Engauge 2023 – Turbulence [In-Person Only]
- $14 General Admission
- $10 Student/Child/Senior
- $7 NWFF/SIFF/GI/PCNW member
(two film programs + one special event; for either Friday or Saturday)
- $40 General
- $30 Student/Child/Senior
- $20 NWFF/SIFF/GI/PCNW member
FULL FESTIVAL PASSES:
(includes Greta Snider and Harry Smith programs!)
- $60 General
- $50 Student/Child/Senior
- $40 NWFF/SIFF/GI/PCNW member
(79 min TRT)
Filmmakers in this program address a wide range of topics using intriguing models, hard-hitting techniques, humorous analogies, lyrical dialogue, and dizzying camera work. A program of powerful films that potentially unsettle, disturb, amuse, or puzzle the viewer. 4 films in this program originated on Super 8 film; 5 films will screen on 16mm.
Header photo credit: Turbulence, dir. Telemach Wiesinger
** Filmmakers in attendance! **
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 Full Festival Pass or Full Day Pass, we’ll be able to look you up at Will Call by the name you purchased under.
- Film programs in the 2023 edition of Engauge will not be available for virtual viewing.
Films in this program:
TODAY IS A VERY SPECIAL DAY, some-times
(Matt Whitman | color | sound | 9:26 | 16mm | 2023 | US)
Couldn’t get things right. I remember when the sound of the wind and the sound of you taking a shower could still be confused.
(Nicole Blundell | b + w & color | sound | 2:07 | 16mm | 2023 | Canada)
Passing on a message is easy but making sure it is understood can be slightly more complicated.
(Ben Kujawski | b + w & color | sound | 5:29 | Super-8 + 35mm to digital | n.d. | US)
A film poem reflecting on the thoughts and emotions surrounding a visit to the filmmaker’s foreclosed childhood home; the house, neglected and abandoned for years, still containing a stark yet decomposing layer of familiarity. Shot with a mixture of black and white super 8 and 35mm color flash photography.
(Telemach Wiesinger | b + w | sound | 14:59 | 16mm to digital | 2022 | Germany)
The film poem TURBULENCE stands in the field of tension between surreal fantasy and multi-layered reality. Telemach Wiesinger’s photographic recordings of aeroplanes from the perspective of the traveller encounter kinetic wing objects by the composer Alexander Grebtschenko. In the congenial collaboration of the two artists, the electronically controllable “Chimera’s” – elegant bird wings with megaphone – unfold expressive “acting” presence. The dialogue between the sound level (Grebtschenko) and the visual level (analogue film workshop Wiesinger) opens up space for emotions, thoughts and interpretations. (Thomas Spiegelmann, 2022)
(Rana San | color | sound | 2:34 | 16mm to digital | 2022 | US)
Hammered into 16mm found footage of a police propaganda film, subtext emerges letter for letter from the redundancy of repeated text—a reclamation of bodily autonomy from those who pose as protectors.
Black Hole Space Debt, or A Basic Guide to Syncing Sound and Image
(Stephen Wardell | b + w | sound | 14:00 | 16mm to digital | 2022 | US)
An instructional document about making a handmade optical soundtrack becomes a speculative sci-fi narrative about going to Mars. As the film progresses, the nature of the soundtrack comes to speak for the way space exploration is one part of a larger, systemic repetition of colonialism and debt peonage. This film is purposefully queer, handmade, and anti-illusionist as a means of deconstructing established narrative film conventions and audience expectations – ultimately working toward a musical, process-based state of play.
Because You Speak of Fur
(Patricia Delso Lucas + Johanna Wagner | b + w & color | sound | 3:13 | Super 8 to digital | 2022 | Belgium)
An uncanny exchange of imagery and soundscapes as a result of an interrupted conversation between two women: one who is out on an expedition, the other one at home following the expedition from afar. Because You Speak of Fur is a film adaptation of the poem Anderkatt (The Haircut) by Berlin-based author Georg Leß.
Twin City Twist
(Callen Murphy | b + w | sound | 4:57 | Super 8 to digital | 2023 | Canada)
A silent dance documenting a brief visit to Minneapolis in the fall of 2022. A reflection on the sleeping city’s tumultuous recent history through a recollected interaction and a plea for continued disturbance. An entry in an ongoing video and film diary series, “Twin City Twist” was shot on Kodak Tri-X reversal Super 8 film with kaleidoscopic lenses.
Tired Snail Eyes Look at the Ground
(Lucas Haynes | color | sound | 8:30 | Super 8 to 16mm | Australia)
Shot from the perspective of someone’s hand on a jog home. A sunny day eventually falls into a collage of drain networks sleeping under the city. Hand processed and made originally on Super8 in a little lab in Melbourne.
This Is How I Felt
(Josh Weissbach | b + w | sound | 1:35 | 16mm | 2022 | US)
“This Is How I Felt” was filmed in a twenty-four period while the filmmaker was wearing a heart monitor to investigate possible arrhythmias.
Next Her Heart
(Anna Kipervaser | color | sound | 11:54 | 16mm | 2023 | Ukraine)
Eternal recurrence and wisdom undone. The end or the beginning. Who are we that we. One and the same are the shadow cast and its cause. A hypnotic journey through the seven valleys on the way to reach the abode of the Simurgh.