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SCREENER

MOVIES

Editor: Andi Prewitt / Contact: aprewitt@wweek.com

HOWARD MITCHELL

DEBT OF GRATITUDE: Forgive Us Our Debts is a much-needed examination of Portland’s history of discrimination.

Homesick

Police brutality and its links to the housing crisis are themes in the Portland-set short Forgive Us Our Debts.

BY CHANCE SOLEM-PFEIFER

@chance_s_p

On Aug. 15, Portland filmmaker Howard Mitchell’s new short preceded Do the Right Thing at the NW Film Center’s newly launched drive-in theater. In some ways, the pairing was natural. Like Spike Lee’s 1989 classic, Forgive Us Our Debts depicts an urban neighborhood and its Black residents caught in the cyclical distress of poverty and racism. In its 15-minute runtime, Mitchell’s fi lm zooms in on a family of Black Portlanders falling victim to a predatory gentrifi er and the police who enforce his practices. On Sept. 26, Forgive Us Our Debts finds another apt pairing at the Zidell Yards drive-in: The Shining (1980). This time the connection is tonal. The oppressive dread of Forgive Us Our Debts owes much more to Kubrick than Lee. The threat of violence hovers as a thick, low-lying inhalant, as 13-year-old Trey (Jason Putnam) fields mysterious phone calls, while his grandma (Tracy Shaw) naps to grainy gospel tapes and his father, Dante (Jacques Allison), arrives home on edge and toting a 30-rack. There’s no haunting per se, but you wouldn’t be wrong to think some ancient treachery lurked just outside the family’s front door. Mitchell certainly views his fi lm as one focused on a violation. “I wanted to think about the idea of ‘home’ and make it universal,” says the director, who also goes by the pseudonym Gato. “Robert Frost said that home is a place, that when you get there, they have to let you in. Home is yours. No one can take it from you. And yet, we know they can. And rather violently.” Panama-born and New Jersey-raised, Mitchell moved to town in 2009 after flipping a coin: heads Austin, tails Portland. Tails turned up, Mitchell relocated from Seattle, and Forgive Us Our Debts marks his fi fth short fi lm, made possible in part by a 2018 fellowship from the NW Film Center. Though Mitchell has captured Portland from a sidewalk vantage before in a series of shorts connected by public transit, Forgive Us Our Debts led him to plunge deep into the city’s history of discrimination. “Police brutality is inextricably linked to the housing crisis,” Mitchell says. “It’s a two-headed dragon.” Certainly, depictions of police violence against Black civilians have become more frequent in fi lm and TV during the past several years, but rarely with such an emphasis on the grotesque as in Mitchell’s work. Backgrounding Trey’s after-school routine with a graphic Dante’s Inferno coloring book, Mitchell also doubles certain disturbing shots, like a police o£ cer sco£ ng and grinning at Trey’s father’s defense of their home. “It’s this idea of the spiritual and the profane crashing together,” Mitchell says of his Alighieri allusions. “You have the grandmother representing faith and then Dante bringing in his rage and Black anger. And the boy wrestling with the two between himself.” Put another way, it’s uncommon for injustice against Black Americans to be played for horror in film, not drama. Mitchell’s work aims to peel open the audience’s eyes and force them to stare through Trey’s. The director cites classic international cinema like The Spirit of the Beehive (Spain, 1973) and The 400 Blows (France, 1959) as inspirational examples of shedding intellectual bias through a young POV character. “It’s the tabula rasa of a child, that clear mind, unhindered,” Mitchell says. “A child is something we’re all supposed to identify with. [That] may take the guard o§ some people.” Relating to audiences while maintaining artistic credibility is something Mitchell often views via his Portland State master’s degree: adult education with a critical theory emphasis. As for feeling at home after his fateful coin fl ip, Mitchell wishes there were more Black fi lmmakers in Portland, but he also credits the Film Center for supporting his work when he might have otherwise moved away. Now, it seems, Portland’s sometimes hidden hells may have unlocked new creativity in Mitchell, as he develops his fi rst feature: a PDX noir. “It expounds upon these same themes as a crime drama,” Mitchell says. “The mayor is involved, and this Black bike repairman becomes embroiled and has to sleuth his way out of it. I think it’s ripe. There’s a lot of darkness here.”

GET YOUR REPS IN

While local rep theaters are out of commission, we’ll be putting together weekly watchlists of fi lms readily available to stream. This week, in honor of Netfl ix’s recent release of the star-studded The Devil All the Time, we highlight fi lms boasting stellar ensemble casts.

The Devil All the Time (2020)

Based on Donald Ray Pollock’s critically acclaimed novel, this gritty, dramatic thriller follows a young man (Tom Holland) through a series of strange encounters with sinister characters in the corrupt town of Knockemsti– , Ohio. Co-stars include Riley Keough, Sebastian Stan, Mia Wasikowska, Bill Skarsgård, and standout Robert Pattinson as a lecherous preacher. Netfl ix.

Night on Earth (1991)

Jim Jarmusch’s nocturnal dramedy consists of fi ve vignettes, all focusing on a di– erent cab driver in a di– erent city on the same night. Perhaps the most notable of the anthology is the opener, in which a grungy chain-smoking cabbie (Winona Ryder) escorts a movie executive (Gena Rowlands) around L.A. Amazon Prime, Criterion Channel, HBO Max.

Magnolia (1999)

This epic drama from auteur Paul Thomas Anderson explores the myriad ways in which fateful coincidences form delicate connections, binding us all together. The fi rst-rate ensemble cast includes Julianne Moore as a pill-addicted housewife, Philip Seymour Ho– man as a tender nurse, and Tom Cruise in one of his most memorable roles as a bawdy motivational speaker. Amazon Prime, Google Play, HBO Go, HBO Max, Hulu, iTunes, Vudu, YouTube.

Waiting for Guffman (1996)

A troupe of community theater actors, led by their eccentric director, Corky St. Clair (Christopher Guest, who also directs), aims to put on an original musical celebrating their small town’s history. Eugene Levy, Fred Willard, Bob Balaban, Catherine O’Hara, and the always delightful Parker Posey co-star in this almost entirely improvised mockumentary. Amazon Prime, Google Play, Hulu, iTunes, Vudu, YouTube.

Babel (2006)

Brad Pitt and Cate Blanchett headline this heartrending drama from multi-Best Director Oscar winner Alejandro Iñárritu. Tragedy strikes while the American pair are vacationing in Morocco, and their stories internationally intertwine with their Mexican nanny (Adriana Barraza) and her nephew (Gael García Bernal), as well as a hearing-impaired teen girl in Japan (Rinko Kikuchi). Amazon Prime, Google Play, iTunes, Netfl ix, Vudu, YouTube.

TOP PICK OF THE WEEK

Bloody Nose, Empty Pockets While most Oregonians haven’t set foot in their local for months, we’ve all passed that one obscure watering hole and thought, “Has this place been open the whole time?” Bloody Nose, Empty Pockets is an ode to just that kind of dive. Experimental filmmakers Bill and Turner Ross train their lenses on Las Vegas’ Roaring ’20s on its final day in business, and we meet the affable barkeeps, trauma-soaked vets, wayward youngsters and shaggy loners toasting farewell to their only sense of community, no matter that it feeds on their marginalization and addiction. The weeping, the slurred professions of love, the gallows humor, the last dances—it’s as profoundly affecting as it is authentically scuzzy, but there’s a trick afoot. The amateur performers are clearly operating from some vague script, even if they are completely plastered. The sad-bastard country soundtrack is a little too on pitch and, in fact, the interior of the bar is not even in Vegas. Winner of the True/False Film Festival’s True Vision Award, Bloody Nose waltzes at the forefront of creative cinematic nonfiction. And this premise blurs the line between fact and fiction perfectly. After all, there is no stark reality for the spiraling barfly. The tears look damn real, and they flow like swill. NR. CHANCE SOLEM-PFEIFER. On Demand.

OUR KEY

: THIS MOVIE IS EXCELLENT, ONE OF THE BEST OF THE YEAR.

: THIS MOVIE IS GOOD. WE RECOMMEND YOU WATCH IT. : THIS MOVIE IS ENTERTAINING BUT FLAWED. : THIS MOVIE IS A PIECE OF SHIT.

ALSO PLAYING

Beau Travail

With Criterion Collection’s new 4K restoration of French auteur Claire Denis’ 1999 tour de force, her already stunning imagery is enhanced to reach its full potential. Set in a French Foreign Legion camp in Djibouti, the verdant greens of soldiers’ uniforms and the vibrant blues of the Indian Ocean contrast even more brilliantly against the igneous heat of the African sun. Loosely based on Herman Melville’s novella Billy Budd, Sailor, this blistering drama focuses on former Legion officer Galoup as he reminisces about his career leading the troops. Specifically, he recalls the time a younger, stronger and more charismatic man joined the squad, consuming him with jealousy, implied to stem from his own repressed sexuality. Unafraid to probe the pressures and pitfalls of masculinity, Beau Travail, which translates as “Good Work,” argues that intensive athleticism can be both elegant and brutal. Abstract images of shirtless men relentlessly performing training rituals are rhythmic and hypnotic, yet devoid of glamorization—Denis opts to cultivate an authentic atmosphere rather than the typical propagandistic action that dominates domestic military movies. It’s why she remains one of the best working directors. NR. MIA VICINO. Cinema 21’s Virtual Theater.

The Personal History of David Copperfield

Bonk! Bonk! Bonk! Bonk! In a single scene from The Personal History of David Copperfield, David (Dev Patel) bangs his noggin four times, channeling the deliciously manic energy that director Armando Iannucci (The Death of Stalin) brings to this adaptation of Charles Dickens’ novel. Tales of orphans looking for love and profit are ripe for slick sentiment, but Iannucci amplifies the story’s comedic absurdities without sacrificing its emotional force. At 119 minutes, the film is too trim—an extra half-hour would have allowed Iannucci to more credibly chronicle David’s transformation from a child laborer in a bottling factory into a gangly yet graceful gentleman. Yet there’s no resisting the cast (especially Peter Capaldi as the merry charlatan Mr. Micawber and Ben Whishaw as the pious swindler Uriah Heep), and while Iannucci revels in the story’s goofier episodes—including the theft of a concertina from a pawnshop— he captures David’s growth with moving sincerity. “Don’t worry,” David tells his younger self in a fantasy scene. “You’ll make it through.” At a moment when too many of us are wondering if we’ll make it, that message of resilience is at once inspiring and comforting. PG. BENNETT CAMPBELL FERGUSON. Virtual Cinema.

She Dies Tomorrow

Amy (Kate Lyn Sheil) knows for a fact she’s going to die tomorrow. She’s seen things. Heard things. She knows. Obviously, her best friend Jane (Jane Adams) doesn’t believe her at first. But then Jane begins having the same ominous visions. Now, Jane knows for a fact that she’s going to die tomorrow. As does Jane’s brother (Chris Messina) and his wife and her friends, etc., etc. In most mainstream thrillers, we’d probably see the characters team up to fight death, but writer-director Amy Seimetz is detached from narrative convention, and her kaleidoscopic sophomore feature is, honestly, a lot less thrilling than it sounds. This is by no means a negative— it’s contemplative and challenging, harnessing dread from the fatal contagion of existentialist-fueled anxiety. In Seimetz’s neon-soaked world, death is a natural process, something to resign to instead of futilely resist. Though some viewers may find the aimless ambiguity baffling, this is a film to fully feel with all senses—to marinate in—rather than agonize over the intentional lack of logic and answers. Anxiety itself is often irrational, so this is Seimetz’s impressionistic response to that all too ubiquitous frustration. Embrace it. R. MIA VICINO. Google Play.

LX 2048

The image of the lone figure wandering a deserted metropolis is as old as our modern idea of the apocalypse. Yet you could have approximated such iconography in many West Coast cities last week. That’s to say, the criteria for credible near-term science fiction sharpens quickly, and indie auteur Guy Moshe is a mostly believable architect in LX 2048. Twentyeight years from now, the sun sears skin on contact, humans cling to the indoors and their VR, antide

BLOODY NOSE, EMPTY POCKETS

pressants are basically mandatory, and insurance companies offer cloned replacements of deceased loved ones. But Adam Bird (James D’Arcy) resists it all—a real 1999 man, who likes to drive to the office, brew coffee and thumb his guitar. What’s missing here is not imagination but a more nuanced observation of human relationships as a mystery unfolds. Adam’s marriage to Reena (Anna Brewster) is hyperbolically vindictive mostly to move plot, a blur of suggested world-building by way of accusatory monologues about Adam being a loser and a dinosaur. The expository cheapness stands in stark contrast to patient, demonstrable moments of futuristic alienation—particular kids’ devotion to VR. Ultimately, all movies are better with Delroy Lindo bit parts, but LX 2048 still feels like the one before Moshe’s breakout. NR. CHANCE SOLEM-PFEIFER. On Demand.

Martin Margiela: In His Own Words

No matter how often haute couture may borrow from Hollywood imagery, the silver screen rarely flatters our more fashion-forward designers. Films about the people behind the big-name clothing labels tend to accentuate their most cartoonish eccentricities—showing so-called visionaries leaning into the silliest flourishes of their own branding with a grim determination that borders on self-parody. The same cannot be said about the new documentary Martin Margiela: In His Own Words, which examines the career of the famously private avant-garde Belgian style icon, who abruptly left his own studio after his final 2008 show. The film does present an engaging opportunity to evade Zoolandrian caricature when fleshing out a designer known for his deconstructive strategies steeped in found-object whimsy—he has turned everything from a leather butcher’s apron to a broken dish into high fashion. And Margiela’s participation as narrator allows for thoughtful reflection and, since only his hands are shown, keeps the fashion world’s answer to Banksy wrapped in an air of mystery. However, director Reiner Holzemer never bothers to speculate how his subject’s guiding passions interrelate, resulting in a portrait that’s never quite as lively or unconventional as Margiela’s creations. For all but the most hardcore fashionista superfans, less really isn’t more this time. NR. JAY HORTON. Virtual Cinema.

Measure for Measure

If you ever wanted to see a Shakespeare movie with a mass shooting, now is your chance. The Bard may have written Measure for Measure as a comedy, but director Paul Ireland has reimagined it as a grim crime flick. The film updates the story (and the dialogue) for modern-day Melbourne, where two young lovers, Jaiwara and Claudio (Megan Hajjar and Harrison Gilbertson), are wrenched apart by a false accusation. Their last hope is Duke (Hugo Weaving), a slovenly gangster whose imperious beard is matched only by his power in the Australian underworld. Weaving (who also played the sinister Agent Smith in The Matrix) is as lordly as ever, and Hajjar and Gilbertson are sweet as two kids whose towering passions belie their tender ages. Yet their performances can’t conceal the film’s failure to answer the questions about love, loyalty and religion that it raises. Jaiwara is a Muslim immigrant, but Measure for Measure callously dismisses faith as an annoying obstacle to her love life. It’s enough to make you wonder if the film believes in anything at all, or if its pretensions are as flimsy as Duke’s signature burgundy bathrobe. NR. BENNETT CAMPBELL FERGUSON. On Demand.

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JONESIN’ by Matt Jones "Adjusted to Fit Your Screen"--what the flip is going on? [#590, Sept. 2012]

ACROSS

1 What your answers must be written in to understand the theme 5 Hiking path 10 "Which came first?" choice 13 Clapton or Cartman 14 Candy branded as "The Freshmaker" 16 Stu to fix a squeaky hinge 17 Aligned correctly 19 Pompous attribute 20 Stun gun relative 21 Jewel 22 Amy Winehouse hit song 24 Complainer's sounds 26 1980s hairstyle that may have involved a kit 27 Donut shop quantities 30 Cop show with the line "Just the facts, ma'am" 33 Cupid's Greek counterpart 34 Wire-___ (like some terriers' coats) 37 Rowboat propeller 38 Transmit electronically, in a way 39 Devices that, when turned, adjust themselves (just like the theme answers) 40 Greek vowel 41 Su—x form for twenty and thirty, but not ten 42 Audrey Tautou's quirky title role of 2001 43 Stay away from 44 Moved the borders to create a new area, perhaps 46 They're collected in passports 48 Coee dispensers 49 Cartoonist Guisewite, or her comic strip 51 Faith whose name comes from the Arabic for "glory" 53 Rapper ___ Def 54 Walkway on an airline flight 58 Bullfighting cheer 59 What Neil Armstrong partook in, e.g. 62 Homer's outburst 63 It may be tossed after a wedding 64 Charity benefit, maybe 65 Take notice 66 Some religious observances 67 Stretch across

DOWN

1 Like some checks: Abbr. 2 Operatic solo 3 Sty dwellers 4 Crafty plans 5 Symbols after brand names 6 Rule over a kingdom 7 Chilean mountain range 8 Checklist component 9 Rawls of R&B 10 "Land sakes alive that's awesome!" 11 Prefix for byte meaning "billion" 12 Amorphous clump 15 Jam, margarine, or cream cheese, e.g. 18 Sci-fi film set inside a computer 23 Exercise machine unit 25 Makes embarrassed 26 Class warmup before a big exam 27 Postpone 28 Make big speeches 29 Do the "I am not a crook" thing with the V-signs, for example? 30 Three, in Germany 31 Completely devour 32 ___ fatty acids 35 Troy's friend on "Community" 36 Under the weather 39 Activity done in heated beds 43 Well-known quotations, often 45 "Are you a man ___ mouse?" 47 Warm up after being in the freezer 49 Amounts on a bill 50 Liability counterpart 51 Physiques, in entertainment tabloids 52 Lotion ingredient 53 Actress Sorvino 55 Shower gel, essentially 56 Hit for The Kinks 57 Actor McGregor 60 Clumsy sort 61 Org. that provides W-2 forms

last week’s answers

ARIES (March 21-April 19)

"I am, indeed, a king, because I know how to rule myself," wrote 16th-century author Pietro Aretino. By January 2021, Aries, I would love for you to have earned the right to make a similar statement: "I am, indeed, a royal sovereign, because I know how to rule myself." Here's the most important point: The robust power and clout you have the potential to summon has nothing to do with power and clout over other people— only over yourself. Homework: Meditate on what it means to be the imperial boss and supreme monarch of your own fate.

TAURUS (April 20-May 20)

"The basic principle of spiritual life is that our problems become the very place to discover wisdom and love." Buddhist teacher Jack Kornfield made that brilliant observation. It's always worth meditating on, but it's an especially potent message for you during the first three weeks of October 2020. In my view, now is a highly favorable time for you to extract uplifting lessons by dealing forthrightly with your knottiest dilemmas. I suspect that these lessons could prove useful for the rest of your long life.

GEMINI (May 21-June20)

"My business is to love," wrote poet Emily Dickinson. I invite you to adopt this motto for the next three weeks. It's an excellent time to intensify your commitment to expressing compassion, empathy, and tenderness. To do so will not only bring healing to certain allies who need it; it will also make you smarter. I mean that literally. Your actual intelligence will expand and deepen as you look for and capitalize on opportunities to bestow blessings. (P.S. Dickinson also wrote, "My business is to sing." I recommend you experiment with that mandate, as well.)

CANCER (June 21-July 22)

"I’m the diamond in the dirt, that ain’t been found," sings Cancerian rapper Curtis Jackson, also known as 50 Cent. "I’m the underground king and I ain’t been crowned," he adds. My reading of the astrological omens suggests that a phenomenon like that is going on in your life right now. There's something unknown about you that deserves and needs to be known. You're not getting the full credit and acknowledgment you've earned through your soulful accomplishments. I hereby authorize you to take action! Address this oversight. Rise up and correct it.

LEO (July 23-Aug. 22)

The author bell hooks (who doesn't capitalize her name) has spent years as a professor in American universities. Adaptability has been a key strategy in her e˜orts to educate her students. She writes, "One of the things that we must do as teachers is twirl around and around, and find out what works with the situation that we're in." That's excellent advice for you right now—in whatever field you're in. Old reliable formulas are irrelevant, in my astrological opinion. Strategies that have guided you in the past may not apply to the current scenarios. Your best bet is to twirl around and around as you experiment to find out what works.

VIRGO (Aug. 23-Sept. 22)

“Your relationship with yourself sets the tone for every other relationship you have,” says motivational speaker Robert Holden. Hallelujah and amen! Ain't that the truth! Which is why it's so crucial to periodically take a thorough inventory of your relationship with yourself. And guess what, Virgo: Now would be a perfect time to do so. Even more than that: During your inventory, if you discover ways in which you treat yourself unkindly or carelessly, you can generate tremendous healing energy by working to fix the glitches. The coming weeks could bring pivotal transformations in your bonds with others if you're brave enough to make pivotal transformations in your bonds with yourself.

HOMEWORK:Homework: Make up a song that cheers you up and inspires your excitement about the future. It doesn't have to be perfect. FreeWillAstrology.com

LIBRA (Sept. 23-Oct. 22)

In her high school yearbook, Libra-born Sigourney Weaver arranged to have this caption beneath her o¢cial photo: "Please, God, please, don't let me be normal!" Since then, she has had a long and acclaimed career as an actor in movies. ScreenPrism.com calls her a pioneer of female action heroes. Among her many exotic roles: a fierce warrior who defeats monstrous aliens; an exobiologist working with indigenous people on the moon of a distant planet in the 22nd century; and a naturalist who lives with mountain gorillas in Rwanda. If you have ever had comparable fantasies about transcending normalcy, Libra, now would be a good time to indulge those fantasies—and begin cooking up plans to make them come true.

SCORPIO (Oct. 23-Nov. 21)

Scorpio-born Prince Charles has been heir to the British throne for 68 years. That's an eternity to be patiently on hold for his big chance to serve as king. His mother Queen Elizabeth just keeps going on and on, living her very long life, ensuring that Charles remains second-in-command. But I suspect that many Scorpios who have been awaiting their turn will finally graduate to the next step in the coming weeks and months. Will Charles be one of them? Will you? To increase your chances, here's a tip: Meditate on how to be of even greater devotion to the ideals you love to serve.

SAGITTARIUS (Nov. 22-Dec. 21)

Inventor Buckminster Fuller was a visionary who loved to imagine ideas and objects no one had ever dreamed of before. One of his mottoes was, “There is nothing in a caterpillar that tells you it’s going to be a butterfly.” I recommend that you spend quality time in the coming weeks meditating on butterfly-like things you'd love to have as part of your future—things that may resemble caterpillars in the early going. Your homework is to envision three such innovations that could be in your world by October 1, 2021.

CAPRICORN (Dec. 22-Jan. 19)

During World War II, Hollywood filmmakers decided it would be a good idea to create stories based on graphic current events: for example, American Marines waging pitched battles against Japanese soldiers on South Pacific islands. But audiences were cool to that approach. They preferred comedies and musicals with "no message, no mission, no misfortune." In the coming weeks, I advise you to resist any temptation you might have to engage in a similar disregard of current events. In my opinion, your mental health requires you to be extra discerning and well-informed about politics—and so does the future of your personal destiny.

AQUARIUS (Jan. 20-Feb. 18)

"Pretending is imagined possibility," observes actor Meryl Streep. "Pretending is a very valuable life skill and we do it all the time." In other words, fantasizing about events that may never happen is just one way we use our mind's eye. We also wield our imaginations to envision scenarios that we actually want to create in our real lives. In fact, that's the first step in actualizing those scenarios: to play around with picturing them; to pretend they will one day be a literal part of our world. The coming weeks will be an excellent time for you to supercharge the generative aspect of your imagination. I encourage you to be especially vivid and intense as you visualize in detail the future you want.

PISCES (Feb. 19-March 20)

"My own soul must be a bright invisible green," wrote author and philosopher Henry David Thoreau. Novelist Tom Robbins suggested that we visualize the soul as "a cross between a wolf howl, a photon, and a dribble of dark molasses." Nobel Prize-winning poet Wislawa Szymborska observed, "Joy and sorrow aren’t two di˜erent feelings" for the soul. Poet Emily Dickinson thought that the soul "should always stand ajar"—just in case an ecstatic experience or rousing epiphany might be lurking in the vicinity. In the coming weeks, Pisces, I invite you to enjoy your own lively meditations on the nature of your soul. You're in a phase when such an exploration can yield interesting results.

Check out Rob Brezsny’s Expanded Weekly Audio Horoscopes & Daily Text Message Horoscopes freewillastrology.com The audio horoscopes are also available by phone at 1-877-873-4888 or 1-900-950-7700

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