Engauge 2025 – Embodied Landscapes
INDIVIDUAL FILM PROGRAM TICKETS:
- $15 General Admission
- $10 Student/Child/Senior
- $7 NWFF/SIFF/GI/PCNW member
INDIVIDUAL TICKETS TO SPECIAL EVENTS:
(Lori Goldston Performance)
- $18 General Admission
- $13 NWFF/SIFF/GI/PCNW member
FRIDAY DAY PASS:
(two film programs)
- $25 General
- $15 Student/Child/Senior
- $10 NWFF/SIFF/GI/PCNW member
SATURDAY DAY PASS:
(two film programs + one special event)
- $36 General
- $28 Student/Child/Senior
- $20 NWFF/SIFF/GI/PCNW member
FULL FESTIVAL PASSES:
(includes Lori Goldston Performance!)
- $70 General
- $50 Student/Child/Senior
- $35 NWFF/SIFF/GI/PCNW member
On Film
Screening on film!
About
Filmmakers in this program work with landscape, broadly defined, using it as a prism for their concerns and passions and to speak truth to power.
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.
Films in this program:
Portrait #2: Trojan
(Rankin Renwick | color + sound | 16mm to digital | 5:00 | US)
good riddance to bad rubbish
Catch Us on the Way Down
(Cali M. Banks | color + sound | 16mm to digital | 6:48 | US)
A poetic and reflexive documentary approach to reproductive healthcare access in North Carolina, specifically on Indigenous reservations.
Butterfly Maneuvers
(Gor Margaryan | b & w + sound | 16mm to digital | 7:05 | Germany)
An experimental essay film based on old, private film footage of fighter planes, “Butterfly Maneuvers” documents the preparations and training for war, recorded as historical evidence. A central motif of the film is the contrast between the destructive fighter planes and the fragile, seemingly lost images of butterflies. This juxtaposition symbolises the transience and irreversible destruction caused by war. ‘Butterfly Manoeuvres’ is therefore not only a documentary record, but also a profound reflection on war, loss and the fleeting beauty of life.
Suspicions About the Hidden Realities of Air
(Sam Drake | color + sound | 16mm to digital | 9:07 | US)
Fragmented records reveal a concealed history of Cold War–era human radiation experiments, surfacing through a haze of manipulation and embedded studies. Desert dust settles into teeth, inscribing a residual record. Contaminated images conjure the unseen.
Rain
(Vasilios Papaioannu | b & w + color + sound | 16mm and S8 to digital | 6:01 | US)
Rain, as circular shapes of memory imprinted on the fast paced celluloid or as liquid moving sculptures of the present in digital form, documents a verbal interaction between two people.
Night Collections #1
(Britany Gunderson | color + sound | 16mm to digital | 3:28 | US)
Peripatetic portrait; unearthing and burying an archive of collected images; ghostly remnants.
Transit
(Telemach Wiesinger | b & w + sound | 16mm to digital | 14:43 | Germany)
TRANSIT is a 16mm film poem with a soundtrack by Martin Bergande, a visual journey with the aid of tangential force and the means of transport car, train, ship and aeroplane across the internal borders of the EU to the external edges of Europe.
In the Maritime Frequencies
(Greta Snider | color + sound | 16mm to digital | 15:00 | US)
We’ll remember the earth as if it were a dream. For the past year, I have been working on a project exploring the coastal landscapes of San Francisco, using darkroom developers made from the solutions of our times – bay water, hand sanitizer, and “safe” detergent. The resultant movie is a conversation about how we internalize our climate emergency, letting mortalities large and small emerge only when the night puts our guard down. Inspired by the San Francisco Bay, dreams, and novelist Octavia Butler’s vision of a future California. This film embraces the aesthetics of a crumbling society – expired and cast off film, backyard developing, hand cranked camera – because it is a premonition, a goodbye, and a last look over the shoulder. Featuring Bill Basquin, Ivy McClelland, Juan Aguirre, Annalise Velasquez, Valerie Soe, Mark Klatte, and Mayuran Tiruchelvam.