Newsroom
Calendar
   
ABOUT US
SUPPORT US
SPONSORS
PORTLAND ART MUSEUM

eNewsletter Sign-Up

Silver Screen Club


VENUES AND TICKETS
Whitsell Auditorium
1219 SW Park Avenue
Portland, OR 97205

The Box Office opens 30 minutes prior to showtime.

PARKING

ADMISSION PRICES
$9 General
$8 PAM Members, Students, Seniors
$6 Friends of the Film Center

Tickets are now available online. Click on the 'Buy Tickets' links to buy online.

BOOK OF TEN TICKETS
$50 Buy Here

THE 10-MINUTE RULE
Seats for advance ticket and pass holders are held until 10 minutes before showtime, when any unfilled seats are released to the public. Thus, advance tickets or passes ensure that you will not have to wait in the ticket purchase line but do not guarantee a seat in the case of arrival after the 10-minute window has begun. Your early arrival also helps get screenings started promptly. We appreciate your understanding. Advance ticket holders who arrive within the 10-minute window but are not seated may exchange their tickets for another screening at the Ticket Outlet or obtain a cash refund at the theater. There are no refunds or exchanges for late arrivals or for missed screenings.



   
Schedule Archives
Festivals Archive

2014
Volume 4
Volume 3
Volume 2
Volume 1

2013
Volume 6
Volume 5
Volume 4
Volume 2
Volume 1

2012
Volume 6
Volume 5
Volume 4
Volume 3
Volume 1

2011
Volume 6
Volume 5
Volume 4
Volume 3
Volume 1

2010
Volume 6
Volume 5
Volume 4
Volume 3
Volume 1

2009
Volume 5
Volume 4
Volume 3
Volume 2
Volume 1

2008
Volume 6
Volume 5
Volume 4
Volume 3
Volume 1

2007
Volume 7
Volume 6
Volume 5
Volume 4
Volume 3
Volume 1

2006
Volume 6
Volume 5
Volume 4
Volume 2
Volume 1

2005
Volume 5
Volume 4
Volume 3
Volume 2
Volume 1

2004
Volume 6
Volume 5
Volume 4
Volume 3
Volume 2
Volume 1

2003
Volume 5
Volume 4
Volume 3
Volume 2
Volume 1

2002
Volume 4
Volume 3
Volume 2
Volume 1

2001
Volume 5
Volume 4
Volume 3
Volume 2
Volume 1

2000
Volume 4
Volume 3
Volume 2
Volume 1

1999
Volume 5
Volume 4
Volume 3
Volume 2
Volume 1

1998
Volume 5
Volume 4
Volume 3
Special Screenings


Sat, Apr 23, 2011
at 7 PM

Sun, Apr 24, 2011
at 4 PM

Sun, Apr 24, 2011
at 7 PM

Watch Trailer
Read Review
SECRET SUNSHINE
DIRECTOR: LEE CHANG-DONG
SOUTH KOREA, 2007

“SECRET SUNSHINE is that rare movie that possesses the richness and complexity of a great novel, revealing new layers as it unfolds. A recent widow (Jeon Do-Yeon) and her young son adjust to life in a small country town after relocating from Seoul. Then, abruptly and without warning, the film shifts into thriller territory, only to end as a devastating study in human suffering (albeit one with dark comic overtones). Lee Chang-Dong (PEPPERMINT CANDY, GREEN FISH) navigates his switchblade reversals of comedy and despair, darkness and light, with a master’s grace, as does Jeon in a revelatory performance for which she won the Best Actress prize at that year’s Cannes Film Festival.”—New York Film Festival. (142 mins.)

With community support from the Oregon Korea Foundation.


^ Top

Tue, Apr 26, 2011
at 6 PM

38TH ANNUAL STUDENT ACADEMY AWARDS: REGION ONE FINALS

Each year, the Northwest Film Center conducts the regional jurying of the entries to the annual Academy of Motion Picture Arts and Sciences® Student Academy Awards. Students from colleges and universities in California, Oregon, Washington, Idaho, Montana, Nevada, Wyoming, Alaska, and Hawaii vie for a regional award this evening, thereby securing advancement to the national finalists’ competition in Los Angeles juried by Academy members. Assess for yourself the quality of animated, narrative, documentary, and experimental films being produced at some of the top film schools in the nation and watch alongside our panel of distinguished judges looking for outstanding student work. (120 mins.)

FREE ADMISSION

^ Top

Wed, Apr 27, 2011
at 7 PM

Thu, Apr 28, 2011
at 7 PM

Watch Trailer
THE VISUAL LANGUAGE OF HERBERT MATTER
DIRECTOR: RETO CADUFF
SWITZERLAND, 2010

VISITING ARTIST—Herbert Matter was a man who seemingly fit many lives into one by excelling in the creative disciplines of design, photography, and film. One of the quintessential “Mad Men,” Matter was design director at Knoll Furniture, designed the identity for the New Haven Railroad, did Vogue covers, was a teacher at Yale, collaborated with Charles and Ray Eames, made a film on Alexander Calder, and even influenced the drip paintings by Jackson Pollock. Matter’s trail to fame was a series of photo-montage posters he designed in the early ’30s for the Swiss Tourism Office. Once in New York, he was hired by Alexey Brodovitch to work for Harper’s Bazaar and from there embarked on a dizzying creative journey. Caduff traces Matter’s incredible career in Europe and the US and the influence he had on a whole generation of  influential designers. With: Robert Frank, Massimo Vignelli, Jessica Helfand, Lorraine Wild, Alvin Eisenman, and many others. (78 mins.)

Director Reto Caduff will introduce the film.

With community support from AIGA Portland.


^ Top

Fri, Apr 29, 2011
at 7 PM

Fri, Apr 29, 2011
at 9 PM

Sat, Apr 30, 2011
at 7 PM

Sat, Apr 30, 2011
at 9 PM

Sun, May 1, 2011
at 4:30 PM

Sun, May 1, 2011
at 7 PM

Watch Trailer
Read Review
PHIL OCHS: THERE BUT FOR FORTUNE
DIRECTOR: KENNETH BOWSER
US, 2010

Phil Ochs (1940-1976) rose to fame in the early 1960s during the height of the folk and protest song movement. His music, with lyrics ripped straight from daily headlines, spoke to those who hoped and fought for change. From protesting the Vietnam War to supporting striking miners, from his attacks on sitting presidents to mocking the politically disinterested, Ochs pierced the heart of the political establishment with fierce musical satire and righteous analysis. The arc of Ochs’ life paralleled that of the times, and the anger, satire, and righteous indignation that drove his music also drove him to dark despair. Bowser weaves interviews, photographs, and performance footage of Ochs with the ruminations of Joan Baez, Tom Hayden, Pete Seeger, Sean Penn, Peter Yarrow, Christopher Hitchens, Ed Sanders, and others to fashion a moving portrait of a spirit whose influence lives on in artists as diverse as Pearl Jam, Ani DiFranco, Billy Bragg, and They Might Be Giants. (96 mins.)

With community support from Portland Folk Music Society, KBOO, and Oregon Music News.


^ Top

Tue, May 10, 2011
at 7 PM

Watch Trailer
Read Review
MEMORIES OF OVERDEVELOPMENT
DIRECTOR: MIGUEL COYULA
US/CUBA, 2010

VISITING ARTIST—“What happens when a socialist revolutionary intellectual asserts creative freedom? In Memories of Overdevelopment, ideological clashes and contradictions explode and fragment within a Cuban émigré while they spurt across the world stage. A kinetic, mesmerizing, subliminal collage, the film forges new cinematic dimensions with multiple planes fueling each other: a picaresque saga of desire and decomposition, a self-reflexive formal project about art reifying life and vice versa, a surreal foray into memory and the unconscious, and a searing critique of twentieth century forces like genocide and totalitarianism. Shot with psychedelic lucidity, the narrative evolves from our rogue’s Cuban boyhood, when the Revolution and his aunt’s dying wish for a kiss become formative fodder and iconographic propaganda. He constructs and deconstructs reality—manipulating language, image, and sound with his computer, camera, recorder, and X-Acto knife—to manufacture the very art we’re consuming. As he careens from youth to old age in elliptical swirls of misadventure, elusive pleasures of collectivity and individualism give way to existential truth.”—Sundance Film Festival. (113 mins.)

Director Miguel Coyula will introduce the film.


^ Top

Sat, May 14, 2011
at 5 PM

OPEN ENGAGEMENT CONFERENCE AND THE NORTHWEST FILM CENTER PRESENT TRUE STORIES: SOCIAL PRACTICE AND REINVENTING REALISM

VISITING ARTISTS—What is a documentary practice in an era of conflict and contradicting realities? TRUE STORIES is a collection of shorts by four contemporary artists whose work explores social relations and collaboration through documentary film and video. These works weave together artifice and authenticity by staging scenes, reenacting events, and activating experiences in an exploration of realism. Included in the program are NO FALSE ECHOES (2008), by Wendelien Van Oldenberg, which explores the efforts of the Dutch government to control radio broadcasting in its colonial control of Indonesia and the Dutch East Indies; THE FORBIDDEN ZONE (2000), Harrell Fletcher’s collaborative, multimedia work in which a man with Down syndrome is transported to a “Star Trek”-inspired planet where he can live with the illusion of being normal; and DEATH AND POVERTY (2008), by Althea Thauberger, an allegorical play which considers the complex recent history and fate of the small Ladin minority who live in the Dolomite area in northern Italy. (70 mins.)

TRUE STORIES is co-presented with the Open Engagement Conference, an initiative of Portland State University’s Art and Social Practice MFA concentration.


^ Top

Thu, May 19, 2011
at 7 PM

RADICAL LIGHT: ALTERNATIVE FILM AND VIDEO IN THE SAN FRANCISCO BAY AREA
THE SIXTIES

An avant garde cinema emerged in the Bay Area during the 1940s and 1950s—influenced by surrealism and centered around the San Francisco Art Institute—that has influenced personal and experimental media makers ever since. The era spawned such seminal filmmakers as Bruce Connor, Larry Jordan, James Broughton, Bruce Baille, Harry Smith, Jordan Belson, Gunvor Nelson, George Kuchar, and numerous other artists whose bodies of work form an essential cinema. The Pacific Film Archive’s first book, “Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945–2000,” edited by Steve Anker, Kathy Geritz, and Steve Seid, both chronicles the history and serves as inspiration for a film and video series that showcases key works, themes, and movements over a five-decade history. In addition to the two programs the Film Center is presenting, Cinema Project is screening programs May 16 and 17 focusing on earlier work of the period.

THE SIXTIES
DIRECTORS: VARIOUS
US, 1960-1969

The 1960s saw the explosion of avant garde and experimental film in an era when scores of filmmakers relished freedom of expression with often brazenly anti-establishment and always joyfully self-expressive works. This program is a journey through these revelatory and rebellious years and includes OH DEM WATERMELONS (1965), by Robert Nelson; SCHMEERGGUNTZ (1964), by Gunvor Nelson and Dorothy Wiley; DUO CONCERTANTES (1964), by Larry Jordan; I CHANGE I AM THE SAME (1969), by Alice Anne Parker Severson; RIVERBODY (1970), by Anne Parker Severson; VALENTIN DEL LA SIERRAS (1968), by Bruce Baillie; DOGGIE DINER AND THE RETURN OF DOGGIE DINER (1969), by Lenny Lipton; and THE BED (1968), by James Broughton. (85 mins.)

Tonight’s program will be introduced by Steve Seid, Video Curator, Berkeley Art Museum/Pacific Film Archive.

Book reading:
Join the Northwest Film Center, Cinema Project, and the Heathman Hotel Library on Thursday, May 19 at 5:30 p.m. for a reading and discussion with Steve Seid (Heathman Library, 1001 SW Broadway). Complimentary wine and hors d’oeuvres will be served.


^ Top

Fri, May 20, 2011
at 7 PM

RADICAL LIGHT: ALTERNATIVE FILM AND VIDEO IN THE SAN FRANCISCO BAY AREA
PUNK, ATTITUDINAL: FILM AND VIDEO, 1977 TO 1987

An avant garde cinema emerged in the Bay Area during the 1940s and 1950s—influenced by surrealism and centered around the San Francisco Art Institute—that has influenced personal and experimental media makers ever since. The era spawned such seminal filmmakers as Bruce Connor, Larry Jordan, James Broughton, Bruce Baille, Harry Smith, Jordan Belson, Gunvor Nelson, George Kuchar, and numerous other artists whose bodies of work form an essential cinema. The Pacific Film Archive’s first book, “Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945–2000,” edited by Steve Anker, Kathy Geritz, and Steve Seid, both chronicles the history and serves as inspiration for a film and video series that showcases key works, themes, and movements over a five-decade history. In addition to the two programs the Film Center is presenting, Cinema Project is screening programs May 16 and 17 focusing on earlier work of the period.

PUNK, ATTITUDINAL: FILM AND VIDEO, 1977 TO 1987
DIRECTORS: VARIOUS
US, 1977-1987

“Punk was more than the music. It was an attitude that swept through culture like an angry roar. It thundered in the Bay Area’s dank clubs, but it could also be detected in brash works made by bratty artists intent on aesthetic insurrection. Everything in this program is about loud.”—Steve Seid. The program includes: YOUR WORLD DIES SCREAMING (1981), by Dale Hoyt; DEAF/PUNK (1979), by Richard Gaikowski; HIGH FIDELITY (1987), Ivar Smedstad; THOUGHT CRIMES IN THE SATIATION POOL (1987), by Barney Haynes; THE UNITS’ TRAINING FILM (1980), by Scott Ryser and Rachel Webber; BRENT ASKE (1987), by Ivar Smedstad; THIRD REICH AND ROLL (1977), by The Residents; LOUDER, FASTER, SHORTER (1979), by Mindaugis Bagdon; DANCING DEATH MONSTERS (1981), by Dale Hoyt; and SELECTIONS FROM TARGET VIDEO (1977-1980), by Target Video. (85 mins.)

Tonight’s program will be introduced by Steve Seid, Video Curator, Berkeley Art Museum/Pacific Film Archive.


^ Top

Sat, May 21, 2011
at 7 PM

RICK PRELINGER PRESENTS THE LIVES OF ENERGY
DIRECTOR: RICK PRELINGER
US, 2010-2011

VISITING ARTIST—Tonight we welcome film historian and archivist Rick Prelinger for the first of two programs featuring “found film” treasures drawn from the Prelinger Archives. THE LIVES OF ENERGY is a reflective collage film that uses archival images and sounds to reconstruct a history of human interaction with energy. Tracing energy from its pre-human existence to the industrial age and beyond, the film counterposes the persuasions of the past with the limits of the present and the dreams of the future. “This film is a ‘slow collage.’ Collage has migrated from the arts and crafts we associate with folk culture into digital culture, speeding up and fragmenting along the way. This film speaks not in syllables or phonemes like the work of other, faster-paced filmmakers, but in paragraphs. It treats the life history of energy by breaking it up into epochs and presenting a kind of narrative built around the changing relationship of humans to energy.”—RP. (80 mins.)

Rick Prelinger will introduce the films.


^ Top

Sun, May 22, 2011
at 4 PM

RICK PRELINGER PRESENTS EATING, ENERGY, ENVIRONMENT: HOW WE GOT IT WRONG THE FIRST TIME
DIRECTOR: VARIOUS
US, 1949-2011

VISITING ARTIST—This program of short industrial, advertising, and educational films focuses on food as the center of a complex system enabled by mid-20th century science and industry. How did our perceptions of America’s food production system change from bounty to dread? And what can past corporate persuasions tell us about the present and the future? The program includes THE MAN IN THE DOORWAY (American Cyanamid, 1956), a dystopian parable explaining why societies starve and die; THE COLOR OF HEALTH (American Bakers Association, 1954), an existentialist epic on children and nutrition; the newly discovered vegetable-patch comedy GARDENING MADE EASY (Henry Charles, 1949); and other lost artifacts. As always, Prelinger’s insightful contextualization of these films in our culture makes one see them as more than just campy artifacts from another era. (80 mins.)

Rick Prelinger will introduce the films.


^ Top

Fri, May 27, 2011
at 7 PM

Sat, May 28, 2011
at 3:30 PM

Watch Trailer
Read Review
GREAT DIRECTORS
DIRECTOR: ANGELA ISMAILOS
US, 2009

Ismailos’ film features a treasure trove of film clips and conversations with ten of the world’s most interesting directors: Bernardo Bertolucci, David Lynch, Liliana Cavani, Stephen Frears, Agnes Varda, Ken Loach, Todd Haynes, Catherine Breillat, Richard Linklater, and John Sayles. Exploring the filmmakers’ artistic evolutions and personal identities, the role of politics and history in their work, and the agony and dilemmas in the creative process, GREAT DIRECTORS examines the challenges of being an artist in an age of commercialism and globalization in compelling fashion. (90 mins.)

^ Top

Sat, May 28, 2011
at 6 PM

Sun, May 29, 2011
at 11:30 AM

Sun, Jun 5, 2011
at 5:30 PM

Watch Trailer
Read Review
SHOAH - PART I
DIRECTOR: CLAUDE LANZMANN
FRANCE, 1985

On the occasion of its 25th anniversary, Claude Lanzmann’s landmark documentary, a sensation upon its release, remains on many critics’ lists of the greatest films—documentary or otherwise—ever made. Twelve years in production, SHOAH is a monumental meditation on the Holocaust, featuring moving interviews with survivors, bystanders, and perpetrators. The film does not contain any historical footage or voiceover narration but rather relies on witnesses whose testimony reincarnates the tragedy and the places where unimaginable crimes took place. Growing out of Lanzmann’s realization that the genocide was, after just 30 years, already retreating into the mists of time, his film confronts the truth while forging a timeless testimony and a new marriage of form and content. “Refusing to ‘reconstruct’ the past, Lanzmann compels viewers to imagine the unimaginable.”—J. Hoberman, Village Voice. “I consider SHOAH to be the greatest documentary about contemporary history ever made, bar none, and by far the greatest film I’ve ever seen about the Holocaust.” —Marcel Ophüls. (564 mins.)

Presented on a new 35mm print, the 9-1/2 hour film will be screened in two parts (two tickets).

Special admission: $10 per part; Silver Screen Club members $9.


^ Top

Sun, May 29, 2011
at 5 PM

Mon, Jun 6, 2011
at 6 PM

Watch Trailer
Read Review
SHOAH - PART II
DIRECTOR: CLAUDE LANZMANN
FRANCE, 1985

On the occasion of its 25th anniversary, Claude Lanzmann’s landmark documentary, a sensation upon its release, remains on many critics’ lists of the greatest films—documentary or otherwise—ever made. Twelve years in production, SHOAH is a monumental meditation on the Holocaust, featuring moving interviews with survivors, bystanders, and perpetrators. The film does not contain any historical footage or voiceover narration but rather relies on witnesses whose testimony reincarnates the tragedy and the places where unimaginable crimes took place. Growing out of Lanzmann’s realization that the genocide was, after just 30 years, already retreating into the mists of time, his film confronts the truth while forging a timeless testimony and a new marriage of form and content. “Refusing to ‘reconstruct’ the past, Lanzmann compels viewers to imagine the unimaginable.”—J. Hoberman, Village Voice. “I consider SHOAH to be the greatest documentary about contemporary history ever made, bar none, and by far the greatest film I’ve ever seen about the Holocaust.” —Marcel Ophüls. (564 mins.)

Presented on a new 35mm print, the 9-1/2 hour film will be screened in two parts (two tickets).

Special admission: $10 per part; Silver Screen Club members $9.


^ Top

Fri, Jun 3, 2011
at 7 PM

Fri, Jun 3, 2011
at 9 PM

Sat, Jun 4, 2011
at 7 PM

Sat, Jun 4, 2011
at 9 PM

Watch Trailer
Read Review
THE WORLD ACCORDING TO SHORTS - NINE NATION ANIMATION
DIRECTOR: VARIOUS

Drawn from award winners from Cannes, Berlin, Annecy, Clermont-Ferrand, and other short film showcases, these animated gems dazzle with their marriage of story and technique. The program includes: DECONSTRUCTION WORKERS (Kajsa Naess, Norway); AVERAGE 40 MATCHES (Burkay Dogan & M. Sakir Arslan, Turkey); BÂMIYÂN (Patrick Pleutin, France); PLEASE SAY SOMETHING (David O’Reilly, Ireland/Germany); FLATLIFE (Jonas Geirnaert, Belgium); SHE WHO MEASURES (Veljko Popavic, Croatia); HOME ROAD MOVIES (Robert Bradbrook, United Kingdom); THE TALE OF HOW (The Blackheart Gang, South Africa); and NEVER LIKE THE FIRST TIME! (Jonas Odell, Sweden). (82 mins.)

Adult content.


^ Top

Fri, Jun 10, 2011
at 7 PM

Sat, Jun 11, 2011
at 2 PM

SPACE, LAND, AND TIME: UNDERGROUND ADVENTURES WITH ANT FARM
DIRECTOR: ELIZABETH FEDERICI, LAURA HARRISON
US, 2010

VISITING ARTIST—The renegade 1970s art/architecture collective Ant Farm is perhaps best known for its iconic land-art piece Cadillac Ranch in Amarillo, Texas, now a celebrated American roadside attraction. Radical architects, video pioneers, and mordantly funny cultural commentators, the Ant Farmers also created a body of other deeply subversive work that questioned the boundaries of architecture and predicted many of the ideas and technologies we take for granted today. From inflatable living spaces and extreme home constructions to their infamous re-staging of the JFK assassination and such stellar events as 1975’s “Media Burn,” in which a customized Cadillac blasts through a mountain of flaming television sets in a San Francisco parking lot—Ant Farm inspired and amused in ways traceable in subsequent generations of artist and activists. (78 mins.)

Director Elizabeth Federici will introduce the film.


^ Top

Sat, Jun 18, 2011
at 7 PM

Watch Trailer
Read Review
CHAMBER MUSIC NORTHWEST AND THE NORTHWEST FILM CENTER PRESENT HITCHCOCK AND HERRMANN

This special music and film event pays tribute to one of the great film composers, Bernard Herrmann. At 7 p.m., David Shiffrin and Chamber Music Northwest festival artists will perform Herrmann’s “Souvenir de Voyages” for clarinet and strings and will briefly discuss Herrmann’s musical landscapes. At 8 p.m., following the performance and discussion, will be a screening of Alfred Hitchcock’s VERTIGO (1958), which features one of Herrmann’s most memorable Hitchcock scores. (120 mins.)

Advance tickets for the full evening are available from CMNW or the Film Center: $25 general; $15 Silver Screen Club members and students. Tickets for the 8 p.m. film only, if available, will be sold at the door. Film only tickets: regular admission prices and policies apply.


^ Top

Thu, Jun 23, 2011
at 7 PM

Sun, Jun 26, 2011
at 6:15 PM

Watch Trailer
Read Review
THE LEOPARD
DIRECTOR: LUCHINO VISCONTI
ITALY, 1963

Recently restored to the original 35mm splendor achieved by its famed director of photography, Giuseppe Rotunno, THE LEOPARD translates Giuseppe Tomasi di Lampedusa’s epic novel and the history it recounts into one of cinema’s grandest masterpieces. Visconti recreates, with nostalgia, drama, and opulence, the tumultuous years in the 1860s of Italy’s Risorgimento—when the aristocracy lost its iron grip and the middle classes rose and formed a unified, democratic Italy. Aging Sicilian prince Don Fabrizio (Burt Lancaster), seeing the waning fortunes of his aristocratic culture, places his bet on his ambitious and savvy nephew, Tancredi Falconeri (Alain Delon), as the family’s hope to continue its prestige, encouraging his marriage to the beautiful daughter (Claudia Cardinale) of a wealthy former peasant (Paolo Stoppa). “One of the greatest visual experiences in cinema.”—Martin Scorsese. “One of the most moving meditations on individual mortality in the history of cinema.” —Dave Kehr. (186 mins.)

^ Top

Fri, Jun 24, 2011
at 7 PM

Fri, Jun 24, 2011
at 9 PM

Sat, Jun 25, 2011
at 4:30 PM

Sat, Jun 25, 2011
at 7 PM

Sun, Jun 26, 2011
at 4 PM

Watch Trailer
Read Review
!WOMEN ART REVOLUTION
DIRECTOR: LYNN HERSHMAN-LEESON
US, 2010

In the 1960s, women artists formed Women Artists in Revolution (WAR), a coalition to cope with exclusion from museum exhibitions, art journals, educational literature, and historical documentation. The cost of this exclusion is still felt today. In 2006, even after the success of women artists such as Barbara Kreuger, Shirin Neshat, and Cindy Sherman, a poll of Whitney Museum patrons found that most of them could not name three women artists. Deftly combining reportage and personal memoir, !WOMEN ART REVOLUTION excavates the evolution of the feminist art movement in America through intimate interviews with many celebrated painters, performance artists, curators, and academics, filtered through Hershman-Leeson’s own interpretation as a front row observer for more than 40 years. The film also features an original score by Portland’s Carrie Brownstein, formerly of the band Sleater-Kinney and co-creator of “Portlandia.” (83 mins.)

With community support from Women in Film Portland and QDoc: Portland Queer Documentary Film Festival.


^ Top


   
© 2009-2014 NWFilmCenter  |  home  |  location  |  contact  |  info@nwfilm.org  |  p: 503-221-1156 A-VIBE Web Development