Engauge 2022 – Leavings [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 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.
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.
Filmmakers explore the fragments of daily life, mining them for truths about memory, history, family, education, environment, economy. These films employ found footage, home movies, decayed and composted images, hand and eco-processing, and other strategies.
TRT: 79 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.
The Sticklet Weaver
(James Hollenbaugh, US, 8 min)
Brent Brown is a self-taught artist with lifelong mental health challenges. Intuitive and deeply talented, in recent years he has started building complex, highly fanciful “puppets” constructed from dozens of cardboard elements with fully moveable joints. The Sticklet Weaver explores Brent’s process and celebrates his unique artistic journey.
Searching for Beauty in Student Loan Debt or at Least the Envelopes in Which It Comes
(Nicky Tavares, US, 5 min) ** Requires 3D glasses! **
Don your 3D glasses, open your mind, allow the denial of questionable financial decisions made by an aspiring young artist to dissolve on your tongue, and take a trip over 10 years to a delusory destination where the student loan debt crisis and one advanced art degree converge. Lean into the darkness of capitalized interest or remove your glasses and dream in color of solvency that may never come. Energetically steeped in student loan pay-off balances that exceed original borrow amounts and dedicated to all artists who understand but cannot bear to speak of it.
This is a handmade, cameraless film created by screen printing envelope safe patterns directly onto clear 16mm film in multiple passes of red and cyan.
(Filip Markovinović, Serbia, 9 min)
A short experimental film created by combining personal archives and found footage. The film takes us through dreamy spaces of memory and forgotten moments from childhood.
(Yanbin Zhao, US, 4 min)
Surrounding a hidden monument honoring Chinese immigrant workers next to a railroad track located in Canyon Country, California, Train Song adopts reflective material to distort the image of the railroad, as an approach to conjure the unseen spirits from the seemingly tranquil landscape, calling for remembrance of Chinese American labors through a meditative audio-visual experience.
decay: the covid compost chronicles
(Lisa Marr, Canada, 5 min)
“The energy over the next few days is going to be overwhelming.”
(Mary Trunk, US, 8 min)
History lives in the sea. Memory fragments it. A red ball, a man’s running torso, umbrellas vibrating like bugs, the blurry recollection of my mother and her friend talking. Brief moments that repeat and replay until they all flow back with the tide leaving a line where sea and sky meet.
(Dagie Brundert, Germany, # min)
Robert founded this insanely beautiful art center (Konstepidemin / Göteborg / Sweden) together with his friends. My studio for 4 weeks bears his name. I live here now. I open the door in the morning and look at a hill. Robert’s Hill. We slide slowly from winter to spring. No fresh leaves in sight. It is raining very often. The hill is alive, pulsating, chirping, splashing, smelling, freezing, greening, trembling – I love it every day! The hill is my pudding: soft and tasty. I climb up and slide down, the top is my personal whipped cream: a round place where nobody can see me! I can look directly into space!
Autoritratto all'Inferno / Self-portrait in Hell
(FEDERICA FOGLIA, Canada, 4 min)
This hybrid piece is a collage created assembling both analog and digital material. Several layers of 8mm films merge to create a cameraless self-portrait of the filmmaker. The first layer is an 8mm orphan film (found footage) from the 1970s of a woman dancing. The second layer is an 8mm found footage film that has been buried in earth for some months. While being covered in earth, the film emulsion has been eaten by the bacteria in the ground, plus some bacteria from yeast and sugar. This technique was originally used by the Schmelzdahin group in Germany.
After several weeks in soil, the film gets extracted, rinsed, and scanned via a 4K digital scanner.
The third layer is an 8mm home movie that has been first decayed in soil, using the aforementioned technique, then hand-painted with ink.
(Lindsay McIntyre, Canada, 1 min)
(Zazie Ray-Trapido, US, 6 min)
Eva is a holocaust survivor who fled the Nazis in former Yugoslavia with her mother and sister. They settled in New York City, where she proceeded to spend her formative years. Eva worked for NASA as a biochemist, retired in her late 50s, and became heavily involved in local politics. This portrait film of my grandmother weaves through past and present as she approaches 90, exploring the role that memory has on who she is today.
(Tetsuya Maruyama, Brazil, 2 min)
How can one go against the system when you are part of it?
(Anne-Marie Bouchard, Canada, 3 min)
The director revisits a family film shot by her grandfather.
The images shot in Super 8 in 1966 are masked and revealed by an organic film made from algae. Formed by visual and sound loops, this work explores organic textures related to images shot in Gaspésie in 1966. My grandfather’s nervous camera, combined with his fascination for certain innocuous movements, resonates with my artistic practice.
An organic algae-based film creation workshop offered by TAIS – Toronto Animated Image Society gave me the pretext to play with these images, allowing me to work with film organically and ecologically, but also playfully. Animator Vladimir Konic invented during the confinement a method to create and digitize a film stock made from algae. The textures and colors created with these organic inks and films grabbed me. Their combination with recently digitized family archive images came about naturally. What could be more natural than combining images of Gaspésie with textures of algae? The process combines analog and digital technologies, 8mm film, and organic film. The soundtrack comes from unused audio scraps from other projects.
The Past is a Far Land
(Serge Gregory, US, 5 min)
A found film shot on 8mm Kodachrome in 1957 depicts scenes from a long-ago summer in Finnish Lapland.
Some Mistakes I Have Made
(Janis Crystal Lipzin, US, 20 min)
In Some Mistakes I Have Made, I ask the question, “How often do we get to see our mistakes in life graphically recorded? Do these recordings of past failure reveal any new meanings?” Using typewriter correction tapes that I saved over the years as the visual foundation, I construct densely hand-collaged images from my past films and details from life’s difficult moments.
“The resulting video is a contemplation on the inevitable presence of memory and the past, expanding from the personal to the universal in its implications.” – Steve Anker, Dean, Cal Arts
“Tasty little celluloid scratching sounds of material production are included throughout the film, calling attention to the ‘hand of the artist,’ and the constructed nature of representation.” – Karen Davis, Mill Valley Film Festival