Event
Engauge 2024 My Front Window [In-Person Only]
Sat Nov 9: 3.30pm PDT
Festival - Engauge Experimental Film Festival 2024 [In-Person Only]
On Film
(80 min TRT)
Filmmakers in the program find their inspiration very close to home: they use their immediate surroundings as a starting place or initial seed for their filmmaking. Either way, these films feature a variety of approaches and resonate with a strong sense of place. Six of these films will be shown as 16mm prints.
Films In This Program:
Hypnogogia
(Cecilia Araneda | 4:37 | Canada | b + w | sound | 16mm to digital | 2024)
In the space between sleep and wake, hallucinations and moments of paralysis take hold. Hypnagogia is an exercise in eco-processing, with the film footage processed with multiple different organic material, including apples, avocado peel, coffee, grapes, peaches, pomegranate and wine.
In the City with Aphrodite
(Brandy Creek | 5:12 | USA | Color | sound | Super 8mm to digital | 2024)
Experimental film set to Aphrodite In Alba by Jeffrey Campbell. A sunny afternoon on Baltimore City where little girls play in pink bathing suits. The sky above is not just blue and sunny, it also seemingly dances with them and mimics their day.
. . .in darkness there is light
(Daniel Maldonado | 12:45 | USA | Color | sound | Super 8, 16 & 35mm to digital | 2024)
Embracing the eternal harmony of light and darkness' ephemeral dance, "...in darkness there is light" draws upon the fragility of life and celluloid. It is a handcrafted film elegy told as a textured visual haiku centered on the iconic #7 subway train in New York City. A literal manifestation of sound and light, It is also a portrait on healing through time, bathed in silhouettes and locomotion. Celluloid and subway tracks merge through emotional color abstractions for which hungry ghosts find transcendence. Recorded sound vibrations and pinhole cinematography capture a time & place forever etched in our history. With a score masterfully crafted by composer, Mike Vernusky, the film is a cinematic lament on presence within absence dedicated to a community.
Her Backyard/My Front Window
(Billy Palumbo | 3:36 | USA | b + w & color | sound | 16mm to digital | 2023)
Through the thresholds and portals of memory, spaces and time blur and shatter.
Mary Bauermeister: Light and Stone
(Baba Hillman | 3:45 | France | color | sound | Super 8mm to digital | 2023)
Remembering my last visit with Mary in her garden of light, trees, glass and stone.
Promised Land
(Teresita Carson | 9:00 | USA | b + w | sound | Super 8mm to digital | 2023)
I approached this project as a performancean embodiment of Albers as a Modernist from a distant future. I went on excursions to discover the built environment in Chicagos South Side. The main question became: How would I, as an archeologist from the future, treat modernist ruins? I took more than 1,000 photos, cut them up and arranged them in photocollages. I made abstract drawings by extracting the lines and forms suggested by the collages. Through a process of quotation, I aimed to recycle and break down an existing form, and to construct a new text, a counter-archive, with the debris. I took it even farther. I filmed the Modernist buildings, explored them with an induction microphone, and recorded their electromagnetic sounds. The result is a moving collage entitled, Promised Land. The manipulation of the moving image resulted in a new, productive form for me and expanded my understanding of cinematic movement through an ensemble of scores, abstractions, and rhythms. My intent now is to create experimental cinema of temporal, political and ecological agitationone that creates and appropriates parallel sensory, perceptual, poetic and speculative structures within existing structures.
Iris
(Sheri Wills | 8:47 | USA | color | sound | 16mm found footage to digital | 2023)
'Iris' uses found 16mm footage, original tape loops, and vintage recordings to explore attention, suspension, and the slippage between language, music, and aural phantoms all focused outside of the boundaries of the recommended range. In early cinema the iris shot was used to gradually begin or end a scene and to focus audiences' attention on something of importance in the shot; it mimics the opening and closing iris in the human eye.
Who Has Seen the Wind?
(Panu Johansson | 5:00 | Finland | color | sound | Super 8mm to digital | 2023)
How does it feel to live next to 170 year old creatures? This short impressionistic film documents an old forest area called Mortin männikkö in Rovaniemi, Northern Finland. As an array of glimpses and moments the film tries to summarize a decade of life next to this vivid & forested tableau vivant. The Poem: Who Has Seen the Wind? Who has seen the wind? Neither I nor you: But when the leaves hang trembling, The wind is passing through. Who has seen the wind? Neither you nor I: But when the trees bow down their heads, The wind is passing by. Christina Rossetti, 1872.
Ahora y en la hora de nuestra muerte (Now and in the time of our death)
(Sebastian Vaccaris | Australia | color | sound | 16mm | 2024)
Observing all the world in a flower; an ecstatic study of colour, a hum of petals opening, a cacophony of bells and saintly icons. Ahora y en la hora de nuestra muerte is a hymn to the universal found in the minutiae of nature
Holographic Will
(Mike Stolz | 5:15 | USA | color | sound | 16mm | 2023)
STROBE/FLICKER WARNING
A domestic swirl filmed while the building was being sold. How much longer can we afford to stay? A kaleidoscopic portrait of destabilization during the struggle to stay in a rent-controlled apartment amidst an affordable housing crisis. Shot frame-by-frame, moving the camera between every image. Single frames move forward in time, creating after-image combinations without superimpositions. A phased drum machine soundtrack emphasizes the percussive quality of the image. (With gratitude to neighbors and the Los Angeles Tenants Union Northeast Local.)
Babbler, Fairy and Thrush
(Karel Doing | 3:44 | United Kingdom | b + w | sound | 16mm | 2022)
An unfiltered stream of perception: small objects and grand panoramas appear simultaneously. The certainties of near and far, detail and overview, inside and outside are deliberately thrown into confusion. Aided by in camera superimposition and travelling mattes a near abstract experience is created. Sunlight filters through semi-transparent surfaces, while small holes and cracks allow the light to travel unrestrained. The work was conceived and shot within a few hundred yards from my house, focusing on the plants, flowers, trees and ferns that grow around me.The soundtrack is composed with noises and voices from that same area, revealing a further abundance of life.
A Shifting Pattern
(Isaac Sherman | 6:00 | USA | color | sound | 16mm | 2023)
THIS FILM CONTAINS SOME STROBING IMAGES.
A collected geography of local flora; appearing, disappearing, reappearing, enmeshing. Afterimage becomes before-image, physiology and pathology at play. The will to walk aimlessly, rejuvenated, as stasis turns to movement and back again. *Please note* - The afterimage effect in this film is drastically improved when viewed in a very dark room. - Music: Nicole McCabesaxophone; Alex Babbitt flute; Isaac Shermansynthesizers, composition. Thank you: Mike Stoltz, Alee Peoples, Colin Brant, Natalja Kent, Farhad Ebrahimi.
Gab
(Hogan Seidel | 3:14 | USA | color | sound | 16mm | 2024)
This piece continues my exploration of nature alongside significant queer individuals in my life. Filmed across various forests, arboretums, and gardens in Seattle and Vancouver with artist and friend Gabby Follett, this film employs intricate visual layering, hand-processed film, and biofeedback sound to delve into themes of queer ecology. The work celebrates the beauty of non-hierarchical, non-binary, and non-human-centric ways of experiencing queerness in and as part of nature.
To Open a Window
(Craig Scheihing | 2:19 | USA | color | sound | 16mm | 2024)
A mirrored window makes a suggestion.
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LocationNorthwest Film Forum (View)
1515 12th Ave.
Seattle, WA 98122
United States
Categories
| Non-Smoking: Yes! |
| Wheelchair Accessible: Yes! |
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Contact
Accessibility
Ticketing, concessions, cinemas, restrooms, and our public edit lab are located on Northwest Film Forum's ground floor, which is wheelchair accessible. We have a limited number of assistive listening devices available for programs hosted in our larger theater, Cinema 1. These devices are maintained by the Technical Director, and can be requested at the ticketing and concessions counter.
The Forum does NOT have assistive devices for the visually impaired, and is not (yet) a scent-free venue. Our commitment to increasing access for our audiences is ongoing, and we welcome all public input on the subject!
If you have additional specific questions about accessibility at our venue, please contact our Patron Services Manager at maria@nwfilmforum.org
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