Engauge 2024 – Light and Land, Ocean and Sky [In-Person Only]
INDIVIDUAL FILM PROGRAM TICKETS:
- $14 General Admission
- $10 Student/Child/Senior
- $7 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!
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:
Study for Three Streams
(Kyujae Park | 5:15 | S. Korea | b + w | sound | 16mm to digital | 2024)
Filmed at Hongjecheon in Seoul, Mokgamcheon in Gwangmyeong, and Gulpocheon in Incheon, the film captures the impressions of three streams in three different cities. Each of the three streams intersects and overlaps with images of the filmmaker’s own body.
Crushed Between Ocean and Sky
(Ella Morton | 24:39 | Canada | b + w | sound | 16mm to digital | 2023)
An unexpected event on a tall ship headed for Antarctica incites passengers to reflect on life, death, adventure and irony against the vast ocean backdrop. “Crushed Between Ocean and Sky “speaks to the transcendence of exploring new places, the power of nature and life’s brutal twists of fate.
DiElectric Drift
(David Sherman | 6:30 | USA | b + w | sound | 16mm to digital | 2024)
A charged meditation on impermanence and entropy explored through Robert Smithson’s Spiral Jetty and early video art. Using hand processed 16mm film and analog video synthesis, DiElectric Drift asks what an artist is capable of creating in time, and what do monumental yet fleeting gestures ultimately mean.
Ulía
(Laura Moreno Bueno | 13:20 | Spain | color | sound | 16mm to digital | 2024)
A collage constructed from the frame that proposes to unite different places from the distortions of space, enclosing different landscapes in the same frame. Creating non-existent but potentially real landscapes.
Light and Land
(Kyath Battie | 7:23 | Canada | color | sound | 16mm to ditial | 2023)
The contrasting topographies in “Light and Land” disrupt familiar visions of Canadian landscapes so that the specifics of each scene is understood in more complex terms. Lingering somewhere between fantasy and realism, this futuristic documentary underscores atmospheric phenomenon within mysterious environmental incongruence.
Terminal Island
(Sam Drake | 12:51 | USA | Color | sound | 16mm to digital | 2024)
Los Angeles as a nexus for seismic rupture and ecological dread. A lament for vanishing palms and a sermon on Doomsday infrastructure delivered to no one. A radio broadcast, interrupted by an earthquake, speaks to hopeful solidarity.
sunspots, burnt into my heart
(Craig Sheihing | 2:14 | USA | color | sound | 16mm to digital | 2023)
a play on the light, lost in the woods, longing.
Light, Noise, Smoke and Light, Noise and Smoke
(Tomonari Niskikawa | 6:00 | Japan | color | sound | 16mm | 2023)
Fireworks were shot at a summer festival in Japan with a Super 16 format camera in order to obtain images on the optical soundtrack area on the filmstrip. The position of the photocell to read the visual information on the optical soundtrack area in a 16mm film projector is 26 frames in advance of the position of the gate to project the image. Each footage from 2 rolls of 16mm film were cut into shots of 26 frames each, and the shots were alternated from one roll to another, which would further separate the sound and visual, while producing a distinct rhythm throughout the film.
