CANCELED! :( Two Films by Whammy Alcazaren: Fisting + Bold Eagle [In-Person Only]
$14 General Admission
$10 Student/Child/Senior
$7 NWFF Members
Whammy Alcazaren
Philippines
2018 & 2022
1h 39m
About
** Horizontal leadership model; vertical movies. Fisting, shot on an iPhone X, will be NWFF’s first 1080×1920 feature film! **
Click for Accessibility Info
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 maria@nwfilmforum.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.
⚠️ Covid-19 Policies ⚠️
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.
Fisting (AKA Never Tear Us Apart)
(Whammy Alcazaren, Philippines, 2018, 83 min, in English)
An aging spy, his delusional wife, and their promiscuous son are driven into madness as they confront the terrors caused by the monster known as The Shadow. It’s gonna hurt.
Bold Eagle
(Whammy Alcazaren, Philippines, 2022, 16 min, in English & Tagalog with English subtitles)
In a dark Navotas City apartment crammed with encyclopedias, family albums and wrestling posters, a man and his feline friend watch gay porn and cat videos, and embark on a fantastic Hawaiian vacation via an acid tab up the ass.
About this program:
Paglipas ng Gunaw (When the Apocalypse is Over): New Philippine Cinema
These digital, radically color-graded, and often square or even rectangularly framed alternate dimensions offer new ways of seeing Philippine myths, pasts, presents, and futures. The multidisciplinary roots of the foundational First (’50s–’60s) and Second (’70s–’80s) golden ages of Philippine filmmakers—comedians, lawyers, doctors, therapists, pianists, psychic trainers, shamanists—persist today in the graphic designers, animators, colorists, VFX artists, singers, DJs, and event planners who comprise the new voices behind these features and shorts. But the bombastic styles of these active young filmmakers differ dramatically from their classically trained or genre-ingrained progenitors. Without leaving history behind, these films shed all influences that do not serve them. With a form that is heavily motivated by VFX and a concerted focus on post-production (processes which the directors are often heavily involved or carry out on their own), unlikely aspect ratios, et cetera, the body of work looks and moves in a way that actually feels new.
Many of these stories imagine absurd, alienating worlds and lonely characters who long for something or someone outside the limits of the frame.
Programmed by Aaron Hunt. Also playing at NWFF: Cleaners (Nov. 1–8).