School of Film

NORTHWEST FILM CENTER NON-PROFIT ORG 1219 SW PARK AVENUE U.S. POSTAGE PORTLAND, OR 97205 PAID

PORTLAND, OR

PERMIT NO. 664

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17 E N U J

SUMMER CLASSES & WORKSHOPS & CLASSES SUMMER

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JEWISH FILM FESTIVAL FILM JEWISH

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JUNE/JULY/AUGUST 2013 JUNE/JULY/AUGUST NW

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NORTHWEST FILM CENTER DIRECTOR: If you missed the School of Film’s packed May 1 premiere of the work produced in Project Viewfinder, BILL FOSTER EDUCATION DIRECTOR: you can read about this engaging community outreach project on our website in the Newsroom ELLEN THOMAS (newsroom.nwfilm.org) and find a link to where you can watch it yourself. The short films made by FILMMAKER SERVICES MANAGER: THOMAS PHILLIPSON a dozen young adults from Outside In, New Avenues for Youth, p:ear, and the Bud Clark Commons TV HARRY & ROSE MOYER EDUCATION PROGRAM MANAGER: Project not only tell moving stories about homelessness and transition on the streets of Portland, PAMELA MINTY ADMINISTRATIVE OFFICES & but also offer compelling testimony to the power of film to give personal voice and communicate to NORTHWEST FILM CENTER MEMBERSHIP & SPONSORSHIP MANAGER: SCHOOL OF FILM KRISTY CONRAD diverse audiences. While learning about Project Viewfinder, you’ll also discover that the Newsroom is 934 SW SALMON STREET EXHIBITION PROGRAM ASSISTANT: MORGEN RUFF a rich resource no matter what your film interest, with articles, class descriptions, exhibition program ALL SCREENINGS TAKE PLACE, PUBLIC RELATIONS & MARKETING ASSISTANT: trailers, interviews, community news, and more. UNLESS OTHERWISE NOTED, NICK BRUNO AT THE EDUCATION MARKETING OFFICER: Summer means that the Film Center’s classrooms are bursting with young media makers enrolled in NORTHWEST FILM CENTER AARON SCHWARTZBORD MEMBERSHIP ASSISTANT: our Film Camps for Kids + Teens. Three hundred young filmmakers ages eight to 18 will be making WHITSELL AUDITORIUM SOPHIA MACKENZIE PORTLAND ART MUSEUM films and friends in over 25 classes. We’ll also be hosting K-12 teachers from around the state for our ADMINISTRATIVE COORDINATOR: 1219 SW PARK AVENUE ANNA CRANDALL annual Media Arts Academy for Teachers, which gives them the tools to bring media making alive in EDUCATION SERVICES COORDINATORS: their own classrooms. MAILING ADDRESS (FOR ALL) JONATHAN DICK 1219 SW PARK AVENUE ANDREW PRICE PORTLAND, OR 97205 MILES SPRIESTMA If helping empower young voices through film resonates with you, funding a tuition scholarship, or EDUCATION PROGRAM ASSISTANTS: CASSIE COHN part of one, could offer a life-changing experience for a young person in need. Contributions received BALAZS HERTLIK STEPHANIE HOUGH through our website this summer will go directly to this important part of our service to the community. FELISHA LEDESMA HAZEL MALONE JARRATT TAYLOR Summer is also the time when we bear down on watching the latest work from regional artists in KAREN WENNSTROM preparation for November’s 40th Northwest Filmmakers’ Festival and Fresh Film Northwest, our annual THEATRE MANAGER & PROJECTIONIST: MELINDA KOWALSKA showcase of regionally made films by teens ages 13 to 19. Festival entries are due August 1, and THEATRE STAFF: submission information is on the website at nwfilm.org/festivals. DAISIES P.16 LILY HUDSON JASON LONGWELL ERIK MCCLANAHAN Of course, summer means Top Down too, and we hope you’ll join us atop the Hotel deLuxe (SW 15th HELMY MEMBRENO NEW CZECH CINEMA ARIKA OGLESBEE at Yamhill) for some lively evenings of music, drink, and cinema alfresco. Indoors at the Whitsell PAGE 3 ILANA SOL MICHAEL STEEN Auditorium, look for New Czech Cinema, the Portland Jewish Film Festival, Global Lens, Northwest 21ST PORTLAND VERONICA VICHIT-VADAKAN JEWISH FILM FESTIVAL JOE VON APPEN Tracking, and films by Véréne Paravel, Jem Cohen, Les Blank, Werner Herzog, Errol Morris, Roberto PAGE 4-5 LARISA ZIMMERMAN Rossellini, Andrei Tarkovsky, Vera Chytilová, and much, much more. NORTHWEST TRACKING OFFICE INTERNS & VOLUNTEERS: PAGE 6 ANDREW HASKELL CASEY HOELTING Enjoy. SCHOOL OF FILM DAVID JIMENEZ PAGE 7 NATASHA LOUIE MATTHEW SMITH FILM CAMP LISA WALDO Bill Foster FOR KIDS + TEENS THEATRE VOLUNTEERS: DIRECTOR CENTER PULLOUT YASUE ARAI NORTHWEST FILM CENTER JEAN BELLINGER SPECIAL SCREENINGS LIS COOPER PAGE 15-17 JEANNE DEVON GABRIELLE FOULKES GLOBAL LENS CONNIE GUIST PAGE 18 DOUGLAS HANES PAT HOLMES MISSION TOP DOWN: JESSE IIAMS-HAUSER ROOFTOP CINEMA LEAH ISAAC The Northwest Film Center is a non-profit regional media arts resource and service organization founded to encourage the PAGE 19 INGEBORG MUSSCHE JOHN O’FAOLAIN study, appreciation, and utilization of the moving image arts, to foster their artistic and professional excellence, and to help KAY OLSEN create a climate in which they may flourish. A DMI SSI ON NANDINI RANGANATHAN $9 GENERAL HANNAH VAN LOON AND MANY MORE $8 PAM MEMBERS, STUDENTS, SENIORS PRESENTING FILM WHITSELL AUDITORIUM—Located inside the Portland Art Museum, the Whitsell Auditorium serves as the primary $6 SILVER SCREEN CLUB FRIENDS PORTLAND ART MUSEUM BOARD OF TRUSTEES CHAIR: venue for Film Center programs. Each year, the Film Center presents over 500 programs to over 65,000 people. ALL PROGRAMS ARE SINGLE ADMISSION, JIM WINKLER UNLESS OTHERWISE NOTED.DOUBLE FILM FESTIVALS—Annual film festivals include the Portland International Film Festival (February), Portland FEATURES ARE AN ADDITIONAL $3. VICE CHAIRS: RICHARD BROWN Jewish Film Festival (June), Reel Music Festival (October), Northwest Filmmakers’ Festival (November), and SILVER S CREEN CLUB DIRECTORS, JANET GEARY PRODUCERS, BENEFACTORS & Fresh Film Northwest (ages 13-19, November). SUSTAINERS RECEIVE FREE NW FILM CENTER COMMITTEE: ADMISSION TO ALL REGULAR DON VAN WART, CHAIRMAN ADMISSION PROGRAMS, INCLUDING ALICE WIEWEL TEACHING FILM FESTIVALS. DICK RUBINSTEIN SCHOOL OF FILM—One of the largest community-based media arts programs in the country, the Film Center’s MARY HINCKLEY SEATS FOR ADVANCE TICKET AND DAVID MARGULIS School of Film offers intensive hands-on classes and workshops in film production to 1,500 emerging artists, SILVER SCREEN CLUB MEMBERS ARE LINDA ANDREWS HELD UNTIL 10 MINUTES BEFORE teachers, avocational adult learners, kids, and teens annually. Faculty members are award-winning media SHOWTIME, AT WHICH POINT ANY UNFILLED SEATS ARE RELEASED TO PORTLAND ART MUSEUM artists. Partnering higher education institutions co-offer college credit options in addition to the School’s THE PUBLIC. MARILYN H. & DR. ROBERT B. PAMPLIN, JR. DIRECTOR: Certificate in Film. BOX OFFICE OPENS ONE-HALF BRIAN FERRISO HOUR BEFORE SHOWTIME. YOUNG FILMMAKERS OUTREACH—In K-12 classrooms, after-school settings, School of Film facilities, and on NW FILM CENTER location in the community, the Young Filmmakers Outreach Program promotes media literacy as a core skill SCRIP BOOKS: CORRESPONDENCE TO: for the next generation. Over 2,500 students are served annually—half of them low-income, minority, and/or $50 (10 TICKETS) NORTHWEST FILM CENTER underserved communities. 1219 SW PARK AVENUE ADVANCE PURCHASE AT THE PORTLAND, OR 97205 NORTHWEST FILM CENTER BOX OFFICE. SUPPORTING FILMMAKERS EMAIL: [email protected] IDENTIFICATION STATEMENT PHONE: 503-221-1156 FILMMAKER SERVICES—In addition to its exhibition and teaching opportunities for regional artists, the Film

PUBLICATION TITLE: FAX: 503-294-0874 Center circulates traveling exhibition programs featuring work by regional artists, administers The Oregon Media NORTHWEST FILM CENTER Arts Fellowship, conducts the regional jurying of the Academy Student Film Awards, serves as a fiscal agent for MAY 2013 WWW.NWFILM.ORG ISSUE DATE: independent producers in need of non-profit sponsorship, and offers low-cost equipment access and consulting STATEMENT OF FREQUENCY: PUBLISHED 6 TIMES PER YEAR services to community producers—with over 750 artists served annually. AUTHORIZED ORGANIZATION NAME AND ADDRESS: NORTHWEST FILM CENTER PORTLAND ART MUSEUM THE NORTHWEST FILM CENTER IS FUNDED IN PART BY THE NATIONAL ENDOWMENT FOR THE ARTS, OREGON ARTS COMMISSION, 1219 SW PARK AVENUE OREGON CULTURAL TRUST, REGIONAL ARTS & CULTURE COUNCIL, THE TED R. GAMBLE FILM ENDOWMENT, THE PAUL G. ALLEN FAMILY PORTLAND, OR 97205 FOUNDATION, THE JAMES F. AND MARION L. MILLER FOUNDATION, AND THE SUPPORT OF NUMEROUS CORPORATE AND EDUCATION ISSUE NUMBER: VOL. 41; ISSUE 3 PROGRAM SPONSORS, MEMBERS, & FRIENDS.

PAGE 02 NORTHWEST FILM CENTER JUNE/JULY/AUGUST 2013 503-221-1156 WWW.NWFILM.ORG ALOIS NEBEL FLOWER BUDS

THE HOUSE Czech filmmakers have long been recognized for their innova- tive contributions to international cinema. The legacy of the Czech New Wave, the period of stylistic experimentation and social critique that accompanied political and social reforms in mid-1960s Czechoslovakia, still resonates in a new generation of voices offering skilled takes on diverse genres from comedy, gritty realist drama, and stylish period thrillers to animation and more. They share, however, a deft eye for lyric beauty and absurdist humor even among the most mundane NEW or difficult circumstances, as they probe social and economic conditions, the legacy of Communism, and questions of Czech identity and culture. We are pleased to present this six-film selection of influen- CZECH tial and emerging voices in Czech cinema in conjunction with the nationally touring program “Czech That Film” presented by CINEMA Staropramen. Our special thanks go to Michal Sedlacek, Consul General of the Czech Republic in Los Angeles, for making JUN 8 SAT 6:30 PM JUN 9 SUN 6 PM their Portland presentation possible. FLOWER BUDS ALOIS NEBEL CZECH REPUBLIC 2012 CZECH REPUBLIC 2011 DIRECTOR: ZDENEˇK JIRÁSKÝ DIRECTOR: TOMÁŠ LUNÁK JUN 6 THURS 7 PM—VISITING ARTIST Winner of four top Czech film prizes, FLOWER BUDS is a grimly Based on the graphic novel trilogy by Jaroslav Rudiš and Jaromír IN THE SHADOW comedic family drama set in a small, blue-collar town. Jarda Svejdík, this superbly atmospheric rotoscope animation employs noir- CZECH REPUBLIC 2012 finds his family on the brink of a breakdown with each member ish black-and-white images and an evocative soundtrack to portray DIRECTOR: DAVID ONDRˇÍCˆEK going in different directions. He’s more interested in gam- the fractured psychology of a man and his country. In summer 1989, In 1950s Prague, police detective Hakl is investigating a bling than his work. His daughter Agata plans to leave, know- Alois Nebel works as a stationmaster in a small village in the Jeseník jewelry store heist, until East German State police specialist ing that neither the town nor her parents’ home can bring her Mountains, close to the Polish border. Preferring old timetables to Zenke arrives and takes over. Zenke believes that members the opportunities she yearns for; son Honza blindly follows people, Nebel lives through his memories, haunted by the violent post- of the Jewish community are responsible and that an under- his heart; and his wife Kamila, though still very much in love war expulsion of the Germans and getting lost in the mists of time. ground ring may be smuggling funds to Zionist terrorists in with him, really only finds solace in the companionship of old Encounters with a mysterious mute man and the kind Kveˇta help him Israel. Unconvinced, Hakl continues his own investigation. But friends and nostalgia for the “budding” days of youth. But to connect the past with the present and to find middle-aged love. which version of the truth do the Communist authorities prefer despite limited options, hope may just be around the corner. Winner of the Best Animated Film Award at the European Film Awards. to find? Ondrˇícˆek (LONERS, ONE HAND CAN’T CLAP) spins a (90 mins.) (84 mins.) suspenseful noir tale of standing up to the mistrust and fear in SINGLE OR DOUBLE FEATURE WITH SINGLE OR DOUBLE FEATURE WITH Stalinist, postwar Czechoslovakia. This year’s Czech submission for the Best Foreign Language Film Oscar. (106 mins.) JUN 8 SAT 8:30 PM JUN 9 SUN 8 PM Director David Ondrˇ ícˆ ek will introduce the film. Join us after THE HOUSE GYPSY the film for a public reception in the Portland Art Museum’s CZECH REPUBLIC/SLOVAKIA 2011 CZECH REPUBLIC/SLOVAKIA 2011 Andrée Stevens Room. DIRECTOR: ZUZANA LIOVÁ DIRECTOR: MARTIN ŠULÍK Remarkable for its depth of characterization, this sensitively When his father is killed and his loan-shark uncle becomes head of the JUN 7 FRI 7:30 PM observed, intelligently made realist tale of generational conflict family, a Roma boy is caught between two worlds—he navigates pov- MEN IN HOPE is set in a remote Slovak village where old grudges die hard. erty and prejudice as he struggles to support his family, while resist- CZECH REPUBLIC 2011 Ambitious teen Eva is about to graduate from high school and ing his uncle’s criminal activities and embittered attitudes toward DIRECTOR: JIRˇÍ VEJDEˇLEK eager to experience the world outside her pokey hometown. non-Roma. Shot on location, evocative hillside landscapes and touch- In a world of alluring temptations, men can make a bad deci- Meanwhile, her dour, controlling father is painstakingly building es of magic realism balance this astutely realist drama. “Hamlet… sion. A stimulating take on the challenges inherent in mar- her a house on the family property. After Eva meets a handsome freshly reimagined.”—Time Out London. “Captures a specific way of riage, this comedy threatens the prescribed notion of devoted new neighbor, she is tempted, like her now-disowned older sister life without placing it behind glass… You might call it an old story with love and shows that even that bad choice can work out in the before her, to leave the family nest sooner rather than later. For higher stakes.”—Village Voice. (100 mins.) end. “It should be a true story about men and their real hopes, a father with deeply entrenched values, there are not words to fears, and expectations. And also on their infidelity, which express the devastation of change. Liová’s tightly constructed CZECH CLASSICS can sometimes create even a happy marriage and relation- screenplay makes meaningful looks and repeated gestures speak DAISIES and CLOSELY WATCHED TRAINS Screening July 26 & 27. See page 16. ship.”—Jirˇí Vejdeˇlek. (115 mins.) louder than words about expectations and desires. (97 mins.)

WWW.NWFILM.ORG 503-221-1156 JUNE/JULY/AUGUST 2013 NORTHWEST FILM CENTER PAGE 03 21ST PORTLAND JEWISH FILM FESTIVAL

FILL THE VOID

ST Welcome to the 21st annual Portland Jewish Film Festival, produced by the Northwest Film Center and co-presented with the MELTING AWAY 21 PORTLAND 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 experiences and issues that confront OMA AND BELLA JEWISH FILM FESTIVAL our common humanity. Special thanks to our sponsors: Harold & Arlene Schnitzer CARE Foundation; BedMart; Cedar Sinai Park; Portland Chapter of Hadassah; Hasson Realty; the Holzman Foundation; Honest Tea; the Consulate General of Israel to the Pacific Northwest, San Francisco; Jerry Eckstein, CPA; Jewish Federation of Greater Portland; Paul and Joan Sher; J Street Portland; Mittleman Jewish Community Center; Oregon Israel Business Alliance; Oregon Jewish Museum; Oregon Israel Community Foundation; Portland Jewish Academy; Diane Solomon Family Fund; Wieden+Kennedy; and Ruben J. and Elizabeth Menashe. Full festival passes are available at nwfilm.org. JUN 16 SUN 7 PM JUN 18 TUES 7 PM FILL THE VOID MELTING AWAY ISRAEL 2012 ISRAEL 2011 DIRECTOR: RAMA BURSHTEIN DIRECTOR: DORON ERAN The winner of Israeli Academy Awards for Best Film and Best The first Israeli feature film to address the issues of Actress, FILL THE VOID is a nuanced portrait of an Orthodox transgendered people and their families, MELTING AWAY Hasidic family living in Tel Aviv. Eighteen-year-old Shira and follows a family drawn into crisis when the parents learn that her family are struck by tragedy when her older sister dies in their son is a secret crossdresser. Years later, as the father is JUN 20 THURS 7 PM childbirth. As her sister’s husband is pressed to remarry, her dying, his wife tracks down their estranged son, only to find a mother makes a startling proposition. Torn between her heart’s lovely woman. How will everyone cope? Conceived in reaction GYPSY DAVY US/SPAIN/ISRAEL 2011 desire and religious and family obligation, Shira must decide her to the deadly attack on the Tel Aviv LGBT Youth Center and the future. Actress Hadas Yaron delivers a pitch-perfect performance shock of parents refusing to visit their injured children at the DIRECTOR: RACHEL LEAH JONES in the lead role of a dutiful daughter who nevertheless remains hospital, MELTING AWAY is a heartfelt, moving drama of family, When an American white boy with Alabama roots becomes a Spanish resolutely her own woman. This year’s Israeli submission for the love, and understanding. Winner of the Audience Award at the flamenco guitarist in Andalusian boots, what happens along the Best Foreign Language Film Oscar. (90 mins.) Boston Jewish Film Festival. (86 mins.) Mature subject matter. way and behind the scenes? GYPSY DAVY wryly tells the story of David Jones, stage name David Serva, through his five women and FOLLOWED BY FOLLOWED BY five children—one of whom is the director. After all, who knows the THE RABBI’S DAUGHTER THE DIVIDE man who came and saw and conquered, “strumming their pain with israel 2012 Israel 2012 his fingers,” better than they? Part duel and part duet—between DIRECTOR:RACHELI WASSERMAN DIRECTOR: TZVI YEHUDA HERLING a guitar-wielding father and a camera-pointing daughter—Jones offers a personal and political portrait of a man, a family, and Racheli Wasserman’s telling of her and her three sisters’ A young army officer must choose between his ideals and the a generation. As she retraces his path, she pioneers a new one for search for different paths than those of their parents. (33 reality that his family’s home in a settlement near Nablus is herself. (96 mins.) mins.) Join us at 6 PM for a pre-film reception in the Portland Art slated to be destroyed by the military. (20 mins.) Museum’s Andrée Stevens Room. JUN 19 WED 7 PM JUN 22 SAT 7 PM JUN 17 MON 7 PM HAVA NAGILA THE BALLAD OF OMA AND BELLA US/UKRAINE/ISRAEL 2012 THE WEEPING SPRING GERMANY/US 2012 DIRECTOR: ROBERTA GROSSMAN ISRAEL 2012 DIRECTOR: ALEXA KAROLINSKI One hundred and fifty years of Jewish history and culture DIRECTOR: BENNY TORATY Oma and Bella are two friends who live together in Berlin. come to life in this joyous exploration of the famous tune that Torn apart by tragedy, a legendary band reunites to play an Having survived the Holocaust and subsequently staying in represents both Jewish kitsch and continuity, “Hava Nagila.” emotional final concert in THE BALLAD OF THE WEEPING SPRING, a Germany after the war, Oma and Bella now remember their Grossman traces the roots of the song from its Eastern stylized homage to Spaghetti Westerns, samurai epics, and South childhoods, maintain a bond with each other, and answer European Hasidic melody, through its journey to the kibbutzim American mysticism, shot entirely in Israel but set in a mythical time questions of heritage, memory, and identity by cooking of Palestine and the song’s enormous popularity in America. and place. With a pervasive pan-ethnic soundtrack serving as the sumptuous meals together. As the film follows them through Through lively film clips and interviews featuring such diverse film’s backbone, the story centers on the brooding Jossef Tawila, their daily lives, a portrait emerges of two charming women personalities as Regina Spektor, Connie Francis, Harry once the leader of a Mizrahi band (a unique musical form combining with a great sense of humor, vivid stories, and a deep Belafonte, Larry David, Mary Tyler Moore, Mel Brooks, Julie Middle Eastern and North African influences), who lives a hermit- fondness for good food and friendship. Created by Oma’s Andrews, Danny Kaye, Roberta Peters, Bob Dylan, and more, like existence in the wake of a terrible accident. In a series of quirky granddaughter Alexa, the film captures their ongoing HAVA NAGILA offers a spirited and intelligent look at the shaping vignettes across stunning exotic locations, Tawila brings together his struggle to retain a part of their past while remaining very of postwar American Jewish identity. (75 mins.) Sponsored by old musician buddies to grant the last wishes of a dying friend, while much engaged in the present. (75 mins.) Sponsored by Oregon Jewish Museum and Portland Chapter of Hadassah. healing his own tortured soul. Nominated for nine Israeli Academy Zeitgeist Northwest. Awards, with wins for Best Original Music, Best Original Soundtrack, FOLLOWED BY PRECEDED BY Best Production Design, and Best Costume Design. (105 mins.) CARRYING THE LIGHT FOLLOWED BY BARRIERS uk 2012 israel 2011 DIRECTOR: GUY NATANEL STAND UP! DIRECTOR: GOLAN RISE A London rabbi makes a spiritual journey on foot from the ISRAEL 2011 Two young officers at a checkpoint are confronted by two Frankfurt Synagogue in Germany, where his father was the DIRECTOR: ASI TZOBEL women from a “Watch” organization intent on disruption. rabbi before the Holocaust, back to London so the eternal Dudi, a distracted young yeshiva student, secretly dreams of being (22 mins.) light of one sacred place can light another. (56 mins.) a stand-up comic, but it’s a secret that may have a price. (25 mins.)

PAGE 04 NORTHWEST FILM CENTER JUNE/JULY/AUGUST 2013 503-221-1156 WWW.NWFILM.ORG THE LAW IN LET’S DANCE! THESE PARTS

POLICEMAN

JUN 25 TUES 7 PM JUN 29 SAT 8 PM OUT IN THE DARK THE OTHER SON JUN 23 SUN 4:30 PM ISRAEL/US 2012 FRANCE 2012 A.K.A. DOC POMUS DIRECTOR: MICHAEL MAYER DIRECTOR: LORRAINE LEVY US 2012 One night in Tel Aviv, Nimr, a Palestinian student, meets Joseph, an 18-year-old preparing to join the Israeli army for his DIRECTORS: PETER MILLER, WILLIAM HECHTER Roy, a young Israeli lawyer, and they fall in love. Being a gay mandatory military service, lives at home in Tel Aviv with his parents. Doc Pomus’s dramatic life is one of American music’s great Palestinian is not easy for Nimr, and despite Roy’s efforts, A blood test for Joseph’s military service reveals that he’s not their untold stories, despite his being the only member of the Rock Israel refuses to grant Nimr citizenship and a haven from his biological son. During the Gulf War, Joseph was evacuated from a and Roll, Songwriters, and Blues Halls of Fame. Paralyzed unaccepting family. Both young men are faced with difficult clinic along with another baby, and the pair was accidentally switched. with polio as a child, Brooklyn-born Jerome Felder reinvented choices and sacrifices to ensure their love will prevail. As we While Palestinian Joseph went to Tel Aviv with the Silbergs, their actual himself first as a blues singer, renaming himself Doc Pomus, are caught up in their destinies, Mayer and the outstanding Jewish son Yacine was brought to the West Bank by an Arab couple, then emerged as one of the most brilliant songwriters of cast powerfully depict the human toll of this sad reality. (96 Said and Leila. The revelation turns the lives of the two families upside the early rock and roll era, writing “Save the Last Dance mins.) Mature subject matter. In Hebrew and Arabic with down, forcing them to reassess their respective identities, values, and English subtitles. for Me,” “This Magic Moment,” “A Teenager in Love,” beliefs. (105 mins.) “Viva Las Vegas,” and dozens of other hits for everyone from Ray Charles and Elvis to The Drifters and Marianne JUN 26 WED 7 PM JUN 30 SUN 4:30 PM Faithfull. For most of his life, Doc was confined to crutches BESA: THE PROMISE PORTRAIT OF WALLY and a wheelchair, but he lived more during his 65 years US 2012 US/AUSTRIA 2012 than others could experience in several lifetimes. Packed DIRECTOR: RACHEL GOSLINS DIRECTOR: ANDREW SHEA with incomparable music and rare archival imagery, A.K.A. During World War II, Albanian Muslims provided shelter for “Portrait of Wally,” Egon Schiele’s portrait of his mistress, Walburga DOC POMUS features interviews with his collaborators and thousands of Jewish refugees from Germany, Austria, and (“Wally”) Neuzil, is the pride of the Leopold Museum in Vienna. But friends, including Dr. John, Ben E. King, Joan Osborne, Shawn Bulgaria. Invoking the ancient moral code of besa (a vow for 13 years, the painting was locked up in New York, caught in a legal Colvin, Dion, Leiber and Stoller, and B.B. King. (98 mins.) to care for anyone facing danger), many people in Albania battle between the Austrian museum and the Jewish family from whom including Muslims, Catholics, and Orthodox Christians the Nazis seized the painting in 1939. Shea’s film traces the history JUN 23 SUN 7 PM sheltered, hid, and protected Jews from the occupying of this iconic image—from Schiele’s gesture of affection toward THE WORLD IS FUNNY Germans. BESA addresses the broad history of the rescues his young lover, to the theft of the painting from Lea Bondi, a Jewish ISRAEL 2012 by following two characters affected by the experience: art dealer fleeing Vienna for her life; to the postwar confusion and DIRECTOR: SHEMI ZARHIN Rexhep Hoxha, a Muslim Albanian storekeeper, and subterfuge that evoke THE THIRD MAN; to the surprise resurfacing of Blurring fantasy and reality into a multi-layered, tragicomic Norman H. Gershman, a Jewish-American photographer. “Wally” on loan to the Museum of Modern Art and the legal battle that exploration of past traumas and catharsis, THE WORLD IS Featuring Gershman’s striking portraits, award-winning followed. “Fascinating... By showing how difficult and problematic FUNNY is now Israel’s all-time box office champion, earning cinematography, and an original score by Philip Glass, BESA righting a wrong can turn out to be, PORTRAIT OF WALLY does itself a record-breaking 15 Israeli Academy Award nominations. is “a story like no other.”—Huffington Post. (90 mins.) proud.”—Kenneth Turan, The Los Angeles Times. (90 mins.) Set in provincial, sunny Tiberias, these wonderfully strange PRECEDED BY vignettes grow together in richness and complexity as the film JUN 27 THURS 7 PM progresses. The central characters are estranged siblings LET’S DANCE! WOODY BEFORE ALLEN who have endured childhood abandonment only to face new ISRAEL 2010 france/russia/us/germany 2011 challenges in adulthood: a widow whose older son has just DIRECTOR: GABRIEL BIBLIOWICZ DIRECTOR: MASHA VASYUKOVA awakened from a lengthy coma; a radio producer and his This extraordinary window onto Israeli society explores An adventurous meditation on past and present: two former terminally ill Russian girlfriend; and a travel agent whose how the need to move, shift, and be in constant motion has Konigsbergs—a man and a city that no longer use the same name, daughter was killed in an army accident. As these narrative produced generations of great dancers and choreographers one a Russian city which was renamed Kaliningrad, another a film strands and diverse personalities comingle with countless who have turned the country’s modern dance community director who changed his name to Allen. (14 mins.) others, what may seem unrelated will prove anything but. (122 into an international success story. Through the works mins.) Mature subject matter. of leading choreographers Ohad Naharin, Rami Be’er, and JUN 30 SUN 7 PM Yasmeen Godder, the film delves into the exotic and vibrant POLICEMAN JUN 24 MON 7 PM world of Israeli dance culture, showcasing spectacular ISRAEL 2011 THE LAW IN THESE PARTS performances, rich archival material, interviews, and more to DIRECTOR: NADAV LAPID ISRAEL/PALESTINIAN TERRITORIES 2011 create a unique and surprising view of Israeli society and one “A boldly conceived drama pivoting on the initially unrelated of its most exciting and joyful aspects. (52 mins.) DIRECTOR: RA’ANAN ALEXANDROWICZ activities of an elite anti-terrorist police unit and some wealthy A Grand Jury Prize winner at the Sundance Film Festival, THE FOLLOWED BY young anarchists, POLICEMAN is a striking and controversial debut LAW IN THESE PARTS is an unflinching examination of Israel’s feature from writer-director Nadav Lapid. Provocatively timely in contorted legal framework for governing Palestinians in LIFE IN STILLS light of recent unrest tied to social and economic inequities in Israel, ISRAEL/GERMANY 2011 the Occupied Territories and the complex moral and legal this is a powerfully physical film in its depiction of the muscular, dilemmas therein. Since the 1967 war, inhabitants of the DIRECTOR: TAMAR TAL borderline sensual way the macho cops relate to one another, as well West Bank and Gaza Strip have been subjected to what was At the age of 96, Miriam Weissenstein never imagined that as for the emphatic style with which the opposing societal forces intended to be a temporary system of military rather than she would be facing a new chapter in her life. But when are contrasted and finally pitted against one another. Although the civilian justice, overseen by the Israeli Defense Forces. “The Photo House”—her late husband’s life’s work—was youthful revolutionaries come off as petulant and spoiled, their point Alexandrowicz places now-retired judges, attorneys, and destined for demolition, she knew she needed help. Miriam about the growing gap between the Israeli haves and have-nots cannot generals on a cinematic witness stand to consider the logic and her grandson Ben join forces to save the shop and its be ignored, even by the policemen sent on a rare mission to engage and repercussions of the Kafkaesque rule of law they helped to nearly one million negatives that document Israel’s defining their fellow countrymen. An experiment in tone that posits a new create and the core conundrum that emerges: can a country moments. Despite the generation gap, their love, courage, direction for Israeli cinema, POLICEMAN is bathed in cool emotional sustain a prolonged military occupation without eroding its and determination support them through a heart-wrenching detachment deliberately juxtaposed against its operatic story.”—New democratic values? Winner of the Best Documentary Award journey, filled with humorous and touching moments. Winner York Film Festival. (105 mins.) at the Jerusalem International Film Festival. (100 mins.) of the Best Documentary Award at the Docaviv Film Festival. Sponsored by J Street Portland. (60 mins.) In Hebrew and German with English subtitles.

WWW.NWFILM.ORG 503-221-1156 JUNE/JULY/AUGUST 2013 NORTHWEST FILM CENTER PAGE 05 NORTHWEST TRACKING FACTORY OF ONE

EDEN JUL 18 THURS 7 PM—VISITING ARTIST AUG 14 WED 7 PM—VISITING ARTIST The ongoing Northwest Tracking series focuses a spotlight on the work KILLING ME FACTORY OF ONE of independent filmmakers living across the Northwest—Alaska, British EUGENE 2012 PORTLAND 2012 Columbia, Idaho, Montana, Oregon, and Washington—whose work DIRECTOR: HENRY WEINTRAUB DIRECTOR: SAGE EATON reflects the vibrant cinematic culture of the region. Eugene filmmaker Henry Weintraub’s (THE DARKEST CORNER OF Co-owner of Keen Clover Media Group in Portland, Sage Eaton PARADISE) new feature follows fame-obsessed Aaron Schwartz, is dedicated to telling stories about the people who live here. In JUN 13 THURS 7 PM—VISITING ARTIST who has finally figured out the surefire way to notoriety—becom- FACTORY OF ONE, we meet John, an engineer by trade who has ing an infamous serial killer. The only problem is that he lacks been amassing a small factory full of tools for one purpose: to build STRESS POSITION the killer instinct—he couldn’t hurt a flea. As the years roll by, the most amazing structure Burning Man has ever seen. Starting in VANCOUVER, B.C. 2013 he drifts into the malaise of responsible adulthood, and his dark January with the planning and leading all the way up until the night DIRECTOR: A.J. BOND desires become more and more faint until a real serial killer comes before he leaves Portland for the desert, John spends almost all “How bad could it be?” Inspired by a flippant remark about the treatment to town and Aaron seizes the opportunity to learn a few tips from of his free time working on his huge steel project named Emerald of prisoners at Guantanamo Bay, British Columbian filmmaker A.J. Bond an expert. “Fiercely independent, with a dark sense of humor... City. As the measuring, cutting, welding, and drilling commence, (HIRSUTE) made a bet with close friend and longtime collaborator actor [Weintraub’s] end goal isn’t fame and fortune but the satisfaction John faces challenges, setbacks, and hurdles that threaten his David Amito to see which of them could withstand a week of psychological of making the movie he wants to.”—Eugene Weekly. (73 mins.) journey. But he will ultimately make the trip to Black Rock City on his torture at the hands of the other. Shot in an avant-garde “torture cham- Director Henry Weintraub will be in attendance for a post-film terms and present his monument to the world. (58 mins.) Director ber” in an isolated warehouse under the supervision of associate producer Q&A. Sage Eaton will be in attendance for a post-film Q&A. Marguerite Moreau, what begins as a bizarre and darkly humorous reality TV scenario gradually spirals out of control, testing the limits of their JUL 20 SAT 3:30 PM AUG 20 TUES 7 PM—VISITING ARTISTS friendship and exposing an unsettling connection between filmmaking and SCHOOL OF FILM WE GREW WINGS torture. (79 mins.) Director A.J. Bond and producer Amy Belling will be in EUGENE 2012 attendance for a post-film Q&A. STUDENT SCREENING PORTLAND 2012 DIRECTORS: SARAH HENDERSON, ERICH LYTTLE While the celebrated University of Oregon men’s track and field JUL 11 THURS 7 PM —VISITING ARTISTS Students, friends, prospective Northwest Film Center School of Film attendees, and film lovers at large are invited to this special team dominated the spotlight, the women’s track program in AN EVENING WITH THE screening of short films created by students in last Winter and Eugene strove to break new ground just as Title IX was present- WHITEMAN BROTHERS Spring Terms’ classes. Ranging from first films to more ambi- ing new challenges and opportunities for universities across the PORTLAND 2006-2013 tious productions by intermediate and advanced students, they country. Weaving personal interviews, never-before-seen event DIRECTORS: SEAN WHITEMAN, CHRISTOF WHITEMAN share in common the mentoring and collaboration received at the footage, and a historical view of the women athletes at Oregon, Sean and Christof Whiteman are brothers who have been making smart and School—and the willingness of their makers (all students are WE GREW WINGS is a story of camaraderie, teamwork, struggles, irreverent short and feature-length comedies for over ten years. Tonight invited to screen) to have their work shown on the big screen and and triumphs as it showcases the evolution between genera- we welcome them for screenings of their work, including THE DISGUSTING presented to a live audience. Join in congratulating them on this tions. Featuring such athletes as Leann Warren, Quenna Beasley, LITTLE SHIVER (2007), a comedy about a man with an affliction he can’t important step in their continuing journey toward self-expression. Claudette Groenendaal, and Grace Bakari, a compelling story seem to shake, and a preview of their forthcoming CHILDHOOD MACHINE It’s a wonderful moment in the learning process and perhaps an emerges of women who faced it all to be champions. (122 mins.) (2013), the story of a young inventor intent on creating a device that will inkling of what you might be able to accomplish at the School if Directors Sarah Henderson and Erich Lyttle and producer Ellen Schmidt-Devlin will be in attendance for a post-film Q&A. produce childhood for him. They’ll also show selections from their Leap media making is your calling. (90 mins.) Free admission. Year series: 29 FILMS IN 29 DAYS—in which they completed a film a day AUG 28 WED 7 PM—VISITING ARTIST in February 2008 and February 2012—as well as several of their short AUG 7 WED 7 PM—VISITING ARTIST films including SINCERELY, DUNCAN (2006), in which a young man puts ROCK N ROLL MAMAS EDEN PORTLAND 2012 forth his feelings in the most romantic of correspondence options, and ALL SEATTLE 2012 DIRECTOR: JACKIE WEISSMAN OPOSSUMS GO TO HELL (2010), in which a recently deceased opossum DIRECTOR: MEGAN GRIFFITHS uses his one phone call. (90 mins.) Directors Sean and Christof Whiteman Over the course of six years, Jackie Weissman brought her camera Independent feature filmmaking in Seattle is flourishing, led by will introduce their films. into the lives of three indie rockers who also happen to be moth- filmmakers like Megan Griffiths (THE OFF HOURS) who are finding ers: Kristin Hersh of Throwing Muses, Zia McCabe of The Dandy national audiences. In her new film, an electrifying thriller inspired Warhols, and hiphop artist Ms. Su’ad. The film takes us into their JUL 17 WED 7 PM—VISITING ARTIST by true events, Jamie Chung (THE HANGOVER, THE MAN WITH THE SURVIVAL PRAYER daily lives as they wrestle with economic instability, the rigors of IRON FISTS) stars as Hyun Jae, a young Korean-American girl touring with children, and “normalizing” home life, all interwoven BELLINGHAM, WA 2013 abducted and forced into prostitution by a human and drug traf- DIRECTOR: BENJAMIN GREENÉ with the blood, sweat, and personal fulfillment they find in perform- ficking ring. Renamed “Eden” by her kidnappers, she soon learns ing. In the course of the film, Hersh loses her tour bus and her sav- In the past century in Haida Gwaii (British Columbia’s Queen Charlotte the only way to survive is to earn the trust of those in charge: Bob ings; McCabe wants a second child but realizes she doesn’t have Islands), commercial logging, over-fishing, and invasive species have com- Gault, a corrupt US Marshal (Beau Bridges), and his assistant the childcare to support that choice; and Su’ad, a single mom, tries promised the availability of traditionally harvested foods and threatened Vaughan (Matt O’Leary), a disturbed young man battling demons to make ends meet during the day while performing at night. “It is a the long-term viability of these practices. Compounding this ecological of his own. But as Eden’s influence within the operation grows, she mixture that is not the glamorous life we imagine when we think of damage is the imminent extinction of the Haida language and loss of tra- must decide just how much of herself she’s willing to lose to sur- rock musicians—it’s the reality.”—South by Southwest Festival. ditional knowledge. Naanii Mary Swanson, a last speaker, frames this por- vive. (98 mins.) Director Megan Griffiths will be in attendance (60 mins.) Director Jackie Weissman will be in attendance for trait of age-old traditions at risk. Against the spectacular Pacific coastline, for a post-film Q&A. a post-film Q&A. her ancient words set the tone for detailed views of modern life, in which the labor of survival—cutting seaweed fronds, pulling salmon from nets, plucking young spruce tips—speaks to timeless rhythms, sacred ritual, 40TH NORTH W EST FILMMA K E R S ’ FEST I VAL and the power of food and nature to sustain a culture. (70 mins.) Director E NTRY DEA DLI NE AUG 1 Benjamin Greené will be in attendance for a post-film Q&A.

PAGE 06 NORTHWEST FILM CENTER JUNE/JULY/AUGUST 2013 503-221-1156 WWW.NWFILM.ORG JUNE/JULY/AUGUST 2013

Film has the power to change lives, empower self-expression, and create community. Since our founding in 1972, we’ve been a place where thousands of individuals have found and cultivated their personal voices as storytellers and image-makers. Our classrooms and facilities bring a diverse cross-section of community members together for skill-building, friend-making, and technical support. We’re a center where access, aesthetics, and action combine to help people realize their aspirations and where new films and filmmakers are launched into the world.

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SHOOT EDIT SHARE

HAVE A LOOK FOLLOW US LIKE US OUR NEWSROOM

vimeo.com/schoolo!lm @schoolo!lm facebook.com/schoolo!lm newsroom.nwﬁlm.org

nwﬁlm.org/school MAKE WITH MENTORS

STUDENTS FACULTY Join other artists, creators, communicators, business professionals, and explorers As working filmmakers, our faculty members teach and guide from real life who want to connect to the film scene! Hone your skills, learn something new, or experience. Among the region’s finest documentary, narrative, and experimental get serious (finally) about making films. Build discrete skills in media production and filmmakers, their award-winning work appears on public and community television utilize your artistic or social change agenda. Grow your business by incorporating and in film festivals, microcinemas, and exhibition programs worldwide. For faculty film into your skill set or marketing plans. bios, visit nwfilm.org/school/faculty.

FACILITY CLASSROOMS We’re located near the South Park Blocks in downtown Portland, adjacent to the Our learning environment is kinetic and personal. In an era when you can learn Portland Art Museum campus and just ﬁve blocks from Portland State University. about ﬁlmmaking through online tutorials and YouTube videos, we humanize and Served by multiple public transportation options, our 10,000-square-foot building enrich the learning experience through personal contact and class dialogue. Most contains classrooms, editing labs, an equipment cage, and the Film Center’s of our classes are no larger than 15 students. Classes generally meet once a week, administrative o!ces. most often on evenings and weekends.

CURRICULUM EASY ENROLLMENT We o"er a Core Sequence of two 14-session courses: the beginning level ART OF There is no application process. Use our online registration system to simply sign up for a FILMMAKING I, in which students create short film projects while learning the basics of film class or workshop that interests you. If you need more information, please give us a call or production and film language/analysis, and the intermediate level ART OF FILMMAKING email us for an advising session appointment or tour of our facility. Registration is open until II, where students expand to create more ambitious short films while increasing skills in a class is filled. Optional college credit is available for all of our Core Sequence and Topic shooting, editing, and sound. This Core Sequence is supported by shorter, more discrete Classes through Portland State University. Admission to the PSU degree program is not Topic Classes, varying in length from two to eight sessions. required. We also o"er a cross-registration program with the Culture and Media Department at Marylhurst University. For more information about taking our classes for credit, please visit nwfilm.org/school/info/credit. 8 JUN/JUL/AUG 2013 nwfilm.org/school MAKE WHAT IS IMPORTANT TO YOU

REGISTER nwfilm.org Enrolled students receive free admission FREE to films in our exhibition program in the 503-221-1156 ADMISSION state-of-the-art Whitsell Auditorium. NOW info@nwfilm.org

Drop-In Advising and Tours: nwﬁlm.org Tuesday, Thursday, Friday–10 AM & 2 PM 934 SW Salmon Street, Portland, OR Corner of 10th & Salmon

EQUIPMENT IS PROVIDED with class registration. Individual class listings indicate the speciﬁc equipment available for each class. Throughout the term, you’ll interact with our friendly and knowledgeable equipment room sta" to reserve and check out the allocated camera, editing, and other gear you need for class assignments.

OUR GEAR is chosen with the emerging ﬁlmmaker in mind. The workhorse of our camera pool is the Canon XA-10, a user-friendly High Deﬁnition camera with manual controls, professional-quality sound inputs, built-in memory of 64 MG, and slots for two memory cards. We also have Arri and Bolex 16mm cameras and a selection of Super-8mm cameras, as well as basic light kits, C-stands and other lighting gear, microphones, digital recorders and other sound gear, tripods, and other equipment.

LEARN AVID! The School of Film is now an Avid Media Composer campus. Avid Media Composer 6.5 is the current state-of-the-art standard in professional ﬁlm editing, used professionally to edit everything from feature ﬁlms to commercials. Enroll in one of our Core Sequence or Topic Classes, and you will have the option to purchase this software for your own personal use at a substantial student discount.

Qualiﬁes Free SCHOOL OF FILM PSU Avid for Avid Admission SUMMER CLASSES # Credit Pre- Canon Media Student to NWFC AT-A-GLANCE 2013 Faculty Tuition Sessions Start Date Day of Week Option requisite XA-10 Composer Discount Screenings

TOPIC CLASSES

NEW! Digital Cinematography LeTourneau $725.00 9 June 24 Mondays

Digital Editing I O'Brien $725.00 9 June 26 Wednesdays

Interview Techniques Hermann $325.00 4 July 11 Thursdays

Screenwriting Fundamentals Blain $725.00 9 June 25 Tuesdays

Shoot + Edit +Share Blubaugh $725.00 9 June 25 Tuesdays

Media Arts Academy for Teachers Blubaugh $485.00 5 June 24 Mon-Fri

WORKSHOPS

Basic Camera Operation: Canon XA-10 Beanlands $55.00 1 July 13 Saturday

Basic Lighting Beanlands $65.00 1 July 20 Saturday

Basic Sound Recording Minty $65.00 1 July 27 Saturday

NEW! Grantwriting for Film Hermann $65.00 2 June 20 Thursdays

9 SUMMER CLASSES & WORKSHOPS

BASIC CAMERA OPERATION: NEW! DIGITAL CINEMATOGRAPHY INTERVIEW TECHNIQUES CANON XA-10 MONDAYS, JUN 24-AUG 19, 6:30-9:30 PM THURSDAYS, JUL 11-AUG 1, 6:30-9:30 PM SATURDAY, JUL 13, 10 AM-1 PM 9 sessions 4 sessions 1 session Tuition: $725 Tuition: $325 Tuition: $55 PSU Credit Option: $195 PSU Credit Option: $65 JON BEANLANDS ALAIN LETOURNEAU COURTNEY HERMANN Introduction to the basics of our HD camera workhorse. This Develop an eye for shot composition and framing while shooting Gather essential information and factual evidence through the workshop is REQUIRED for renters of this particular camera. on location. most economical means possible. Topics: manual focus and exposure, proper use of external Topics: how exposure, focal length, and depth of field work and Topics: di"erent interviewing styles; selecting interview subjects; microphones, basics of the touch screen, recommended presets, why you need to understand them; the rules of composition within planning and researching the interview; basic lighting, sound and how to download your AVCHD footage to your computer. the frame and how/when they can be broken; using foreground recording, and shooting techniques; relaxing and empowering and background to convey story information and setting; working the interviewee; formulating questions; choosing locations for Prerequisites: None with available light; stationary versus moving camera; shooting filming; using available light; thinking on your feet as the interview Related courses: CANON XA-10 CAMERA IN DEPTH, BASIC with editing in mind; getting su!cient coverage; HD workflow unfolds; ethical considerations; media management of interview LIGHTING, BASIC SOUND RECORDING from capture to final delivery. Multiple exercises and projects will material; conduct at least two out-of-class interviews and bring in be assigned for out-of-class work, followed by in-class critiques. footage for class critique. BASIC LIGHTING Qualifies for Avid discount. Qualifies for Avid discount. SATURDAY, JUL 20, 1-5 PM Projects: Individual and/or collaborative Projects: Individual and/or collaborative Allocated gear: Canon XA-10 cameras, basic lighting gear Allocated gear: Canon XA-10 cameras, basic microphones 1 session Prerequisites: None Prerequisites: None Tuition: $65 Related courses: SHOOT + EDIT + SHARE, BASIC SOUND RECORDING, JON BEANLANDS CANON XA-10 CAMERA BASICS, DIGITAL CINEMATOGRAPHY Use basic light kits to dramatically vary the mood and quality of DIGITAL EDITING I light in a scene. WEDNESDAYS, JUN 26-AUG 21, 6:30-9:30 PM NEW! GRANTWRITING FOR FILM Topics: using key, fill, backlight, and kicker/rim light; how cookies, 9 sessions flags, scrims, and silks a"ect a light source; use of light meters; Tuition: $725 THURSDAYS, JUN 20 & 27, 6:30-9:30 PM lighting the interview subject; lighting an outdoor scene; tips and PSU Credit Option: $195 2 sessions tricks. AMY O’BRIEN Tuition: $65 COURTNEY HERMANN Prerequisites: None Introduction to editing styles and techniques using Avid Media Related courses: CANON XA-10 CAMERA BASICS, CANON XA-10 Composer. Develop the components needed for a competitive grant CAMERA IN DEPTH, BOLEX/ARRI FILM CAMERA OPERATION application. Topics: how editors work and think; how sound and picture work together; matching action and montage editing styles; editing Topics: how to prepare a one-page treatment, artist statement, BASIC SOUND RECORDING steps and organizing materials; adding sound e"ects, music, and budget, and filmography; tips for selecting and preparing work narration; basics of titles; edit two films in two styles; bring in samples and reels; traits of an e"ective promotional video; see SATURDAY, JUL 27, 10 AM-3 PM work-in-progress for class critique. and discuss samples, then bring what you’re working on to the 1 session second class meeting for feedback and critique. Qualifies for Avid discount. Tuition: $65 Projects: Individual PAM MINTY Projects: Individual Prerequisites: None Allocated gear: Avid Media Composer 6.5 Basics of recording dialogue, interviews, narration, and e"ects. Upcoming grant deadlines are: Women in Film Vision Grants, Prerequisites: None July 31; RACC Projects Grants, August 7; and Oregon Media Arts Topics: general overview of microphone types and uses, from Related courses: DIGITAL EDITING II, DIGITAL VIDEO WORKFLOW Fellowships, October 1. lavaliers to shotguns; operation of the Marantz PMD-660, Sound Devices 702 Digital Audio Recorder, Mix-Pre, and 302 Field Mixer; learn about rental options. Prerequisites: None Related courses: CANON XA-10 CAMERA BASICS, BASIC LIGHTING, SOUND DESIGN & EDITING, ART OF FILMMAKING I

10 JUN/JUL/AUG 2013 nwﬁlm.org/school JUNE 17 ! AUGUST 21

ENTERING GRADES 2!12 REGISTER ONLINE Location: Register online at www.nwfilm.org/school. Tuition and Northwest Film Center lab fees are due at the time of registration. Returning 934 SW Salmon students already have an account on file. Please Mailing Address: Calling all kids + teens grades 2-12 contact the School of Film at info@nwfilm.org or 503- 1219 SW Park Avenue with an interest in creative self- 221-1156 to obtain your user name and password. Portland, OR 97205 You will receive a confirmation of your registration by expression, hands-on learning, and email. When maximum enrollment is reached, a wait Sta" Help: fun with technology! The film arts list will be generated, and you will be contacted as Monday–Friday 9 AM–5 PM are an excellent way to learn about space becomes available. Classes may be canceled 503-221-1156 group decision-making, build self- due to underenrollment, in which case students will be Register online: confidence, and uncover and nurture contacted by phone in advance and a full refund issued. nwfilm.org/school those special talents within. FINANCIAL ASSISTANCE Families with a high-interest child or teen and Join our School of Film faculty for significant financial need may request tuition these week-long adventures in assistance to any of the camps o"ered. Applications animation, live action, and special will be accepted until this year’s funds are exhausted. e"ects digital video. Experiment Teens specifically interested in the MEDIA ARTS with and learn about media arts ACADEMY FOR TEENS should request support and technology from experienced through the Frank Hood Scholarship Program; the deadline is June 14. Tuition assistance and Frank teaching artists. No previous Hood Scholarship application forms are available at experience is required—just the www.nwfilm.org/school. desire to participate in an active, fun, and educational learning experience. REFUNDS All equipment and supplies are The refund policy is as follows: 30 or more days before included. You bring the ideas! 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.

The Northwest Film Center School of NOTE: Grade level refers to Fall 2013. Film, initiated in 1972, is one of the largest and oldest community film schools in the nation, o"ering classes and workshops on an avocational basis, as well as for academic credit in partnership with local colleges and ANDREW BLUBAUGH is a filmmaker and LIZ RANDALL, a graduate of the Cornish College of universities. School of Film faculty are performance artist whose work has screened at the Arts, is an editor, animator, and photographer working artists who devote a portion Sundance, the Ann Arbor Film Festival, Clermont- whose experimental film INTERLUDE was a finalist of their professional lives to teaching. Ferrand, PDX Fest, and the Seattle International for the Student Academy Awards. An art teacher for An optional Certificate Program in Film Festival. He has taught Film Camp classes for the McMinnville School District, she has taught Film Film allows individuals to pursue a eight years and regularly instructs the Media Arts Camp for three years. sequential course of study toward their Academy for Teens. personal goals in film. The School’s MICHELLE SWINEHART is a multi-disciplinary artist statewide outreach arm, the Young BRENDA GRELL is an experimental filmmaker with and certified K-12 art teacher with a background Filmmakers Program for Kids + Teens, an MFA from the Rhode Island School of Design in digital media, sculpture, puppetry, and video conducts hands-on filmmaking projects who works in digital design and new media. This installation, with an MFA in Art and Social Practice with schools and community groups, is her third year teaching computer animation for from PSU. This is her fourth year with Film Camp. provides professional development Film Camp. She also teaches adult-level classes in for K-12 teachers, and produces the the School of Film. annual student recognition program BRIAN LINDSTROM, who holds an MFA in Directing Fresh Film Northwest for teens. The from Columbia University, has produced a series for School operates in tandem with PBS and makes award-winning documentaries the Film Center’s year-round on social justice themes for national and exhibition program of foreign, international distribution. He is one of classic, experimental, and the founding instructors of the Media independent works which Arts Academy for Teens. showcases a wide array of regional, national, and international cinema and includes the annual Portland International Film Festival and Northwest Filmmakers’ Festival.

2 JUN/JUL/AUG 2013 nwﬁlm.org/school JUNE JUNE JULY JULY JULY JULY JUL/AUG AUG AUG AUG CAMP CALENDAR GRADE 17–21 24–28 1–5 8–12 15–19 22–26 29–2 5–9 12–16 19–21 Lights! Cameras! Puppets! 2–4 X X X Digital Movie Kids 4–6 X X X X Junior Animation Kids 4–6 X X X X Digital Movie Tweens AM 6–8 X X X X Digital Movie Tweens PM 6–8 X X X X Mockumentary Tweens AM 6–8 X Mockumentary Tweens PM 6–8 X Computer Animate Tweens AM 6–8 X X Computer Animate Tweens PM 6–8 X Green Screen Visual FX Tweens AM 6–8 X X X Green Screen Visual FX Tweens PM 6–8 X X Green Screen Visual FX Teens PM 9–12 X Computer Animate Teens PM 9–12 X Media Arts Academy Teens 9–12 X X X X

LIGHTS! CAMERAS! PUPPETS! COURSE #015 DIGITAL MOVIEMAKING FOR KIDS COURSE #011 JUNIOR ANIMATION COURSE #022 SECTION 1: MON-FRI, JUN 24-28, 8:45 AM-3 PM SECTION 1: MON-FRI, JUN 17-21, 8:45 AM-3 PM SECTION 1: MON-FRI, JUL 22-26, 8:45 AM-3 PM SECTION 2: MON-FRI, JUL 8-12, 8:45 AM-3 PM SECTION 2: MON-FRI, JUN 24-28, 8:45 AM-3 PM SECTION 2: MON-FRI, JUL 29-AUG 2, 8:45 AM-3 PM SECTION 3: MON-FRI, JUL 15-19, 8:45 AM-3 PM SECTION 3: MON-FRI, JUL 8-12, 8:45 AM-3 PM SECTION 3: MON-FRI, AUG 5-9, 8:45 AM-3 PM Learn to tell stories with digital video and puppets in motion! This SECTION 4: MON-FRI, JUL 15-19, 8:45 AM-3 PM SECTION 4: MON-FRI, AUG 12-16, 8:45 AM-3 PM class combines the art of traditional puppet-making with the basics Learn how filmmakers use camera angles, lighting, sound, and Bring your drawings, artwork, three-dimensional objects, cutouts, of digital video production. Working with a professional artist, you editing to tell stories and who does what on a movie crew. You will and graphic images to life. Learn how animators create movement will create original puppet characters, props, and sets. Then, have a turn at being a videographer, grip (lights and microphone), using traditional stop-motion animation and a video camera to using the language of camera moves and angles, you will film an art director, director, and editor on a short dramatic film. By the shoot sets. Record your action frame by frame to make up your original puppet script. The focus is on student imagination and the end of the week, you’ll be able to watch television and movies own animation sequences. The week will culminate in a family language of cinematic storytelling. The week will culminate in a with new eyes! The week will culminate in a family screening, screening, complete with popcorn. The completed films will be family screening, complete with popcorn. Completed films will be complete with popcorn. Completed films will be uploaded to a uploaded to a special class online video album. uploaded to a special class online video album. special class online video album. Enrollment Limit: 12. Select one of four sections. Enrollment Limit: 12. Select one of three sections. Enrollment Limit: 12. Select one of four sections. TUITION: $265 TUITION: $265 TUITION: $265 EQUIPMENT/LAB FEE: $50 EQUIPMENT/LAB FEE: $50 EQUIPMENT/LAB FEE: $50

DIGITAL MOVIEMAKING FOR TWEENS COURSE #012 MOCKUMENTARY FOR TWEENS COURSE #016 GREEN SCREEN VISUAL SECTION 1: MON-FRI, JUN 17-21, 9 AM-1 PM SECTION 1: MON-FRI, AUG 5-9, 9 AM-1 PM EFFECTS FOR TWEENS SECTION 2: MON-FRI, JUN 17-21, 1:30-5:30 PM FULL SECTION 2: MON-FRI, AUG 5-9, 1:30-5:30 PM COURSE #017 SECTION 3: MON-FRI, JUL 8-12, 9 AM-1 PM Is it real life, or is it just pretending to be to make us laugh? SECTION 1: MON-FRI, JUL 8-12, 9 AM-1 PM SECTION 4: MON-FRI, JUL 8-12, 1:30-5:30 PM Welcome to the world of mockumentary. Working together on a SECTION 2: MON-FRI, JUL 8-12, 1:30-5:30 PM SECTION 5: MON-FRI, JUL 15-19, 9 AM-1 PM movie crew, you will use a professional-level digital video camera SECTION 3: MON-FRI, JUL 15-19, 9 AM-1 PM SECTION 6: MON-FRI, JUL 15-19, 1:30-5:30 PM to shoot “real” events and conduct mock interviews with “real” SECTION 4: MON-FRI, JUL 22-26, 9 AM-1 PM SECTION 7: MON-FRI, JUL 29-AUG 2, 9 AM-1 PM people using a script designed to stretch your imagination. SECTION 5: MON-FRI, JUL 22-26, 1:30-5:30 PM SECTION 8: MON-FRI, JUL 29-AUG 2, 1:30-5:30 PM Then edit these into a single mock-u-movie using digital editing “Green screen” or chroma-key technology allows characters or Make a dramatic movie in five days! The pace will be fast, but software. The week will culminate in a family screening, complete objects to interact with moving and still backdrops. In this camp, you’ll learn the basics of working together as a movie crew, with popcorn. Completed films will be uploaded to a special class you’ll learn to set up, shoot, and edit the elements which create operating a professional-level digital video camera, directing online video album. the magic. We’ll start by filming you and/or your props in front actors, sound recording, and digital editing. At the end of the Enrollment Limit: 14. Select one of two sections. of a green background. Then you’ll go into the editing lab to week, a short drama will be “in the can.” The week will culminate TUITION: $265 pick your own backdrop and, using professional digital editing in a family screening, complete with popcorn. Completed films EQUIPMENT/LAB FEE: $50 software, electronically transport yourself and/or your objects to will be uploaded to a special class online video album. another world: outer space, foreign cities, underwater, or...your Enrollment Limit: 14. Select one of eight sections. COMPUTER ANIMATION FOR TWEENS COURSE #023 own idea. Go ahead—wear a green shirt to camp and watch your TUITION: $265 SECTION 1: MON!FRI, AUG 5!9, 9 AM!1 PM body disappear! The week will culminate in a family screening, EQUIPMENT/LAB FEE: $50 SECTION 2: MON!FRI, AUG 12!16, 9 AM!1 PM complete with popcorn. Completed films will be uploaded to a SECTION 3: MON!FRI, AUG 12!16, 1:30!5:30 PM special class online video album. Bring two-dimensional graphic artwork to life using Adobe Flash Enrollment Limit: 11. Select one of five sections. software on Apple digital workstations. Learn how animators TUITION: $265 create motion using techniques such as squash and stretch, EQUIPMENT/LAB FEE: $50 staging, timing, and parallax scrolling. Animate video and/or scan in and manipulate your own artwork. Record your own voiceovers and sound e"ects 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: $265 EQUIPMENT/LAB FEE: $50

JUN/JUL/AUG 2013 nwfilm.org/school 3 This is the ultimate destination class for the highly motivated, film-interested teen. COURSE #008 SECTION 1: MON-FRI, JUL 22-26 & MON-WED, JUL 29-31, 9 AM-5 PM SECTION 2: MON-FRI, AUG 12-16 & MON-WED, AUG 19-21, 9 AM-5 PM ANDY BLUBAUGH, BRIAN LINDSTROM If you’re thinking about applying to film school or HIGH SCHOOL CREDIT: The Academy may qualify for want to experience the excitement (and challenges) high school arts or elective credit through your school of creating an entire film from scratch and working district. Inquire with your local guidance counselor. on a real film shoot, you don’t have to go to New COLLEGE CREDIT: The Academy is available for four York or Los Angeles. Now in its 14th year, the MEDIA undergraduate credits through the Portland State ARTS ACADEMY FOR TEENS is the School of Film’s University Department of English at an additional charge GREEN SCREEN VISUAL EFFECTS FOR TEENS premier opportunity to: COURSE #028 of $260 (depending on enrollment status, additional MON-FRI, JUL 15-19, 1:30-5:30 PM t Learn with award-winning film professionals PSU fees may apply). A letter grade will be issued on a “Green screen” or chroma-key technology allows characters or t Be part of a film crew PSU transcript. Admission to PSU is not required. College objects to interact with moving and still backdrops. In this camp, t Use professional digital video equipment credit must be selected by the first day of the Academy you’ll learn to set up, shoot, and edit the elements which create the magic. We’ll start by filming you and/or your props in front t Learn Avid Media Composer industry standard and cannot be awarded retroactively. For information, of a green background. Then you’ll go into the editing lab to software contact info@nwfilm.org or 503-221-1156. pick your own backdrop and, using professional digital editing t Get involved in scripting, planning, casting, STUDENT HOUSING: Reasonably priced dormitory software, electronically transport yourself and/or your objects to directing, working with actors, shooting, housing with private bathrooms, internet access, and another world: outer space, foreign cities, underwater, or...your lighting, sound recording, editing, and more! own idea. Go ahead—wear a green shirt to camp and watch your optional meal plan, operated by the Portland State body disappear! The week will culminate in a family screening, Bring several script ideas to the first day. You’ll University Housing O!ce, is available in the Ondine complete with popcorn. Completed films will be uploaded to a work as a group to determine produceability and Residence Hall, a short walk from the Film Center. special class online video album. what attributes make a story great and to select Arrangements must be made directly with PSU. For more Enrollment Limit: 11. TUITION: $265 one concept to develop into a screenplay. Come information, visit www.pdx.edu/conferences/shc or call EQUIPMENT/LAB FEE: $50 prepared to work hard and learn an amazing 503-725-4336. Discuss with your parents whether this is amount! Expect at least one long shooting day an appropriate option, as PSU does not provide on-site COMPUTER ANIMATION FOR TEENS COURSE #026 during the class. The week will culminate in a supervision and is not a!liated with the Film Center. For MON-FRI, AUG 5-9, 1:30-5:30 PM screening for family and friends in the Film Center’s more information, contact info@nwfilm.org or 503-221- Bring two-dimensional graphic artwork to life using Adobe Flash software on Apple digital workstations. Learn how animators state-of-the-art Whitsell Auditorium. Tuition 1156. create motion using techniques such as squash and stretch, includes catered lunches. No previous experience THE FRANK HOOD SCHOLARSHIP: A full scholarship to staging, timing, and parallax scrolling. Animate video and/or scan is required. Completed films will be uploaded to a the MEDIA ARTS ACADEMY FOR TEENS is available on a in and manipulate your own artwork. Record your own voiceovers special class online video album. and sound e"ects and create your own animated sequences competitive basis to an individual with high interest and frame by frame. The week will culminate in a family screening, demonstrated need. The application deadline is June complete with popcorn. Completed films will be uploaded to a Enrollment Limit: 14. Select one of two sections. 14, 2013. Download the application form at nwfilm.org/ special class online video album. TUITION: $995 school/info/scholarships. Enrollment Limit: 11. EQUIPMENT/LAB FEE: $125 TUITION: $265 PSU CREDIT FEE: $260 (optional) EQUIPMENT/LAB FEE: $50 PSU REC CTR FEE: $41 (required with PSU credit option)

CALL FOR ENTRIES! FRESH FILM NORTHWEST TEEN FILM FESTIVAL ENTRY DEADLINE: AUG 1 Open to any young person, ages 13-19, living in Oregon, Washington, Idaho, Montana, and Alaska. Chosen films are included in a free public screening presented in November in the THANKS TO OUR CONTRIBUTORS Women in Film/Faerie Godmother Fund Whitsell Auditorium as part of the Northwest Filmmakers’ Festival. National Endowment for the Arts Frank Hood Fund of the Oregon Community No entry fee. For more information, visit nwfilm.org/festivals. Oregon Arts Commission Foundation Wieden+Kennedy MEDIA ARTS ACADEMY FOR K-12 TEACHERS: John D. and Catherine T. MacArthur Foundation INTEGRATIVE APPROACHES Henry Lea Hillman, Jr. Foundation, Inc. Portland State University MON-FRI, JUN 24-28, 9 AM-4 PM James F. and Marion L. Miller Foundation ZGF Architects A five-day intensive opportunity for K-12 educators from all Regional Arts & Culture Council endorsement areas to learn the hands-on basics of media Mount Hood Cable Regulatory Commission production. Undergraduate and graduate credit available through Mission Control Marylhurst University PSU. See complete class description on page 11. King Family Foundation Pro Photo Supply Vicki Mee Chipotle Mexican Grill

4 JUN/JUL/AUG 2013 nwﬁlm.org/school REGISTER tNOW

MEDIA ARTS ACADEMY SCREENWRITING SHOOT + EDIT + SHARE FOR TEACHERS FUNDAMENTALS TUESDAYS, JUN 25-AUG 20, 6:30-9:30 PM MONDAY-FRIDAY, JUN 24-28 + OPTIONAL OPEN LAB TUESDAYS, JUN 25-AUG 20, 6:30-9:30 PM 9 sessions THURSDAY, JUN 27, 4-9 PM 9 sessions Tuition: $725 5 sessions Tuition: $725 PSU Credit Option: $195 Tuition: $485 PSU Credit Option: $195 ANDY BLUBAUGH PSU Credit Option: $260 JACQUELYN BLAIN Shoot and edit short films and upload them to Vimeo. ANDY BLUBAUGH Take your ideas to the next level and turn them into a feature- Topics: learn the basics of camera operation, shooting, and Learn to conduct small-scale videomaking projects that foster length screenplay. editing; shoot and edit two short films through exercises that teach the basics of visual expression; shoot and edit a short integrative learning in the K-12 classroom. Topics: screenplay structure and formatting; creating characters individual final project of your own; bring in work-in-progress for Topics: how the media arts can enable students to demonstrate with depth and purpose; writing e"ective dialogue; the di"erence class critique; set up a Vimeo channel and upload all work. academic content proficiency in science, social studies, language between plot and story; structuring scenes and sequences; arts, and other core subjects; how the media arts can help solving the second act droop; write an outline and at least the Qualifies for Avid discount. students develop skills in critical thinking, leadership, and first 30 pages of your screenplay; bring in work-in-progress for Projects: Individual media literacy; shoot and edit simple exercises that can easily class critique. Allocated gear: Canon XA-10 cameras, Avid Media Composer 6.5 be replicated in the classroom without fancy equipment; learn Qualifies for Avid discount. Prerequisites: None strategies for engaging beginners as well as production of larger Related courses: DIGITAL EDITING I, SOUND RECORDING, SOUND Projects: Individual narrative and documentary projects; how to lead groups through DESIGN & EDITING, ART OF FILMMAKING the scriptwriting process; hear from guest educators about their Prerequisites: None success stories; create and receive feedback on lesson plans Related course: SCREENWRITING INTENSIVE for next school year; open to educators from all grade levels and endorsement areas; may be taken for four undergraduate/ graduate PSU credits (optional). Qualifies for Avid discount. Projects: Individual and collaborative Allocated gear: Canon XA-10 cameras, Avid Media Composer 6.5 Prerequisites: None

MARK YOUR CALENDAR! OUR CORE SEQUENCE RETURNS FALL TERM 2013 REGISTRATION OPENS JULY 22

Our hands-on, two-course foundation sequence is a comprehensive introduction to film production and basic film analysis. Create your own short films while learning the basics of shooting, editing, and sound. Advance from the beginning level to the intermediate level, having access to our state-of-the-art equipment and filmmaker mentors. Plan to join us for what has been our celebrated immersion into production for more than two decades. See page 12 for filmmaker comments about this class.

ART OF FILMMAKING I ART OF FILMMAKING II DATES: TBA DATES: TBA 14 sessions 14 sessions Tuition: $1,125 Tuition: $1,125 PSU Credit Option: $260 PSU Credit Option: $260 BUSHRA AZZOUZ BUSHRA AZZOUZ Beginning-level introduction to the basics of visual, Intermediate-level exploration of cinematic storytelling cinematic storytelling. skills and techniques. Topics: the components of film language; basics of camera Topics: envisioning a scene or concept; pre-production and operation, sound recording, shooting, and editing; hands- planning; digital storyboards; more ambitious shooting styles, on working knowledge of basic film production process; lighting techniques, and editing strategies; all phases of shoot and edit two short films; bring in work-in-progress for post-production including color correction and sound design; class critique. shoot and edit three short films; bring in work-in-progress for Qualifies for Avid discount. class critique. Projects: Individual and/or collaborative Qualifies for Avid discount. Allocated gear: Canon XA-10 cameras, basic sound and Projects: Individual and/or collaborative lighting gear, Avid Media Composer 6.5 Allocated gear: Canon XA-10 cameras, professional shotgun/ Prerequisites: None wireless microphones and field mixers, lighting and grip Related course: ART OF FILMMAKING II gear, Avid Media Composer 6.5, or your own editing system Prerequisites: ART OF FILMMAKING I or basic shooting and digital editing experience nwfilm.org/school Related course: ART OF FILMMAKING I

11 FILM FEED

Through our social networks, we asked some alumni to reﬂect on their ART OF FILMMAKING experience and the professional paths they have chosen to pursue. See page 11 for more information about our ART OF FILMMAKING core sequence, coming this fall.

School of Film Feed

Status Photo Check In Chat

RECENT STORIES Hey, did you all see the Holly Andres @PSU Art Department Project Viewfinder videos The year prior to taking ART OF FILMMAKING I, I had finished my MFA thesis on the Film Center’s exhibition at PSU, a video installation, and at that time I was essentially self-taught. newsroom? Check them I wanted to learn more. My dear friend Grace and I decided to take the course together out...they’re really cool! so we could collaborate on our projects, and it was the beginning of what would turn into a lasting creative partnership between Grace and myself, resulting in numerous collaborative endeavors. Awesome! Need a 7 minutes ago + good sound person this weekend—working on a

FROM EARLIER TODAY short doc. Know anyone down to help? Ryan Stanholzer @Wieden+Kennedy ART OF FILMMAKING was the first step in a process of finding my niche as a filmmaker. I was exposed to a lot of great filmmakers and ideas from both the I’m up for doing sound. class and the friends I made in it. This class taught me that when given the chance, What time are you I would spend every spare minute working on films because I enjoy the process shooting? and collaborating with other people. 41 minutes ago + 11am on Sunday. Are you going to the Student Melissa Tvetan @Laika Screening on Saturday? Learning about how to make films in ART OF FILMMAKING I was a really magical My film is premiering. You experience—like suddenly getting a superpower. Whether working by myself or should come!! collaborating with others, this class continues to inspire my fearlessness when approaching new opportunities and challenges. It’s not an overstatement to say that I wouldn’t be where I am right now without the ART OF FILMMAKING class. 2 hours ago

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12 JUN/JUL/AUG 2013 nwﬁlm.org/school FACULTY BIOS

BUSHRA AZZOUZ, lead faculty member for 20 years, is the director of the award-win- COURTNEY HERMANN is an award-winning documentary filmmaker whose films ning documentary AND WOMAN WOVE IT IN A BASKET..., an exploration of traditional have won grant funding from The Paul Robeson Fund for Independent Media, Native Klickitat river culture through a contemporary Native American woman’s point of view. American Public Telecommunications, “POV”/American Documentary (CPB), The Playboy Her two recent films, NO NEWS, a personal reflection on 9/11, and WOMEN OF CYPRUS, Foundation, The Seventh Generation Fund, and other sources, including multiple highly a collaboration with the women of the divided island, investigate the imprint of war on successful Kickstarter campaigns. Among her recent films are STANDING SILENT NATION, everyday life. She holds a BA from Reed College and an MA from San Francisco State. She chronicling the Lakota Indians’ struggle against the US Drug Enforcement Administration, was recently the lead mentor on the School of Film’s PROJECT VIEWFINDER and is cur- which screened on PBS’s “POV” series, and EXOTIC WORLD AND THE BURLESQUE rently working on A MIDSUMMER NIGHT’S DREAM IN PRISON, which follows inmates at an REVIVAL, about the last days of an old Route 66 roadside attraction. Holding an MFA in Oregon state prison as they produce Shakespearian comedies. Film from Columbia College, she has an extensive background as an educator, including a decade-long stint with the Art Institute of Portland’s Digital Film and Video Program. JON BEANLANDS, former Film Center Technical Services Manager, is a director of photography currently living in New York City. He has shot music videos, feature docu- ALAIN LETOURNEAU is a media artist who utilizes video, 16mm film, and still photogra- mentaries, and narrative films including THE ADULTS IN THE ROOM directed by Andy phy to explore the natural and built environment and issues of development and land use. Blubaugh. He has also shot promotional work for EA Games, MothLove, Good Magazine, His feature documentary about the vanishing rural lifestyle in Eastern Oregon, EMPTY and Wieden+Kennedy, among others. His recent installation collaboration with director QUARTER, co-produced with Pam Minty, premiered at the Film Center last year and has Leif Peterson exhibited at the Beppu Wiarda Gallery in Portland. screened widely in North American venues including the Margaret Mead Film Festival, Anthology Film Archives, and San Francisco Cinematheque. Co-founder of 40 Frames, a JACQUELYN BLAIN is a Writers Guild of America screenwriter with more than 75 hours of produced television and credits as a staff writer/producer on such series as 16mm conservation and advocacy organization (16mmdirectory.org) active since 2000, “Diagnosis Murder,” “VR.5,” and “Martial Law,” working with actors like Dick Van Dyke, he is currently finishing his latest film OPEN ROAD, which explores the urban landscape of David McCallum, Arsenio Hall, Sammo Hung, and Anthony Stewart Head (Giles on “Buffy transportation. the Vampire Slayer”). She has taught at the UCLA Writers Program, the Art Institute of PAM MINTY, Film Center Education Program Manager, is the co-founder of 40 Frames, Portland, and Chemeketa Community College, helping numerous students to produce which has screened and preserved 16mm films since 2000. Her film EMPTY QUARTER, award-winning films. She runs workshops and the Pitch Practice Room at the annual co-produced with Alain LeTourneau, recently had its New York premiere at the Margaret Willamette Writers Conference and served as script consultant and associate producer Mead Film Festival, followed by screenings at Anthology Film Archives and elsewhere. for the locally-shot independent feature NOT DEAD YET, which won first place in the More information at emptyquarterfilm.org. Baltimore Women’s Film Festival. AMY O’BRIEN is a documentary and narrative filmmaker/editor who, through her produc- ANDY BLUBAUGH’s experimental documentaries have screened at the Sundance, tion company, Purple Macaroni Productions, creates short films that document personal Clermont-Ferrand, Edinburgh, and Seattle International Film Festivals, among others, stories and explore the lighter side of life. These have included FOUR, which screened in and have been broadcast by the PBS program “P.O.V.” and the Logo Network. He is the the Northwest Filmmakers’ Festival, and NO SOLICITING, which screened at the Columbia recipient of a fellowship from the Tribeca Film Institute and was identified as one of “25 Gorge International Film Festival. She also creates promotional films for nonprofits such New Faces of Independent Film” by Filmmaker Magazine. His debut feature, THE ADULTS as Literary Arts and the Tucker-Maxon School for the Deaf and recently edited “Blue IN THE ROOM, premiered at the Frameline Film Festival in San Francisco and won Best Fiddles,” a web series. An active member of Women in Film PDX, she studied media at the Narrative Feature at the 37th Northwest Filmmakers’ Festival. New School for Social Research.

EQ THANK ACCESS YOU!

The School of Film supports the use of media in our community as a means of self-expression and cultural advancement by making its film/video equipment, editing rooms, and other facilities available to artist and nonprofit users at subsidized rental rates and to commercial users as availability allows. Download a Rental Rate Sheet (nwfilm.org) for a complete list of available items, services, and pricing. Rental requests must be The Northwest Film Center’s School of Film is supported by: 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. National Endowment for the Arts Women in Film/Faerie Godmother Fund Oregon Arts Commission Frank Hood Fund of the Oregon John D. and Catherine T. MacArthur Community Foundation Equipment available Facilities available Foundation Wieden+Kennedy for rent includes: for rent include: Henry Lea Hillman, Jr. Foundation, Inc. Portland State University Canon XA-10 Camera Package Voiceover Recording Room James F. and Marion L. Miller Foundation ZGF Architects Panasonic DVX-100 Camera Package Casting and Audition Rooms Mount Hood Cable Regulatory Regional Arts & Culture Council 16mm and Super-8mm Film Cameras Commission Marylhurst University Microphones and Sound Mixers We’re your Super-8 King Family Foundation Pro Photo Supply Light Kits and Grip Equipment headquarters for: Vicki Mee Chipotle Mexican Grill Canon and Minolta Super-8 Camera Rental Soundtrack Pro Audio Work Station Ektachrome Color Reversal Super-8 Film Avid Media Composer and Final Cut Studio Stock Work Stations Tri-X B/W Reversal Super-8 Film Stock Portable Green Screen 13 in the community... Exciting the imagination of the next generation

MEDIA ARTS ACADEMY FOR TEACHERS SUPPORTING K-12 ARTS LEARNING The Media Arts Academy for Teachers is a week-long, graduate-level professional development summer institute for K-12 teachers, founded in 2000 and co-offered with Portland State University. The Academy teaches the language and processes of filmmaking, designed to be integrated with curriculum goals in language arts, visual arts, social studies, health, and other academic subjects. The activities also help students to develop skills in critical thinking, leadership, and media literacy. The 2013 Academy runs June 24-28. Register online at nwfilm.org/school.

FRESH FILM NORTHWEST CELEBRATING THE NEXT GENERATION Fresh Film Northwest, one of the oldest youth film festivals in the nation, celebrates the next generation of filmmakers by showcasing the work of teens ages 13-19 from Oregon, Washington, Idaho, Montana, and Alaska. Submissions are accepted in all genres and styles and from individuals, school classes, and community groups. Entries are juried by a panel of professional filmmakers and educators. Winning selections are featured as part of the Northwest Filmmakers’ Festival in November. The annual deadline is August 1. There is no entry fee. For more information, visit nwfilm.org/festivals/freshfilm.

PROJECT VIEWFINDER CHANGING YOUNG LIVES THROUGH FILM In collaboration with partnering social service agencies and community groups, the School of Film mentors underserved youth by helping them use film as a means of taking positive steps in their lives. Learning the hands-on process of filmmaking from our faculty mentors, individuals share their personal stories on film, working both behind and in front of the camera. Their films are screened in the Whitsell Auditorium and circulate to the community to foster dialogue about the social and cultural issues their stories reveal. To learn more about this program and how you can support it, visit nwfilm.org/youngfilmmakers/projectviewfinder.

GLOBAL CLASSROOM TEACHING THE WORLD THROUGH FILM Global Classroom links Portland metro area high schools with the films and filmmakers of the Portland International Film Festival through free, school-day screenings during the Festival in February and during the academic year. Screenings take place in the Film Center’s Whitsell Auditorium inside the Portland Art Museum and are offered free of charge. Through the films, students learn about topics related to foreign language, social studies, language arts, and other academic areas. Many screenings are presented by visiting filmmakers, who discuss how films are made, film careers, and film festivals. For more information about this program, visit nwfilm. org/festivals/piff/globalclassroom. SPECIAL SCREENINGS

ANDRÉ GREGORY: STROMBOLI BEFORE AND AFTER DINNER

LEVIATHAN

MAY 30 JUN 2 THURS 7 PM, SUN 4:45 PM JUN 4 TUES 7 PM JUN 21 22 FRI 7 PM, SAT 4:30 PM BEL BORBA AQUI YALE UNION AND NWFC PRESENT ANDRÉ GREGORY: BRAZIL 2012 RED HOLLYWOOD BEFORE AND AFTER DINNER DIRECTORS: BURT SUN, ANDRE COSTANTINI US 1996 US 2013 He’s known fondly as “The People’s Picasso.” For the past 35 years, DIRECTORS: THOM ANDERSEN, NOËL BURCH DIRECTOR: CINDY KLEINE Bel Borba has been transforming his 500-year-old hometown of A landmark examination of the films and lives of those Kleine’s affectionate documentary takes us into the world of Salvador, Brazil, with an amazing and vast array of works of public art. filmmakers, screenwriters, and other Hollywood players groundbreaking director, actor, and artist André Gregory. A Using paint, sand, tiles, clay, metal, wood, and just about anything else targeted by the House Committee on Un-American Activities witty raconteur, Gregory’s decades of creative expression he comes across, Bel Borba makes art that is a natural extension of his during the early 1950s, Andersen and Burch’s film delves deep have earned him iconic status in the theater and arts exuberantly theatrical personality. He remakes an abandoned building into the Hollywood archives, bringing to light those films and communities and a fascinating perspective on being an artist by using its steel beams to fashion a façade of faces. An airplane stories that challenged the studio system’s status quo. Through and on the creative process. He recalls the making of MY makes a surface on which to paint a plane-sized fish. Coke bottles are interviews with some of those blacklisted (writers Abraham DINNER WITH ANDRÉ (1981), the Louis Malle-directed classic fashioned into a huge charming dog, and unsuspecting, unadorned Polonsky and Ring Lardner Jr. among them) as well as numerous which he co-wrote and starred in; reflects on his pivotal role surfaces are canvases crying out for transformation. Set to the film clips, RED HOLLYWOOD seeks to reverse Billy Wilder’s in American theater; dishes on his brief sojourn in Hollywood; rhythms of Brazil, BEL BORBA AQUI introduces a one-man force who famous statement about the Hollywood Ten that “two had talent, and talks about the discovery that led him to question his own breathes new life into the city he loves through his art. “Not unlike an the others were just unfriendly.” What the film does, instead, is identity and his life’s work. As the stories and experiences urban Andy Goldsworthy, Borba speaks with keen perspicacity about show us the political, social, and moral effects that the artistic shift back and forth in time, a sparkling portrait of a modern embracing Bahian folklore.”—Time Out New York. (95 mins.) works of these ostracized men had on postwar American society. renaissance man emerges. (108 mins.) (118 mins.) MAY 31 JUN 1 2 FRI 7 PM, SAT 7 PM, SUN 7 PM JUN 28 29 FRI 7 PM & 9 PM, SAT 6 PM BECOMING TRAVIATA JUN 14 15 16 FRI 7 PM & 8:45 PM, SAT 7 PM & 8:45 PM, FRANCE 2012 LEVIATHAN SUN 4 PM US/FRANCE/UK 2012 DIRECTOR: PHILIPPE BÉZIAT THE PAINTING DIRECTORS: LUCIEN CASTAING-TAYLOR, VÉRÉNA PARAVEL “The title of Philippe Béziat’s lovely film about the staging of Verdi’s FRANCE 2011 Set in the North Atlantic, LEVIATHAN is an amazing film masterwork at the Aix-en-Provence Festival in France could be said DIRECTOR: JEAN-FRANÇOIS LAGUIONIE about men at sea and fish on boats. Creatively (to use an to have a double meaning. On the one hand, it refers to Met Opera Inside the magical world of a painting, figures divide understatement) deploying numerous small digital cameras, favorite Natalie Dessay as she hones her articulation, gestures, themselves into three castes: the realistically rendered, the filmmakers capture the sensory experience of the labor, and movements on her way to incarnating Violetta, Verdi’s tragic highly polished Alldunns, who hold court in a castle; the ecology, sound, light, and motion of one of man’s oldest courtesan. On the other, it captures the wonder that opera is: the way in Halfies, who for want of a brushstroke are denied the activities. “The filmmakers have made the ne plus ultra of which so many elements—musical, vocal, dramatic, choreographic, privileges of the Alldunns; and the Sketchies, rough and immersive documentaries. In this stunning and unparalleled scenographic—come together to create a single aesthetic ragged outlines treated as untouchables by the others. A masterpiece, they have discovered new forms of cinema. See, experience. Much more than a backstage look at the contemporary forbidden romance between the Halfie Claire and the Alldunn hear, and feel it for yourself. It’s a monster.”—Vancouver staging of a classic, the film captures the highly detailed work of Ramo leads the two, along with Claire’s friend Lola, to run International Film Festival. “The result is a hallucinatory director Jean-François Sivadier and musical director Louis Langrée, away—all the way to the edge of their painting, where they sensory experience quite unlike any other. To paraphrase lingering over notes and lyrics, trying to get the expression of their hop out of the frame and into the studio of the man who Francis Ford Coppola describing his APOCALYPSE NOW, meaning to be as precise as possible, and the efforts by the singers created them. An inventive animated fable about art and life, LEVIATHAN isn’t a movie about commercial fishing; it is to integrate their own performances into the production’s overall appearance and perception. “Enchanting!... This consistently commercial fishing.”—New York Film Festival. (87 mins.) vision.”—New York Film Festival. (120 mins.) enjoyable, inventive, and beautifully crafted tale is a color riot suitable for all ages...a constant feast for the eyes.”— Variety. (76 mins.)

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CLOSELY WATCHED TRAINS BURDEN OF DREAMS

VOYAGE TO ITALY

JUL 5 7 FRI 7 PM, SUN 3:30 PM THE SOLITUDE TRILOGY STROMBOLI ITALY 1950 DIRECTOR: ROBERTO ROSSELLINI The film where Rossellini fatefully met Ingrid Bergman, STROMBOLI—like their later VOYAGE TO ITALY—is a semi- JUL 19 20 FRI 8:45 PM, SAT 7 PM autobiographical portrait of its star’s stranger-in-a-strange- LES BLANK TRIBUTE land predicament. Bergman plays a Lithuanian war refugee JUL 12 13 14 15 FRI 7 PM, SAT 4:30 PM & 7 PM, BURDEN OF DREAMS who marries a fisherman on the remote Sicilian island of SUN 4:30 PM, MON 7 PM US 1982 Stromboli in order to escape an internment camp. Moving MUSEUM HOURS from the environmental reality that characterized his earlier DIRECTOR: LES BLANK WITH MAUREEN GOSLING AUSTRIA/US 2012 Werner Herzog spent four years in the jungles of Peru making neo-realist films to a psychological realism foreshadowing DIRECTOR: JEM COHEN Antonioni’s L’AVENTURRA (1960), Rossellini’s film contrasts FITZCARRALDO, the chronicle of a mad Irish dreamer who wants to Jem Cohen’s (BENJAMIN SMOKE, CHAIN) intriguing new the island’s desolate, volcanic landscapes with its leading bring opera to the Amazon. Like the film’s hero, Herzog himself became film drops us into the world of Johann, an amiable guard lady’s emotional turmoil. The barren, sulfurous rock proves a a man of total obsession. Overcoming the seemingly impossible at Vienna’s Kunsthistorisches Art Museum. Surrounded by formidable and unpredictable rival for Bergman’s ferocious challenges of finances, location, weather, cast turnover, and wars precious Brueghel paintings, Johann seems content. One will. “An intensely moving exploration of sainthood and with both native Indians and star Klaus Kinski—not to mention such day he meets Anne, an enigmatic Canadian woman visiting well-publicized feats as trying to haul a 30-ton steamboat over a spirituality.”—Martin Scorsese. (107 mins.) an unfamiliar city where her cousin is ill in the hospital, and mountain—Herzog’s singular determination is revealed. Les Blank’s SINGLE OR DOUBLE FEATURE WITH the two form a bond. Johann acts as Anne’s guide to Vienna; evocatively titled chronicle of the production of FITZCARRALDO is one JUL 6 7 SAT 6:30 PM, SUN 5:45 PM he relishes the opportunity to share his knowledge of its art of the most remarkable and absorbing studies of the creative process and architecture, acknowledging he is rediscovering the ever filmed—a film as enduring as its subject matter. (95 mins.) THE SOLITUDE TRILOGY place himself. “How to make films that encourage viewers EUROPA ’51 to make their own connections, to think strange thoughts, to FOLLOWED BY ITALY 1952 be unsure of what happens next or even what kind of movie WERNER HERZOG DIRECTOR: ROBERTO ROSSELLINI this is?”—Jem Cohen. “A charming rumination on art and The second collaboration between Rossellini and Bergman observation featuring strikingly beautiful images that appear EATS HIS SHOE chronicles the life of a wealthy American woman living in Rome to have been captured casually and engaging, perfectly See previous description. who is thrown into turmoil when her young son commits suicide pitched performances from Bobby Sommer and Mary over what he perceived to be her lack of affection for him. Margaret O’Hara as characters meeting at a crossroads in JUL 26 27 FRI 7 PM, SAT 8:45 PM The woman’s grief leads her to the realization that she has their lives.”—London Film Festival. (107 mins.) DAISIES been living a shallow, bourgeois existence and propels her to CZECHOSLOVAKIA 1966 change her ways. As if on a spiritual quest, she begins devoting JUL 19 FRI 7 PM DIRECTOR: VERA CHYTILOVÁ her life to helping the less fortunate—a sick prostitute, an LES BLANK TRIBUTE One of the most anarchic films of all time, Vera Chytilová’s absurdist unwed mother with numerous children, and a young boy—all farce follows the misadventures of two bored but brash young women. of which disturbs her husband in tragic reaction. While the GARLIC IS AS GOOD Believing the world to be “spoiled,” they embark on a series of pranks film has been viewed as Rossellini’s vision of the state of the AS TEN MOTHERS in which nothing—food, clothes, men, war—is taken seriously. An world in all its confusion, many also read it as an exploration of US 1980 aesthetically and politically adventurous film that’s widely considered Ingrid Bergman’s personal struggle. (113 mins.) DIRECTOR: LES BLANK one of the great works of feminist cinema, world acclaim for the film It is hard to think of anyone who did more than the recently earned Chytilová banishment from making another film for almost a SINGLE OR DOUBLE FEATURE WITH deceased Les Blank (1935-2013) to document American folk, decade. “A philosophical documentary in the form of a farce.”—Vera JUL 6 7 8 SAT 8:45 PM, SUN 8 PM, MON 7 PM food, and music cultures. Roaming regional backroads, his Chytilová. (93 mins.) THE SOLITUDE TRILOGY laid-back camera captured people with a deep appreciation of SINGLE OR DOUBLE FEATURE WITH VOYAGE TO ITALY life and the commitment to celebrate it seriously. Blank’s loving ITALY/FRANCE 1954 garlic film is a lively salute to the “stinking rose” and its place in JUL 26 27 FRI 8:45 PM, SAT 7 PM DIRECTOR: ROBERTO ROSSELLINI our lives and myths. From the Gilroy Garlic Festival to the Chez CLOSELY WATCHED TRAINS Panisse kitchen, Blank uncovers an enthusiastic entourage of A reserved British couple (Ingrid Bergman and George CZECHOSLOVAKIA 1966 garlic lovers: growers, chefs, musicians, and eaters who turn Sanders) take a break from the chaos of London and retreat DIRECTOR: JIRˇÍ MENZEL their passion and imagination into feast. (51 mins.) to the rugged landscape of Naples, only to find that outside Menzel’s feature debut was enormously popular in Czechoslovakia of the structure of their everyday lives, the tedium of their FOLLOWED BY and won him the Academy Award for Best Foreign Language Film. marriage begins to emerge. Under the glistening surface of Audaciously linking sexual desire with the struggle for freedom during its minimal plot, Rossellini’s film amasses subtle details and WERNER HERZOG the German Occupation, the story follows Milos, a teenage railway small moments that build towards one of postwar cinema’s EATS HIS SHOE trainee learning the ropes in a small train station in the country. most enigmatically poignant conclusions. Again, Rossellini’s US 1980 Emulating the lessons of an older, womanizing guard, Milos is more use of the environment as a relevant character is a precursor DIRECTOR: LES BLANK motivated by the possibilities of love than the call of the resistance. to Antonioni’s bleak industrial landscapes, serving as a link Herzog fulfills a promise to filmmaker Errol Morris upon Menzel’s touchingly beautiful coming-of-age film is at once a between neo-realism and the subjective, psychological cinema the completion of Morris’s first film, GATES OF HEAVEN celebration of life’s everyday dreams and longing and a mindful of the 1960s. (97 mins.) (screening August 9). (26 mins.) meditation on the cataclysm of war. (89 mins.)

PAGE 16 NORTHWEST FILM CENTER JUNE/JULY/AUGUST 2013 503-221-1156 WWW.NWFILM.ORG GATES OF HEAVEN

AUG 23 24 FRI 7 PM, SAT 7 PM GREGORY CREWDSON: GREGORY CREWDSON: BRIEF ENCOUNTERS BRIEF ENCOUNTERS US 2012 DIRECTOR: BEN SHAPIRO AUG 2 3 FRI 7 PM, SAT 7 PM AUG 16 17 FRI 9 PM, SAT 6 PM Gregory Crewdson’s riveting photographs are elaborately IN BED WITH ULYSSES THE MIRROR staged, elegant narratives compressed into a single, US 2012 USSR 1975 large-scale image, many of them taken at twilight. Set in DIRECTORS: ALAN ADELSON, KATE TAVERNA DIRECTOR: ANDREI TARKOVSKY small towns in western Massachusetts or in meticulously IN BED WITH ULYSSES details the provocative story of how James The most visually poetic and personal of Tarkovsky’s films, recreated interior spaces, his strange tableaus call to Joyce’s novel ULYSSES, widely considered among the greatest works THE MIRROR has no conventional plot. Rather, the film mind the haunting worlds of Alfred Hitchcock, David Lynch, of modern fiction, came into existence. Revisiting the toll it took on its takes the viewer on a chronological journey through the and Edward Hopper. Shapiro’s fascinating profile includes author and his family and the shockwaves it caused around the world, memories—real and imagined—of an unnamed narrator stories from Crewdson’s childhood (in which he tried to the film expertly reveals the dramatic human story behind the novel’s who lies dying of cancer. The seemingly random images overhear his psychologist father’s patients), his summers in origins. Through interviews (among them Irish novelist Edna O’Brien create a melancholic montage of the mundane events the bucolic countryside (which he now imbues with a sense and National Book Award winner Colum McCann) and readings, the of our lives through which we search for spirituality and of dread and foreboding), and his encounter with Diane people, places, and characters involved in the novel’s creation— truth. Employing the same actors in several different roles Arbus’s work in 1972 at age 10. Novelists Rick Moody and including Leopold and Molly Bloom, the latter played by New York throughout the film and leaving many questions unanswered, Russell Banks and fellow photographer Laurie Simmons stage actress Kathleen Chalfant (“Angels in America,” “Wit”), the Tarkovsky deflected attempts to over-explain the film, urging comment on the motivation behind their friend’s haunting filmmakers succeed in revealing how accessible and amusing the viewers to accept it as a simple autobiographical reflection. images. But Crewdson remains his own best critic: “Every language of the novel is and how it is a work to be enjoyed by all. “The “I should like to ask you all not to be so demanding… It is no artist has one central story to tell. The struggle is to tell and movie lets fresh air into ULYSSES like a gust from the Irish Sea.”— more than a straightforward, simple story. It doesn’t have to retell that story over again—and to challenge that story. It’s The New York Times. (80 mins.) be made any more understandable.” (108 mins.) the defining story of who you are.” (78 mins.)

AUG 9 10 FRI 7 PM, SAT 7 PM GATES OF HEAVEN US 1978 JOIN THE SILVER SCREEN CLUB! DIRECTOR: ERROL MORRIS SUPPORT THE FILM CENTER Morris’s classic film follows the shifting fortunes of two Bay Area pet cemeteries. One, San Francisco’s Foothill Memorial Gardens, stems AND ENJOY FREE OR from the lifelong dream of owner Floyd McClure to give Fido the dignity DISCOUNTED ADMISSION of a human-style burial. But when McClure goes bankrupt, some 450 TO 500 FILMS ALL YEAR LONG sets of remains are shipped north to the Napa Valley’s Bubbling Well Memorial Park, and Morris goes with them. In between, Morris casts his deadpan gaze on pet owners, a professional animal byproducts recycler, and other richly bizarre exponents of weird America. “Surrounded by layer upon layer of comedy, pathos, irony, and human nature. I have seen this film perhaps 30 times and am still not anywhere near the bottom of it. All I know is, it’s about a lot more than pet cemeteries.”—Roger Ebert, The Chicago Sun Times. (85 mins.)

AUG 16 17 FRI 6:30 PM, SAT 8:30 PM NOSTALGHIA USSR 1983 DIRECTOR: ANDREI TARKOVSKY Russian master Tarkovsky’s penultimate film, shown here on the occasion of its 30th anniversary, follows Yankovskiy (Andrei Gorchakov), a poet who falls in with a Tuscan madman (Erland Josephson) while traveling through Italy and researching the life of an 18th-century Ukrainian composer who spent his final years there. Yankovskiy, increasingly isolated from those around him, becomes drawn into a complex relationship with this strange man, while at the same time experiencing deep nostalgia for his Russian homeland— much like Tarkovsky himself, exiled from the USSR during this period. NOSTALGHIA, winner of several awards at the 1983 Cannes Film Festival, is a film in which “Tarkovsky evokes the textures of dreams and memories through ravishing monochrome and sepia-toned reveries and flashbacks, while conjuring the hushed and haunted tone of a trance in MORE INFORMATION AT this late-career masterwork.”—BAMcinématek. (125 mins.) NWFILM.ORG

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AUG 11 SUN 7 PM SOUTHWEST BRAZIL 2012 DIRECTOR: EDUARDO NUNES On her deathbed, a young woman named Clarice gives birth to A MODEST RECEPTION a baby girl, also christened Clarice by an attending “bruxa” Global Lens is an annual touring exhibition organized by the Global Film Initiative (GFI) to encourage filmmaking in countries with (witch). Spirited away to a remote marsh village set on stilts, developing film communities. The ten films in this year’s program—from the little-seen cinemas of such countries as Chile, Egypt, the infant is replaced that very day by a young girl, also named Iran, Iraq, Kazakhstan, and Serbia—include projects developed with seed money from the GFI and offer a contemporary survey of Clarice. As the other inhabitants of the village experience a fascinating filmmaking from areas where political, cultural, and economic challenges make independent feature filmmaking and day like any other, Clarice lives her whole life in the span of distribution a formidable challenge. Accomplished, entertaining, and thought-provoking, these films are all deeply rooted in the 24 hours—yet (as the film’s vast black-and-white panoramas social and political realities of the countries where their talented and resourceful makers live and set their stories. suggest) even a lifetime so compressed remains impossible to fully grasp or contain. “An intensely poetic meditation on JUL 10 WED 7 PM JUL 21 SUN 7 PM the life cycle with a magical-realist sensibility, it has the feel BEIJING FLICKERS THE PARADE of a somber fairy tale. A visually beautiful film that demands CHINA 2012 SERBIA 2011 that you surrender to its hypnotic images.”—The New York DIRECTOR: ZHANG YUAN DIRECTOR: SRDJAN DRAGOJEVIC Times. (128 mins.) “Every day people disappear in this city. If I disappeared, A small group of gay activists in Belgrade strikes an uneasy alliance AUG 18 SUN 6 PM would anyone come looking for me?” So muses San Bao, a with a war-hardened Serbian crime boss whose fiancée demands young man left behind by Beijing’s new prosperity. He has an extravagant wedding that only gay theater director Mirko and STUDENT KAZAKHSTAN 2012 lost his job, his apartment, and the woman he loves, and even friends can provide. In exchange, macho Limun reluctantly agrees to his dog Happiness has run away. Heavenly losers are the only provide security for their planned pride parade. Inspired by Belgrade’s DIRECTOR: DAREZHAN OMIRBAYEV heroes in Zhang’s gorgeously gritty, droll, and angst-ridden tense 2010 gay pride parade and set shrewdly against the lingering Spurred by his own postmodern musings and the growing portrait of youthful disaffection and perseverance in the xenophobia of the 1990s Balkan War, Dragojevic’s surprisingly inequality, corruption, and kill-or-be-killed ethic of post- face of heartbreak and ruthless inequality. “Zhang skillfully hilarious, deeply humane comedy—a Serbian box office smash—is a Soviet Kazakhstan, a solitary philosophy student steers sets his worn-down characters against the dazzling lights rollicking, poignant take on a vital human rights issue. “In addition to his directionless life toward the commission of a violent of China’s teeming capital, a juxtaposition which conveys the gay rights, the film affirms the future of the region’s states as mutually crime. Inspired by Dostoyevsky’s CRIME AND PUNISHMENT, hopelessness of many young people today. A film sure to ruffle respecting, tolerant societies, united not by class consciousness or Omirbayev roots his tortured protagonist in the losing feathers and provoke serious thinking in equal measure, ethnic blood rivalries but by liberal values.”—The Boston Review. segment of the new capitalist era, in which the rich rise above BEIJING FLICKERS opens our eyes to rarely glimpsed facets of (115 mins.) common legal proscriptions and old-fashioned communal contemporary China and presents us stories that are usually values. “The use of gorgeous spare wrapping for complex left untold.”—Toronto International Film Festival. (96 mins.) JUL 28 SUN 7 PM ideas is an inspired choice that keeps the entire project both THE FANTASTIC WORLD accessible and stimulating.”—Screen Daily. (90 mins.) JUL 14 SUN 7 PM OF JUAN OROL SINGLE OR DOUBLE FEATURE WITH CAIRO 678 MEXICO 2012 EGYPT 2010 DIRECTOR: SEBASTIÁN DEL AMO AUG 18 SUN 7:45 PM DIRECTOR: MOHAMED DIAB Mexico’s half-forgotten B-movie master, “involuntary surrealist” SHYAMAL UNCLE Three Cairene women from very different backgrounds pull Juan Orol (1897–1988), receives a pitch-perfect tribute in this deft, TURNS OFF THE LIGHTS together in uneasy solidarity to combat the sexual harassment irresistible love letter to a self-made man of showbiz whose career INDIA 2012 that has impacted each of their lives—and has become a spanned half a century and nearly 60 films. Abetted by an all-pro cast, DIRECTOR: SUMAN GHOSH general plague in their city. Based on real-life incidents del Amo’s brilliant interpretation of Orol’s life exudes a droll underdog His sense of propriety upset by the “wasteful” expense of that led to Egypt’s first anti-harassment legislation, Diab’s charm, and almost every frame is an infectious homage to the golden electricity, a very particular 80-year-old retiree becomes deftly woven narrative tells a gripping, timely tale of social age of cinema, the wiles of memory, and the art of fantasy. Winner of obsessed with getting the streetlights in his Calcutta injustice. Winner of the Silver Hugo for Best Film at the the Best First Feature Award at the 27th Guadalajara International neighborhood turned off after sunrise. Based on a real Chicago International Film Festival and the Best New Director Film Festival. “A visually playful biopic on Mexico’s Ed Wood.”— incident, Ghosh’s vérité-style film is alive with the sights, Award at the Egyptian Oscars. (100 mins.) Variety. (90 mins.) sounds, and personalities of this old neighborhood, revealing a highly original portrait of modern India. (65 mins.) JUL 16 TUES 7 PM AUG 4 SUN 7 PM LIFE KILLS ME ABOUT 111 GIRLS AUG 25 SUN 7 PM CHILE 2007 IRAQ 2012 MODEST RECEPTION DIRECTOR: SEBASTIÁN SILVA DIRECTORS: NAHID GHOBADI, BIJAN ZAMANPIRA IRAN 2011 Life and death come wrapped in a mutual embrace in this A darkly comic road movie with deadly serious implications, ABOUT DIRECTOR: MANI HAGHIGHI absurd, poignant comedy about an unlikely friendship 111 GIRLS follows an Iranian bureaucrat on his quest to locate the Leyla and Kaveh are a mysterious pair from Tehran, traveling between a morbidly obsessed drifter and a grieving young young Kurdish women who have written a letter threatening mass the mountainous countryside in their Lexus coupe to push cinematographer at work on a seriously schlocky low- suicide unless their lives are improved and more marriageable men big bags of money on the locals. This turns out to be not so budget horror film—scenes from which constitute the only can be found. The further he gets from the capital and the closer easy but fascinating to watch as the cagey couple invent color sequences in this intentionally gray-toned homage to he comes to the isolation and frustration of the Kurds, the more the increasingly brazen stratagems to place cash in the hands of melancholy and rebirth. Reveling in a blend of sardonic humor official increasingly sympathizes with their plight. Husband-and-wife the wary, proud, or indifferent. Will they push things too far? and loving characterization, Silva displays a sure, discerning filmmaking team Zamanpira and Ghobadi (sister of Bahman Ghobadi, Are they losing sight of their mission? What exactly is their style in this compassionate vision of frail, unforgettable director of A TIME FOR DRUNKEN HORSES) confidently walk a delicate mission? This bold, perversely fascinating comedy-drama lives. “A smart, dryly funny film whose roots in tragedy do line between absurdist humor and the very real marginalization of unfurls with unexpected force amid subtle themes of power, not prevent Silva from indulging in some truly brilliant sight the people. “Rooted solidly in the intriguing visual compositions privilege, and corruption. “Setting the scene is a brilliantly gags and bursts of the fantastic…with a strong voice, clear and extraordinary location photography of Hamid Ghavami in the shot comic opener that starts the game over the top, in a tone vision, and enough raw talent to make the transition between spectacular Iranian desert, the film is distinctive, resonant, and laden which only gets shriller and wilder as the story goes on. By far mediums appear simple. Expect great things.”—Twitch Film. with urgency.”—Time Out London. (79 mins.) In Farsi and Kurdish with the director’s most daring work.”—The Hollywood Reporter. (81 mins.) English subtitles. (100 mins.)

PAGE 18 NORTHWEST FILM CENTER JUNE/JULY/AUGUST 2013 503-221-1156 WWW.NWFILM.ORG TOP DOWN

JOUR DE FÊTE SWING TIME

DANCING OUTLAW

BILL AND TED’S EXCELLENT ADVENTURE

THE HUNGER

Join us atop the Hotel deLuxe’s parking structure at SW 15th and Yamhill for our ninth annual program of cinema under the stars. Doors open at 7 PM with food and beverages available for purchase from Gracie’s Restaurant, Portland Brewing Company, and Honest Tea and live music from local bands brought to you by Music Millennium. The music begins at 8 PM, and the movies start at dusk. Due to capacity restrictions, arrival by 8:30 PM is recommended. Some seating is provided but feel free to bring a chair, pillow, or blanket and a light sweater or jacket. Please, no pets or outside food or drink. Thanks to our sponsors: Hotel deLuxe, Peter Corvallis Productions, Music Millennium, Honest Tea, Portland Brewing Company, Car2Go, Portland Mercury, Yelp! Portland, and 94.7 FM. ZELIG

JUL 25 THURS 8 PM AUG 8 THURS 8 PM AUG 22 THURS 8 PM JOUR DE FÊTE ZELIG THE HUNGER FRANCE 1948 US 1983 UK 1983 DIRECTOR: JACQUES TATI DIRECTOR: WOODY ALLEN DIRECTOR: TONY SCOTT Tati’s (M. HULOT’S HOLIDAY) first film frolics through the adventures Leonard Zelig (Allen) is the “human chameleon” in mock- Catherine Deneuve, David Bowie, and Susan Sarandon make of François, a rural postman who is the object of ridicule from his documentary scenes that purport to be vintage newsreel clips a comely vampire ménage à trois in this steamy cult story fellow townspeople because of his archaic methods. After watching an of the 1920s and ’30s but are actually clever recreations. of the undead from recently deceased director Tony Scott. American film about modern methods, he mounts his beloved bicycle Zelig’s desire for conformity is manifested in his ability to take John and Miriam Blalock (Bowie and Deneuve) are a New to demonstrate his own progressive ideas for postal efficiency. A film on the facial and vocal characteristics of whomever he happens York City vampire couple for the ages, but John’s 200+ years about technology and change—the bicycle represents traditional, to be around at the moment. He shows up at batting practice are catching up with him. Miriam seeks help from a brilliant humane values in a world increasingly dominated by machines and with Babe Ruth, among William Randolph Hearst’s guests at San doctor studying the aging process (Sarandon), which leads to driven by the demands of speed and technology—that still resonates Simeon, side by side with Pope Pius at the Vatican, and peering a memorable, erotically charged seduction scene in the name in the digital age. (79 mins.) BAND: LINCOLN’S BEARD. Sponsored by anxiously over the shoulder of Adolf Hitler at the Nuremberg of eternity. Upon release, David Bowie dryly commented, the Bicycle Transportation Alliance. Presented in conjunction with the Rally. “Not only pricelessly funny, it’s also, on occasion, very “I must say, there’s nothing that looks like it on the market.” Portland Art Museum’s special exhibition “Cyclepedia: Iconic Bicycle moving.”—Vincent Canby, The New York Times. (79 mins.) (97 mins.) BAND: FOREIGN TALKS. Sponsored by Artists Design” featuring 40 bicycles drawn from the collection of Vienna- BAND: JAIME LEOPOLD & THE SHORT STORIES. Silver Screen Repertory Theatre and Chipotle Mexican Grill. based designer and bike aficionado Michael Embacher, on view through Club Members’ Night! September 8. AUG 29 THURS 8 PM AUG 1 THURS 8 PM AUG 15 THURS 8 PM SWING TIME DANCING OUTLAW I & BILL AND TED’S US 1936 EXCELLENT ADVENTURE DIRECTOR: GEORGE STEVENS DANCING OUTLAW II: US 1989 Gambling hoofer Lucky Garnett (Fred Astaire) leaves his bride JESCO GOES TO HOLLYWOOD DIRECTOR: STEPHEN HEREK standing at the altar one too many times and now must prove US 1991 High school slackers Bill (Alex Winter) and Ted (Keanu himself by going on the road to amass a nest egg worthy of DIRECTOR: JACOB YOUNG Reeves) need to ace their history presentation in order to his bride’s (and her father’s) forgiveness. But who knew that Meet Jesco White, a hard-living tap dancer in Boone County, West avoid military school and fulfill their true calling as rock stars along that road, he’d bump into dancing instructor Ginger Virginia, whose repeated run-ins with the law have interfered with who save civilization. With a little help from a time-traveling Rogers—the woman who could do everything he did but in his dream of becoming as renowned a “mountain dancer” as his late messenger from the future named Rufus (George Carlin), heels and backwards. Prosperity is surely just around the father, D. Ray White. Jesco has three distinct personalities: a sort the boys gather up some historic figures like Napoleon and corner in this Depression-era anti-depressant filled with the of skinny version of the fat Elvis, the gentle and loving Jesse, and Socrates who offer the sort of insight into history that the very best Astaire-Rogers dance sequences, including “Pick the violent and dangerous Jesco, who his wife Norma Jean warns is boys are lacking. Co-written by Film Center instructor Yourself Up,” “The Way You Look Tonight,” and “Never Gonna “the devil hisself.” This hilarious and slightly exploitative peek into Chris Matheson, this hilarious trek through the ages is full Dance.” (103 mins.) BAND: NOPO BIG BAND. Sponsored by 20th century Appalachian life demonstrates that real life provides far of favorite lines like (spoiler alert): “You killed Ted, you Jamey Hampton and Ashley Roland/BodyVox Dance. more eccentric characters than the fanciest of fictions. (101 mins.) medieval dickweed!” (90 mins.) BAND: ELECTRIC ILL BAND: THE WAXWINGS

WWW.NWFILM.ORG 503-221-1156 JUNE/JULY/AUGUST 2013 NORTHWEST FILM CENTER PAGE 19 FILM CALENDAR JUNE/JULY/AUGUST 2013 NWFilmCenter FILMS SCREENED AT NORTHWEST FILM CENTERsWHITSELL AUDITORIUM PORTLAND ART MUSEUM 1219 SW PARK AVENUE

SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

$9 GENERAL BOX OFFICE OPENS 30 minutes before showtime. 7 PM 30 7 PM 31 7 PM 1 BEL BORBA AQUI BECOMING TRAVIATA BECOMING TRAVIATA $8 PAM MEMBERS/ ADVANCE TICKETS are available online at nwfilm.org (P.15) (P.15) (P.15) STUDENTS/SENIORS SILVER SCREEN CLUB Directors, Producers, Benefactors & $6 SILVER SCREEN FRIENDS/ Sustainers receive free admission to all REGULAR ADMISSION programs. CHILDREN UNDER 12 All programs are single admission unless otherwise noted. Double features are an additional $3. JUNE 4:45 PM 2 3 7 PM 4 5 7 PM 6 7:30 PM 7 6:30 PM 8 BEL BORBA AQUI (P.15) RED IN THE SHADOW MEN IN HOPE (P.3) FLOWER BUDS (P.3) 7 PM HOLLYWOOD (P.3) SINGLE OR DOUBLE FEATURE WITH BECOMING TRAVIATA (P.15) 8:30 PM (P.15) IN THE SHADOW P.3 THE HOUSE (P.3) 6 PM 9 10 11 12 7 PM 13 7 PM & 8:45 PM 14 7 PM & 8:45 PM 15 ALOIS NEBEL STRESS POSITION THE PAINTING (P.15) THE PAINTING (P.15) SINGLE OR DOUBLE FEATURE WITH (P.6) 8 PM GYPSY (P.3) 4 PM 16 7 PM 17 7 PM 18 7 PM 19 7 PM 20 7 PM 21 4:30 PM 22 THE PAINTING (P.15) OMA AND MELTING HAVA NAGILA GYPSY DAVY (P.4) ANDRÉ GREGORY: ANDRÉ GREGORY: 7 PM BELLA AWAY FOLLOWED BY BEFORE AND AFTER BEFORE AND AFTER FILL THE VOID PRECEDED BY FOLLOWED BY CARRYING DINNER (P.15) DINNER (P.15) BARRIERS THE DIVIDE THE NIGHT FOLLOWED BY 7 PM THE RABBI’S DAUGHTER (P.4) (P.4) (P.4) THE BALLAD OF THE (P.4) WEEPING SPRING FOLLOWED BY STAND UP! (P.4) 4:30 PM 23 7 PM 24 7 PM 25 7 PM 26 7 PM 27 7 PM & 9 PM 28 6 PM 29 A.K.A. DOC POMUS (P.5) THE LAW IN OUT IN THE BESA: THE LET’S DANCE! LEVIATHAN (P.15) LEVIATHAN (P.15) 7 PM THESE PARTS DARK (P.5) PROMISE FOLLOWED BY 8 PM THE WORLD IS FUNNY (P.5) (P.5) (P.5) LIFE IN STILLS (P.5) THE OTHER SON (P.5) 4:30 PM 30 1 2 3 4 7 PM 5 6:30 PM 6 PORTRAIT OF WALLY STROMBOLI (P.16) EUROPA ’51 (P.16) PRECEDED BY SINGLE OR DOUBLE FEATURE WITH WOODY BEFORE ALLEN (P.5) 8:45 PM 7 PM VOYAGE TO ITALY (P.16) POLICEMAN (P.5) STROMBOLI P.16 3:30 PM J7 PM ULY7 PM 7 PM 7 PM 4:30 PM & 7 PM 7 8 9 10 11 12 13 STROMBOLI (P.16) VOYAGE TO BEIJING AN EVENING WITH MUSEUM HOURS MUSEUM HOURS (P.16) SINGLE OR DOUBLE FEATURE WITH ITALY (P.16) FLICKERS THE WHITEMAN (P.16) 5:45 PM (P.18) BROTHERS (P.6) EUROPA ’51 (P.16) SINGLE OR DOUBLE FEATURE WITH 8 PM VOYAGE TO ITALY (P.16) 4:30 PM 14 7 PM 15 7 PM 16 7 PM 17 7 PM 18 7 PM 19 3:30 PM 20 MUSEUM HOURS (P.16) MUSEUM LIFE KILLS ME SURVIVAL KILLING ME (P.6) GARLIC IS AS GOOD AS SCHOOL OF FILM 7 PM HOURS (P.16) (P.18) PRAYER (P.6) TEN MOTHERS (P.16) STUDENT SCREENING (P.6) CAIRO 678 (P.18) 8:45 PM 7 PM BURDEN OF DREAMS BURDEN OF DREAMS EACH FILM FOLLOWED BY FOLLOWED BY WERNER HERZOG EATS WERNER HERZOG EATS HIS HIS SHOE (P.16) SHOE (P.16) 7 PM 21 22 23 JOUR D24E 8 PM 25 7 PM 26 7 PM 27 THE PARADE (P.18) FÊTE P.19 JOUR DE FÊTE DAISIES (P.16) CLOSELY WATCHED (P.19) @ Hotel deLuxe SINGLE OR DOUBLE FEATURE WITH TRAINS (P.16) 8:45 PM SINGLE OR DOUBLE FEATURE WITH CLOSELY WATCHED 8:45 PM TRAINS (P.16) DAISIES (P.16) 7 PM 28 29 30 31 8 PM 1 7 PM 2 7 PM 3 THE FANTASTIC WORLD DANCING OUTLAW IN BED WITH IN BED WITH ULYSSES OF JUAN OROL (P.18) (P.19) ULYSSES (P.17) (P.17) AUGUST @ Hotel deLuxe 7 PM 4 5 6 7 PM 7 8 PM 8 7 PM 9 7 PM 10 ABOUT 111 GIRLS (P.18) EDEN (P.6) ZELIG (P.19) GATES OF HEAVEN (P.17) GATES OF HEAVEN (P.17) @ Hotel deLuxe 7 PM 11 12 13 7 PM 14 8 PM 15 6:30 PM 16 6 PM 17 SOUTHWEST (P.18) FACTORY OF BILL AND TED’S NOSTALGHIA (P.17) THE MIRROR (P.17) ONE (P.6) EXCELLENT 9 PM 8:30 PM ADVENTURE (P.19) THE MIRROR (P.17) NOSTALGHIA (P.17) @ Hotel deLuxe 6 PM 18 19 7 PM 20 21 8 PM 22 7 PM 23 7 PM 24 STUDENT (P.18) WE GREW THE HUNGER (P.19) GREGORY GREGORY CREWDSON: SINGLE OR DOUBLE FEATURE WITH WINGS (P.6) @ Hotel deLuxe CREWDSON: BRIEF ENCOUNTERS 7:45 PM BRIEF ENCOUNTERS (P.17) SHYAMAL UNCLE TURNS WE GREW (P.17) OFF THE LIGHTS (P.18) WINGS P.6 7 PM 25 26 27 7 PM 28 8 PM 29 30 31 MODEST RECEPTION ROCK N ROLL SWING TIME (P.19) (P.18) MAMAS (P.6) @ Hotel deLuxe