Jennifer’s Body
Head Cleaner: Cult & Genre Oddities Sunday, September 22, 7 pm The Faculty, US, 1998
dir. Robert Rodriguez (104 mins., horror/sci-fi, digital)
Robert Rodriquez brings his distinctive style and intertextual wit to this high school alien invasion tale, in which a group of teens suspect that their teachers are not who they say they are. Content warning.
Sunday, September 29, 7 pm The Films of Sarah Jacobson Mary Jane’s Not a Virgin Anymore, US, 1996 dir. Sarah Jacobson (98 mins., drama/romance, DCP)
Sarah Jacobson’s first and only feature is a lo-fi, earnest peek into the coming-of-age of Jane, who’s just lost her virginity to a jerk, as she navigates her way through the perils of adolescence. Content warning.
I Was a Teenage Serial Killer, US, 1993 dir. Sarah Jacobson (27 mins., comedy/horror, DCP)
“Like Slacker meets Valerie Solanas, the film depicts a 19-year-old woman who responds to catcalls, condescension, and bad sex the only way she knows how— with murder.” —Alicia Coombs. Content Warning.
Sunday, October 13, 7 pm Buffy the Vampire Slayer, US, 1992
dir. Fran Rubel Kuzui (86 mins., action/comedy/fantasy, 35mm)
Say it with me: Into each generation there is born a slayer, one chosen girl who has the strength to fight the forces of evil. Buffy just wants to make it to prom without getting too much vampire goo on her dress. Content warning.
Sunday, October 20, 7 pm The Slumber Party Massacre, US, 1982
dir. Amy Holden Jones (77 mins., horror, DCP)
Amy Holden Jones’ 1982 slasher (partially) reclaimed a feminine perspective, in this film about a slumber party that must fight off a recently escaped killer. Content warning.
Sunday, October 27, 7 pm Jennifer’s Body, US, 2009
dir. Karyn Kusama (102 mins., comedy/horror, DCP)
After a botched satanic sacrifice leaves Jennifer Check possessed by the devil, she begins unleashing hell on her unsuspecting classmates (and eating them), with only her sheepish longtime friend suspecting anything is amiss. Content warning.
Sunday, October 6, 7 pm Over the Edge, US, 1979
dir. Jonathan Kaplan (95 mins., crime/drama, 35mm)
The kids aren’t all right in Jonathan Kaplan’s cult classic about disaffected youth in a suburban landscape built to antagonize them and their efforts to resist angsty teen boredom, the cops, and the PTA. Content warning. Over the Edge
Essential Cinema Saturday, September 21, 4:30 pm Paper Moon, US, 1973
dir. Peter Bogdanovich (102 mins., comedy/drama, 35mm)
Real-life father-daughter duo Ryan and Tatum O’Neal star as odd-couple hucksters making their hardscrabble and hilarious way across the Midwest in search of stability and a better life during the Great Depression.
Sunday, September 22, 2 pm The Swimmer, US, 1968
dir. Frank Perry (95 mins., drama, DCP)
Burt Lancaster unforgettably stars in this prickly adaptation of John Cheever’s famous short story, in which a successful middle-aged man takes stock of his life by swimming the pools of his upper-crust suburban Connecticut neighborhood, encountering past loves and foes along the way.
Beauty and the Beast
Saturday, October 12, 1 pm Beauty and the Beast, France, 1946
dir. Jean Cocteau (96 mins., romantic fantasy, 35mm)
Cocteau’s legendary, stunningly beautiful film is the first of many adaptations of the canonical 18th-century fairy tale, in which a young woman, maligned by her snotty family members, seeks love with a hideous yet fabulously wealthy animal-man.
Sunday, October 20, 4:30 pm My Twentieth Century, Hungary/West Germany/ Cuba, 1989 dir. Ildikó Enyedi (102 mins., fantasy/drama, DCP)
Girlfriends
Sunday, September 29, 2 pm Girlfriends, US, 1978
Enyedi’s debut—pitched directly between Edison’s 1880 invention of the light bulb and the turn of the 20th Century—concerns twin sisters separated at birth (one becomes a radical activist, the other a hedonistic courtesan) who unexpectedly cross paths while becoming embroiled with the mysterious Dr. Z. An Autumn Afternoon
dir. Claudia Weill (86 mins., comedy/drama, 35mm)
A New York City photographer (Melanie Meyron), whose fledgling career has yet to really take off, must fend for herself when her roommate gets engaged in unheralded director Weill’s tender exploration of female friendship and precarious life in the big city.
Sunday, October 6, 2pm An Autumn Afternoon, Japan, 1962
The Swimmer
dir. Yasujiro Ozu (112 mins., comedy/drama, 35mm)
Ozu’s gorgeous final film, after an exceptional and long career, stars frequent collaborator Chishu Ryu as an aging widower—his daughter set to marry and move away, and the modernization of daily life creeping in, in this often-funny yet melancholic swan song. SEP/OCT 2019 NWFC
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Paris is Burning—September 6
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OCTOBER 1
2 PM Girlfriends (p.13) 4:30 PM Reminiscences of a Journey to Lithuania (p.5)
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24
7 PM A Perfect 14
23 (p.4)
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The Perfect 14—September 24
Walking on Water—September 16
2 PM The Swimmer (p.13) 4:30 PM Through the Olive Trees (p.7) 7 PM The Faculty (p.12)
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1 PM Diaries, Notes, and 7 PM Walking on Water Sketches aka Walden (p.5) (p.9) 4:30 PM Say Amen,Somebody! 7 PM Chulas Fronteras & Del Mero Corazón (p.8)
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7 PM Say Amen, Somebody! (p.8)
7 PM Portland Dance Film Festival (p.10)
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7 PM Portland Dance Film Festival (p.10)
2 PM Color Line: Birthright (p.9) 4:30 PM Case No. 1 Case No. 2 & Three Shorts (p.7)
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7 PM The Traveler & Three Shorts (p.7)
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28 4:30 PM A Wedding Suit & Four Shorts (p.7) 7 PM The Report (p.7)
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1:30 PM Island of the Hungry Ghosts (p.9) 4:30 PM Paper Moon (p.13) 7 PM And Life Goes On (p.7)
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2 PM Walking on Water (p.9) 4:30 PM Say Amen, Somebody! 7 PM Chulas Fronteras & Del Mero Corazón (p.8)
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4:30 PM Paris is Burning (p.8) 6:30 PM Cassandro the (p.8) Exotico!
7 PM Paris is Burning (p.8)
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SATURDAY 7
FRIDAY 6
7 PM Where is the Friend’s 7 PM Women in Film PDX: (p.4) House? (p.7) Member Screening
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THURSDAY
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9
8
WEDNESDAY
7 PM The Qualities of Being Human: Films by Evan Raymond Spitzer (p.4)
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SEPTEMBER 1
TUESDAY 3
watch film all year round . join the silver screen club .
4:30 PM Cassandro the 7 PM Time-Based Art Festival: 7 PM Time-Based Art Festival: Exotico! (p.8) A Body in Fukushima SHAKEDOWN (p.9) (p.9) 6:30 PM Paris is Burning (p.8)
MONDAY
SUNDAY
SEPTEMBER/OCTOBER 2019
2 PM James Baldwin: The Price of the Ticket (p.11) 4:30 PM Like Someone in Love (p.6) 7 PM Jennifer’s Body (p.12)
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4:30 PM My Twentieth Century 7 PM Slumber Party Massacre (p.13)
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(p.7)
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$5 Silver Screen Club Friends, New Wave & Children
24 Frames—October 28
7 PM The I Never Trilogy (p.4)
(p.7)
7 PM Certified Copy
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7 PM Ten
24
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17 7 PM Convergence and Cacophony, Experimental Documents from Dustin Zemel (p.4)
7 PM Close-Up (p.6)
Unless otherwise noted, all films screen at the Northwest Film Center—Whitsell Auditorium located inside the Portland Art Museum, 1219 SW Park Avenue
$8 PAM Members, Students, Seniors
The I Never Trilogy—October 13
$10 General Admission
7 PM 24 Frames
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Buffy the Vampire Slayer—October 13
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2 PM They Live (p.11) 4:30 PM The Wind Will Carry Us (p.6) 7 PM Buffy the Vampire Slayer (p.13)
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visiting artist
subtitles
(p.6) 2 PM City Limits: (p.10) 4:30 PM Paradise Not Yet Lost 7 PM Chez Jolie Coiffure & The Two Faces of a Bamiléké (p.10) Woman
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2 PM Color Line: The Scar of Shame (p.9) 4:30 PM Five Dedicated to Ozu (p.7) 6:30 PM Shirin (p.7)
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1 PM Beauty and the Beast (p.13) 3:30 PM Lost Lost Lost (p.5) 7 PM Taste of Cherry (p.6)
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7 PM Strange Territories: The Short Films of Miri Gossing & Lina Sieckmann (p.10)
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2 PM An Autumn Afternoon (p.13) 4:30 PM Homework & Toothache 7 PM Over the Edge (p.12)
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7 PM Portland Dance Film Festival (p.10)
7 PM Mary Jane’s Not a Virgin Anymore & Teenage Killer (p.12)
WEEKEND ENGAGEMENTS HEAD CLEANER: CULT & GENRE ODDITIES SPECIAL SCREENINGS
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.
NWFILM.ORG
WATCH. Through year-round exhibition programs surveying cinema past and present, audiences and filmmakers come together to explore our region and the world through the moving image arts. LEARN. Individuals find and cultivate their personal voices as storytellers through education programs and innovative collaborations which advance media literacy and engage the next generation. MAKE. Regional filmmakers are supported as artists, educators, mentors, connectors, and leaders, strengthening cinema’s place in the creative, social and economic sectors of the community.
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PORTLAND, OR PERMIT NO. 664
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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 build a climate in which they flourish.
NWFILM CENTER
PLUS...
Unless otherwise noted, all films screen at the Northwest Film Center—Whitsell Auditorium located inside the Portland Art Museum, 1219 SW Park Avenue
NWFILM CENTER
Portland Dance Film Festival
$5 Silver Screen Club Friends, New Wave & Children
NWFILM CENTER
Hank Willis Thomas
$8 PAM Members, Students, Seniors
NWFILM CENTER
Jonas Mekas
$10 General Admission
NWFILM CENTER
Abbas Kiarostami
TICKETS
M CENTER
JUN/JUL/AUG 2019