Engauge 2024 – Live Music and Film [In-Person Only]
INDIVIDUAL FILM PROGRAM TICKETS:
- $18 General Admission
- $13 NWFF/SIFF/GI/PCNW member
FULL-DAY PASSES:
(two film programs + one special event; for either Friday or Saturday)
- $40 General
- $30 Student/Child/Senior
- $20 NWFF/SIFF/GI/PCNW member
FULL FESTIVAL PASSES:
(includes Lori Goldston & Friends performance!)
- $60 General
- $50 Student/Child/Senior
- $40 NWFF/SIFF/GI/PCNW member
On Film
Screening on film!
Visiting Artist
** Filmmakers in attendance! **
About
Filmmakers in the program find inspiration in the body, an even closer, more readily available and intimate “landscape” for exploration. This program features four films shown as 16mm prints.
All films will be scored live by legendary PNW musician Lori Goldston, as well as other musicians joining her for this special, one night only, improvised performance.
Ticketing, concessions, cinemas, restrooms, and our public edit lab are located on Northwest Film Forum’s ground floor, which is wheelchair accessible. All doors in Northwest Film Forum are non-motorized, and may require staff assistance to open. Our upstairs workshop room is not 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. Also available at the front desk is a Sensory Kit you can borrow, which includes a Communication Card, noise-reducing headphones, and fidget toys.
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 cris@nwfilmforum.org. Our phone number (206-329-2629) is voicemail-only, but we check it often.
Made possible due to a grant from Seattle Office of Arts & Culture, in partnership with Sensory Access, our Sensory Access document presents a visual and descriptive walk-through of the NWFF space. View it in advance of attending an in-person event at bit.ly/nwffsocialnarrativepdf, in order to prepare yourself for the experience.
NWFF patrons will be strongly encouraged to wear masks that cover both nose and mouth while in the building. Disposable masks are available at the door for those who need them. Recent variants of COVID-19 readily infect and spread between individuals regardless of vaccination status.
Read more about NWFF’s policies regarding cleaning, masks, and capacity limitations here.
- Purchase your ticket through Brown Paper Tickets; come to the show!
- You can also purchase a ticket on the day of the screening at Northwest Film Forum’s box office (1515 12th Ave, Seattle).
- If you have purchased a Full Festival Pass or Full Day Pass, we’ll be able to look you up at Will Call by the name you purchased under.
- Film programs in the 2024 edition of Engauge will not be available for virtual viewing.
Films in this program:
Clear Ice Fern
(Mark Street | 12:00 | USA | color | sound muted | Super 8 mm to digital | 2023)
Images shot through architectural glass on Super 8 film in the dead of night in NYC. The title refers to one of the glass samples I used to frame up images of Times Square and other nightspots in NYC. The city peeks its head in as an off-screen character, but the glass bends and twists it in its own warped and wonderful way.
That I Have Broken Into Two
(Ellery Bryan | 2:38 | USA | b + w | silent | 16mm to digital | 2022)
Made following the death of my former partner, this film uses double exposure and half-processed 16mm film to explore the feeling of removal, division, and loss. Splitting the screen across a threshold, my performance attempts to interface with another side.
Unity Island
(Carl J. Lee | 13:30 | USA | color | sound muted | 16mm to digital | 2023)
“Unity Island” looks at 1/4 square mile stretch of land situated between Niagara River and Black Rock Canal at the border of Buffalo, NY and Fort Erie, Ontario. A railroad traverses the island from Canada to the U.S. passing by a park visited by picnickers, bicyclists, and fishermen. I’ve been going there for walks with our dog for years. Freight trains cross a swing bridge over the canal which rotates open for boats and the occasional freight ship. A hill sits on the former site of an incineration plant and garbage dump. From there you can get a 360° view of the island, the city, the river, and the highway. Shot on 16mm film, “Unity Island” is a personal exploration of the site over time: its beauty, its moments, and its contradictions.
Shedding
(Vicky Smith | 4:19 | United Kingdom | b + w | silent | 16mm | 2024)
Multiple passes of hand processed 16mm film, with some flash frames. A performance for the Bolex camera in which dimensions of stasis and movement are physically enacted by filming at varying frame rates. A still figure, saturated with light, appears to be highly overexposed. As layers of the image dislodge it becomes apparent that the exposure is correct, and that the brightness is caused through multiple superimpositions.
Everything Comes Full Circle
(Lilan Yang | 13:44 | USA | color | silent | 16mm | 2022)
Following Wim Wenders’ Paris, Texas (1984) filming locations from Houston, Texas to Los Angeles, California, I use a 16mm Bolex camera to capture the vastness of the American West. The footage draws me to reminisce about snippets of my everyday life. I contemplate how we perceive the world through analog optical apparatuses and how memories are multidimensional yet fragile. Our recollections of people and places can be distorted, unrecognizable, and fictitious. These memories would eventually diminish with the passing of time. “Everything Comes Full Circle” is a personal attempt to remember things that will soon be forgotten. The original footage was shot in Kodak 16mm film stocks during the summer of 2021 and edited digitally with voiceover. Later the digital moving images were inkjet printed on clear film spliced together with perforations cut out with a laser cutter. Each run of the projection makes the printer ink slowly melt, and the film will eventually fall into decay over the course of time.
Bosco
(Lucie Leszez + Stefano Canara | 8:00 | France | b + w | silent | 16mm | 2023)
Three filmmakers bring back images of the forest, they are are reworked and destructured with the means of the photochemical laboratory. Bosco is a visual breakthrough punctuated by a contrasted hypnotic black and white palatte.
