Engauge 2022 – With the Tide [In-Person Only]
Water is a vital element on earth, in our bodies, and crucial to filmmaking itself. These filmmakers bring a number of techniques, including animation, found footage re-assemblage, and documentary filmmaking to bear on watery themes, often using liquidity as an opportunity for refraction and reflection. This program includes three 16mm film prints and one 35mm film print.
TRT: 68 min
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.
- 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.
Water and more water (Agua y más agua)
(Francesca Svampa, Spain, 6 min)
A dreamlike portrait of Barcelona, shot in double exposure on reversible 8mm film, is interwoven with an intimate “I remember” voice, creating a collage of memories à la Brainard and Pérec.
The director’s personal micro-memories, as a woman, filmmaker and immigrant, evoke the spirit of a time that may never return, constructing a communal heritage. The act of making this film, involving the haphazard double exposure and the fragility of the physical film itself, becomes a metaphor for the perpetual tension between memory and oblivion.
(Brandon Walley, US, 12 min)
A meditation on interdependence and impermanence within the ecology of the Detroit River area, the remnants of industrialization and the environmental exploitation of capitalism.
(Cecilia Araneda, Canada, 5 min)
Shot at Bate Island in Ottawa, landing is made from hand-processed B&W 16 mm film hand-coloured with organic and photochemical tones, video and found sound. landing examines moments of respite in between flight and movement.
landing is without language.
Eclipse in the Garden
(Yuula Benivolski, Canada, 6 min)
My mother always wanted a garden, and now she has one. A poem about family genealogy that highlights the relationship between a name and a place.
Tatars and other non-Russian communities in the USSR were forced to go through Russification: the spread of Russian language, culture, and people into non-Russian cultures and regions. Forcing the many minority groups within Russia to accept Russian culture was an attempt to prevent self-determination and separatism. As a result, my mother, a Tatar woman born in Moscow, never properly learned her mother tongue or practiced Tatar traditions outside her family home.
Composed of Super 8 home movies.
(Christine Panushka, US, 5 min)
Working with elements created in Kate Lain’s online cyanotype workshop, Interlude was created during the 2020-2021 pandemic.
(Devin Allen, US, 7 min)
Occupying gaps in memory and history, Blue Distance serves as a personal and poetic intervention into the filmmaker’s familial immigration story. The film places in communion the mythic powers of cinema and the production of personal and cultural histories. Underpinning these tensions is the immigratory reality of occupying stolen land while trying to secure one’s own actualization.
(vicky smith, 10 min)
The film is a reflection on exposure, of skin to sun and of film to light, and the environmental, ecological, social and hereditary factors that impact the aging process. Textures of the skin filmed in extreme close up appear in single or short frame bursts, and, accompanied by percussive sounds, create a fast paced rhythmic journey around the surface of the body. This film is then seen at a later stage, as a filmstrip manually reexamined on a light box, alongside spoken analysis of the exposure times. Then, old photos of my mother, and her mother, on the beach, are seen in close-up. The DIY analogue film processing method gives this material a burnt brown look, while the inclusion of ‘mistakes,’ such as fogged and scratched sections, emphasize the sense of exposure and damage to skin and to film material.
With The Tide, with the tide
(Anna Kipervaser, US, 3 min)
I know, you’re a seasonal beast
Like the starfish that drift in with the tide
With the tide
So until your blood runs
To meet the next full moon
Your madness fits in nicely with my own
With my own
Your lunacy fits neatly with my own
My very own
– from Sea Song by Robert Wyatt
A Perfect Storm
(Karel Doing, United Kingdom, 3 min)
A Perfect Storm is a landscape film or, more precisely, a landscape imprinted on the film’s emulsion. The artist has used seeds, tiny composite flowers and other small elements of cultivated plants that grow in his garden and wild plant species gathered from a nearby nature reserve. The film consists of sequences that are intricately composed and parts that are completely ‘self-organized.’ As such, plants appear not merely as inanimate objects but rather as characters who are expressive in their own right. Such otherworldliness is also reflected in a sequence of gargoyles, providing a link to the hidden animist tendencies that prevail in human culture. This primordial expressiveness is underlined by an improvised guitar solo by the inimitable Florian Magnus Maier.
The Ocean Analog
(Luis Macias, Spain, 10 min)
“The ocean is the only crossing to arrive at Mount Analogue. Through each wave, which breaks into each of the primary colors, a gateway opens to a new perception… That of an ocean as deep, dark, and as difficult to access as the climb to the highest mountain. To the top, where the sixth sun can be perceived.”
First piece of the short film series for the Sixth Sun project. Inspired by the pre-hispanic myth of the Sixth Sun. This chapter is inspired by the René Daumal book Mount Analogue.