Our, Us, Enough: Films on Labor, Love and Intimacy [In-Person Only]
$14 General Admission
⚠️ Content Warning! ⚠️
This program includes graphic sexual content. No one under 18 will be admitted.
** All films presented on 16mm, with sound, in English with no closed captions **
** Filmmakers Hogan Seidel and Malic Amalya in attendance! **
** Curated by Carleen Maur and co-presented by Interbay Cinema Society and Northwest Film Forum. **
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.
The majority of seats in our main cinema are 21″ wide from armrest to armrest; some seats are 19″ wide. We are working on creating the option of removable armrests!
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 firstname.lastname@example.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.
This program includes graphic sexual content.
NWFF patrons will be required 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. We are not currently checking vaccination cards. 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.
Films in this program:
(Barbara Hammer, 4 min, on 16mm)
A popular lesbian “commercial,” 110 images of sensual touching montages in A, B, C, D rolls of “kinaesthetic” editing.
“The images are varied and very quickly presented in the early part of the film, introducing the characters, if you will. The second half of the film slows down measurably and all of a sudden I found myself holding my breath as I watched the images of love-making sensually and artistically captured.” – Elizabeth Lay, Plexus
Solitary Acts #5
(Nazlı Dinçel, 2015, 5 min, on 16mm)
The filmmaker films themselves practice kissing with a mirror. They recall teenage memories of overconsumption, confusing oral fixations (kissing and eating). They end up eating the carrot they are masturbating with, and they feel a sense of cannibalism. The components of the background of the scene are broken down and filmed in extreme closeups. These wave and play with one another; when text over-consumes the image, it transforms into the backdrop fabric where the filmmaker physically attaches the film together with fishing line.
RUN! - MYTHOGRAPHY #1
(Malic Amalya, 2020, 10 min, on 16mm with optical sound)
Shot at sites of nuclear development, detonation, industry, tourism, and activism, RUN! examines the ways that the ideologies of war structure landscapes, community rituals, cinematic technology, entomology, pandemic management, and even notions of LGBTQ liberation.
(Carleen Maur, 2020, 2 min, on 16mm)
A brief meditation on coyotes, strained relationships and conservative talk radio.
The House These Words Built
(Gabby Follett Sumney in collaboration with Jessica Sumney, 2018, 3 min, on 16mm)
To my wife: All the poetry and time apart was really worth it for this life together.
(Bill Basquin, 2005, 8 min, on 16mm)
Against a visual tapestry of rural horizons, agricultural machinery, and newborn lambs, a father discusses with his transgender son his relationship with the land, animals, and labor that make up his farm.
(Hogan Seidel, 2019, 5 min, on 16mm)
An experimental documentary about the changing environment surrounding LGBTQIA+ Pride festivals.
Encounters I May or May Not Have Had With Peter Berlin
(Mariah Garnett, 14 min, on 16mm)
Encounters I May or May Not Have Had With Peter Berlin deals primarily with monumentality, narcissism, and the ways in which our heroes are embedded into our identities and manifested through the body. Through a variety of gestures, the pervasiveness of this practice is highlighted alongside its ultimate, inevitable failure. The viewer moves through various stages of anxiety, idolization, and actual touchdown with ’70s gay sex icon Peter Berlin himself, capturing both the apparent and the hidden. The film guides the viewer through the process of making contact with a figure who exists only in his own photographs. The film culminates in an interview with Peter Berlin in his apartment, describing a moment of exchange that crosses lines of gender and generation, a moment where the identities of the two filmmakers briefly coalesce.