Engauge 2022 – Incantations [In-Person Only]
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 email@example.com. 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 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.
These films conjure experiences, using a variety of techniques, including direct animation, image layering, manipulated found footage, phytography, cyanotype, hand-processing, split screens and other strategies.
**Note: One film in this program contains rapidly flashing images.**
TRT: 77 min
- 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 Festival Pass, we’ll be able to look you up at Will Call by the name you purchased under.
- Film programs in the 2022 edition of Engauge will not be available for virtual viewing.
(Rocio Mesa, Spain, 2 min)
The land gives. The land traps. The land calls. VEGA (* Spanish): flat, low and fertile land. VEGA: It is the fifth brightest star in the night sky, and the second-brightest star in the northern celestial hemisphere, after Arcturus.
(Douglas Urbank, US, 8 min)
An arrangement of images in 16mm film, mostly from found footage, reshaped to create a graphic score, a curtain drawn and opened, an image concealed and revealed, a new rhythm imposed over an opposing motion.
(Ruth Hayes, US, 2 min)
The bells, or koudounia, that goats and sheep in Crete traditionally wore served as amulets to ward off evil spirits. Still in use, they also help shepherds know where their flocks are and what they are doing. Animated to a track composed of koudounia samples, this film’s abstract imagery originated in cameraless techniques that include stencil and bleach on 16mm color stock, and cyanotype.
P L U M E
(Mike Rollo, Canada, 7 min)
Fingers pluck fallen evidence of flight; placed and traced to make avian light.
(Krista Leigh Steinke, US, 3 min)
Shot on Super 8mm film, Midnight, Houston is a video poem that depicts, in mythic terms, a parent’s attempt to share with their child the beauties and depravities of the city of their nativity: Houston. A collaborative project with poet Nick Rattner, originally created for “Location: Houston Poetry+Film Collaboration,” sponsored by Aurora Picture Show and Public Poetry for the 2022 REEL Poetry Festival.
Music by Sherman Finch.
Mountain View #
(Markus Maicher, Austria, 3 min)
Three continuous zooms towards a landscape are deconstructed into a discontinuous appearance of single frames. The panoramic view is obstructed, the organic movement of the hand dissolved into structural variation of the basic units of film. Indexical content is inevitably present on the physical film strip and yet lost in the structure of the film.
(Ans Mertens & Maika Garnica, Belgium, 10 min)
How can we imagine the resonance of a life that soon becomes a shadow and resounds as a slight vibration in its environment?
This was the central question that resonated with Maika Garnica and Ans Mertens during a residency at an elderly home in Antwerp during the coronavirus pandemic. This audio-visual exchange searches for texture, while the sounds and shadows take us on a journey along with our intimate thoughts and remembrances.
what [in my nature] is dying
(Rana San, US, 1 min)
On my birthday I arrive at the ocean, previous night’s dream in tow. The film, wrapped around a circular glass pane, loops back on itself—exposed in the exposure under layers of sun-baked lemon lavender, topped with sand and salt water. 16mm cyanotype capsule of a solar return.
(Tim Grabham, United Kingdom, 5 min)
Celluloid film is reconfigured into a graphic musical score, with obscure narratives emerging as the film is reanimated. The soundtrack emerges from magnetic tape loops, field recordings, audio fragments and a DIY visual synthesizer.
(Jean-Jacques Martinod & Bretta Walker, US, 15 min)
A farmer discovers a fallen meteorite in the high Chihuahua Desert. The Alien Earth and the Earth Alien commingle under the spell of a deadly nightshade.
I CAN SEE EVERYTHING BUT MY EYES (PUEDO VER TODO MENOS MIS OJOS)
(Leandro Varela, Argentina, 2 min)
Inspired by the mythological creature Ouroubouros, this visual experiment attempts to use temporality to recreate the form of a circle through the use of moving lines.
(kalpana subramanian, US, 8 min)
A serendipitous encounter on distant shores. Colliding archives of body and place. Ominous scenes of a homeland’s militaristic pride. An incantation to freedom and belonging.
Into the Realm of the Night
(Patrick Müller, Germany, 6 min)
The transition from day to night. It magically casts a spell over us, we glide into it like water and enjoy it. Despite all its dangers… it is the night we love.
(Sheri Wills, US, 4 min)
SEAM is a short experimental film shot on Super8 film that explores everyday hauntings, drawing attention to the margins of experience.