NORTHWEST FILM CENTER NON-PROFIT ORG 1219 SW PARK AVENUE U.S. POSTAGE

PORTLAND, OR 97205 PAID

PORTLAND, OR PERMIT NO. 664

TRILOGY

AUGUST 22 AUGUST

APU THE

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16 JUNE SPECIAL SCREENINGS SPECIAL

SPRING CLASSES & WORKSHOPS & CLASSES SPRING

School of Film of School

TRACKING

NORTHWEST

THE FILMS OF LEOS CARAX LEOS OF FILMS THE

MAD ROMANCE: ROMANCE: MAD

APRIL/MAY 2014 APRIL/MAY STAFF WELCOME

NORTHWEST FILM CENTER DIRECTOR: BILL FOSTER EDUCATION DIRECTOR: ELLEN THOMAS FILMMAKER SERVICES MANAGER: THOMAS PHILLIPSON EXHIBITION PROGRAM ASSISTANT: HARRY & ROSE MOYER MORGEN RUFF ADMINISTRATIVE OFFICES & PUBLIC RELATIONS & MARKETING MANAGER: NORTHWEST FILM CENTER LAURA BARTROFF SPECIAL THANKS TO OUR SPONSORS SCHOOL OF FILM PUBLIC RELATIONS & MARKETING ASSISTANT: 934 SW SALMON STREET NICK BRUNO PREMIERE SPONSORS MEMBERSHIP & SPONSORSHIP MANAGER: ALL SCREENINGS TAKE PLACE, KRISTY CONRAD UNLESS OTHERWISE NOTED, MEMBERSHIP COORDINATOR: AT THE SOPHIA MACKENZIE NORTHWEST FILM CENTER EDUCATION PROGRAMS MANAGER: ANNA CRANDALL CHAMPION SPONSORS WHITSELL AUDITORIUM EQUIPMENT & FACILITIES MANAGER: PORTLAND ART MUSEUM DAVE HANAGAN James F. & Marion L. Miller Foundation 1219 SW PARK AVENUE ADMINISTRATIVE COORDINATOR: KAREN WENNSTROM MAILING ADDRESS (FOR ALL) EDUCATION SERVICES COORDINATORS: PRODUCING SPONSORS 1219 SW PARK AVENUE STEPHANIE HOUGH PORTLAND, OR 97205 ANDREW PRICE MILES SPRIETSMA EDUCATION PROGRAM ASSISTANTS: FELISHA LEDESMA HUBLEY CLASSICS P.15 HAZEL MALONE MATT SMITH The Lamb-Baldwin Henry Lea Hillman JARRATT TAYLOR Foundation Foundation HEAD THEATRE MANAGER & PROJECTIONIST: MELINDA KOWALSKA ALASKA AIRLINES AUDIENCE AWARD WINNERS THEATRE STAFF: KATIE BURKART LILY HUDSON TWO LIVES / Germany / George Maas, Judith Kaufmann ERIK MCCLANAHAN BEST NARRATIVE AWARD ARIKA OGLESBEE ALEX SMITH FINDING VIVIAN MAIER / US / John Maloof, Charlie Siskel ILANA SOL LISA TRAN BEST DOCUMENTARY AWARD AND BEST NEW DIRECTOR AWARD VERONICA VICHIT-VADAKAN NORTHWEST TRACKING LARISA ZIMMERMAN ERNEST AND CELESTINE / France / Stephane Aubier, Vincent Patar, Benjamin Renner PAGE 3 OFFICE INTERNS & VOLUNTEERS: BEST ANIMATED FEATURE AWARD MELINA COUMAS MAD ROMANCE: ANDREW HASKELL GRANDPA AND ME AND A HELICOPTER TO HEAVEN / Sweden / Asa Blanck, Johan Palmgren THE FILMS OF LEOS CARAX JOHN PINNEY BEST SHORT FILM AWARD PAGE 4 MEGAN STUMP IAN WESTMORLAND ONE LAST HUG AND A FEW SMOOCHES: THREE DAYS AT GRIEF CAMP SPECIAL SCREENINGS MARK ZUIDERVELD Portland / Irene Taylor Brodsky PAGES 5, 6, 15 & 16 THEATRE VOLUNTEERS: BEST OREGON SHORT AWARD YASUE ARAI SCHOOL OF FILM JEAN BELLINGER An expanded list of Awards available at: festivals.nwfilm.org/piff37/awards PAGES 7 – 14 LIS COOPER JEANNE DEVON FILM CAMP GABRIELLE FOULKES FOR KIDS + TEENS CONNIE GUIST CENTER PULLOUT DOUGLAS HANES PAT HOLMES JESSE IIAMS-HAUSER LEAH ISAAC MISSION INGEBORG MUSSCHE The Northwest Film Center is a regional media arts resource and service organization founded to encourage the GENERAL ADMISSION KAY OLSEN NANDINI RANGANATHAN study, appreciation, and utilization of the moving image arts; to foster their artistic and professional excellence; and $9 GENERAL LAUREL SAGER HANNAH VAN LOON $8 PAM MEMBERS, STUDENTS, SENIORS KRISTEN WALKER to help create a climate in which they may flourish. $6 SILVER SCREEN CLUB FRIENDS AND MANY MORE…

SPECIAL ADMISSION PRICES AS NOTED. PRESENTING The Film Center’s year-round exhibition program surveys the full range of cinema past and present. From classic ALL PROGRAMS ARE SINGLE ADMISSION, PORTLAND ART MUSEUM BOARD OF UNLESS OTHERWISE NOTED. TRUSTEES CHAIR: silent film to the avant-garde, thematic series, director retrospectives, national cinema surveys, visiting artists, WILLIAM WHITSELL SILVER SCREEN CLUB DIRECTORS, and the latest in regional, independent, and foreign film, the Film Center’s programs open the world of diverse PRODUCERS, BENEFACTORS VICE CHAIR: & SUSTAINERS RECEIVE FREE RICHARD LOUIS BROWN moving image expression. ADMISSION TO ALL REGULAR ADMISSION PROGRAMS, SECRETARY: INCLUDING FESTIVALS. LAURA MEIER TEACHING TREASURER: SEATS FOR ADVANCE TICKET HOLDERS JIM WINKLER The Film Center’s School of Film is one of the oldest and largest community-based media arts education AND SILVER SCREEN CLUB MEMBERS ARE HELD UNTIL 10 MINUTES BEFORE NW FILM CENTER COMMITTEE: programs in the country. The School of Film offers intensive hands-on classes and workshops in film production SHOWTIME, AT WHICH POINT ANY DON VAN WART, CHAIRMAN UNFILLED SEATS ARE RELEASED LINDA ANDREWS for adults and youth, taught by faculty members who are accomplished working media artists. Students may earn TO THE PUBLIC. MARK FRANDSEN MARY HINCKLEY the Film Center’s non-degree Certificate in Film as well as obtain optional college credit through partnering BOX OFFICE OPENS ONE-HALF BOB WARREN higher education institutions. HOUR BEFORE SHOWTIME. ALICE WIEWEL

PORTLAND ART MUSEUM In K-12 classrooms, after-school, and community settings, in partnership with many other organizations, SCRIP BOOKS: MARILYN H. & DR. ROBERT B. the School of Film advances media literacy and expression as core skills for the next generation through $50 (10 TICKETS) PAMPLIN JR. DIRECTOR: BRIAN FERRISO screenings, production camps, and other innovative programs and collaborations. ADVANCE PURCHASE AT THE NORTHWEST FILM CENTER BOX OFFICE. NW FILM CENTER CORRESPONDENCE TO: SUPPORTING FILMMAKERS AND COMMUNITY

NORTHWEST FILM CENTER In addition to exhibition and teaching opportunities, the Film Center circulates traveling exhibition programs IDENTIFICATION STATEMENT 1219 SW PARK AVENUE featuring work by regional artists, administers the Oregon Media Arts Fellowship, offers fiscal agent services PORTLAND, OR 97205 PUBLICATION TITLE: NORTHWEST FILM CENTER for independent producers in need of non-profit sponsorship, provides low-cost equipment access, and engages EMAIL: [email protected] ISSUE DATE: APRIL 2014 PHONE: 503-221-1156 in consulting services to community producers and organizations. STATEMENT OF FREQUENCY: FAX: 503-294-0874 PUBLISHED 6 TIMES PER YEAR THE NORTHWEST FILM CENTER IS FUNDED IN PART BY THE NATIONAL ENDOWMENT FOR THE ARTS, AUTHORIZED ORGANIZATION NAME AND ADDRESS: NWFILM.ORG OREGON ARTS COMMISSION, OREGON CULTURAL TRUST, REGIONAL ARTS & CULTURE COUNCIL, THE TED NORTHWEST FILM CENTER PORTLAND ART MUSEUM R. GAMBLE FILM ENDOWMENT, THE PAUL G. ALLEN FAMILY FOUNDATION, THE JAMES F. AND MARION L. 1219 SW PARK AVENUE PORTLAND, OR 97205 MILLER FOUNDATION, AND THE SUPPORT OF NUMEROUS CORPORATE AND EDUCATION PROGRAM SPONSORS,

ISSUE NUMBER: VOL. 42; ISSUE 2 MEMBERS, & FRIENDS.

PAGE 02 NORTHWEST FILM CENTER APRIL/MAY 2014 503-221-1156 NWFILM.ORG NORTHWEST TRACKING

OPEN ROAD A STANDING STILL Our Northwest Tracking programs showcase the work of indepen- dent filmmakers living and working in the Northwest—Alaska, APR 23 27 WED 7 PM, SUN 7 PM—VISITING ARTIST British Columbia, Idaho, Montana, Oregon, Washington—whose work reflects the vibrant cinematic culture of the region. Whether WINTER IN THE BLOOD MISSOULA, MT 2013 presenting single artist retrospectives, new features, documen- taries, or inspired collections of short works, Northwest Tracking DIRECTORS: ALEX SMITH, ANDREW SMITH offers testimony to the creativity and talent in our flourishing “True to the tough, lyrical, magical spirit of James Welch’s media arts community. classic novel of Native American life, this hauntingly beauti- ful movie follows a young Blackfoot Indian’s alcohol-fueled search for his wife, his rifle, his identity—and salvation. APR 3 THURS 7 PM—VISITING ARTIST WINTER IN THE BLOOD portrays a world that is too often ICH HUNGER overlooked, that of modern Native American life. Using the TACOMA 2013 prose of James Welch, the film takes an unflinching and DIRECTOR: ISAAC OLSEN realistic look at some of the troubles that this community Tacoma writer/director/photographer/editor/animator Isaac Olsen’s faces through the lens of this individual. It’s also a treat to expressionistic art film follows the exploits of an elusive “creature boy” see Native American actors, too often relegated to nameless who terrorizes a rural German township. This creature, naive but mur- parts in period dramas, portray such nuanced and compli- derous, spends his days lurking in the woods and satisfying his lust for cated characters. The Smith brothers have created a truly human flesh as an inspector from Frankfurt sets out to hunt him down. beautiful and unique film that deserves to be seen; a creative Olsen employs a visual cornucopia of moods, textures, and themes accomplishment not only of filmmaking but of capturing this BLUEBERRY SOUP with miniatures, animation, water tank photography, and other tech- world.”—Indiewire. (105 mins.) Director Andrew Smith will lead an audience Q&A following the screening on April 23. niques. With an international cast of non-actors speaking in German MAY 14 WED 7 PM—VISITING ARTISTS with English subtitles, this mostly black-and-white nod to German expressionism moves closer to the field of abstraction and transforms MAY 1 THURS 7 PM—VISITING ARTIST OPEN SCREENING a simple narrative into a true sensory experience. (70 mins.) Director ONE LAST HUG DIRECTORS: WOMEN Isaac Olsen will lead an audience Q&A following the screening. The Film Center partners with Women in Film Portland to AND A FEW SMOOCHES: present an all-women filmmaker edition of our bimonthly APR 10 THURS 7 PM—VISITING ARTIST THREE DAYS AT GRIEF CAMP Open Screening program. If you identify as female and have ROMANTIC MACABREDY: PORTLAND 2014 recent work you would like to share, e-mail thomas@nwfilm. DIRECTOR: IRENE TAYLOR BRODSKY org with “Open Screening” in the subject line. First come, SHORT FILMS BY DAVE HANAGAN Irene Taylor Brodsky’s diverse films have earned her SEATTLE/PORTLAND 2000-2014 first served, time allowing, with priority for films less than 15 numerous awards, including an Oscar nomination for minutes. Co-presented with Women in Film Portland, wifpdx. DIRECTOR: DAVE HANAGAN Best Documentary Short for THE FINAL INCH (2009) and a org. Free admission. A recent transplant from Seattle, Hanagan joins the Portland film Peabody Award for HEAR AND NOW (2007). Her latest film, community (and the Northwest Film Center staff) with a body of short ONE LAST HUG, is an unflinching documentary short film set MAY 18 SUN 7 PM—VISITING ARTIST film work that traverses a wide span of experimental and narrative at Camp Erin—a sleepover summer camp where grieving OPEN ROAD approaches to visual storytelling. Each film is set in a world uniquely children of all ethnicities find comfort in one another to deal PORTLAND 2014 different from our own—one where buffoonery and eeriness are abun- with their pain. Under the guidance of grief professionals, dant in equal measure. With a passion initially sparked by the art of DIRECTOR: ALAIN LETOURNEAU kids learn that their feelings are normal—and that by talking Building on the quiet, evocative 16mm images that marked cinematography, his work demonstrates a concentrated study of experi- about them, they can begin to heal. (36 mins.) mentation with cameras, lenses, and all manner of visual trickery. His his earlier EMPTY QUARTER (2011), LeTourneau’s new films playfully recreate cinematic genres, moving from the atmosphere PRECEDED BY experimental documentary examines an urban landscape overlaid with a grid designed for the movement and storage of classic Universal horror films to ’60s psychedelic science fiction THE FINAL INCH and beyond. Included in this screening are eight films: LANDING SHIP of motor vehicles. His patient camera explores the spaces PORTLAND 2008 allocated to roads and parking, fuel distribution and storage, X-1 (2014, 8 mins.); ATLAS (2011, 7 mins.); HARVEY WULFE (2009, DIRECTOR: IRENE TAYLOR BRODSKY 4 mins.); SPANISH STEPS (2007, 3 mins.); TOASTERLAND (2007, 2 and the activities of maintenance and road construction that Nearly 50 years after a vaccine for polio was developed mins.); CIRCADIA SEES THE MOON (2005, 17 mins.); JACK STRANGE, serve our “drive-thru” culture. Referencing John Charles in the United States, the polio virus still finds refuge in LITERARY HERO (2001, 32 mins.); and HIT THE OFFICIAL IN THE FACE Fremont’s THE EXPLORING EXPEDITION TO THE ROCKY some of the world’s most vulnerable places. In India and MOUNTAINS, OREGON, AND NORTH CALIFORNIA, 1843-44, (2000, 5 mins.). (Total running time: 78 mins.) Director Dave Hanagan will lead an audience Q&A following the program and will teach a work- Afghanistan’s impoverished neighborhoods, THE FINAL INCH the present-day environment and Fremont’s historical record shop, MAKE YOUR OWN DSLR LENS, at the School of Film on June 14 follows the massive—and yet highly personalized—mis- are juxtaposed to consider a pristine but arduous past and (see p. 11). sion to eradicate polio from the planet. The film challenges mobile but congested present. (72 mins.) Director Alain our most basic assumptions about disease, poverty, and our LeTourneau will lead an audience Q&A following the screening APR 17 19 THURS 7 PM, SAT 5 PM—VISITING ARTISTS own health as a human right. (38 mins.) Director Irene Taylor and will teach DIGITAL CINEMATOGRAPHY at the School of THE BEST OF THE Brodsky will lead an audience Q&A following the program. Film this spring (see p. 9). 40TH NORTHWEST MAY 6 TUES 7 PM—VISITING ARTIST MAY 22 THURS 7 PM—VISITING ARTIST FILMMAKERS’ FESTIVAL A STANDING STILL BLUEBERRY SOUP DIRECTORS: VARIOUS PORTLAND 2013 SEATTLE 2013 Each year, following the Northwest Filmmakers’ Festival in November, DIRECTOR: SCOTT BALLARD DIRECTOR: EILEEN JERRETT the Film Center assembles a program of Festival highlights—award Scott Ballard, who has worked extensively as a cinema- Blueberry soup, an Icelandic comfort food, is an apt metaphor winners, audience and critical favorites—and sends it out on tour tographer and short filmmaker, follows up his first feature for this insightful documentary that explores the unique and across the region and beyond to find new audiences. Tonight the tour WELCOMING DEPARTURE (2012) with this story of a young devastating situation of a country gone bankrupt. In the after- stops in Portland—a chance to see these great films again or for recluse. A STANDING STILL revolves around Allison (Sara math of the 2008 economic collapse in Iceland, the Nordic the first time if you missed their Festival screenings. The program Robbin), who works as a fire lookout in the forest and strug- island country undertook the revolutionary task of rewriting includes THE ROPER, by Anna Sandilands and Ewan McNicol, Seattle; gles with the future in the midst of loss and displacement. their constitution. With a lens on the impacts the process has WILD BICHONS, by Stefan Nadelman, Portland; DEER FATHER, by Alex When she is called down early for a medical emergency with on the cultural landscape, Jerrett’s film interweaves interviews Brinkman, Belgrade; A BEGINNING, A MIDDLE, AND AN END, by Jon her father, she is forced to face the present and the past with a local fisherman, members of the constitutional coun- Behrens, Seattle; AMERICAN LAWN, by Robert Sickels, Walla Walla; that has led her there. Shot on location in Portland; Cannon cil, Icelandic music stars, and journalists, displaying a proud SPLIT ENDS, by Joanna Priestley, Portland; CHERYL’S SPIN, by Kathy Beach; Bellingham, Washington; and the Willamette National nation whose people have endured turbulent times and are Witkowsky, Missoula; SF HITCH, by Vanessa Renwick, Portland; and Forest. (75 mins.) Director Scott Ballard will lead an audience curious about their future. (80 mins.) Director Eileen Jerrett NEMO, by Adrienne Leverette and Rob Tyler, Portland. (72 mins.) Q&A following the screening. will lead an audience Q&A following the screening.

NWFILM.ORG 503-221-1156 APRIL/MAY 2014 NORTHWEST FILM CENTER PAGE 03 444 MAD ROMANCE: THE FILMS OF LEOS CARAX

MAUVAIS SANG (BAD BLOOD) BOY MEETS GIRL

LES AMANTS DU PONT-NEUF (THE LOVERS ON THE BRIDGE)

After starting out as a Cahiers du Cinéma critic, Carax, MAY 23 24 25 FRI 9 PM, SAT 6 PM, SUN 4:30 PM MAY 30 JUN 1 FRI 7 PM, SUN 7:15 PM with his first feature at age 23, was immediately pro- claimed the “bad boy” and “boy genius” of French cine- MAUVAIS SANG (BAD BLOOD) POLA X FRANCE 1986 FRANCE 1999 ma. Though he has only made five films in 30 years, each has made its own striking impact on critics, audiences, DIRECTOR: LEOS CARAX DIRECTOR: LEOS CARAX and filmmakers alike, each film’s release amounting The follow-up to BOY MEETS GIRL, MAUVAIS SANG is an “Herman Melville, Catherine Deneuve, music legend Scott Walker— to a riveting cinematic event. Infused with a distinctive exhilarating mixture of classic French crime thriller and they’re all part of the mad mix in the intoxicating, incendiary, often romantic fatalism, his characters, like the travails that spectacular Vincente Minnelli-like romance. Always on the sexually explicit POLA X. The film is adapted from PIERRE, OR THE have limited his filmmaking output, encounter worlds full prowl, Alex (Denis Lavant) joins a gang of thugs to steal the AMBIGUITIES, the mysterious, much-maligned 1852 novel that was of alienation, chaos, and tragic love. Indicative of his serum for a virus that kills people who “make love without Melville’s follow-up to MOBY DICK. Carax’s ravishing, insanely roman- eccentric passion, Carax, born Alex Christophe Dupont, love.” Then, with bold precision, the story shifts from heady tic, rock-operatic update is set in present-day Normandy, where adopted “Leos Carax” as his nom-de-cinéma—an ana- pulp fiction to Alex’s insanely charged love affair with Anna Pierre (Guillaume Depardieu), born to wealth and a hit novelist to gram of Alex, his first name, and Oscar, as in Academy (Juliette Binoche), the girlfriend of one of his gang mates. An boot, resides with his mother Marie (Deneuve) and prepares to wed Award. It has also been suggested that “Leos Carax” intoxicating, if melancholy, vision of love in the age of AIDS, golden girl Lucie (Delphine Chuillot). After meeting a strange, spec- can be read as “Le Oscar à X,” French for “The Oscar Carax’s bittersweet homage is “visually exuberant.... Blows tral young woman (Yekaterina Golubeva) who may be his half-sister, goes to X.” “Carax is a great self-fabulist, something most contemporary movies from any culture out of the water.” Pierre throws everything away for a love dreamy, dark, and doomed.” like a mixture of Tarantino and Godard of the ’60s, thor- —Village Voice. (105 mins.) —Pacific Cinematheque. “I am grateful for films that break free of oughly caught up in the melodrama of being a Great the dismal bonds of formula to cartwheel into overwrought passionate Moviemaker.... His best work is burning with a feeling for MAY 29 JUN 1 THURS 7 PM, SUN 4:30 PM excess.... I would rather see one movie like this than a thousand BRING tragedy and apocalypse.”—David Thompson, THE NEW LES AMANTS DU PONT-NEUF IT ONs.”—Roger Ebert, The Chicago Sun-Times. (134 mins.) BIOGRAPHICAL DICTIONARY OF FILM. (THE LOVERS ON THE BRIDGE) FRANCE 1991 MAY 31 SAT 7 PM DIRECTOR: LEOS CARAX HOLY MOTORS MAY 23 24 25 FRI 6:45 PM, SAT 8:45 PM, SUN 7 PM FRANCE/GERMANY 2012 Denis Lavant, Carax’s onscreen alter ego, and Juliette BOY MEETS GIRL DIRECTOR: LEOS CARAX FRANCE 1984 Binoche are young vagrants who meet on Paris’s famed Pont Neuf. Alex is a fire-eating street performer and addict. “This wild, mythic enigma chronicles a day and a night in the life of the DIRECTOR: LEOS CARAX Michèle is a heartbroken painter who is slowly going blind. chameleon-like Mr. Oscar (Lavant), a kind of avatar in a white stretch Carax’s Nouvelle Vague-inspired first feature was hailed upon Carax’s dazzling, delirious chronicle of their “amour fou” limousine who, in the course of his multiple missions, is transformed its release as the most impressive French debut since Jean- is a vivid, visionary, pyrotechnic valentine to Paris—much as a twisted dwarf, an elderly crone, a knife fighter, a hitman, a dying Luc Godard’s BREATHLESS. Alex (Denis Lavant) and Mireille of it shot on a life-size replica of the Pont Neuf and its envi- uncle, a forlorn lover, and more. Entrancing beauty and challenging (Mireille Perrier) wander the dark side of Paris until they fatefully rons, built at budget-busting expense in southern France. ugliness, mystery, humor, and dread blend in the haunting and haunted meet, falling in love and failing in love despite their loneliness. “Amazing.... Must be seen on the big screen to savour all its streets of Paris, where Mr. Oscar enacts cryptic scenarios, seem- Alternately expressionistic and hauntingly surreal, this droll, mad Caraxian extravagance.... Drawing on everything from ingly at the behest of a higher power.”—Gene Siskel Film Center. “A moody film of romantic pessimism features beautiful black-and- the romantic fatalism of forties French cinema to the gaudy movie about filmmaking and the ecstasy of creation…. It’s cinema white cinematography by Jean-Yves Escoffier and a soundtrack excess of Hollywood musicals, LES AMANTS tops each spec- reloaded.”—Manohla Dargis, The New York Times. Voted Best Film of featuring songs by David Bowie, The Dead Kennedys, and Serge tacular set-piece with an even showier one.”—Cinematheque 2012 in the Film Comment Critics’ Poll and the Indiewire Critics’ Poll. Gainsbourg. “Meteoric…. Ecstatic cinema and ecstatic living (115 mins.) Ontario, Toronto. (125 mins.) join together in a pressurized promise of glory and misery.” —Richard Brody, The New Yorker. (100 mins.)

PAGE 04 NORTHWEST FILM CENTER APRIL/MAY 2014 503-221-1156 NWFILM.ORG SPECIAL SCREENINGS

ROCCO AND HIS BROTHERS

FAUST

THE LADY FROM SHANGHAI THE NEW RIJKSMUSEUM

APR 4 5 FRI 7 PM & 9 PM, SAT 7 PM & 9 PM APR 11 13 FRI 7 PM, SUN 7 PM THE LADY FROM SHANGHAI FAUST US 1947 RUSSIA 2011 DIRECTOR: ORSON WELLES DIRECTOR: ALEKSANDR SOKUROV In THE LADY FROM SHANGHAI, writer/director Orson Welles shares the Winner of the Golden Lion at the Venice Film Festival, FAUST is Sokurov’s fourth and final film in his tetralogy on the cor- screen with Rita Hayworth, his second wife, creating a wildly stylish film rupting effects of power. In MOLOCH (1999), TAURUS (2001), and THE SUN (2005), Sokurov turned his gaze on Hitler, noir that was years ahead of its time. Welles plays a tough, footloose Irish Lenin, and Japan’s Emperor Hirohito, respectively. Here, the RUSSIAN ARK director offers a visceral, freestyle reading sailor who takes a job on a wealthy lawyer’s private yacht, only to fall in of the legend of Dr. Faust, a scholar who exchanges his soul for unlimited knowledge. Departing sharply from Goethe’s love with the sinister man’s beautiful wife. The story’s multiple double- version of the tale, Sokurov’s Faust (Johannes Zeiler) inhabits an earthy, 19th-century world of primitive autopsies crosses come to a boil in Marin County and San Francisco, where some and medical rituals. He becomes obsessed with the beautiful Margarete (Isolda Dychauk) and desperately turns to a of Welles’s (and cinema’s) most memorable visualizations of a twisted physically grotesque Moneylender to conjure their union. “Intensified by the immersive, painterly cinematography of Bruno world of corruption and evil unfold with surreal delight. “The film’s bra- Delbonnel (AMELIE), FAUST is a poetic meditation on, and a sensually overwhelming vision of, man’s unyielding hunger for vura moments resonate beyond pyrotechnics, especially the magnificent knowledge.”—AFI Film Festival. (140 mins.) Sponsored by the Russian and German departments of Reed College. Evgenii sequences of reflexive cinema in the macabre Hall of Mirrors scene and Bershtein, Associate Professor of Russian, and Michael Taylor, Assistant Professor of German, will introduce the Sunday the confession of love in a ‘fishbowl’—the San Francisco Aquarium.” screening. —Pacific Film Archive. (87 mins.) APR 12 13 14 SAT 6:30 PM, SUN 2 PM, MON 6 PM APR 6 SUN 6:30 PM—VISITING ARTIST THE NEW RIJKSMUSEUM nwfc and white bird present THE NETHERLANDS 2013 ROCCO AND HIS BROTHERS DIRECTOR: OEKE HOOGENDIJK ITALY 1960 “The renovation of Amsterdam’s Rijksmuseum went on for ten long, expensive years, so it is fitting that a documentary on DIRECTOR: LUCHINO VISCONTI this torturous (and often inadvertently hilarious) process should turn into not one but two feature-length movies. Spanish architects Antonio Cruz and Antonio Ortiz have designed an ingenious new entryway, but the Dutch Cyclists Union won’t tol- A chronicle of family loyalty and disintegration, Visconti’s epic master- erate reduced access for the 13,000 bicyclists who ride through the passageway daily. The museum’s magisterial director, piece is one of the most powerful and emotionally charged movies ever Ronald de Leeuw, and his successor, the younger, scrappier Wim Pijbes, battle with curators, politicians, designers, city made. Rosaria Parondi and her five sons journey north to Milan to seek a bureaucrats, and the public as the price of construction soars to $500 million. It’s a messy, complicated story, but fortu- better life, but the industrial north proves just as unforgiving as the deso- nately, one with a glorious ending.”—Film Forum. “THE NEW RIJKSMUSEUM proves that films can describe nuances of lation in Sicily. Simone (Renato Salvatori) becomes the first brother to character and situation as finely as the finest novel or creative nonfiction.”—RogerEbert.com. (240 mins.) find success—but his career as a boxer flounders when he meets Nadia (Annie Girardot), a beautiful prostitute. When Simone’s possessiveness drives Nadia away, she falls in love with his younger brother Rocco (Alain APR 15 TUES 7 PM—GUEST PRESENTER Delon). The lovers set in motion a shattering chain of events for which the SELECTED 3 family’s traditional values leave them unprepared. The most dramatic GREAT BRITAIN 2009-2012 and spectacular film of Visconti’s career, its sweeping operatic style, DIRECTORS: VARIOUS Nino Rota score, and striking Giuseppe Rotunno cinematography influ- SELECTED 3 is a collection of artists’ film and video chosen by the artists shortlisted for The 2012 Jarman Award. The enced the work of directors Martin Scorsese (MEAN STREETS), Francis Jarman Award honors the legacy of avant-garde filmmaker Derek Jarman, recognizing and rewarding the exceptional Ford Coppola (THE GODFATHER), and a generation of other filmmakers. creativity of today’s British artist-filmmakers whose work, like Jarman’s, resists conventional definition. Jamie Wyld, pro- (177 mins.) Co-presented with White Bird Dance, which is presenting the gram co-curator, will be present to introduce the films, which include new works by Emma Alonze (I SPRAY HAIRSPRAY INTO world premiere of Dutch choreographers Emio Greco and Pieter Scholten’s THE AIR), Sophie Beresford (MAKING ADIDAS MERMAID), Nicholas Brooks (ARRASTRE), Mat Fleming (TWO LAKES), Piotr dance-theater piece “Rocco,” based on the film, April 12-14. For informa- tion and dance performance tickets, visit whitebird.org. Admission to the Krzymowski (BOYS), Naheed Raza (SILK), Frances Scott (THE MIRACLE METHODS series), Daniel Shanken (COHESION), film is free for White Bird ticket holders. Film attendees and Silver Screen Cheryl Simmons (WHAT ARE YOU DOING MAN?), and Edward Thomasson (JUST ABOUT MANAGING). (80 mins.) Produced Club members are eligible for a “Rocco” ticket discount. Choreographers by videoclub and Film London Artists’ Moving Image Network (FLAMIN) and supported by Arts Council England and Film Greco and Scholten will introduce the film. London.

NWFILM.ORG 503-221-1156 APRIL/MAY 2014 NORTHWEST FILM CENTER PAGE 05 SPECIAL SCREENINGS 444 THE MARCH

NORTHERN LIGHTS A SPELL TO WARD OFF THE DARKNESS

APR 18 20 FRI 7 PM, SUN 7 PM NORTHERN LIGHTS US 1978 The Northwest Film Center is pleased to join with the University of Oregon’s Cinema Pacific Film Festival, April 23-27 in DIRECTORS: JOHN HANSON, ROB NILSSON Eugene, and the “What is Documentary?” Conference, April 24-26 in Portland, to present three programs of adventurous One of the landmarks of American independent film, NORTHERN documentaries with special guest artists and speakers. The full UO program can be found at cinemapacific.uoregon.edu. LIGHTS won the Caméra d’Or (best-directed first feature) at the Cannes Film Festival. An old man (played by 94-year-old Henry Martinson, an actual participant in the dramatized events) turns the APR 24 THURS 7:30 PM—VISITING ARTIST pages of a brittle diary, and we’re back in the winter of 1915, as Robert WITH MORNING HEARTS Behling crisscrosses a bleak North Dakota in his Model T to drum INDIA/AUSTRALIA 2001 up support for the Nonpartisan League against the trust-held grain DIRECTOR: DAVID MACDOUGALL elevators, trains, and banks that constantly threaten foreclosure. Shot “Although only one hundred and fifty miles from the New Delhi setting of GANDHI’S CHILDREN, the prestigious Doon School on the proverbial shoestring in temperatures that hit 40 below, with in Dehradun is an incalculable distance away. One of India’s most highly regarded boarding schools for boys, the Doon a cast largely of non-professional locals and North Dakotans, apart School allowed MacDougall to film daily life in its classrooms and, above all, in its living quarters from 1997 to 2000. from Behling, onscreen fiancée Susan Lynch, and pesky friend Joe MacDougall’s patience resulted in a five-film cycle, including this one following a group of boys through their first year in Spano. (95 mins.) the school. Like MacDougall’s groundbreaking Turkana films, WITH MORNING HEARTS offers memorable slices of life, the boys’ complex personalities emerging from their rituals of rivalry, friendship, cruelty, and generosity.”—Harvard Film APR 18 19 FRI 9 PM, SAT 7 PM & 9 PM Archive. (110 mins.) Director David MacDougall will introduce the film. A SPELL TO WARD OFF THE DARKNESS APR 25 FRI 8 PM—GUEST PRESENTERS ESTONIA/FRANCE/GERMANY 2013 tribute to james blue DIRECTORS: BEN RIVERS, BEN RUSSELL THE MARCH US 1964 “As collaborators, Ben Rivers and Ben Russell, two intrepid and nomadic talents of experimental film and art, have created one of DIRECTOR: JAMES BLUE the most bewitching cinematic experiences to come along in a great Fifty years ago, Portlander and University of Oregon graduate James Blue directed a team of fourteen in documenting the while. In A SPELL TO WARD OFF THE DARKNESS, Robert A. A. Lowe, the landmark civil rights event The March on Washington for Jobs and Freedom, where Martin Luther King Jr. delivered his celebrated musician behind Lichens and Om, gives a strangely affect- legendary “I Have a Dream” speech. Blue wrote and narrated the script and edited the footage, producing, in the words of ing, perhaps even trance-inducing performance as the film’s Parsifal preservation specialist Christina Kovac of the National Archives, “a visually stunning, moving, and arresting documentary figure, a quixotic man who embarks on a quest for utopia—the holy of the hope, determination, and camaraderie embodied by the demonstration.” In 1962, Blue’s feature THE OLIVE TREES grail of infinite truth, self-knowledge, and spiritual connectedness. OF JUSTICE, made in Algeria, won the Critics Prize at the Cannes Film Festival. (33 mins.) He finds some measure of it in three seemingly disparate contexts: in FOLLOWED BY a small collective community on a remote Estonian island, in isolation in the northern Finnish wilderness, and onstage fronting a black metal A FEW NOTES ON OUR FOOD PROBLEM band in Norway. While his experience seems to be a perpetual one of US 1968 home, exile, and return, for us, it is purely magical.”—Museum of DIRECTOR: JAMES BLUE Modern Art. (98 mins.) Blue served as director, scriptwriter, narrator, and editor for this visionary essay, made for the US Information Agency, that looks at the green revolution and the development of agricultural production on three continents. The documentary APR 22 TUES 6 PM was shot in Taiwan, India, Uganda, and Brazil and was nominated for an Academy Award in 1968. (35 mins.) Tonight, special guests Richard Blue, Gerald O’Grady, Christina Kovac, and Gill Dennis will introduce the program and talk about STUDENT ACADEMY AWARDS Blue’s extraordinary legacy. REGIONAL ONE FINALS DIRECTORS: VARIOUS APR 26 SAT 8 PM—VISITING ARTIST Each year, the Northwest Film Center conducts the regional jurying of APPROVED FOR ADOPTION entries submitted for the annual Academy of Motion Picture Arts and BELGIUM/SOUTH KOREA/FRANCE/SWITZERLAND 2012 Sciences® Student Academy Awards. Region One (of three nationally) DIRECTORS: LAURENT BOILEAU, JUNG HENIN includes students from colleges and universities in the West vying for The Korean War left thousands of young refugees scattered across Europe and the United States. In this vibrant animated a regional award, thereby qualifying for advancement to the national documentary based on his graphic novel, Jung, the film’s co-director and subject, retells his experience as a South Korean finalists’ competition in Los Angeles. This open screening is a unique adoptee growing up in Europe. The film spans from an animated 1970s Belgium to present-day Korea, where a live-action opportunity to assess the quality of work—narrative, documentary, Jung reconciles with his past, and moves through a variety of tones, as the ephemeral darkness of his youth is often trumped animated, and experimental—out of the top film schools on the West by a lighter, adult sensibility. Jung acknowledges the shortcomings and perhaps misguided intentions of his adoptive family Coast. Whether you’re a prospective film school student, parent, film- but does so with a midlife serenity. This is not a story of a boy lost to circumstance but of a man who managed to elude his maker, or film lover, the night is always full of surprises and discovery. demons through artistry and creative expression. (70 mins.) Co-director Jung Henin will introduce the film. (180 mins.) Free admission.

PAGE 06 NORTHWEST FILM CENTER APRIL/MAY 2014 503-221-1156 NWFILM.ORG APRIL/MAY 2014

We are a place where individuals find and cultivate 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. Challenge yourself to make films, and start now!

STUDENTS FACULTY Our students are artists, communicators, educators, and business professionals who want Our faculty are working filmmakers who humanize and enrich the learning process by to connect to the film scene and explore filmmaking with others, whether professionally, teaching and guiding from real life experience, encouraging class dialogue and supportive avocationally, or in between. Many have completed college and are exploring career critique. Among our region’s finest documentary, narrative, and experimental filmmakers, options; some are cross-enrolled in degree programs with PSU and other institutions. their award-winning work appears on public television and in film festivals, microcinemas, Enrollment is open to all. Simply sign up for what interests you. and exhibition programs worldwide.

FACILITY CURRICULUM Our 10,000-square-foot building in downtown Portland contains classrooms, editing labs, Take a class or two at your leisure or challenge yourself further by enrolling in our an equipment room, and the Film Center’s administrative offices. Our equipment is chosen Certificate Program in Film. We offer classes and workshops in most aspects of filmmaking: with emerging filmmakers in mind. The workhorse of our digital camera pool is the Canon cinematography, editing, screenwriting, animation, and more. Most of our classes are no XA-10. We feature Avid Media Composer for editing. Use our equipment (it’s provided with larger than 15 students. Classes generally meet once a week, most often on evenings and registration) or bring your own. weekends. Equipment is provided with registration.

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nwfilm.org/school register REGISTER NOW AT NWFILM.ORG We offer a Core Sequence and variety of Topic Classes and JUST Workshops (see below) in hands-on production and related as- NOW DROP-IN ADVISING AND TOURS: pects of independent filmmaking. Simply sign up for what ap- Tuesday, Thursday, Friday–10 AM & 2 PM SIGN peals to you. Most have no prerequisites. Equipment is provid- 934 SW Salmon Street, Portland, OR 97205 ed. There is no registration deadline; registration is open until a Corner of 10th & Salmon UP class is filled. Early registration is encouraged, however, as our Or to schedule an appointment, classes are small in size. College credit is optional (see below). email [email protected].

Qualifies Free SPRING CLASSES PSU for Avid Admission # Credit Pre- Avid Student to NWFC AT-A-GLANCE 2014 Faculty Tuition Sessions Start Date Day of Week Option requisite Camera Edit Lab Discount Screenings CORE SEQUENCE Art of Filmmaking I Azzouz $1,125 14 Fall 2014 TBA Canon XA-10 Art of Filmmaking II Azzouz $1,225 14 Fall 2014 TBA Canon XA-10 Art of Filmmaking III, Part I Azzouz $1,125 14 Winter '14 TBA Canon XA-10 Art of Filmmaking III, Part II Azzouz $1,125 14 Summer '14 TBA Canon XA-10 TOPIC COURSES NEW! Dialogue Writing Doughton $745 9 Apr 15 Tuesdays

Digital Cinematography LeTourneau $485 6 Apr 21 Mondays Canon XA-10 Digital Editing I O'Brien $745 9 Fall 2014 TBA Digital Editing II O'Brien $745 9 Apr 15 Tuesdays Digital Filmmaking for K-12 Teachers Blubaugh $485 5 Jun 23 Mon-Fri Canon XA-10 Food Styling Custer $295 4 Summer '14 TBA Canon XA-10 Grantwriting for Film Hermann $155 3 Summer '14 TBA Interview Techniques Hermann $295 4 May 21 Wednesdays Canon XA-10 NEW! Lighting On Location Nolton $745 9 Apr 17 Thursdays NEW! Planning Your First Feature Film Blubaugh $745 9 Apr 14 Mondays

Shoot + Edit + Share Blubaugh $745 9 Apr 17 Thursdays Canon XA-10 WORKSHOPS Simon & NEW! The Art of Collaboration $45 1 May 17 Saturday Gosling Avid for Final Cut Users O'Brien $10 1 Summer '14 TBA

Basic Lighting TBA $65 1 Apr 5 Saturday Canon XA-10 Camera Operation Blubaugh $55 1 Apr 19 Saturday Canon XA-10 Digital Video Workflow O'Brien $65 1 Apr 19 Saturday NEW! Get Your Work into Film Festivals Phillipson $10 1 Jun 18 Wednesday Green Screen TBA $55 1 Apr 5 Saturday Canon XA-10 NEW! Make Your Own DSLR Lens Hanagan $65 1 Jun 14 Saturday NEW! Make Your Own Lights Thomas $65 1 May 10 Saturday Sound Recording Minty $85 2 Apr 27 Sundays Storyboarding Schaefer $65 1 Apr 26 Saturday Time-Lapse Cinematography Eifert $95 2 May 3 Saturdays

If simply taking a class or two doesn’t seem focused or Optional college credit is available for Core Sequence and WANT challenging enough, consider enrolling in our optional PSU Topic Classes through Portland State University. Admission to Certificate Program in Film. Certificate students complete the PSU degree program is not required. PSU degree students MORE the Core Sequence above and select Topic Classes and credit may transfer School of Film classes to their transcript as Workshops to round out their studies. Initiated in 1994, the electives (please consult with your PSU advisor). The School ? Program has nearly 50 graduates who launched their film also offers cross-registration with Marylhurst University. For practice through the School of Film. Please see page 12 more information, please contact [email protected]. for more information.

8 APR/MAY 2014 nwfilm.org/school CORE SEQUENCE TOPIC CLASSES

ART OF FILMMAKING I NEW! DIALOGUE WRITING FALL TERM 2014 TUESDAYS, APR 15-JUN 10, 6:30-9:30 PM 14 sessions 9 sessions Tuition: $1,125 | PSU Credit Option: $260 Tuition: $745 | PSU Credit Option: $195 BUSHRA AZZOUZ STEVE DOUGHTON Topics: The components of film language; basics of HD digital camera operation, sound Learn to see dialogue in the larger context of story and structure and unlock its potential in your writing. recording, shooting, and editing; hands-on working knowledge of basic HD digital video Topics: How dialogue relates to structure, location, editing, and character; dialogue’s role in production process and workflow; shoot and edit two short individual films; bring in work-in- building characters and propelling the story forward; how conversation works; spoken versus progress for class critique. unspoken dialogue; different approaches to dialogue by master storytellers; how the actor Qualifies for Avid discount. brings dialogue alive (or not); exercises and approaches for road-testing dialogue; getting unstuck when it isn’t working; finding your own creative process as a writer; bring in dialogue- Textbook: SHOT BY SHOT: A PRACTICAL GUIDE TO FILMMAKING, 4th Edition, by John Cantine, writing assignments for class critique. Susan Howard, & Brady Lewis (ISBN 978-0-9637433-8-1) Projects: Two individual projects Qualifies for Avid discount. Allocated gear: Canon XA-10 cameras, basic sound and lighting gear, Avid Edit Lab or your own Projects: Individual writing exercises and assignments editing system Prerequisites: Basic understanding of storytelling structure Prerequisites: None Related courses: BLUEPRINTING YOUR SCREENPLAY, SCREENWRITING: FUNDAMENTALS, Related courses: ART OF FILMMAKING II, ART OF FILMMAKING III SCREENWRITING: ADVANCED

ART OF FILMMAKING II DIGITAL CINEMATOGRAPHY FALL TERM 2014 MONDAYS, APR 21-JUN 2, 6:30-9:30 PM NO CLASS MAY 26 14 sessions 6 sessions Tuition: $1,225 | PSU Credit Option: $260 Tuition: $485 | PSU Credit Option: $195 BUSHRA AZZOUZ ALAIN LETOURNEAU Intermediate-level exploration of cinematic storytelling skills and techniques. Develop an eye for shot composition and framing while shooting on location. Topics: More ambitious shooting styles and lighting techniques, including option of shooting Topics: How exposure, focal length, and depth of field work and why you need to understand and hand-processing 16mm film; refining your creative eye by envisioning a scene or concept; them; the rules of composition within the frame and how/when they can be broken; using in-depth pre-production and planning techniques to support your vision such as digital foreground and background to convey story information and setting; working with available light; storyboards; art direction and mise en scene; editing for character, story, and rhythm; all phases stationary versus moving camera; shooting with editing in mind (getting sufficient coverage); of post-production including color correction and sound design; shoot and edit two individual HD workflow from capture to final delivery. Multiple exercises and projects will be assigned for projects (either HD or 16mm); bring in work-in-progress for class critique. outside-of-class work, followed by in-class critiques. Qualifies for Avid discount. Qualifies for Avid discount. Projects: Two individual projects Projects: Individual or collaborative Allocated gear: Canon XA-10 cameras and Bolex 16mm cameras, professional shotgun/wireless Allocated gear: Canon XA-10 cameras, basic lighting gear microphones and field mixers, lighting and grip gear, Avid Edit Lab or your own editing system. Prerequisites: None Tuition includes film stock and film processing. Prerequisites: ART OF FILMMAKING I or previous shooting and editing experience Related courses: ART OF FILMMAKING I, ART OF FILMMAKING III DIGITAL EDITING I FALL TERM 2014 ART OF FILMMAKING III 9 sessions PART I – Pre-Production & Production Tuition: $745 | PSU Credit Option: $195 WINTER + SPRING TERMS 2014 AMY O’BRIEN 14 sessions Introduction to editing styles and techniques using Avid Media Composer. Tuition: $1,125 | PSU Credit Option: $260 Topics: How editors work and think; how sound and picture work together; matching action and BUSHRA AZZOUZ montage editing styles; editing steps and organizing materials; adding sound effects, music, and PART II – Post-Production narration; basics of titles; edit two films in two styles; bring in work-in-progress for class critique. SUMMER TERM 2014 + NOVEMBER PUBLIC SCREENING: DATES TBA Qualifies for Avid discount. 14 sessions Textbook: AVID EDITING: A GUIDE FOR BEGINNING AND INTERMEDIATE USERS 5, by Sam Tuition: $1,125 | PSU Credit Option: $260 Kauffmann and Ashley Kennedy (Focal Press, ISBN 978-0240818566). BUSHRA AZZOUZ Projects: Individual Produce a festival-quality personal project showcasing your skills and interests. Allocated gear: Avid Edit Lab Prerequisites: None Topics: Plan, write, shoot, and edit a polished film with professional-level production values, Related courses: DIGITAL EDITING II, DIGITAL VIDEO WORKFLOW in any genre or combination of styles, with a finished running time of up to 12 minutes; assume one or more primary creative roles on the film (e.g., director, cinematographer, editor, writer), drawing upon others to create a full crew; crew on at least one other class project in a supporting role (e.g., producer, assistant director, or technical position); progress through rough cut, final DIGITAL EDITING II cut, color correction, sound mix, music, titles, and final outputting; create an artist statement, TUESDAYS, APR 15-JUN 10, 6:30-9:30 PM biography, and synopsis for the film and present the film to a public audience; emphasis is on 9 sessions student-generated critique and feedback, with faculty acting as mentors and facilitators. Tuition: $745 | PSU Credit Option: $195 This is a continuous two-term class. Enrollment for Part II immediately follows completion of AMY O’BRIEN Part I. Build out your editing toolbox while editing a more ambitious individual project. Qualifies for Avid discount. Topics: How to use editing to create story, character, emotion, flow, rhythm, and compositing, Projects: One individual project using video and audio filters, keyframing, and motion effects; advanced titles and color Allocated gear: Canon XA-10 cameras and 16mm cameras, professional shotgun/wireless correction; workflow and prepping for output; bring in work-in-progress for class critique; edit microphones and field mixers, lighting and grip gear, Avid Edit Lab or your own editing system. one individual project. Tuition includes 10-day use of HD or 16mm camera package. Out-of-facility expenses are a student responsibility. Qualifies for Avid discount. Prerequisites: ART OF FILMMAKING I and ART OF FILMMAKING II or instructor consent Textbook: AVID EDITING: A GUIDE FOR BEGINNING AND INTERMEDIATE USERS 5, Related courses: ART OF FILMMAKING I, ART OF FILMMAKING II by Sam Kauffmann and Ashley Kennedy (Focal Press, ISBN 978-0240818566). Projects: Individual Allocated gear: Avid Edit Lab 9 Prerequisites: DIGITAL EDITING I or familiarity with Avid Media Composer 6.5 Related courses: DIGITAL EDITING I, DIGITAL VIDEO WORKFLOW TOPIC CLASSES REGISTER NOW

DIGITAL FILMMAKING GRANTWRITING FOR FILM NEW! LIGHTING ON LOCATION FOR K-12 TEACHERS SUMMER TERM 2014 THURSDAYS, APR 17-JUN 12, 6:30-9:30 PM 3 sessions 9 sessions MONDAY-FRIDAY, JUN 23-27, 9 AM-4 PM Tuition: $155 Tuition: $745 | PSU Credit Option: $195 OPTIONAL OPEN LAB THURSDAY, JUN 26, 4-9 PM COURTNEY HERMANN GARY NOLTON 5 sessions Tuition: $485 | PSU Credit Option: $260 Develop the components needed for a competitive grant Light a variety of scenes on location with a seasoned director/ ANDY BLUBAUGH application. cinematographer. Learn to conduct small-scale videomaking projects that foster Topics: Developing a fundable idea; types of grant-making entities; Topics: Go to a different location each week and experience integrative learning in the K-12 classroom. researching and approaching funding sources; interpreting grant the lighting techniques and practices for a range of settings guidelines; how pitching relates to grantwriting; how/when fiscal (e.g., house, industrial site, soundstage); learn common and Topics: How the media arts can enable students to demonstrate sponsorship applies; how to prepare a logline, synopsis, outline, not-so-common approaches for day/interior, day/exterior, academic content proficiency in science, social studies, language treatment, one sheet, artist statement, budget, and filmography; night/interior, and night/exterior; get hands-on experience arts, and other core subjects; how the media arts can help tips for selecting and preparing work samples and reels; traits of with various types of lighting units from large professional to students develop skills in critical thinking, leadership, and an effective promotional video; see and discuss successful grant low-cost; learn about on-set protocols, location management media literacy; shoot and edit simple exercises that can easily samples, then bring in what you’re working on for feedback and related to lighting, keeping the look consistent over time, and be replicated in the classroom without fancy equipment; learn critique. how lighting for film compares to lighting for still photography; strategies for engaging beginners as well as production of larger Projects: Individual see the final look each week on a large-screen monitor. Note: narrative and documentary projects; how to lead groups through Class size is limited. Please register early. the scriptwriting process; hear from guest educators about their Prerequisites: None success stories; create and receive feedback on lesson plans Related course: GET YOUR WORK INTO FILM FESTIVALS Qualifies for Avid discount. for next school year; open to educators from all grade levels Upcoming grant deadlines: Women in Film Vision Grants, July Projects: Collaborative and endorsement areas; may be taken for four undergraduate/ 31; RACC Projects Grants, early August; Oregon Media Arts Prerequisites: Basic understanding of lighting graduate PSU credits (optional). Fellowships, October 1. Related courses: BASIC LIGHTING, LIGHTING ON A Qualifies for Avid discount. SHOESTRING, MAKE YOUR OWN LIGHTS Projects: Individual and collaborative INTERVIEW TECHNIQUES Allocated gear: Canon XA-10 cameras, Avid Media Composer 6.5 NEW! Prerequisites: None WEDNESDAYS, MAY 21-JUN 11, 6:30-9:30 PM PLANNING YOUR FIRST 4 sessions FEATURE FILM Tuition: $295 | PSU Credit Option: $65 FOOD STYLING COURTNEY HERMANN MONDAYS, APR 14-JUN 16, 6:30-9:30 PM NO CLASS MAY 26 SUMMER TERM 2014 Gather essential information and factual evidence through the 9 sessions most economical and impactful means possible. 4 sessions Tuition: $745 | PSU Credit Option: $195 Tuition: $295 | PSU Credit Option: $65 Topics: Different interviewing styles; selecting interview subjects; ANDY BLUBAUGH DELORES CUSTER planning and researching the interview; basic lighting, sound Develop a vision and game plan for your low-budget feature The art of preparing food for the camera. recording, and shooting techniques; relaxing and empowering the interviewee; formulating questions; choosing locations for film (or short film). Topics: Selecting and working with different foods (which ones filming; using available light; thinking on your feet as the interview Topics: Evaluating a script for produceability; approaches work, which ones don’t); learn to produce steam on demand, a unfolds; ethical considerations; media management of interview to fundraising; budgeting (what’s realistic, line items and chilled beverage with a splash, cheese melting over a hamburger, material; conduct at least two out-of-class interviews and bring in forms); breaking down your script into a shooting schedule; grill marks on meats, the perfect dollop, and much more; footage for class critique. casting, crewing, permissions and releases, appropriate propping; working as a team with the cinematographer; working Qualifies for Avid discount. technology; planning for the shoot (coverage, protocols, on location under minimum conditions; try out techniques and location management); planning for the edit (narration, shoot them with basic cameras; last class is devoted to a small Projects: Individual and/or collaborative music, logging, media management); planning for marketing group project on a chosen food. Allocated gear: Canon XA-10 cameras, basic microphones and distribution (branding and buzz, social media, exhibition Projects: Individual and collaborative Prerequisites: None outlets); find out about resources for feature filmmakers; turn Allocated gear: Basic video cameras for in-class recording. Related courses: SHOOT + EDIT + SHARE, SOUND RECORDING, in a treatment, budget, and marketing materials for feedback Students to purchase food for weekly assignments. CANON XA-10 CAMERA OPERATION, DIGITAL CINEMATOGRAPHY and critique from instructor and guests. Prerequisites: None Qualifies for Avid discount (note: software instruction not Related courses: CANON XA-10 CAMERA OPERATION, BASIC included). LIGHTING Projects: Individual Prerequisites: None Related courses: NARRATIVE PRODUCTION, DIRECTING ACTORS SHOOT + EDIT + SHARE THURSDAYS, APR 17-JUN 12, 6:30-9:30 PM 9 sessions Tuition: $745 | PSU Credit Option: $195 ANDY BLUBAUGH The hands-on fundamentals of dramatic and documentary filmmaking. Topics: Learn the basics of camera operation, shooting, and editing; shoot and edit two short films through exercises that teach the basics of visual expression and continuity; shoot and edit a short individual final project of your own; bring in work-in-progress for class critique; set up a Vimeo channel and upload all work. Qualifies for Avid discount. Projects: Individual Allocated gear: Canon XA-10 cameras, Avid Media Composer 6.5 Prerequisites: None 10 APR/MAY 2014 nwfilm.org/school Related courses: DIGITAL EDITING I, SOUND RECORDING, SOUND DESIGN & EDITING, ART OF FILMMAKING I, BASIC LIGHTING JUNE 16 – AUGUST 22 2014

ENTERING GRADES 2–12 REGISTER ONLINE Location: Register online at nwfilm.org/school. Tuition and lab Northwest Film Center fees are due at time of registration. Returning students 934 SW Salmon already have an account on file. Please contact the Mailing Address: School of Film at [email protected] or 503-221-1156 1219 SW Park Avenue to obtain your user name and password. You will Portland, OR 97205 Calling all kids + teens grades 2-12 receive a confirmation of your registration by email. with an interest in creative self- When maximum enrollment is reached, a wait list will Staff Help: expression, hands-on learning, and be generated, and you will be contacted as space Monday–Friday 9 AM–5 PM fun with technology! The film arts becomes available. Classes may be canceled due 503-221-1156 are an excellent way to learn about to under-enrollment, in which case students will be Register online: group decision-making, build self- contacted by phone in advance and a full refund issued. nwfilm.org/school confidence, and uncover and nurture FINANCIAL ASSISTANCE those special talents within. Families with a high-interest child or teen and significant financial need may request tuition Experiment with and learn about assistance to any of the camps offered. Applications media arts and technology from our will be accepted until this year’s funds are exhausted. School of Film faculty. No previous Thanks to the Gary M. Anderson Childrens Foundation experience is required—just the for making these scholarships possible. Download the application form at nwfilm.org/school/info/camp. 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.

NOTE: Grade level refers to Fall 2014. The Northwest Film Center School of Film, initiated in 1972, is one of the largest and oldest community film schools in the nation, offering classes and workshops on an avocational basis, as well as for academic credit in partnership with local colleges and universities. School of Film faculty are working artists who devote a portion of their professional lives to teaching. ANDREW BLUBAUGH is a filmmaker and JEAN MARGARET THOMAS, a graduate of the An optional Certificate Program in performance artist whose work has screened at Pacific Northwest College of Art, is a director of Film allows individuals to pursue a Sundance, the Ann Arbor Film Festival, Clermont- photography, gaffer, and electrician for the stop- sequential course of study toward their Ferrand, PDX Fest, and the Seattle International motion animation and live-action film industries, personal goals in film. The School’s Film Festival. He has taught Film Camp classes for working on feature films, television shows, statewide outreach arm, the Young nine years and regularly instructs the Media Arts commercials, independent films, and music videos. Filmmakers Program for Kids + Teens, Academy for Teens. She returns for a second year of Film Camp. conducts hands-on filmmaking projects BRENDA GRELL is an experimental filmmaker with GABE VAN LELYVELD has written, directed, with schools and community groups, an MFA from the Rhode Island School of Design and produced over a dozen short and feature provides professional development for who works in digital design and new media. This films, one of which (MANDAROSE) was selected K-12 teachers, and produces the annual is her fourth year teaching computer animation for as an audience favorite at the 2013 Northwest student recognition program Fresh Film Camp. She also teaches at Washington State Filmmakers’ Festival. A graduate of the Evergreen Film Northwest for teens. The School University, Vancouver. State College and a former School of Film student, operates in tandem with the Film he has taught Film Camp for three years. Center’s year-round exhibition program BRIAN LINDSTROM, who holds an MFA in Directing of foreign, classic, experimental, and from Columbia University, has produced a series MELISSA TVETAN has a background in both live- independent works which showcases for PBS and makes award-winning documentaries action and animated filmmaking. As an editorial a wide array of regional, national, on social justice themes for national and manager at LAIKA/house, she has worked on and international cinema and international distribution. He is one of commercials for Sony, M&Ms, and Planters Peanuts. includes the annual Portland the founding instructors of the Media A former School of Film student, she also serves as a International Film Festival Arts Academy for Teens. post-production supervisor for the Sundance Institute and Northwest Filmmakers’ Directors Lab. Her new experimental film screens in Festival. this year’s Experimental Film Festival Portland.

2 FILM CAMP 2014 nwfilm.org/school JUN JUN JUN 30- JUL JUL JUL JUL 28- AUG AUG AUG CAMP CALENDAR Grade 16-20 23-27 JUL 3 7-11 14-18 21-25 AUG 1 4-8 11-15 18-22 Digital Moviemaking 2-4 X X X Digital Moviemaking 4-6 X X X X X X Stop-Motion Animation 4-6 X Digital Moviemaking (AM) 6-8 X X X Digital Moviemaking (PM) 6-8 X X X Mockumentary (AM) 6-8 X Mockumentary (PM) 6-8 X Stop-Motion Animation 6-8 X Computer Animation 6-8 X X X Green Screen Visual Effects (AM) 6-8 X X X Green Screen Visual Effects (PM) 6-8 X 16mm Shoot + Process + Edit 9-12 X X Stop-Motion Animation 9-12 X Computer Animation 9-12 X X Green Screen Visual Effects 9-12 X X Media Arts Academy for Teens 9-12 X X X X

DIGITAL MOVIEMAKING FOR 2ND-4TH COURSE #030 DIGITAL MOVIEMAKING FOR 6TH-8TH COURSE #012 COMPUTER ANIMATION FOR TWEENS COURSE #023 SECTION 1: MON-FRI, JUN 16-20, 8:45 AM-3 PM SECTION 1: MON-FRI, JUL 7-11, 9 AM-1 PM SECTION 1: MON-FRI, AUG 4-8, 9 AM-1 PM SECTION 2: MON-FRI, JUN 23-27, 8:45 AM-3 PM SECTION 2: MON-FRI, JUL 7-11, 1:30-5:30 PM SECTION 2: MON-FRI, AUG 11-15, 9 AM-1 PM SECTION 3: MON-THURS, JUN 30-JUL 3, 8:45 AM-3:30 PM SECTION 3: MON-FRI, JUL 14-18, 9 AM-1 PM SECTION 3: MON-FRI, AUG 18-22, 9 AM-1 PM Learn how filmmakers use camera angles, lighting, sound, and SECTION 4: MON-FRI, JUL 14-18, 1:30-5:30 PM Bring two-dimensional graphic artwork to life using Adobe Flash editing to tell stories and how film crews work together to make SECTION 5: MON-FRI, JUL 28-AUG 1, 9 AM-1 PM software on Apple digital workstations. Learn how animators movies. Experiment with different visual storytelling techniques. SECTION 6: MON-FRI, JUL 28-AUG 1, 1:30-5:30 PM create motion using techniques such as squash and stretch, You’ll make several short films in different styles, trying your Make a dramatic movie in five days! The pace will be fast, but staging, timing, and parallax scrolling. Animate video and/or scan hand at live-action directing, shooting, and editing, and even you’ll learn the basics of working together as a movie crew, in and manipulate your own artwork. Record your own voiceovers animation. You’ll gain the insight and skills to keep making your operating a professional-level digital video camera, directing and sound effects and create your own animated sequences own movies! The week will culminate in a special visit from the actors, sound recording, and digital editing. At the end of the frame by frame. The week will culminate in a family screening, artists of Filmusik (filmusik.org) and a family screening, complete week, a short drama will be “in the can.” The week will culminate complete with popcorn. Completed films will be uploaded to a with popcorn. Completed films will be compiled and uploaded to in a family screening, complete with popcorn. Completed films special class online video album. a special class online video album. will be uploaded to a special class online video album. Enrollment Limit: 11. Select one of three sections. Enrollment Limit: 12. Select one of three sections. Enrollment Limit: 14. Select one of six sections. TUITION: $295 TUITION: $295 TUITION: $295 EQUIPMENT/LAB FEE: $50 EQUIPMENT/LAB FEE: $50 EQUIPMENT/LAB FEE: $50 GREEN SCREEN VISUAL EFFECTS FOR 6TH-8TH MOCKUMENTARY FOR TWEENS COURSE #016 COURSE #017 SECTION 1: MON-FRI, AUG 4-8, 9 AM-1 PM SECTION 1: MON-FRI, JUL 14-18, 9 AM-1 PM SECTION 2: MON-FRI, AUG 4-8, 1:30-5:30 PM SECTION 2: MON-FRI, JUL 21-25, 9 AM-1 PM Is it real life, or is it just pretending to be to make us laugh? SECTION 3: MON-FRI, JUL 28-AUG 1, 9 AM-1 PM Welcome to the world of mockumentary. Working together on a SECTION 4: MON-FRI, JUL 28-AUG 1, 1:30-5:30 PM DIGITAL MOVIEMAKING FOR 4TH-6TH COURSE #011 movie crew, you will use a professional-level digital video camera “Green screen” or chroma-key technology allows characters or SECTION 1: MON-FRI, JUL 7-11, 8:45 AM-3 PM to shoot “real” events and conduct mock interviews with “real” objects to interact with moving and still backdrops. In this camp, SECTION 2: MON-FRI, JUL 14-18, 8:45 AM-3 PM people using a script designed to stretch your imagination. you’ll learn to set up, shoot, and edit the elements that create SECTION 3: MON-FRI, JUL 21-25, 8:45 AM-3 PM Then edit these into a single mock-u-movie using digital editing the magic. We’ll start by filming you and/or your props in front SECTION 4: MON-FRI, AUG 4-8, 8:45 AM-3 PM software. The week will culminate in a family screening, complete of a green background. Then you’ll go into the editing lab to SECTION 5: MON-FRI, AUG 11-15, 8:45 AM-3 PM with popcorn. Completed films will be uploaded to a special class pick your own backdrop and, using professional digital editing SECTION 6: MON-FRI, AUG 18-22, 8:45 AM-3 PM online video album. software, electronically transport yourself and/or your objects to Learn how filmmakers use camera angles, lighting, sound, and Enrollment Limit: 14. Select one of two sections. another world: outer space, foreign cities, underwater, or...your editing to tell stories and how film crews work together to make TUITION: $295 own idea. Go ahead—wear a green shirt to camp and watch your movies. Experiment with different visual storytelling techniques. EQUIPMENT/LAB FEE: $50 body disappear! The week will culminate in a family screening, You’ll make several short films in different styles, trying your complete with popcorn. Completed films will be uploaded to a hand at live-action directing, shooting, and editing, and even STOP-MOTION ANIMATION FOR 6TH-8TH COURSE #018 special class online video album. animation. You’ll gain the insight and skills to keep making your MON-FRI, JUL 21-25, 8:45 AM-2 PM Enrollment Limit: 11. Select one of four sections. own movies! The week will culminate in a family screening, Bring your drawings, artwork, three-dimensional objects, cutouts, TUITION: $295 complete with popcorn. Completed films will be compiled and and graphic images to life. Learn how animators create movement EQUIPMENT/LAB FEE: $50 uploaded to a special class online video album. using traditional stop-motion animation and a video camera to Enrollment Limit: 12. Select one of six sections. shoot sets. Record your action frame by frame to make up your TUITION: $295 own animation sequences. The week will culminate in a family EQUIPMENT/LAB FEE: $50 screening, complete with popcorn. The completed films will be uploaded to a special class online video album. STOP-MOTION ANIMATION FOR 4TH-6TH Enrollment Limit: 14 COURSE #022 TUITION: $295 MON-FRI, AUG 4-8, 8:45 AM-3 PM EQUIPMENT/LAB FEE: $50 Bring your drawings, artwork, three-dimensional objects, cutouts, and graphic images to life. Learn how animators create movement using traditional stop-motion animation and a video camera to shoot sets. Record your action frame by frame to make up your own animation sequences. The week will culminate in a family screening, complete with popcorn. The completed films will be uploaded to a special class online video album. Enrollment Limit: 14 TUITION: $295 EQUIPMENT/LAB FEE: $50

FILM CAMP 2014 nwfilm.org/school 3 16MM SHOOT + PROCESS + EDIT FOR 9TH-12TH COURSE #029 MON-WED, JUN 30-JUL 2 & MON-WED, JUL 7-9, 12-5 PM Learn to load and operate a basic 16mm film camera. This is your chance to experience actual black-and-white celluloid motion picture film, the industry standard for much of independent This is the ultimate destination class for the highly motivated, film-interested teen. filmmaking until the arrival of videotape and digital video. You will sharpen your understanding of cinematography techniques as you COURSE #008 plan and shoot a series of short outdoor scenes in the downtown SECTION 1: MON-FRI, JUL 7-11 & MON-WED, JUL 14-16, 9 AM-5 PM area on a theme or mood selected by the class. Then you will work SECTION 2: MON-FRI, AUG 11-15 & MON-WED, AUG 18-20, 9 AM-5 PM with the instructor to hand-process the film and prepare it to be ANDY BLUBAUGH, BRIAN LINDSTROM transferred to a digital file. Using the Film Center digital editing lab, the footage will be edited into a compilation. The week will If you’re thinking about applying to film school or want to experience the excitement (and challenges) of culminate in a family screening, complete with popcorn. Completed creating an entire film from scratch and working on a real film shoot, you don’t have to go to New York or films will be uploaded to a special class online video album. Los Angeles. Now in its 15th year, the MEDIA ARTS ACADEMY FOR TEENS is the School of Film’s premier Enrollment Limit: 11. Lab fee includes film stock and supplies. TUITION: $295 opportunity to: EQUIPMENT/LAB FEE: $50 • Learn with award-winning film professionals • Use professional digital video equipment • Be part of a film crew • Get involved in scripting, planning, casting, STOP-MOTION ANIMATION FOR 9TH-12TH COURSE #019 MON-FRI, JUL 28-AUG 1, 11 AM-3 PM • Learn Avid Media Composer industry directing, working with actors, shooting, Bring your drawings, artwork, three-dimensional objects, cutouts, standard software lighting, sound recording, editing, and more! and graphic images to life. Learn how animators create movement Bring several script ideas to the first day. You’ll work as a group to determine produceability and what using traditional stop-motion animation and a video camera to shoot sets. Record your action frame by frame to make up your attributes make a story great and to select one concept to develop into a screenplay. Come prepared own animation sequences. The week will culminate in a family to work hard and learn an amazing amount! Expect at least one long shooting day during the class. The screening, complete with popcorn. The completed films will be week will culminate in a screening for family and friends in the Film Center’s state-of-the-art Whitsell uploaded to a special class online video album. Auditorium. Tuition includes catered lunches. No previous experience is required. Completed films will be Enrollment Limit: 14 uploaded to a special class online video album. TUITION: $295 EQUIPMENT/LAB FEE: $50 Enrollment Limit: 14. Select one of two sections. STUDENT HOUSING: Reasonably priced dormitory COMPUTER ANIMATION FOR TEENS COURSE #026 TUITION: $995 housing with private bathrooms, internet access, and SECTION 1: MON-FRI, AUG 4-8, 1:30-5:30 PM EQUIPMENT/LAB FEE: $125 optional meal plan, operated by the Portland State SECTION 2: MON-FRI, AUG 11-15, 1:30-5:30 PM PSU CREDIT FEE: $260 (optional) University Housing Office, is available in the Ondine Bring two-dimensional graphic artwork to life using Adobe Flash software on Apple digital workstations. Learn how animators PSU REC CTR FEE: $41 Residence Hall, a short walk from the Film Center. create motion using techniques such as squash and stretch, (required with PSU credit option) Arrangements must be made directly with PSU. For staging, timing, and parallax scrolling. Animate video and/or scan HIGH SCHOOL CREDIT: The Academy may qualify for more information, visit pdx.edu/conferences/shc or call in and manipulate your own artwork. Record your own voiceovers high school arts or elective credit through your school 503-725-4336. Discuss with your parents whether this is and sound effects and create your own animated sequences frame an appropriate option, as PSU does not provide on-site by frame. The week will culminate in a family screening, complete district. Inquire with your local guidance counselor. supervision and is not affiliated with the Film Center. For with popcorn. Completed films will be uploaded to a special class COLLEGE CREDIT: The Academy is available for four online video album. more information, contact [email protected] or 503-221- Enrollment Limit: 11. Select one of two sections. undergraduate credits through the Portland State 1156. TUITION: $295 University Department of English at an additional charge THE FRANK HOOD SCHOLARSHIP: EQUIPMENT/LAB FEE: $50 of $260 (depending on enrollment status, additional A full scholarship to PSU fees may apply). A letter grade will be issued on a the MEDIA ARTS ACADEMY FOR TEENS is available on a GREEN SCREEN VISUAL EFFECTS FOR TEENS PSU transcript. Admission to PSU is not required. College competitive basis to an individual with high interest and COURSE #028 credit must be selected by the first day of the Academy demonstrated need. The application deadline is June SECTION 1: MON-FRI, JUL 14-18, 1:30-5:30 PM 14, 2014. Download the application form at nwfilm.org/ SECTION 2: MON-FRI, JUL 21-25, 1:30-5:30 PM and cannot be awarded retroactively. For information, “Green screen” or chroma-key technology allows characters or contact [email protected] or 503-221-1156. school/info/scholarships. objects to interact with moving and still backdrops. In this camp, you’ll learn to set up, shoot, and edit the elements that create the magic. We’ll start by filming you and/or your props in front of a green background. Then you’ll go into the editing lab to pick your own backdrop and, using professional digital editing software, THANKS TO OUR CONTRIBUTORS electronically transport yourself and/or your objects to another National Endowment for Wieden+Kennedy world: outer space, foreign cities, underwater, or...your own idea. the Arts Portland State University Go ahead—wear a green shirt to camp and watch your body CALL FOR ENTRIES! Oregon Arts Commission ZGF Architects disappear! The week will culminate in a family screening, complete FRESH FILM NORTHWEST TEEN FILM FESTIVAL Henry Lea Hillman Jr. Regional Arts & Culture with popcorn. Completed films will be uploaded to a special class ENTRY DEADLINE: AUGUST 15 Foundation Council online video album. Open to any young person, age 13-19, living in Oregon, Washington, Enrollment Limit: 11. Select one of two sections. Idaho, Montana, and Alaska. Chosen films are included in a free James F. and Marion L. Marylhurst University TUITION: $295 public screening presented in November in the Whitsell Auditorium Miller Foundation Pro Photo Supply EQUIPMENT/LAB FEE: $50 as part of the 2014 Northwest Filmmakers’ Festival. No entry fee. Mission Control Chipotle Mexican Grill For more information, visit nwfilm.org/festivals. King Family Foundation Gary M. Anderson Childrens Vicki Mee Foundation DIGITAL FILMMAKING FOR K-12 TEACHERS: Women in Film/Faerie Harold & Arlene Schnitzer INTEGRATIVE APPROACHES Godmother Fund MON-FRI, JUN 23-27, 9 AM-4 PM CARE Foundation A five-day intensive opportunity for K-12 educators from all Frank Hood Fund of the endorsement areas to learn the hands-on basics of media Oregon Community production. Undergraduate and graduate credit available through Foundation PSU. See complete class description on page 10.

4 FILM CAMP 2014 nwfilm.org/school WORKSHOPS

NEW! THE ART OF COLLABORATION DIGITAL VIDEO WORKFLOW NEW! MAKE YOUR OWN LIGHTS SATURDAY, MAY 17, 2-4 PM SATURDAY, APR 19, 1:30-5:30 PM SATURDAY, MAY 10, 1-5 PM Tuition: $45 (includes admission to screening, see below) 1 session 1 session 1 session Tuition: $65 Tuition: $65 CHRIS SIMON & MAUREEN GOSLING AMY O’BRIEN JEAN MARGARET THOMAS When done right, collaboration is much more powerful than the Unlock the mysterious world of compression codecs and project Roll up your sleeves and create some handy, portable soft lights. “auteur” approach in creating a film. delivery options. Topics: Receive step-by-step guidance in building two lights Topics: How/why collaboration is essential to creativity and Topics: How shooting in High Definition is different than tape-based (one directional and one omni-directional) which you can take independent filmmaking; different roles in film production and how Standard Definition; what compression codecs are and how they home and use for everyday shooting; learn about wiring, safety, to create a film team that functions well; elements of successful function; required codecs for Blu-ray, DVD, broadcast delivery, and and proper construction; find out how to use your new lights to collaboration (such as combining strengths, learning from one web publication; determining which options, and combination of supplement existing sources and experiment with techniques another, arguing for a vision); case studies of different collaborative options, is right for your project. in class; get ideas for additional light-building projects; find out models and approaches; hear war stories, see illustrative clips; what you’ll need and where to get supplies. Prerequisites: Basic understanding of digital video production includes open group discussion on challenges, solutions, and Related courses: DIGITAL EDITING I, DIGITAL EDITING II Allocated gear: Tuition includes all supplies rewards. Prerequisites: None Prerequisites: None (open to all interested individuals) Related courses: LIGHTING ON A SHOESTRING, BASIC LIGHTING, LIGHTING ON LOCATION, INTERVIEW TECHNIQUES CHRIS SIMON and MAUREEN GOSLING are experts in the art of NEW! GET YOUR WORK collaboration, having met thirty years ago while working with the late world-renowned documentarian Les Blank on his films BURDEN OF INTO FILM FESTIVALS DREAMS, GAP-TOOTHED WOMEN, and other titles (Gosling as his co- SOUND RECORDING director, sound recordist, and editor; Simon as producer). Since then, WEDNESDAY, JUN 18, 7-9 PM Gosling has directed and produced BLOSSOMS OF FIRE, about the 1 session SUNDAYS, APR 27 & MAY 4, 1-5 PM Isthmus Zapotecs of southern Oaxaca, which has played around the 2 sessions world, and edited numerous films for PBS. Simon has produced and Tuition: $10 directed such award-winning documentaries as DOWN AN OLD ROAD THOMAS PHILLIPSON Tuition: $85 and MY CANYONLANDS, as well as films about cowboy poetry, Southwest PAM MINTY archeology, and recycling. They have come together once again as Practical advice for navigating the myriad of choices out there. Basics of recording dialogue, interviews, narration, and effects. collaborators (director/producers) on the new feature documentary THIS Topics: Practical overview of the film festival submission process; AIN’T NO MOUSE MUSIC!, about one man’s journey to spread the sounds how to research different festivals and prepare a submission; what Topics: First session is general overview of microphone types and rhythms of rural America (which screens May 16 and 17 at 7 PM in the film festival programmers are looking for; what exactly happens and uses, from lavaliers to shotguns; operation of the Marantz Whitsell Auditorium, see page 16). inside the film festival jury room; what you can do to ensure that your PMD-660, Sound Devices 702 Digital Audio Recorder, Mix-Pre, work receives the consideration it deserves; preparing a strategy for and 302 Field Mixer; single versus dual system recording; second your particular film; nuts and bolts of writing compelling and useful session is devoted entirely to hands-on practice; rotate through AVID FOR FINAL CUT USERS synopses, biographies, and taglines; how to avoid common pitfalls; common recording scenarios for scripted dialogue and basic see examples of effective press releases, synopses, and promotional interviews; learn about sound recording gear rental options. SUMMER TERM 2014 materials; walk through the Northwest Filmmakers’ Festival entry form Prerequisites: None 1 session step by step with the festival coordinator. Related courses: CANON XA-10 CAMERA OPERATION, ART OF Tuition: $10 Prerequisites: None FILMMAKING I AMY O’BRIEN Related course: GRANTWRITING FOR FILM Orientation to Avid Media Composer 6.5 for users of Final Cut Pro 7. Upcoming festival deadline: Northwest Filmmakers’ Festival, August 1. STORYBOARDING Topics: What the Avid interface looks like and how it works; similarities and differences of the two systems; setting up a project; SATURDAY, APR 26, 10 AM-3 PM color correction and sound mixing capabilities; short cuts; outputting 1 session options. GREEN SCREEN Tuition: $65 Prerequisites: Basic knowledge of Final Cut Pro 7 SATURDAY, APR 5, 1:30-4:30 PM DAN SCHAEFER Related courses: DIGITAL EDITING I, DIGITAL VIDEO WORKFLOW 1 session Learn to storyboard your own film and/or work with a professional Tuition: $55 storyboard artist. BASIC LIGHTING Wear a green shirt to this workshop and watch your body disappear. Topics: How storyboarding saves precious dollars; the role of Topics: Camera and software operation for setting up and lighting the storyboard artist on a crew; the range of approaches used in SATURDAY, APR 5, 1-5 PM a green screen situation; what kinds of moving and still backdrops working with a director; shorthand instruction in figure drawing, 1 session work best; where to find a green screen and how to make your own. composition, and perspective; standard blocking techniques, Tuition: $65 camera shots, and camera moves; participate in an in-class, Allocated gear: Canon XA-10 cameras hands-on exercise and receive instructor feedback; suitable for Use basic light kits to dramatically vary the mood and quality of light Prerequisites: None drawing novices as well as the highly skilled; open to filmmakers in a scene. Related course: CANON XA-10 CAMERA OPERATION of all levels. Topics: Using key, fill, backlight, and kicker/rim light; how cookies, Projects: Individual flags, scrims, and silks affect a light source; use of light meters; NEW! Prerequisites: None lighting the interview subject; lighting an outdoor scene; tips and MAKE YOUR OWN DSLR LENS tricks. SATURDAY, JUN 14, 10 AM-2 PM Prerequisites: None 1 session TIME-LAPSE CINEMATOGRAPHY Related courses: CANON XA-10 CAMERA OPERATION, CANON XA-10 Tuition: $65 CAMERA IN DEPTH, BOLEX/ARRI FILM CAMERA OPERATION SATURDAY, MAY 3, 10 AM-4 PM + SATURDAY, MAY 10, DAVE HANAGAN 10 AM-12 PM Create a handmade lens that delivers an antique portrait look and 2 sessions CANON XA-10 CAMERA OPERATION dreamy, otherworldly effects. Tuition: $95 Topics: Learn to create a lens that offers a distinctly different look than MARK EIFERT SATURDAY, APR 19, 9:30 AM-12:30 PM the sharp focus properties of commercial lenses; using easily available 1 session and affordable materials (provided with class tuition), build your own Fundamentals of obtaining digital moving image time-lapse footage. Tuition: $55 handmade lens step by step; learn about the principles of lenses, the ANDY BLUBAUGH differences in lens designs (including concepts of “flange focal length” Topics: Which video cameras are the best to use and why; how and “spherical aberration”), and how this lens design is different; to make camera moves, set proper exposure in changing light, Introduction to the basics of our HD camera workhorse. This experiment with the looks you can achieve in class, then take home your and stabilize the camera in windy conditions; using neutral workshop is REQUIRED for renters of this particular camera. lens creation and liven up your filming. density filters to maximum effect; how to stage multiple cameras Topics: Manual focus and exposure; proper use of external Allocated gear: Bring your DSLR if you have one (not required). Tuition shooting at the same time; students will set up and film an indoor microphones; basics of the touch screen; recommended presets; includes all supplies. and outdoor time-lapse situation, then take the footage into the how to download your AVCHD footage to your computer. Prerequisites: None digital editing lab to make the still frames into movie files; the second class is devoted to playback and critique. Prerequisites: None Related courses: DIGITAL CINEMATOGRAPHY, EXPERIMENTAL Related courses: LIGHTING ON A SHOESTRING, SOUND RECORDING APPROACHES Allocated gear: Camera for in-class use (or bring 11 your own DSLR and/or time-lapse enabled camera) Prerequisites: Basic knowledge of photography or videography recommended CHALLENGE YOURSELF

IN CERTIFICATE PROGRAM FILM

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

REQUIREMENTS HOW & WHEN TO APPLY

CORE SEQUENCE Download an application and get more information at nwfilm. ART OF FILMMAKING I—two beginning-level film projects org/school. Applications are accepted throughout the year on ART OF FILMMAKING II—two intermediate-level film projects a rolling basis. Notification will be made within four weeks of ART OF FILMMAKING III—one festival-quality advanced film project receipt. Acceptance is based upon the clarity of your stated goals (see page 9 for full class listings) and whether the goals align with the School of Film mission and PUBLIC SCREENING OF ADVANCED FILM PROJECT Certificate curriculum. You may be at any stage of your formal education (pre-college, in college, post-college, pre-graduate LEVEL ONE school). There are no prerequisites. Core Sequence (above) + 3 or more selected Topic Classes If you want to test the waters before diving in, you are welcome to + 10 hours selected Workshops enroll in and complete ART OF FILMMAKING I and up to two Topic Classes prior to applying to the Program. Upon your acceptance, LEVEL TWO these will be automatically transferred onto the Certificate Core Sequence (above) + 6 or more selected Topic Classes transcript at no additional charge (a letter grade of B or higher + 15 hours selected Workshops is required). For more information, email [email protected] or call 503-221-1156.

CERTIFICATE INFO NIGHT WINTER TERM STUDENT SCREENING TUESDAY, APRIL 8, 6:30 PM SATURDAY, JUNE 7, 4:30 PM LOCATION: SCHOOL OF FILM LOCATION: WHITSELL AUDITORIUM Find out about the School of Film and whether the Certificate Program in Everyone is invited to watch the many short films created by students in Film is right for you. This evening, we’ll review how and when to apply, the classes of Winter Term 2013. Whether the first attempt of a beginner acceptance criteria, levels of completion, and course requirements. Learn or something more ambitious from an advanced student, it’s an uncurated, about the Core Sequence, planning your course of study, scholarship all-comers program for anyone who has decided they’re ready to show options, and college credit options. See Certificate final project films and their work on the big screen. Join in congratulating them on this important hear from current and past Certificate students about their plans for after step in their journey toward self-expression through film. (120 mins.) Free graduation. Faculty and registration staff will be on hand to answer your admission. questions. Open to prospective and enrolled School of Film students. Free admission.

12 APR/MAY 2014 nwfilm.org/school SPRING TERM FACULTY BIOS

ANDY BLUBAUGH’s experimental documentaries have screened at the Sundance, Clermont-Ferrand, ALAIN LETOURNEAU is a media artist who utilizes video, 16mm film, and still photography to explore the Edinburgh, and Seattle International Film Festivals, among others, and have been broadcast by the PBS natural and built environment and issues of development and land use. His feature documentary about the program “POV” and the Logo Network. He is the recipient of a fellowship from the Tribeca Film Institute and vanishing rural lifestyle in Eastern Oregon, EMPTY QUARTER, co-produced with Pam Minty, premiered at the was identified as one of “25 New Faces of Independent Film” by Filmmaker Magazine. His debut feature, THE Film Center last year and has screened widely in North American venues including the Margaret Mead Film ADULTS IN THE ROOM, premiered at the FrameLine Film Festival in San Francisco and won Best Narrative Festival, Anthology Film Archives, and San Francisco Cinematheque. Co-founder of 40 Frames, a 16mm con- Feature at the 37th Northwest Filmmakers’ Festival. servation and advocacy organization (16mmdirectory.org) active since 2000, he is currently finishing his latest film, OPEN ROAD, which explores the urban landscape of transportation. DELORES CUSTER has 30 years of experience as a food stylist, working on print, commercial, and film assign- ments for the national market. Her recently published book, FOOD STYLING: THE ART OF PREPARING FOOD PAM MINTY, former Film Center Education Program Manager, is a visual artist whose work explores geog- FOR THE CAMERA, is considered the definitive bible on the subject. In addition to consulting with advertis- raphy, home, and community through the mechanisms of sound recording, still photography, and motion ing agencies, public relations firms, and food companies, she also teaches at such institutions as New York picture. Her film and video work has screened at Anthology Film Archives, Center for Documentary Studies, University and the Culinary Institute of America. Cornell Cinema, Film Studies Center at University of Chicago, Hallwalls Contemporary Art Center, International House Philadelphia, Los Angeles Filmforum, Margaret Mead Film Festival, Portland Art Museum, San Francisco STEVE DOUGHTON is the writer and director of the feature film BUOY (buoythemovie.com), which won Cinematheque, and Vancouver International Film Centre, as well as other venues throughout North America. the Favorite Narrative Feature Audience Award at the 2013 Northwest Filmmakers’ Festival and the Best pamminty.com Screenplay Award at the 2013 BendFilm Festival. His filmmaking career began in the ’80s when, after studying painting and drawing at the Pacific Northwest College of Art, he moved to New York City and began making GARY NOLTON, owner of Limbo Films (limbofilms.com) is a director/cinematographer with over 25 years’ experimental short films including AROUND CLOWN (with David Wojnarowicz), FERRUM 5000, DELTA, and experience creating stunning and effective visual imagery for commercial clients, national advertisers, docu- CIRCUIT, which screened at such venues as The Kitchen, Artists Space, The New Museum, Marianne Boesky mentaries, and dramatic films. His portfolio includes nearly 400 television commercials for such entities as Gallery, The Viennale in Vienna, and L.A.C.E. in Los Angeles and were featured in Art in America, Spin, Rolling Nike, Coca Cola, Honda, the Portland Trail Blazers, Adidas, and many more. A graduate of the Art Center Stone, and other publications. He also shot and/or directed music videos for Aphex-Twin, Iggy Pop, Blonde College in Pasadena, he has also completed over 2,000 print assignments as a still photographer. Redhead, Pavement, and others and was a resident artist at The Nantucket Screenwriters’ Colony. He is cur- AMY O’BRIEN is a documentary and narrative filmmaker/editor with a background in theater and web design. rently in pre-production on his next feature film, to be set and produced in Portland. Through her production company, Purple Macaroni Productions, she creates short films that document per- MARK EIFERT is a director of photography and motion control operator for animation studios in Portland and sonal stories and explore the lighter side of life. These have included FOUR, which screened in the Northwest Los Angeles, including Screen Novelties, Shadow Machine, and Starburns. As a time-lapse cinematographer, Filmmakers’ Festival, and NO SOLICITING, which screened at the Columbia Gorge International Film Festival. he is represented by Corbus Motion. His time-lapse footage has been used for television shows like “On,” She also creates promotional films for nonprofits such as Literary Arts and the Tucker-Maxon School for the “Men in Trees,” and “American Experience”; the Thom Yorke music video “Harrowdown Hill”; and the short Deaf and recently edited “Blue Fiddles,” a web series. An active member of Women in Film PDX, she studied film WIND. In addition, he has worked with many local filmmakers on a variety of short films including Jim media at the New School for Social Research after taking classes at the School of Film. purplemacaroni.com Blashfield’s BUNNYHEADS and Chel White’s MAGDA. DAN SCHAEFER has contributed to film and television productions as a concept artist for more than 23 years. DAVE HANAGAN, Film Center Equipment and Facilities Manager, has a background in graphic design, film His list of projects varies from animation (“Teenage Mutant Ninja Turtles” television series), advertising cam- programming, and experimental film production. At the Northwest Film Forum in Seattle for nearly a decade, paigns (BMW, Adidas, Nike, Intel, HP, Clorox), feature films (for NBC/Universal, MGM, Lions Gate, Paramount), he directed the Local Sightings Film Festival and organized education events and classes. As a DIY filmmaker, and the television shows “Leverage” (TNT), “Grimm” (NBC), and “Graceland” (USA). He has worked as a he is interested in unconventional film technologies and approaches and has manufactured such devices as a pre-visualization artist with Gus Van Sant (PARANOID PARK, TO EACH HIS OWN CINEMA, MILK), Guillermo home-brew film-to-video transfer device and cardboard-tube lenses. He writes, directs, and produces his own Arriga (THE BURNING PLAIN), and Ellory Elkayam (WITHOUT A PADDLE 2) as both pre-visualization and addi- short films, which he coins “romantic macabredy.” tional writer. He has completed three feature-length documentaries including MANIA, which premiered at the Northwest Filmmakers’ Festival; KINGS OF THE ROAD; and FIGARO. Most recently he finished the film THE COURTNEY HERMANN is an award-winning documentary filmmaker whose films have won grant funding HOUSE BY THE SIDE OF THE ROAD. from The Paul Robeson Fund for Independent Media, Native American Public Telecommunications, “POV”/ American Documentary (CPB), The Playboy Foundation, The Seventh Generation Fund, and other sources, JEAN MARGARET THOMAS is a director of photography, gaffer, and electrician for the stop-motion animation including multiple highly successful Kickstarter campaigns. Among her recent films are STANDING SILENT and live-action film industries, working on feature films, television shows, commercials, independent films, and NATION, chronicling the Lakota Indians’ struggle against the US Drug Enforcement Administration, which music videos, in formats from 35mm and 16mm to High Definition and RED. A graduate of the Pacific Northwest screened on PBS’s “POV” series, and EXOTIC WORLD AND THE BURLESQUE REVIVAL, about the last days College of Art in photography, she also has more than a decade of experience lighting for dance, opera, and of an old Route 66 roadside attraction. Holding an MFA in Film from Columbia College, she has an extensive music performance organizations and for museum exhibitions at OMSI. She has also taught at The Art Institute background as an educator, including a decade-long stint with The Art Institute of Portland’s Digital Film and of Portland and PNCA. Video Program.

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/ EQ video equipment, editing rooms, and other facilities available to artist and non-profit users at subsidized rental rates and to commercial users as availability allows. Download a Rental Rate Sheet at nwfilm.org/equipment for a complete list of available items, services, and pricing. Rental ACCESS requests must be received at least 48 hours in advance and will be confirmed within 24 hours. For more information, contact 503-221-1156 or [email protected].

Equipment available for rent includes: Facilities available We’re your Super-8 Canon XA-10 Camera Package Microphones and Sound Mixers for rent include: headquarters for: Panasonic DVX-100 Camera Light Kits and Grip Equipment Voiceover Recording Room Canon and Minolta Super-8 Package Casting and Audition Rooms Camera Rental Soundtrack Pro Audio Work Ektachrome Color Reversal JVC EX555 HD Handycam Station Super-8 Film Stock Package Avid Media Composer and Final Tri-X B/W Reversal Super-8 16mm and Super-8mm Film Cut Studio Work Station Film Stock Cameras Portable Green Screen

THANK The Northwest Film Center’s School of Film is supported by: National Endowment for the Arts James F. and Marion L. Miller Frank Hood Fund of the Oregon Regional Arts & Culture Council YOU! Oregon Arts Commission Foundation Community Foundation Marylhurst University John D. and Catherine T. King Family Foundation Wieden+Kennedy Chipotle Mexican Grill MacArthur Foundation Vikki Mee Portland State University Harold & Arlene Schnitzer Henry Lea Hillman Foundation Women in Film/ ZGF Architects CARE Foundation Faerie Godmother Fund Pro Photo Supply Individual Donors and Friends

13 Experimental filmmaker and Film Center faculty member MELISSA TVETAN talks about intersecting paths, feeling like a magician, and being in flux in a good way. SOUND

What first sparked your interest in film? BYTE I grew up in Sherwood, Oregon. We had a lousy movie theater but a pretty good video store, so I spent a lot of my spare time watching and thinking about movies. At Portland State University, while I was studying photography and writing, it never occurred to me that I could be a filmmaker. Then I heard about the Northwest Film Center and started attending screenings and taking classes. I went to local film festivals and microcinemas, which exposed me to what film is or can be, and started to develop technical skills. That Did things change over the six years you were there? was how I started to find a community and develop It’s a cliché that technology is always changing, but confidence in my work. that was especially true for us during my time there. When I first started in 2007, we were still mostly producing commercials in standard definition video. Tell us about one of your first films. Then all of our tape-based mastering shifted to high My very first film was with a partner for the Art definition video and then shifted again to uploading of Filmmaking class. We shot and edited a short digital files, skipping the tape step. Working in a on how to make a Super-8mm film entirely commercial animation studio meant we always had on Super-8mm. We used a lot of stop-motion several different projects going on at once, often in animation and played around with in-camera very different mediums and styles (CG, stop-motion, tricks. I was hooked: I felt like a magician. 2D), each project no longer than a couple months. I got Later, when i was working in the Film Center’s to contribute on a number of interesting and dynamic equipment room and edit lab, I got to see the same campaigns, working alongside many talented artists. kind of magic in supporting other students, no matter The studio was always in flux, in the best way. what format they’re working in. You also work at the Sundance Institute Directors What was it like being a student at the School of Lab. What is the environment like there? Film? Every June, eight new directors have the opportunity Thrilling. I was always acquiring new skills and meeting to workshop difficult scenes from their feature new people. I learned how to be a filmmaker as a screenplays in an environment that encourages taking member of a crew and how to effectively work alone. risks without fear of failure. I’ve had the pleasure of returning to the Directors Lab every June since 2008. It’s truly a restorative experience, many skilled people What’s the most important thing you learned as a coming together to support one another in the spirit of film student? storytelling and craftsmanship. I learned about all the ways one can make a living in the film industry and how to create work as an artist. I also learned how those two paths can intersect. Portland’s You are joining the Summer Film Camp faculty film and video industry is always growing. I learned how this summer. What will you be trying to teach the to look for opportunities and how to create my own. campers about the film world? I want them to learn how truly accessible filmmaking can be, no matter how old they are. I want to show You went from the School of Film to working for them what techniques contribute to compelling motion LAIKA/house, managing their editorial department. pictures, so they’re better able to recognize it in the What goes on in an editorial department? media they’re exposed to, as well as how to apply those Our commercial editorial department was small: two techniques in creating their own stories. I especially editors, two finishing artists, an assistant editor, a want to empower them to see themselves as artists. video engineer, and myself. The editors cut together animatics or live action, updating the cuts with new shots or dailies. The finishing artists composited the What advice do you have for young filmmakers elements, polished the final images, and often acted as growing up in a digital world? colorists as well. The assistant editor was responsible We have more and more access to easier-to-use for creating reels, mastering tapes, and helping to equipment than ever before, and the internet provides support the needs of the entire department. The so many possible opportunities to find an audience video engineer maintained and upgraded equipment. for your work, but that’s no reason to work in a I scheduled time for projects, maintained our media vacuum. As a new filmmaker, regardless of age, you archives, and filled in wherever I was needed, including can learn so much from supporting and collaborating doing typical management tasks like budgeting. We with like-minded artists—favors get returned, and all worked very closely with producers and directors. you start networking organically. Finding some Larger departments, especially for feature-length films, kind of community really helps lay a foundation for have a lot more going on, but I really enjoyed our tight- opportunities in the future. run team.

14 APR/MAY 2014 nwfilm.org/school  SPECIAL SCREENINGS HAWAII THE APU TRILOGY

FREE ANGELA AND ALL POLITICAL PRISONERS

MAY 2 FRI 8 PM—VISITING ARTIST HAWAII ARGENTINA 2013 DIRECTOR: MARCO BERGER “The Apu Trilogy” was restored by the Satyajit Ray Preservation Project through a collabora- “Following on from his acclaimed explorations of nascent male desire, PLAN B and ABSENT, Marco tion of the Academy Film Archive, the Merchant-Ivory Foundation, and the Film Foundation. Berger continues to impress with HAWAII, a taut and unusual love story set almost entirely in a 35mm prints courtesy of the Academy Film Archive. single location. Eugenio is a young man residing at his uncle’s deserted house in rural Argentina. One day he encounters the homeless Martin, whom Eugenio realizes he knew as a child. Charitably MAY 7 10 WED 7 PM, SAT 2 PM employing Martin to help around the house, Eugenio rediscovers his friendship with him, and the apu trilogy as time progresses, new and unexpected feelings begin to emerge. What might initially appear PATHER PANCHALI (SONG OF THE LITTLE ROAD) as simply an exercise in prolonged sexual tension soon blossoms into a rich and delicate tale of INDIA 1955 self-discovery and the redemptive possibilities of love.”—London LGBT Film Festival/British Film DIRECTOR: SATYAJIT RAY Institute. (102 mins.) Director Marco Berger will introduce the film. Co-presented with the University Satyajit Ray’s “The Apu Trilogy”—an adaptation of the semi-autobiographical novel cycle of Oregon’s Departments of Romance Languages and Cinema Studies. by Bibhutibhusan Banerjee—remains one of cinema’s most heralded works, retaining the affecting power that made it an international sensation when it was released. PATHER MAY 3 4 SAT 7 PM, SUN 4:45 PM PANCHALI depicts a poor Brahmin family struggling to survive in their small Bengali village. FREE ANGELA AND ALL POLITICAL PRISONERS The birth of a new child, Apu, marks the beginning of new adventures—and struggles—for US 2012 the family. A mosaic of village life unfolds as we meet Apu’s dreamy father, fretful mother, DIRECTOR: SHOLA LYNCH and tempestuous older sister. Beautifully balancing the prosaic and poetic, harsh poverty Angela Davis went from an obscure, academic UCLA philosophy professor to the poster girl for and childhood joy come alive with unsentimental compassion. Voted one of the ten greatest domestic terrorism over the course of several tumultuous years starting in 1969. FREE ANGELA is a films of all time in Sight and Sound Magazine’s international critics’ poll. With music by the gripping account of the era and events that catapulted her from Communist Party membership and legendary Ravi Shankar. “One of the most stunning first films in movie history.”—Jack Kroll, protests with the Black Panthers to becoming a principal spokesperson for the burgeoning prison Newsweek. (119 mins.) Newly restored 35mm print. reform movement and a vocal challenger of American social justice. Not unnoticed by California Governor Ronald Reagan and other establishment forces, Davis found herself fighting to keep her MAY 8 10 THURS 7 PM, SAT 4:30 PM job and stay in the national media spotlight for her subversive “Power to the People” message. the apu trilogy When implicated in a politically motivated kidnapping and collateral murder of a judge in a brazen APARAJITO (THE UNVANQUISHED) shootout at the Marin County, California, courthouse, Davis, fearing a fair trial was impossible, INDIA 1956 fled, setting off an electrifying nationwide manhunt on charges of murder, kidnapping, and con- DIRECTOR: SATYAJIT RAY spiracy culminating in an internationally followed prosecution that put the American justice system APARAJITO, the second film in “The Apu Trilogy,” continues the story of the Bengali family on trial. (102 mins.) after they have left for the holy city of Benares on the banks of the Ganges. Faced with the loss of his father and the demands of fast-approaching adulthood, Apu grows from ten to MAY 4 SUN 7 PM 17. He trains for the priesthood—the traditional family vocation—but in the end leaves his HUBLEY CLASSICS mother to study in Calcutta, where he finds a new life in “modern India.” “Ray’s magic, the US 1956-1970 simple poetry of his images and their emotional impact, will always stay with me.”—Martin DIRECTORS: JOHN AND FAITH HUBLEY Scorsese. (110 mins.) Newly restored 35mm print. The husband-and-wife team of John and Faith Hubley brought a humanistic perspective and a distinctly modern style to postwar American animation. The films they made together, and inde- MAY 10 11 SAT 7 PM, SUN 4:45 PM pendently, influenced a generation of independent animators worldwide and earned many honors, the apu trilogy including three Academy Awards. Selected in collaboration with the Hubley family (daughter Emily APUR SANSAR (THE WORLD OF APU) is also a distinguished animator) to honor John Hubley’s (1914-1977) centennial, the sparkling INDIA 1959 new 35mm prints of these innovative, visually striking classics (a handful among dozens of bril- DIRECTOR: SATYAJIT RAY liant films)—THE ADVENTURES OF AN * (1957), THE TENDER GAME (1958), MOONBIRD (1959), The concluding part of “The Apu Trilogy” deals with Apu’s adulthood and the challenges of THE HAT (1964), URBANISSIMO (1967), WINDY DAY (1968), OF MEN AND DEMONS (1969), and living in the city in poverty. Ultimately a love story, the film chronicles his serendipitous mar- EGGS (1971)—address a wide range of topics, from urbanization and overpopulation to two boys’ riage, the birth of his son, the tragic disillusionment he faces, and his eventual regeneration search for a pet bird, and feature the voices of Dizzy Gillespie, Dudley Moore, and the Hubleys’ through the love of his son. “The great, sad, gentle sweep remains in the mind of the movie- children, as well as music from Benny Carter, Ella Fitzgerald, and Quincy Jones. (80 mins.) Faith goer as a promise of what film can be.”—Roger Ebert. (105 mins.) Newly restored 35mm print. Hubley’s classic animated feature THE COSMIC EYE screens May 11 (see p. 16).

NWFILM.ORG 503-221-1156 APRIL/MAY 2014 NORTHWEST FILM CENTER PAGE 15 SPECIAL SCREENINGS 444

THE CASE AGAINST 8

THE REACH OF RESONANCE

THIS AIN’T NO MOUSE MUSIC!

MAY 11 SUN 7 PM THE COSMIC EYE US 1986 DIRECTOR: FAITH HUBLEY After winning three Academy Awards for her shorts made with husband John, Faith Hubley’s first and only animated feature serves as a compendium of both her visual style and deep interest in the world’s mythologies and art. The Cosmic Eye is the name of an alien spaceship that takes an unexpected detour to check out Planet Earth and its strange humans. At the controls are three hipster jazz musicians with acute homesickness who, as they witness little children and their hopes, dreams, fears, and constant yearning for peace, decide they must help. Hubley’s enchanting par- able comes to life through the voices of Mother Earth (Maureen Stapleton) and Father Time (Dizzy Gillespie), with glorious music by Benny Carter, Elizabeth Swados, and Gillespie himself. (76 mins.)

MAY 15 THURS 7:30 PM—VISITING ARTISTS AI WEIWEI: THE FAKE CASE opening night: qdoc THE CASE AGAINST 8 JUN 5 THURS 7 PM US 2014 nwfc and creative music guild present DIRECTORS: BEN COTNER, RYAN WHITE THE REACH OF RESONANCE The Northwest Film Center is pleased to co-present the opening night film of this year’s QDoc: US 2010 Portland Queer Documentary Film Festival. While other films have dealt with the electoral ups DIRECTOR: STEVE ELKINS and downs of the marriage battle, THE CASE AGAINST 8 focuses on the extraordinary legal strat- THE REACH OF RESONANCE juxtaposes the creative paths of four musicians and sound artists egies that altered the landscape for marriage equality around the country, including Oregon. from different parts of the world. Miya Masaoka, a composer who plays the koto, uses music to Challenging California’s Prop 8 banning same-sex marriage, the legal case was argued all the way study the social behavior of insects and the physiology of plants. Using a violin bow, Jon Rose, a to the Supreme Court by a very unlikely team of attorneys: Ted Olson and David Boies, former adver- violin virtuoso, transforms barbed-wire fences into musical instruments. John Luther Adams’s saries in the 2000 Bush v. Gore presidential election battle. Together, they found common ground work is inspired by his fascination with the landscapes of Alaska, while Bob Ostertag integrates advocating for two courageous couples who allowed their personal lives to become the center of sociopolitical issues into his performances. By contrasting the creative worlds of each of these this controversial crusade. (109 mins.) Winners of the Best Director Award for Documentary at the artists—united by the renowned Kronos Quartet—the film explores music as a tool for devel- Sundance Film Festival, directors Cotner and White will be in attendance. Special admission: $25 film and party; $10 film only, available at queerdocfest.org. Sponsored by HBO. oping meaningful relationships between people and the complexities of the world in which they live. (118 mins.) Co-presented with the Creative Music Guild’s Improvisation Summit of Portland, MAY 16 17 FRI 7 PM, SAT 7 PM—VISITING ARTISTS June 5-7. creativemusicguild.org. THIS AIN’T NO MOUSE MUSIC! JUN 6 7 FRI 7 PM, SAT 7 PM US 2013 AI WEIWEI: THE FAKE CASE DIRECTORS: CHRIS SIMON, MAUREEN GOSLING DENMARK/CHINA/GREAT BRITAIN 2013 As a teenager in 1947, Chris Strachwitz migrated from Germany to the United States, where he DIRECTOR: ANDREAS JOHNSEN saw a film that would change his life forever: NEW ORLEANS, starring Billie Holiday and Louis Ai Weiwei is China’s most famous international artist and its most outspoken domestic critic. Armstrong. Since then, his life has been a relentless quest to track down and record the best of Against a backdrop of strict censorship and an unresponsive legal system, Ai has met the American folk music roots—New Orleans jazz, down home blues, Creole, Cajun, zydeco, Tex-Mex, full force of the Chinese authorities, who have done everything but eliminate him to stifle his norteño, and more. A true detective of sounds, Strachwitz is the legendary record producer and attempts to express himself and organize people through art and social media. Following his founder of Arhoolie Records, the label that brought rural American music out of the shadows and 2011 arrest and subsequent solitary confinement, THE FAKE CASE follows Ai Weiwei after his into the limelight. In the process, he changed music in America forever. Ry Cooder, Taj Mahal, parole and battle with a thwarting suit for tax evasion: a lawsuit that he dubs “the Fake Case.” Bonnie Raitt, Michael Doucet, The Pine Leaf Boys, Flaco Jiménez, and CJ Chenier join in this rich But the troubles with his enemies only continue to provide inspiration for making new art, the Strachwitz-guided tour of the sounds and rhythms of our country. (92 mins.) Co-directors Chris Simon and Maureen Gosling, longtime collaborators with the late documentary filmmaker Les Blank, will only outlet to vent his frustration. “Picks up where AI WEIWEI: NEVER SORRY (2009) left off, introduce their film and host a workshop, THE ART OF COLLABORATION, on Saturday, May 17, at 2 PM. serving as not just an update but an even more galvanizing call for reform. Ai’s voice carries See School of Film p. 11 for registration information. louder than ever before.”—Variety. (86 mins.)

PAGE 16 NORTHWEST FILM CENTER APRIL/MAY 2014 503-221-1156 NWFILM.ORG  SOCIAL DIARY THE 37TH PORTLAND INTERNATIONAL FILM FESTIVAL The show must go on! Despite the snowpocalypse crashing the party in the Festival’s opening days, the Northwest Film Center’s annual Portland International Film Festival was a great success, drawing 35,000 attendees in its presentation of 104 international feature films and 24 international shorts. Our thanks to the many sponsors, members, and filmgoers who made it all possible!

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1 Guests at the Short Cuts V: Oregon Filmmakers’ Showcase reception. 2 Northwest Film Center volunteer Jill Murphy-Long and Greg Long enjoy PIFF 37 Opening Night festivities. 3 Nancy Frish, Lois Kincaid, and Bill Foster at the PIFF 37 Silver Screen Club reception. 4 Subrina Chow and guests at the Hong Kong Economic and Trade Office of San Francisco reception. 5 Celebrating at the Romanian American Society reception at Nel Centro. 6 Filmgoers enjoy the warmth of the fireplace at OMSI’s Theory Eatery at PIFF 37 Opening Night. 7 Silver Screen Club members toast PIFF 37 on Closing Night. 8 Silver Screen Club members and Film Center staff fête PIFF 37 on Closing Night. 9 Guests enjoying the PIFF 37 Opening Night Party at OMSI’s Theory Eatery. 10 High school students gathered after a PIFF 37 Global Classroom screening. Photo credits: Jason E. Kaplan, RLpotograpiya

NWFILM.ORG 503-221-1156 APRIL/MAY 2014 NORTHWEST FILM CENTER PAGE 17 444 THANK YOU, SILVER SCREEN CLUB Sheila K. Abish Xylia Buros Ellen Fader Mary and James Hurley Ting Lin Harvey and L.A. Newman Nikolas Ackerman Alida Bystrom Andrew Lundin Fall Carol C. Ihlenburg Jerry Lippold Marjorie and David Newman Michael Acree and Peggy Brian Bystrom Rita Fawcett Ruben Iniguez Jared Llund Christopher Nicols McMullen C-Lee, C-Mac Have Eyes, LLC Lee and Robin Feidelson Oliver Lane Inman and Erin Peter Lorain Chris Niemeyer Lisa Adatto Richard and Liane Cabot Daniel L. Feiner Johnson Richard and Diane Lowensohn Robert Nimmo and Linda Beata and Michael Alexander Pamela J. Caldwell Darin Fenn Rita Inoway Jessica Lyness Jensen Michael W. Alexander Rory Canoles Jovita Fernandez Barbara Ivey Mary MacArthur Elaine Nishimura Harold N. Allen Patrizia Caposio and Jay Shirley Fester Cary Jackson Sarah Mahler Roger Noehren Kirby and Amy Allen Nelson Gwendolyn and Drew Field Brooke Jacobson Cathryn Majeran James and Sandra Noonan Nancy Pullen Alley Jeffrey Capp Nadine J. Finch Janis B. Jaffe Christina Malagon Bonnie Nuttall Robert Amesse Jae Carlsson Gloria Fischer Patricia Janesh Suzanne Malek Blanka Nyvlt Suzy Andersen Dania Caron Jennie Fitzhugh and John John Jennings Cyndy and Edward Maletis Amy O’Brien Michael and Jamie Anderson Laura and Brent Carreau Medway Lonnie Johnson Jon Mankowski Ilene V. O’Malley Mike G. Anderson Beth Caruso Randal S. Fitzhugh Douglas and PJ Jones Tara and George Mardikes Kevin Ober Scott and Rachael Anderson Susan C. Cassidy Joan Fondell Teresa Jones David and Dolorosa Margulis Ken and Joy Olsen Margaret Andres Nancy Catlin Mary Francis Bob Joondeph Houston Markley and Ellen Carlton Olson Diane Angelo Mary Lou Cavendish and Katherine and Mark Frandsen Soren Jorgensen Gentry Darleen Ortega and Stan Gina Anzaldo and Bryan Michael Hughes Marc Franklin Frederick and Gail Jubitz Eileen Markson Thornburg Stearns Maynard Chambers Jacqueline Franzen Greg Kachel Alex Maroney Morgan Painter and Charles Karen Anzaldo Susan J. Chandler Daniel Friedman Marjorie Kafoury Camilo Marquez Moore Susumu Arai Donna Childs Nancy and Paul Frisch Jimmy and Frida Kagan Peter Martin Shirley N. Papé Yasue Arai JD Chong Charles and Kyle Fuchs Lisa Karplus and Gilbert Frances and Dale Maser Sandra Parisi Demetra Ariston Janet Christ Doris Fujii Neiger Steven Maser and Donna Theresa Park Jennifer Arndt Brenda Clark Jeff and Niki Ganong Hideaki Kawahara McElroy Trude Parkinson and Peter A. Ozanne Sally R. Ashley Richard Coffman Patricia M. Gauer Gordon and Katherine Keane Santiago Matallana Toni Parque Rafael Astorga Nathan F. Cogan Jerome and Maria Gauthier Ramona Kearns Sayonara Mató Sheila Pastore Roland Atkinson and Jo Ann Barbara Cohn Cindy Gawel Carol Keener David Matthews Katherine Patten Weaver Philip V. Cole Max Gelber Jessie Keller Gina M. Mattioda Chelsea Petrakis Barbara Backstrand Janice Condit Jennifer Geske Judy Carlson Kelley Josh Mayer and Sara Jerry and Mikki Baer Kim Conley Cassandra K. Kelly Fusselman Anthony and Betsy Wallace Gibson Pfannenstiel Doug Baldwin Ann Connors Joel Kelly Tyler Mays Arlene S. Giordano Chris Phillips Kavita Bali Cornelius and Kirsten Cook Kathleen Kelly Steve and Carolyn McBride Laraine Gladstone Diane Pinney Dawn Banker Laurence Cook Nancy Kelly and Peter Pappas Robert and Dinah McCall Oren Glick Brian and Beverly Pocock Ann Bartell Laurence Cotton Brett Kelver Eileen McCloskey Richard Goldenberg and Laura G. Polich Michael Bascom Neale and Marian Creamer Karen St. Clair Jane A. Kennedy Maryellen and Michael Sandy Polishuk Gayle Bast David Cress Elinor Gollay and Rex Brasell Tanya Kennedy McCulloch Naomi Pollock Kim Batcheller Johanna S. Cummings George Goodstein Kristina and Essi Vicki McElligott Gail A. Powell Lisa Batey David Cutler Don and Kathy Grambsch Kermanshahche Marilyn McIver Michael and Alice Powell Kathleen Bayer Terry Dalsemer Heather Grant Douglas and Selby Key William and Darlene McKenzie Roy Pulvers Vicki Bebb Carol J. Daniels James F. Grant Heather Killough Anne G. McMahon Brian Bendis Bob Killough and Nancy Brown Mary McWilliams Wayne M. Quimby and Michael Virginia Darney Joan C. Gratz J. Roberts Carolyn and Alan Bennett Lois Kincaid Joanne Mechling Nancy Davis Marc Greenfield Shirley Rackner Fran Berg Bruce Kindler Laura Mehren and Steven Nicholas De Morgan Elka Grisham Wendy and Richard Rahm Joel Berk Mike King MacDonald Tracy and Ron Dean Don Gronquist Elizabeth Rathbun Viswesh Bhat Joana Kirchhoff Laura S. Meier Kate DeBellis Petya Gueordjeva Christopher Rauschenberg Edward Birnbaum Susan Klebl Jeffrey Menashe and Wendy Nancy and Ronald DeGroot Gloria Guinn Gutmann and Janet Stein Tim Black Bill Kloster Craig Derby Nan Guo Barbara Mendius Laura Raymond Linda Blakely Nicholas and Patricia Knapp Malini DeSilva Susan Gysel Gloria Grimson Mighell Linda Raymond David Blanchard and Elke Craig Dewey and Julie Coop Sherry Hall Kate Knappett Scott and Kay Reichlin Schoen Joseph Miller Bonny Dickinson Emma Hall-Martin Martha Koerner David Rhys Susan Bliss Marjorie Millner Gregory and Risa Dolinajec Zachary Hamilton BettyLou Koffel and Philip Stephanie Richards Joe Blount Moyer Birgit Miranda Christopher Downey Jennifer Hanson Virginia H. Richardson Hendrik and Julie Blume Kathy Krisinski Kristi Mitsuda Jack and Suzanne Downing Leland Hanson John L. Richter M. J. Boscacci Steven Kuever Bobbie Mitzel Terry Downs Mathias Hansson Craig A. Rickert Laurie and Phil Bostwick Krishna Kunchithapadam Gary Mize Cristina Draghicescu Michael Harbour Hamish Rickett Joanne H. Bosworth Nicole Kurosaki Janet Moody and Laura Don Drake Thomas Harburg and Alida Rol Bradley Robert Rineer Ann and Mike Bottinelli Ed Kushner Ann Du Pont Linda M. Hardie Judy Moore Myrlaviani Rivier Sean Bowie Roger La Marche Carlota Dualde Paul Harrod Madeline Moore Polly Rizova Judith K. Bowker Mary and Jerome LaBarre Linda DuBois Gregory L. Hartman and Carol Morgaine and Kay Sarah Roberson Brad Brahe and Kate Barbara Dugan Susanne Domhan Joyce Lackie Wendlandt McPherson Nicholas Roberto Bob Eager Miriam Hecht LaVerne Landauer Jeffrey Morgan Kay and Marty Brantley Ann Kathryn Roberts Ken and Heather Eagon Pam Helling and Alan Christine Laptuta Clair Morley Denise Brem Donna Rocco Joshua Eddings Campbell Donna L. Larson Mike Morrison Cathey Briggs Jake Rockwood Jane Ediger Robert Hermanson Elyse and Ron Laster Jonathan Morrow Klaus Brinkmann Brian and Cindy Romanchuk Ann and Mark Edlen Bill Hetzelson Carrie Lawliss Scott Moshier Kay Bristow Abram Rosenthal Alan and Glenda Edwards David Higel Bob Layton Maxwell Mueller Benson and Lois Bronfman Stephen Ross Jacob Effert Mary C. Hinckley and Gregory Chip and Lynette Lazenby Wilfried and Deanna Mueller- Robert Brooks K. Hinckley Vickie and Philip Rothrock Susan Egger Lila Lee Crispin Carol S. Brower Lia and Harold Hiuds Deanne S. Rubinstein Marie Ellingson Patrick Lee Alex Muller Don Brown Andrea Hollander Cynthia K. Ruddock and Pamela Elmore Mollie Lennarz Michael Munk Andrew Pinelli Jackie Brown Sue Horn-Caskey and Charles Bob Engesser Elizabeth LePage Jill Murphy-Long and Greg Brenda Rush Mary M. Brown F. Caskey Long Mary Erbaugh and Dick Kraus Rick LePage Mary Jo and Jaime Saavedra Phyllis Bruggeman Rosemary A. Houha Julie Nakao and Jose Reis Argentina Erdman Lois Leveen Dov Sagiv Jim Brunke James H. Hryncewich and Roger Leverette Tom and Chris Neilsen Colin Evans John Paul Davis Julie Samples Marianne Buchwalter Carl Levin and Laura Zalent Nancy Nesewich Mike Evers John Hubbard Rudy and Thea Sanchez Martha Bueche Joyce L. Lew Jill Neuwelt Amber Nicole Ewing Robert L. Hughes Jeremy Sarant Marilynn Burke Kathleen Lewis Harold C. Nevis Erik Fabian John G. Humphrey Meredith Savery

PAGE 18 NORTHWEST FILM CENTER APRIL/MAY 2014 503-221-1156 NWFILM.ORG 

Lee Savinar Darren Swails Patrick Walters Diane and Lawrence Sawyer Catherine Swanston Ben Ward Jessica Scarborough John Swetnam Wendy W. Warren W. Curtis Schade and Jacquie Marika Synak Robert C. Watzke MEMBERSHIP MEANS Siewert-Schade Ruthe Taber Daniel Webb Stephen Schapp Sarah Tackett Daniel Weber Gretchen Schauffler and Tiffany Talbott Devon Weiler MORE FILM YEAR ROUND! Scott Goins Rosalie Tank Douglas Weiss Scott Schickli and Patricia Michael Tannenbaum Dixie Whetsell Join the Silver Screen Club and enjoy independent, foreign, Tidmarsh Miranda Tarrow Viki White Jerome Schiller and Juliet classic, regional, and experimental films all year long— Ching Amelia Taylor Barbara Whitmore including the Portland International Film Festival! Kathleen Schmitt Richard Teutsch and Barbara Sharon Whitney and Philip Jennings Shapiro Christopher Schroeder Evelyn Thomas Sarah Wiebenson Amy Schuff Memberships begin at just $75. Jeffery Thomas G.E. Wilker Art Schwartz Charles Thompson Derek Willis Thomas Segerlund Greg and Cathy Tibbles Tim Wilson Paul and Joan Sher Donald Tidwell Jim and Susan Winkler John Shipley Rachel Tiffany Elaine Winters Randy Siefkin Steve and Susan Tillinghast Jon Wippich Gretta Siegel Shannon Tindle Phyllis Wolfe Bruce Silverman Joshua Toothaker Frank Woodbery and Tammy Nell Simkoff Jim Topitzes Campbell Dinah Sinclair A. Torres-Vincenzi Gwen Woods Linda Smeltzer Sandra Teel Trainer Beth Woodward and Hadi Azari Martin Smilkstein William Trevaskis Art Wright Vicki Smith and Claude Catherine Wyrick Burgoyne Barbara Trudel Michael Yasui Nick and Sandra Snell James H. Trumbo and Karen Perkins Jack Yeh Al Solheim Aaron Tuller Brian Yellin Karen and John Spencer Bob Turner Mustafa and Azade Yelten Dana Spielmann Mary Umland David Young Charles Starr Enie Vaisburd Lynn Youngbar Scott M. Stauffer Martha and Eric Van Dyke Martha and Stanley Zaklan Richard Stein Barbara Van Raalte Jonathan and Merrie Ziady Gayle Steinberger Kaye Van Valkenburg and Richard and Linda Zimmerman James Stemler David Maier Karen Zinsmaster and Stanley Elizabeth Stoessl Don and Linda Van Wart Cohen Murray N. Stone Ryan Vanden Brink Anonymous (3) Carolann Stoney Patricia Varas Houwen Straus Stella Voreas List as of 2/27/2014 Larry and Pat Strausbaugh Brad Wagner John Sunier SPECIAL THANKS TO OUR PARTNERS AND SPONSORS

88 Marketing Consulate General of Poland, Los Henry Lea Hillman, Jr. Foundation Mario’s PDX Pipeline Rialto Films 94.7 FM Angeles Higgins Marylhurst University Peter Corvallis Productions Rialto Pictures/Studiocanal Academy of Motion Picture Consulate General of Sweden, Holzman Foundation McMenamins Picture This Production Services Ritz Family Foundation Arts and Sciences Archival San Francisco Honest Tea Mercedes-Benz of Portland/ Polish Library Association Romanian American Society Foundation Consulate General of Hong Kong Economic and Trade smart center Portland Poplandia Popcorn Royal Norwegian Consulate Switzerland, San Francisco Ace Hotel Office Mission Control Portland Alliance General, San Francisco Alaska Airlines Consulate General of the Czech Hotel deLuxe Missionary Chocolates Sammy’s Flowers Republic, Los Angeles Portland Area Global AIDS All Classical Portland Hotel Modera Mittleman Jewish Community Coalition Sandstrom Partners Consulate of Mexico, Portland Alliance Française de Portland Human Rights Watch Center Portland Art Museum Sapporo USA Anvil Media Council of Filipino American Music Millennium Associations Icelandic National League of Portland Brewing Company ScanDesign Foundation Artists Repertory Theatre North America MusicFestNW CRASH Portland Chapter of Hadassah Scandinavian Heritage Artslandia/Playbills NW Institute for Judaic Studies National Endowment for the Arts Foundation Creative Music Guild Portland Institute for Austrian Consulate General, Los Italian Cultural Institute, San Nel Centro Contemporary Art Shigezo Criterion Cast Angeles Francisco New Sweden Cultural Heritage Portland Japanese Garden Southpark Seafood Grill Day and Koch LLP Autzen Foundation Italian Film Commission, Los Society Portland Jazz Festival SP Newsprint Delivered Dish BedMart Angeles Ninkasi Brewing Company Portland Jewish Academy Steven Smith Teamaker Delta Airlines Bent Image Lab J Street Portland Oregon Arts Commission Portland Mercury Stone Barn Brandyworks Diane Solomon Family Fund Bicycle Transportation Alliance Jackson Foundation Oregon Consular Corps Portland Radio Project Stumptown Coffee BodyVox Dance Doctors Without Borders/ James F. and Marion L. Miller Oregon Cultural Trust Médecins Sans Frontières Portland State University English The Oregonian Bon Appetit Foundation Oregon Episcopal School Department DRY Soda TV5Monde USA British Film Institute Japan America Society of Oregon Oregon Health & Science Portland State University Embassy of France UCLA Film & Television Archive Car2Go Japan Foundation, Los Angeles University Portland Center for Public Espe Floral and Foliage University of Oregon Departments Cascade AIDS Project Jerry Eckstein, CPA Oregon Historical Society Humanities of Cinema Studies and Romance Finlandia Foundation Cedar Sinai Park Jewish Federation of Greater Oregon Israel Business Alliance Portland State University School Languages Frank Hood Fund of the Oregon Portland Oregon Israel Community of Theatre & Film Walker Chipotle Mexican Grill Community Foundation John D. and Catherine T. Foundation Portland-Iasi Sister City Wheeler Foundation Cinema 21 French American Cultural Society MacArthur Foundation Association Cinemagic Oregon Jewish Museum Wieden+Kennedy French American International Journal Graphics Oregon Korea Foundation Portland-Sapporo Sister City Cinema Pacific Film Festival School Association Willamette Week KBOO Oregon Museum of Science and City Club of Portland Gary M. Anderson Childrens Poster Child Events Women in Film PDX/Faerie KIND Healthy Snacks Industry Godmother Fund Conseil des arts et des lettres du Foundation PosterGarden King Estate Winery Oregon Music News World Affairs Council of Oregon Quebec German Consulate General, San King Family Foundation Pro Photo Supply Francisco Oregon Nikkei Legacy Endowment World Trade Center Consular Office of Japan, KINK FM QDoc: Portland Queer Portland Governor’s Office of Film & Oregon State Bar, International Yale Union KMHD Law Section Documentary Film Festival Consulate General of France, San Television Yelp! Portland KZME Oregon State University Quebec Government Office, Francisco Gracie’s Restaurant Los Angeles Your Own French Home LAIKA Languages Department Consulate General of Israel to Harold & Arlene Schnitzer CARE Reed College Zeitgeist Northwest Lamb-Baldwin Foundation Pacific University MFA in Writing the Pacific Northwest, San Foundation Regal Cinemas ZGF Architects Francisco Park Circus/ITV Hasson Realty Lane Powell PC Zidell Yards Paul G. Allen Family Foundation Regional Arts and Culture Council

NWFILM.ORG 503-221-1156 APRIL/MAY 2014 NORTHWEST FILM CENTER PAGE 19 FILM CALENDAR APRIL/MAY 2014 NWFilmCenter FILMS SCREENED AT NORTHWEST FILM CENTER • WHITSELL AUDITORIUM PORTLAND ART MUSEUM 1219 SW PARK AVENUE

SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY support the NW Film Center! 1 2 7 PM 3 7 PM & 9 PM 4 7 PM & 9 PM 5 Join the silver screen CLub ICH HUNGER (P.3) THE LADY FROM THE LADY FROM SHANGHAI (P.5) makeS A great gift! SHANGHAI (P.5) SEE nwfilm.org or call 503-221-1156 for details APRIL 6:30 PM 6 7 6:30 PM 8 9 7 PM 10 7 PM 11 6:30 PM 12 ROCCO AND HIS SCHOOL OF ROMANTIC FAUST (P.5) THE NEW RIJKSMUSEUM (P.5) BROTHERS (P.5) FILM CERTIFICATE MACABREDY: INFO NIGHT (P.12) SHORT FILMS BY DAVE HANAGAN (P.3) 2 PM 13 6 PM 14 7 PM 15 16 7 PM 17 7 PM 18 5 PM 19 THE NEW THE NEW SELECTED 3 THE BEST OF THE NORTHERN LIGHTS THE BEST OF THE 40TH RIJKSMUSEUM (P.5) RIJKSMUSEUM (P.5) 40TH NORTHWEST (P.6 ) NORTHWEST FILMMAKERS’ 7 PM (P.5) FILMMAKERS’ 9 PM FESTIVAL (P.3 ) FAUST (P.5) FESTIVAL (P.3 ) A SPELL TO WARD 7 PM & 9 PM OFF THE DARKNESS A SPELL TO WARD OFF THE APARAJITO P.15 (P.6 ) DARK NESS (P.6 ) 7 PM 20 21 6 PM 22 7 PM 23 7:30 PM 24 8 PM 25 8 PM 26 NORTHERN LIGHTS STUDENT WINTER IN THE WITH MORNING THE MARCH APPROVED FOR ADOPTION (P.6) (P.6 ) ACADEMY BLOOD (P.3 ) HEARTS (P.6 ) FOLLOWED BY AWARDS A FEW NOTES REGIONAL ONE ON OUR FOOD FINALS (P.6 ) PROBLEM (P.6) 7 PM 27 28 29 30 7 PM 1 8 PM 2 7 PM 3 WINTER IN THE ONE LAST HUG AND HAWAII (P.15) FREE ANGELA AND ALL POLITICAL BLOOD (P.3 ) A FEW SMOOCHES: PRISONERS (P.15) THREE DAYS AT GRIEF CAMP POLA X PRECEDED BY P.4 THE FINAL INCH (P.3) MAY 4:45 PM 4 5 7 PM 6 7 PM 7 7 PM 8 9 2 PM 10 FREE ANGELA AND A STANDING PATHER APARAJITO PATHER PANCHALI ALL POLITICAL STILL (P.3) PANCHALI (THE UNVANQUISHED) (SONG OF THE LITTLE ROAD) PRISONERS (P.15) (SONG OF THE (P.15) (P.15) 7 PM LITTLE ROAD) 4:30 PM HUBLEY CLASSICS (P.15) APARAJITO (P.15) (THE UNVANQUISHED) (P.15) 7 PM APUR SANSAR (THE WORLD OF APU) (P.15) SPECIAL DOUBLE OR TRIPLE FEATURE PRICING! 4:45 PM 11 12 13 7 PM 14 7:30 PM 15 7 PM 16 7 PM 17 APUR SANSAR OPEN OPENING NIGHT: QDOC THIS AIN’T NO THIS AIN’T NO MOUSE MUSIC! (THE WORLD OF APU) SCREENING THE CASE AGAINST MOUSE MUSIC! (P.16 ) (P.15) (P.3 ) 8 (P.16 ) (P.16 ) 7 PM THE COSMIC EYE (P.16) 7 PM 18 19 20 21 7 PM 22 6:45 PM 23 6 PM 24 OPEN ROAD (P.3) BLUEBERRY SOUP BOY MEETS GIRL MAUVAIS SANG (BAD BLOOD) (P.4) (P.3 ) (P.4) 8:45 PM 9 PM BOY MEETS GIRL (P.4) APPROVED FOR MAUVAIS SANG ADOPTION P.6 (BAD BLOOD) (P.4) 4:30 PM 25 26 27 28 7 PM 29 7 PM 30 7 PM 31 MAUVAIS SANG LES AMANTS DU POLA X (P.4) HOLY MOTORS (P.4) (BAD BLOOD) (P.4) PONT-NEUF 7 PM (THE LOVERS ON BOY MEETS GIRL (P.4) THE BRIDGE) (P.4) HOLY MOTORS P.4 4:30 PM 1 2 3 4 7 PM 5 7 PM 6 4:30 PM 7 LES AMANTS THE REACH OF AI WEIWEI:THE WINTER TERM STUDENT DU PONT-NEUF RESONANCE (P.16 ) FAKE CASE (P.16) SCREENING (P.12) (THE LOVERS ON 7 PM THE BRIDGE) (P.4) AI WEIWEI:THE FAKE CASE (P.16) 7:15 PM POLA X (P.4) JUNE THE BEST OF THE 40TH 8 9 COMING SOON: PORTLAND JEWISH FILM FESTIVAL, NEW CZECH CINEMA, TOP DOWN: ROOFTOP CINEMA NORTHWEST FILMMAKERS’ FESTIVAL P.3 $9 GENERAL BOX OFFICE OPENS 30 minutes before showtime. $8 PAM MEMBERS/ ADVANCE TICKETS are available online at nwfilm.org. 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. Special admission prices may apply.