PIFF42 Schedule

Masters 4 A selection of world cinema’s greatest filmmakers’ newest work.

Tickets

OPENING NIGHT

Welcome to the Northwest Film Center’s 42nd annual Portland International Film Festival. This program is arranged by section with the films in each section listed alphabetically.

Showtimes and theater locations are listed at the bottom of each film description. The list of sections follows:

General: $14 PAM Members, Seniors (65+), Students: $12 Children (12 and under): $10 Silver Screen Club Friend & Supporter, or New Wave: $9 Oregon Trail Card Ticket: $9 (in advance at the ­Advance Ticket Outlet) Bundle: 5 films for $55 (available online, one ticket per show, one person per bundle) Festival Pass: $350 General, $150 Student with ID Online: nwfilm.org

Global Panorama 8 Cinema by established filmmakers who display a command of content and form.

Walk-up: daily noon-6pm at the Advance Ticket Outlet, 1119 SW Park Ave (at Main, inside the Portland Art Museum’s Mark Building) Phone: daily noon-6pm at 503-276-4310

Up-and-coming filmmakers who represent the next wave of master storytellers.

Day-of-show: If tickets are still available, they can be purchased online or at the Advance Ticket Outlet until three hours prior to show time, then at the theater’s box office beginning 30 minutes prior to the screening.

Even if advance tickets are sold out, rush tickets are offered a few minutes prior to show time at the theater.

Documentary Views 17

Code of Conduct

New Directors 13 Sponsored by MUBI

Fresh perspectives on the world we live in and the fascinating people and stories that surround us.

Animated Worlds 22 Animated features and shorts that have charmed audiences and critics.

Sponsored by LAIKA

Films for Families 23 Film lovers of all ages will be entertained by these films suitable for younger viewers.

PIFF After Dark 24 For the cinematically adventurous, the nocturnally inclined, and devotees of genre films.

Ways of Seeing 26 Cutting-edge, narratively and aesthetically ­adventurous, pushing the boundaries of cinema.

The Northwest Film Center is committed to fostering a safe, inclusive, welcoming environment for volunteers, staff, and audiences alike, both year-round and at the Portland International Film Festival. We value creating new experiences, exploring the world around us, and building community through film.

The Northwest Film Center is committed to ensuring that all Portland International Film Festival events and locations are free from harassment, discrimination, and threatening or disrespectful behavior of any kind.

Anyone who engages in such conduct will have their access to festival screenings, events, and venues revoked without notice or refund. If you have experienced or observed any violations of this code of conduct, or have any concerns, please alert a member of our staff immediately.

For the PIFF volunteer code of conduct, please visit nwfilm.org/volunteer-code-of-conduct By attending the Portland International Film Festival you agree to abide by this code of conduct. We appreciate your participation in cultivating a positive environment!

Content Warning

Opening Night Join us for the screening of Gabriela Pichler’s Amateurs followed by our Opening Night party in the Portland Art Museum’s Fred and Suzanne Fields Ballroom.

General Admission: $25 Friend, New Wave, & Supporter Members: $20 Opening Night party sponsored by

with

Amateurs Gabriela Pichler | Sweden In Pichler’s side-splitting and astute sophomore effort, the lightly fictional small town of Lafors, Sweden is potentially due for a big upgrade as the German megamart chain Superbilly picks their newest location. The Lafors city council, in direct competition with a neighboring town, seeks to differentiate themselves and lure in Superbilly by making a promotional video extolling the quaint hamlet’s virtues. But when local government employee Musse (Fredrik Dahl) has the brilliant idea to enlist local teens to make the video, two young immigrant students, Aida (Zahraa Aldoujaili) and Dana (Yara Ebrahim Eliadotter), take it upon themselves to film their reality and uncover the real Lafors, warts and all. A touching cross-generational comedy, Amateurs gently skewers the provincialism and nationalism running through today’s Europe. In Swedish, English, Arabic, Tamil, Kurdish, and Bosnian with English subtitles. (102 mins.)

3/7 7:30 | Fox Tower 3/7 7:30 | Whitsell Auditorium Sponsored by Nordic Northwest, Consulate General of Sweden, and the Swedish Women’s Educational Association, Portland

Films with potentially sensitive content are marked with Content Warning in this guide. For more information, please see the film’s listing at nwfilm.org.

Short Cuts 28 Over 50 memorable snapshots from around the world and here in Oregon.

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3 Faces

Ash Is Purest White

Hotel by the River

The Image Book

Jafar Panahi | Iran

Jia Zhangke | China /France/Japan

Hong Sang-soo | South Korea

Jean-Luc Godard | Switzerland/France

Long banned from making films by the ruling regime in Iran, master filmmaker Panahi has nonetheless defiantly continued to produce some of the best cinema of his long career, here returning with a comic road movie set into motion when actress Behnaz Jafari comes across a video by a young actress, seeking help, set to attend the drama conservatory in Tehran. Following the leads to Iran’s sparsely populated and heavily patriarchal northwest, Jafari and Panahi set out to solve the mystery of the young actress, unforgettably encountering colorful locals and their fair share of hilarious situations on the way. Behind it all is the mysterious Shahrazade, an elderly actress long ago ostracized to her village following years of mistreatment in the industry. “Deeply respectful, artful and compassionate... a heartfelt statement of solidarity.” —Jessica Kiang, Variety.

In Persian and Azerbaijani with English subtitles. (100 mins.)

Jia’s 11th feature is a piercing tale of lost love, following Qiao (Zhao Tao, in one of the year’s fiercest and most heartbreaking performances) and her mob-boss boyfriend Bin (Liao Fan), rulers of the Datong underworld at the turn of the 21st century.

When a rival gang threatens Bin’s life, Qiao acts in defense, setting off a series of life-changing events that see her traveling hand-to-mouth across the country—and notably through Jia’s familiar Three Gorges Dam region—in search of Bin and the life she left behind. Spanning decades and moving across vast swaths of China’s diverse physical and psychic landscape as seen through the eyes of one woman scorned, Ash Is Purest White is “Zhao’s finest showcase to date—for the way she uses grace, intelligence, and humor with a dexterity that’s perfectly suited for the register of Jia’s aesthetically and thematically diverse film.” —Sam C. Mac, Slant Magazine. In M ­ andarin with English subtitles. Content Warning. (141 mins.)

While Hong’s often mischievous films are largely an acquired taste, their charms often lie both directly on the surface and deep within, as is the case in Hotel by the River. Working with familiar faces Ki Joo-bong (who won Best Actor at the Locarno Film Festival), Kim Min-hee, and a host of others, Hong focuses on a shabby resort hotel where two charmingly funny stories intersect. One follows an aging poet (Ki) holed up with his bickering adult sons—the three forming a hilarious and inept trio with nowhere to go and little to do other than reminisce and get drunk. Meanwhile, a young woman (Kim) reeling from a breakup spends the weekend with a friend. Subtly interweaving these stories, Hong continues his career-long examination of modern life’s peculiarities, consistently offering an off-kilter, charming perspective. In Korean with English subtitles. (96 mins.)

A new film by the legendary Jean-Luc Godard is always cause for celebration, and with The Image Book, the 88-year-old director delivers his most potent cine-essay in some time.

Heavily reminiscent of his 2004 television work Histoire(s) du Cinéma, this dense-with-allusion collage film works through various threads of contemporary image-making, taking images and language as the material to shape a treatise about the world as it is now—full of strife and catastrophe but also intense beauty not seen in the same forms previously. Just as new images and speech create new meaning, old images and speech can also tell us about the world today. “Rich, disturbing and strange.”—Peter Bradshaw, The Guardian. “For all its apocalyptic doom and gloom, The Image Book has moments of great tenderness and melancholy, and exhilarating, even transcendent, rhythm.” —Andréa Picard, Cinema Scope.

In French, English, Arabic, Italian, and German with English subtitles. (85 mins.)

3/17 3:00 | Cinema 21 3/21 6:00 | Fox Tower Sponsored by the Hoxton Hotel

3/12 6:00 | Cinemagic 3/14 3:30 | Cinema 21

3/9 6:00 | Cinema 21 3/14 8:30 | Cinema 21

3/11 8:30 | Cinema 21 3/17 6:00 | Fox Tower

Sponsored by the AC Hotel Portland

Sponsored by TV5Monde and Artists Repertory Theatre

Donbass

First Night Nerves

Maya

Sergei Loznitsa | Germany/Ukraine/France/ Netherlands/Russia

Stanley Kwan | Hong Kong/China

Mia Hansen-Løve | France/Germany

Hong Kong’s Stanley Kwan returns to the director’s chair after a six-year hiatus with this soapy theatre-world drama about two actresses—and former rivals—now at drastically different periods in their lives and careers. The classy recluse Xiuling (Sammi Cheng) quietly fears she’ll lose it all, while TV ingénue Yuwen (Gigi Leung) builds for a big break in a flailing film industry. The two rehearse for the new family drama from prominent director An Ouyang (Kam Kwok-leung) with hopes of gaining relevance and credibility respectively. With nods to Almodovar (Kwan is also Hong Kong’s first out gay director), the quirkily complex female leads and queer and trans characters allow the play-within-the-movie to slip off stage through tone and delivery into sometimes campy and sometimes melancholy behind-the-scenes moments where life imitates art (or at least the business of it). In Cantonese and Mandarin with English subtitles. (100 mins.)

In this gently-plucked-from-the-headlines, warmly intimate film, war reporter Gabriele (Roman Kolinka) returns to France, along with his colleague Frédéric (ever-reliable Alex Descas), after being released from a hostage situation in Syria. Unable to resettle comfortably after his harrowing experience, he travels to India, meeting with family friends including Maya (Aarshi Banerjee in a winning, breakout performance), a young woman searching for her next step in life. Gabriele’s family has a history in Goa, including their dilapidated rural home where he settles, while his estranged mother lives in a seaside town; past and present meet in the search for his future. Shot on luminous 35mm by star cinematographer Hélène Louvart, Hansen-Løve’s latest is a tender ode to life’s chance meetings and the ways they affect our future selves in unexpected and invigorating ways. “Beguiling...sinks deep under your skin because of how adamantly it refuses to get stuck in place.” —David Ehrlich, Indiewire. In French and English with English subtitles.

(107 mins.)

Loznitsa continues his vital explorations of the conflict raging in eastern Ukraine’s Donbass region, a hotly contested area marked by an explosive mixture of sectarian and separatist fighting following 2014 uprisings. Taking a kaleidoscopic view of the current conflict, Donbass weaves several storylines— journalists and soldiers on the front lines, honest portraits of poverty-stricken families, and absurdly bureaucratic situations— to create tapestry of the current moment in a country torn apart by violence and naked brutality. Nonetheless, there are moments of humor in Loznitsa’s vital film, but ultimately, he is concerned with the life and death of his country in an era where it seems to have no way out—from both Russian influence and the daily violence terrorizing its citizens. “A vivid achievement.” —Peter Bradshaw, The Guardian. Ukraine’s foreign-language Oscar submission. In Ukrainian, Russian, and English with English subtitles. Content Warning. (110 mins.)

3/16 8:30 | Fox Tower 3/21 8:30 | Fox Tower

3/10 3:00 | Cinema 21 3/14 6:00 | Cinema 21 Sponsored by Hong Kong Economic and Trade Office

3/16 3:00 | Cinema 21 3/20 6:00 | Whitsell Auditorium Sponsored by TV5Monde and Elk Cove Vineyards & Pike Road Wines

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Non-Fiction

Our Time

The Wild Pear Tree

Olivier Assayas | France

Carlos Reygadas | Mexico/France/Germany/ Denmark/Sweden

Nuri Bilge Ceylan | Turkey/Republic of Macedonia/ France/Germany/Bosnia and Herzegovina/ Bulgaria/Sweden

Assayas’ (Personal Shopper, Clouds of Sils Maria) latest is perhaps best explained by its original French title, which roughly translates to “double lives.” Set in the book publishing world, this funny, insightful film follows Alain (Guillaume Canet), a publisher broadly past his prime, and his wife Selena (the ever-charming Juliette Binoche), a well-known film and television actress, as they navigate changing methods of the public’s artistic consumption. An almost-washed-up novelist (Vincent Macaigne) wants to publish his latest book with Alain, but larger forces intervene in many ways, causing the two men to reexamine both their places in the world and the necessity of storytelling in an increasingly fragmented artistic landscape.

Finely tuned to the dynamics of change, Assayas crafts a warm, empathetic film about the anxiety of the unknown. In French with English subtitles. (107 mins.)

3/10 5:45 | Cinema 21 Sponsored by TV5Monde and the French American International School

One of contemporary world cinema’s greatest visual poets, with Our Time Carlos Reygadas turns the camera on himself in this tale of a marriage at the breaking point. Real-life couple Reygadas and his wife Natalia play Juan and Ester, who live a peaceful yet unusual existence on a Mexican cattle ranch; unusual insofar as they are in an open relationship and Ester is having an affair with an American horse trainer. Juan, for his part, can handle it as long as he hears how things are going, but when Natalia stops giving him information, the dynamic quickly shifts—forcing Juan to examine his fragile masculinity.

In between, Reygadas captures the ecstasy of life in thrillingly beautiful natural sequences, delivering another stunning entry in his already-impressive filmography. “Unflinchingly honest... a film of considerable visual poetry and, at times, grandeur.”

— ­Jonathan Romney, Screen. In Spanish and English with English subtitles. Content Warning. (173 mins.)

3/9 11:30 am | Fox Tower 3/14 8:30 | Cinemagic

Continuing in the long-take, deeply intimate and conversational vein of much of his previous work, Ceylan’s latest is one of the year’s most beautifully-shot films. Sinan (Dogu Demirkol), an aspiring writer fresh out of college, returns to his childhood village in search of inspiration, grounding, and funds as he tries to write and publish his first novel. But returning home unearths a complex web of emotion, as Sinan’s addict father (Murat Cemcir) coaxes forth the personal struggle between familial responsibility and creative freedom—plus the hard work that goes along with both, even when telling your own story. A deeply perceptive and engaging film, with The Wild Pear Tree “Ceylan delivers what might be his funniest, most politically poignant work yet. It also happens to be achingly personal.” —Bilge Ebiri, The Village Voice. Turkey’s foreign-language Oscar submission.

In Turkish with English subtitles. (188 mins.)

3/15 5:00 | Whitsell Auditorium 3/16 3:00 | Cinemagic

Lucrecia Martel is the most important woman director in Latin America and among the finest directors in contemporary world cinema. Her already-storied career consists of four features spanning 16 years and numerous short films mostly made in the 1990s and early 2000s. Her first three features—La Ciénaga (2001), The Holy Girl (2004), and The Headless Woman (2008)— are all set in her native Argentina within a middle-class milieu and concerned with alienation, desire, and trauma as they play out specifically for women in this culture which Martel knows intimately. Her most recent feature, Zama (2017), an adaptation of the Antonio Benedetto’s novel, concerns the travails of a mid-level colonial bureaucrat in 18th-century Paraguay, and has appeared on myriad best-of-2018 lists.

MASTERS

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Focus on Lucrecia Martel

All four of Martel’s features have premiered at the world’s most prestigious film festivals, including Berlin, Cannes, and Venice, and her precise, exacting use of cinematic framing, sound, and uncanny acting make her work uniquely thrilling in the broader landscape of the festival circuit. Marked by inconsistent funding, perhaps owing to her unique stylistic concerns, Martel’s relatively scant output (in the wider scheme of film production trends) is illustrative of the hurdles women directors often face when getting their work made and presented on screen, at festivals, and in distribution. Despite this, Martel has become one of international cinema’s most important and treasured voices.

Screenings See nwfilm.org for film descriptions.

Sponsored by World Foods Portland and Travel Portland

WE MAKE THE WINE. YO U M A K E T H E R U L E S .

La Ciénaga Argentina/France/Spain/Japan In Spanish with English subtitles. (103 mins.)

3/9 5:45 | Whitsell Audiitorium

Shadow

Transit

Zhang Yimou | China/Hong Kong

Christian Petzold | Germany/France

Zhang’s return to the wuxia (martial arts epic) genre also marks an important return to form for the veteran director, delivering a film that feels wholly in line with previous action-packed masterpieces like Hero and House of Flying Daggers. Utilizing a wonderfully desaturated palette marked by heavy use of black, grey, white, and (naturally) blood red, Shadow tells the tale of two clashing warlords mired in a land dispute, complete with requisite palace intrigue, pitched battles, vicious backstabbing of the political and marital sorts, and some of the most stunning Chinese zither battles ever committed to film. Featuring tightly coiled, pitch-perfect acting by the ensemble cast and stunningly gorgeous sets and cinematography, Shadow is an exciting new entry in the wuxia canon. “The cinema of ‘show me something I’ve never seen before, and make it heart-stoppingly beautiful’ has in Shadow a new title for its pantheon.” —Jessica Kiang, Variety. In Mandarin with English subtitles. Content Warning.

(116 min.)

Adapted from Anna Seghers’ 1944 masterpiece novel, with Transit Petzold transports the story of those fleeing the Nazis during WWII to modern-day Marseille—with a crucial twist.

Franz Rogowski turns in a career-making performance as Georg, an average man trying to escape France. Asked to deliver papers to a subversive author, Georg instead becomes caught in an existential cat-and-mouse game, taking on the identity of a presumed-dead doctor and becoming involved with the doctor’s mysterious lover Marie (Paula Beer), who also longs to escape the increasingly claustrophobic confines of wartime France. Petzold, the unofficial leader of the “Berlin school” of filmmaking, delivers perhaps his finest work to date with the taut, crystalline Transit. “White-hot...lean, rigorous filmmaking.”

—Steve Macfarlane, Slant Magazine. In German, French, and French Sign Language with English subtitles. (101 mins.)

3/15 8:15 | Cinema 21

The Holy Girl Argentina/Italy/Netherlands/Spain Screened on 35mm. In Spanish with English subtitles.

(106 mins.)

3/9 8:45 | Whitsell Audiitorium

The Headless Woman Argentina/France/Italy/Spain PROUD SPONSOR OF THE 2019 PORTLAND INTERNATIONAL FILM FESTIVAL! Show your PIFF ticket stub for a 2-for-1 tasting at Adelsheim Vineyard. *

3/10 12:30 | Whitsell Audiitorium

Zama Argentina/Brazil/Spain/Dominican Republic/ France/Netherlands/Mexico/Switzerland/ US/Portugal/Lebanon

3/15 5:45 | Cinema 21 Sponsored by Southpark Seafood

Screened on 35mm courtesy of the UCLA Film & Television Archive. In Spanish with English subtitles.

(87 mins.)

C H E H A L E M M O U N TA I N S ' F I R ST W I N E RY

Sponsored by Rogue Ales and Spirits

In Spanish with English subtitles. (115 mins.)

3/11 5:30 | Whitsell Audiitorium Sponsored by

* Offer valid: March 7 - 21, 2019 GRIP + ELECTRIC

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Mary and Donald Blair Anonymous

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Asako I & II

A Family Tour

Fugue

Gabriela Pichler | Sweden

Ryusuke Hamaguchi | Japan/France

In Pichler’s side-splitting and astute sophomore effort, the lightly fictional small town of Lafors, Sweden is potentially due for a big upgrade as the German megamart chain Superbilly picks their newest location. The Lafors city council, in direct competition with a neighboring town, seeks to differentiate themselves and lure in Superbilly by making a promotional video extolling the quaint hamlet’s virtues. But when local government employee Musse (Fredrik Dahl) has the brilliant idea to enlist local teens to make the video, two young immigrant students, Aida (Zahraa Aldoujaili) and Dana (Yara Ebrahim Eliadotter), take it upon themselves to film their reality and uncover the real Lafors, warts and all. A touching cross-generational comedy, Amateurs gently skewers the provincialism and nationalism running through today’s Europe. In Swedish, English, Arabic, Tamil, Kurdish, and Bosnian with English subtitles. (102 mins.)

Hamaguchi’s feature filmmaking career started with a bang with 2015’s incredible Happy Hour, but his latest is no sophomore slump; rather, it’s full of invention. Asako I & II follows the titular 21-year-old Osaka woman (Erika Karata) who falls in love with the charmingly vacant Baku (Masahiro Higashide). One day, Baku mysteriously vanishes, but when, two years later, Asako meets what appears to be his look-alike in Tokyo, her world is thrown upside-down. Crisply shot and beautifully acted, Asako I & II plays like a strange kind of contemporary ghost story, one in which ghosts of the recent past appear in the most unexpected of ways. “Intoxicating. Hamaguchi’s mastery is making you hang on every moment to see how he undercuts or develops on his thesis. It’s thrilling to try and guess where he’ll take the story next.” —Davey Jenkins, Little White Lies.

In Japanese with English subtitles. (119 mins.)

Ying Liang | Taiwan/Hong Kong/ Singapore/Malaysia

Agnieszka Smoczyńska | Poland/Czech Republic/Sweden Director Smoczyńska takes a sharp left turn in her follow up to 2015’s The Lure, abandoning the singing, murderous mermaids of her debut for a more realistically grounded and somber tale of a woman who returns to her former life after falling into a dissociative fugue state. Pitched somewhere between a mystery and a domestic drama, Fugue follows Alicja (Gabriela Muskała, who also wrote the screenplay) as she tries to reintegrate back into a role that may no longer be available for her, all while her husband (Łukasz Simlat), son (Iwo Rajski), and others once close to her struggle to reconnect with a woman they barely recognize. “Fugue transforms into a rather striking sophomore offering, cementing its author as one of our finest emerging international voices.” —Jacob Knight, Birth. Movies. Death.

In Polish and English with English subtitles. (100 mins.)

3/7 7:30 | Fox Tower 3/7 7:30 | Whitsell Auditorium 3/14 6:00 | Fox Tower

3/8 6:00 | Fox Tower 3/10 5:45 | Cinemagic

Based on director Ying Liang’s own story of political exile, A Family Tour follows Chinese-born dissident filmmaker Yang Shu (Nai An) and her family from Hong Kong to Taiwan for a film festival. Beyond professional reasons, Yang is there to see her ailing mother Chen (Zhe Gong), traveling on a sightseeing tour.

They haven’t seen each other in five years due to Yang’s exile, resulting from her pointedly political films. Ying thus uncovers a complex family dynamic, mining fertile emotional ground as mother and daughter reconcile past choices and their place in the complex political landscape of Greater China. “If politics were enough, A Family Tour would suffice as a hard-won work of freedom in the face of unjust authority, as an act of revelatory declaration in the face of enforced silence. But Ying’s film is also a work of beauty.” —Richard Brody, The New Yorker.

In Mandarin, Cantonese, and Min Nan with English subtitles.

(107 mins.)

Sponsored by the Consular Office of Japan in Portland

Sponsored by Nordic Northwest, Consulate General of Sweden, and the Swedish Women’s Educational Association, Portland

3/15 6:00 | OMSI 3/17 3:00 | Fox Tower

Dogman

The Heiresses

Cristina Gallego, Ciro Guerra | Colombia/Denmark/Mexico

Matteo Garrone | Italy/France

Marcelo Martinessi | Paraguay/Germany/ Uruguay/Brazil/Norway/France

3/8 5:45 | Cinema 21

3/19 6:00 | Whitsell Auditorium 3/21 6:00 | Cinemagic Sponsored by the Polish Library Building Association

Sponsored by Bulleit Frontier Whiskey and Ketel One Vodka

Birds of Passage Veteran director Guerra (The Wind Journeys, Embrace of the Serpent) teams up with longtime partner Gallego (herself a veteran producer) for the incredibly staged, gorgeously shot pre-war-on-drugs drama Birds of Passage. Uniquely structured around five songs, the film follows a declining yet well-off family sucked into the marijuana trade, led by Raphayet (José Acosta) —a kingpin with Wayúu tribal roots—and anchored by his mother-in-law Ursula (Carmiña Martínez, unforgettable) in their strongly matriarchal culture. Visually stunning and marked by a resolute need to portray the razor’s edge between cultural tradition and encroaching capitalism, Birds of Passage “offers a lesson about the destabilization of traditional modes of life and a fascinating glimpse into a little-understood community. That the filmmakers wrap it into familiar genre territory makes it all the more impressive.” —Christina Newland, Sight & Sound. Winner, Best Film, Best Actress, and Best Original Music, 2018 Fenix Film Awards. In Spanish with English subtitles. Content Warning.

(125 mins.)

G L O B A L PA N O R A M A

G L O B A L PA N O R A M A

Amateurs

Winner of the Best Actor award at the 2018 Cannes Film Festival, Matteo Garrone’s (Gomorrah) latest film tells the tale of Marcello (Marcello Fonte), a humble dog groomer whose fate is tied to brutal, small town thug Franco (Adamo Dionisi). Dealing small quantities of cocaine out of his shop, Franco exploits Marcello: at first, for drugs taken on credit, and then for exponentially larger shares of the risk tied to Franco’s erratic and violent behaviors. “Dogman is a film that slowly, inexorably shuts the walls around its hero, and around its audience.” —Lee Marshall, Screen Daily. Italy’s foreign-language Oscar submission.

In Italian with English subtitles. Content Warning. (120 mins.)

3/16 6:00 | Cinema 21 3/20 6:00 | Cinema 21

In a relationship for over 30 years, Chela (Ana Brun) and Chiquita (Margarita Irun) are settled into a comfortable domestic situation, having become deeply accustomed to each other’s idiosyncrasies. Both descend from wealthy families, but their financial situation has become unstable, leading the two to sell their belongings and, ultimately, to Chiquita’s imprisonment for fraud. Chela must find a way out of both financial and familial crises, turning to a very unlikely source of income: driving, which she hasn’t done for many years. But when she meets the youthful, confident Angy (Ana Ivanova), Chela’s outlook begins to change—and despair turns to the promise of another life, another set of values, and a fresh start. “A vivid and affecting character study.” —A. O. Scott, The New York Times. Winner, Best Actress, FIPRESCI Prize, and Alfred Bauer Prize, 2018 Berlinale. In Spanish with English subtitles. (97 mins.)

3/16 12:00 | Whitsell Auditorium 3/21 8:30 | Cinemagic

“I Do Not Care If We Go Down in History As Barbarians” Radu Jude | Romania/Germany/Bulgaria/ France/Czech Republic Director Jude has already delivered several well-regarded films, including Aferim! (2015) and Scarred Hearts (2016)—work remarkable for its clarity and sweep. No less is true of his latest, a meta-fictional exploration of wartime Romanian history through the eyes of Mariana (Ioana Iacob, excellent), a radical theater director commissioned to make a piece about alleged incidents of ethnic cleansing, by Romanian troops, on the Eastern Front in 1941. Where Mariana longs to tell the entire truth, her government sponsors—who bankroll the project— don’t exactly see eye-to-eye with her views. What follows is an unpredictable, thorny, and intellectually stimulating film that creatively reckons with the horrors of the past and those who seek to cover them up. “Blistering...acutely topical.” —Jessica Kiang, Variety. Romania’s foreign-language Oscar submission.

In Romanian with English subtitles. (140 mins.)

3/16 5:15 | Whitsell Auditorium 3/17 3:00 | Cinemagic Sponsored by the Romanian American Society

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Quentin Dupieux | France After discovering a body outside his apartment complex one night, Louis (Grégoire Ludig) is brought into the local police station for questioning, only to find himself the chief suspect in the police commissioner’s (Benoît Poelvoorde) investigation.

When fate brings Louis in proximity to yet another corpse, the absurdities begin to pile up in Dupieux’s (Rubber) lovingly odd tribute to French police procedurals. “Telling stories is something we do all the time, and there are many ways to go about it. Keep an Eye Out tears those conventions to pieces— and it’s fucking funny while it does it.” —Andrew Todd, Birth. Movies. Death. Winner, Best Screenplay, 2018 Sitges International Fantastic Film Festival. In French with English subtitles. Content Warning. (73 mins.) Screens with: Petite Avarie, Manon Avirol, Léo Hardt, France. Breaking up is hard to do. In French with English subtitles. (20 mins.)

3/18 6:00 | Cinema 21 3/20 8:45 | Cinema 21 Sponsored by TV5Monde and Alliance Française de Portland

Long Day’s Journey into Night

Sir

Stupid Young Heart

Rohena Gera | India/France

Selma Vilhunen | Finland/Netherlands/Sweden

Bi Gan | China

Shy domestic servant Ratna (Tillotama Shome), having moved to Mumbai from the countryside in search of opportunity, works for wealthy architect Ashwin (Vivek Gomber), a reserved yet confident man who has just been abandoned at the altar.

While the two are from very different backgrounds—and thus castes—they nonetheless share the worldview that one’s dreams should be pursued and fought for. Ratna, having become widowed at 19, now seeks a career as a master tailor— traditionally a field dominated by men—whereas Ashwin, fresh off heartbreak, is at a crossroads. Where these individual stories meet, first-time feature director Gera (who previously worked in documentary) shapes a sensitive, tender story about star-crossed love in an unwaveringly modernizing world. Classically-styled and delicate in the best sense, this thoroughly character-driven film is a breath of fresh air. In Hindi, English, and Marathi with English subtitles. (96 mins.)

Kiira (Rosa Honkonen) is pretty, popular, the lead on the high school dance team, and long-time crush of goofy, scrawny Lenni (Jere Ristseppä). After a hook-up at a party, Kiira discovers that she’s pregnant and they decide to keep the baby. Not your typical coming-of-age drama, Stupid Young Heart uses the nine-month lead up to a life-changing event to explore contemporary connections between manhood, race, and nationalism in an economically depressed Finnish suburb.

Sweet and supportive at first, Lenni’s insecurities about how to provide for the coming baby have him seeking advice from a new friend Janne, who is a member of a far-right group plotting against a growing Somali community. In the end, Lenni must figure out what fatherhood means to him, in this reflection of all-to-real events against immigrant communities throughout Europe. In Finnish and Somali with English subtitles.

(102 mins.)

3/16 12:30 | Cinema 21 3/18 6:00 | Cinemagic

3/15 6:00 | Cinemagic 3/19 3:30 | Whitsell Auditorium

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Bi Gan’s sophomore feature is a moody fragmented effort that shatters film noir tropes into a visually dark and spatially psychological drama. Nothing is certain within the unconventional plotline that centers around Luo Hongwu (Huang Jue), who returns home after over a decade to find his father dead and a mysterious yet familiar woman haunting him. As he attempts to piece together the meaning of lost secrets and friends, identities shift and symbols abound in gorgeously ­dilapidated locales, until a significant shift in the second half: Lou goes to the movies—and so do we, getting meta in 3-D. The acrobatic 59-minute continuous take is a dream logic manifesto that moves from underground hideouts to ping-pong tables and courtyard karaoke in search of uncertain romance.

The shot took Gan and French cinematographer David Chizallet seven attempts to get it right, and it’s well worth the wait.

In Mandarin with English subtitles. (140 mins.)

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Redemption

The River

Styx

Ten Years Thailand

Yossi Madmoni, Boaz Yehonatan Yacov | Israel

Emir Baigazin | Kazakhstan/Poland/Norway

Wolfgang Fischer | Germany/Austria

Madmoni and Yacov’s deeply emotional spiritual journey highlights the necessity of family and friends, even if that means painfully coming to grips with one’s past transgressions. Single father Menachem (Moshe Folkenflick), whose daughter Geula (Emily Granin) is diagnosed with cancer, must find a way to pay for costly treatments despite eking out a simple existence without much cash flow. Enter Menachem’s former, marginally popular band, for which he was lead singer. In an effort to raise funds, the band gets back together and rekindles their old fire.

But, as the recently-religious Menachem finds out, redemption is not so easily earned in this uplifting yet realistic tale of the bonds that connect us all. Winner, Best Actor, 2018 Karlovy Vary Film Festival; winner, Audience Award, 2018 Jerusalem Film Festival. In Hebrew with English subtitles. (104 mins.)

Five Kazakh brothers, ages five to 16, live with their parents on an extremely spare, dusty steppe in a house befitting their simple environment. Their father speaks in clipped sentences and harsh tones while driving the boys’ daily labor; their mother is largely confined to the home in this strongly patriarchal society. One day, the eldest boy, Aslan (Zhalgas Klanov) discovers a nearby river, and takes his brothers swimming.

Then, their city-dwelling, technology-wielding cousin unexpectedly appears. These twin lures threaten to, perhaps irreversibly, disrupt the solitude of the homestead. The multitalented Baigazin, who wrote, produced, directed, shot, and edited The River, uses emotional and formal precision to his great advantage in this breakout film, which “might be said to exist on a continuum between Claire Denis’ masterwork Beau travail and Samira Makhmalbaf’s still-underseen The Apple. Baigazin...is a filmmaker of sensitivity and restraint.”

— ­Michael Sicinski, Cinema Scope. In Kazakh and Russian with English subtitles. (108 mins.)

A self-assured doctor (Susanne Wolff) goes on a solo yachting trip in the Atlantic and discovers the limits of her resourcefulness upon encountering a refugee-packed vessel that’s rapidly taking on water. Director Fischer’s steady hand powers this tumultuous, sociopolitical thriller on the open water, exploring the topic through a lens that examines both personal and ethical facets while also implicating corporations and nations of privilege for their inaction in the face of a crisis that grows larger every day.

“This is All Is Lost with a spinning moral compass and a topical dimension that proves even more gripping than its brilliantly achieved visceral action.” —Jessica Kiang, Variety. In English and German with English subtitles. (94 mins.)

Aditya Assarat, Wisit Sasanatieng, Chulayarnnon Siriphol, Apichatpong Weerasethakul | Thailand/Hong Kong

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10

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The political realities of modern day Thailand are challenged in the four chapters of this omnibus presentation, inspired by the Hong Kong-produced festival triumph Ten Years (2015), which was banned in mainland China upon its release. In Aditya Assarat’s Sunset, a series of photographs hung in a small gallery comes under the scrutiny of low-level police officers. Wisit Sasanatieng’s Catopia envisions an alternate society where cat people have conquered humanity. Avant-garde video artist Chulayarnnon Siriphol’s Planetarium critiques power that demands conformity in a highly psychedelic fashion. Finally, Thailand’s most internationally known filmmaker Apichatpong Weerasethakul poses his characters beneath a large statue of an infamous Thai dictator in Song of the City, asking the audience to draw their own conclusions. In Thai and English with English subtitles. (102 mins.)

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11

Winter Flies

Blind Spot

Chained for Life

Dominga Sotomayor | Chile/Brazil/Argentina/Netherlands/Qatar

Olmo Omerzu | Czech Republic/Slovenia/ Poland/Slovakia/France

Tuva Novotny | Norway

Aaron Schimberg | US

In this angular, sun-faded coming-of-age drama, Sotomayor Castillo excavates a certain feeling of youth in a teenage girl on the verge of adulthood: too old for naivete, too young for the hurt that comes with fledgling romance just outside the bounds of playground love. At a gathering of families seeking utopian, communal living in the mountains outside Santiago, 16-year-old Sofia (newcomer Demian Hernández) undergoes profound changes—her father increasingly distant, her mother nowhere in sight, and her slightly older love interest just out of firm grasp— scaffolding into a familiar feeling of tender malaise. As the harshness of the Pinochet regime began to fade from view in the early 1990s, Sofia—and so many like her—became an adult.

Winner, Golden Leopard for Best Director, 2018 Locarno Film Festival. In Spanish with English subtitles. (110 mins.)

The Slovenian-born Omerzu’s third feature is a charming and deceptively simple comic road movie following two teenage boys as they traverse the Czech countryside in search of freedom and perhaps adulthood—although they have very far to go. Having stolen an Audi, the outwardly confident, shaved-head Mára (Tomáš Mrvík) picks up his goofball friend Hedus (Jan František Uher), the two setting off under mysterious pretenses.

Encountering two strong women on their trip—street-smart hitchhiker Bára (Eliška Křenková) and officer Freiwaldova (Lenka Vlasáková)—the boys maybe are in for more than they bargained, forced to examine their motives and their places in the pecking order. Gorgeously shot and featuring plenty of foggy Eastern European landscapes, Winter Flies is incessantly funny, often poignant and “a lovely little film that’s as comfortable as an old sweater and almost as warm.” —Boyd van Hoeij, The Hollywood Reporter. The Czech Republic’s foreign-language Oscar submission. In Czech with English subtitles. (85 mins.)

Making her feature debut with this immersive single-take family drama, actress-turned-director Novotny delivers one of the year’s most emotionally gripping films. Using parental grief as its raw material, Blind Spot follows an average middle-class Norwegian family through one harrowing night of uncertainty with ostensibly simple yet deeply complex roots. Featuring assured performances across the board, particularly Pia Tjelta’s towering portrayal of despairing mother Maria, the film provides an opportunity to think about the crucial role of family in our lives, the hidden pieces of family history we may prefer to keep buried, and the unseen crises affecting those around us who may be quietly crying out for help. In Norwegian with English subtitles. (98 mins.)

A conventionally beautiful actress Mabel (Jess Weixler) finds herself starring in a misguided, independent film production alongside a collection of physically disfigured and disabled performers, including Rosenthal (Under the Skin’s Adam Pierson), a man with neurofibromatosis hired on as the romantic lead. As the shoot wears on, both the tables and the identities of the players pivot, with multiple layers of story blurring the reality at play. Director Schimberg’s second feature has it both ways, paying homage to and highlighting the ways in which otherness has been expressed in cinematic terms, most famously in Tod Browning’s Freaks. “Hyper-literate and self-aware, it’s an incisive film about prejudice and representation, referring to and critiquing Hollywood history while making its own observations and telling its own story.” —Andrew Todd, Birth. Movies. Death.

(91 mins.)

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12

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Too Late to Die Young

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Woman at War

The Chambermaid

Crystal Swan

Benedikt Erlingsson | Iceland/France/Ukraine

Lila Avilés | Mexico

Darya Zhuk | Belarus/US/Germany/Russia

In Erlingsson’s confident follow up to his 2013 debut Of Horses and Men (PIFF 37), Halldóra Geirharðsdóttir (Metalhead) stars as Halia, a choral teacher living a double life as an environmental terrorist. Spurred on by foreign investments and expansions in a local aluminum plant, Halia seizes the moment and begins a series of attacks on the electrical lines that allow the facility to pollute the Icelandic countryside. Complicating her efforts to harmonize the dissonant halves of her life, Halia receives news that the long-awaited opportunity to adopt a child from Ukraine has finally been approved. “Deftly balancing its whimsical comedic tone and dramatic heft, Woman at War is a unique, engaging thrill ride with plenty of heart.” —Matt Bobkin, Exclaim.

Iceland’s foreign-language Oscar submission. In Icelandic, Spanish, English, and Ukrainian with English subtitles.

(101 mins.)

Set entirely inside an opulent, one-percenter Mexico City high-rise hotel, Avilés’ stunning debut follows Eve (Gabriela Cartol), a maid working the day shift as she navigates the various challenges that come with her job. Oscillating between cleaning bathrooms, changing linens, and impromptu childcare sessions for pampered guests, Eve’s days are packed—all done far away from her own four-year-old son Ruben. On the side, she studies for her GED and clearly longs to get ahead, striking tentative friendships with her fellow workers. An immersive and utterly thrilling film boasting one of the year’s most unforgettable central roles, The Chambermaid pulls back the curtain on an area of labor routinely taken for granted, and offers an empathetic look into one woman’s place within a world increasingly defined by haves and have-nots. In Spanish with English subtitles.

(102 mins.)

With a shock of dyed hair and a wildly colored wardrobe to match, 20-something Velya (a breakout role for relative newcomer Alina Nasibullina) has one love: DJing house music at mid-1990s Minsk warehouse parties. But Velya also dreams of a better life in the US, particularly Chicago, the birthplace of house music. She tries, heavily bureaucratic post-Communist state be damned, to secure a travel visa and follow her dreams— getting involved with a charmingly ramshackle rural family along the way. This comically absurd, often surreal film is a breath of fresh air and a bittersweet ode to outcasts and dreamers everywhere. “The sort of blazing triumph that would hold even the sleepiest festivalgoer in rapt attention.” —Matt Fagerholm, RogerEbert.com. Belarus’s foreign-language Oscar submission.

In Belarusian and English with English subtitles. Content Warning. (95 mins.)

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13

Dead Pigs

A Family Submerged

Jessica Forever

João Salaviza, Renée Nader Messora | Brazil/Portugal

Cathy Yan | China

María Alché | Argentina/Brazil/Germany/Norway

Caroline Poggi, Jonathan Vinel | France

Yan’s playful, compulsively entertaining debut brings several storylines together around an ecological crisis in a mid-sized Chinese city outside Shanghai. Dead pigs are turning up left and right, eventually finding their way to the Yangtze river—a mystery to everyone. A pig farmer and his wealthy salon-owner sister can’t see eye-to-eye on anything, least of all about his rescue from economic hard times; an American expat architect helps reshape the working-class landscape of the city; and a shy busboy and spoiled rich girl develop a relationship in a hospital.

In Yan’s comic (and musical!) universe, these storylines delicately connect in a “delightful, spiky, comic debut about overlapping lives and interlocking misfortunes in modern China.”

—Jessica Kiang, Variety. In Mandarin with English subtitles.

(130 mins.)

Argentinian actress María Alché (Lucrecia Martel’s The Holy Girl) steps behind the camera with the sensitively-pitched A Family Submerged, one of the year’s most delicate debut films.

Following the death of her sister, Marcela (Mercedes Morán) disconnects from her family and even her own home, increasingly drawn to the spirits of her forebears, who begin appearing in her modest Buenos Aires apartment. Meanwhile, Nacho (Esteban Bigliardi), a friend of Marcela’s daughter, starts coming around, and the two develop an uneasy bond in the face of personal tragedy. Beautifully lensed by the talented cinematographer Hélène Louvart, A Family Submerged is tender film about family, loss, and the ways in which critical life events shape our perception of the world. “Enigmatic, dream-like.”

—Neil Young, The Hollywood Reporter. Winner, Best Film, Horizontes Latinos, 2018 San Sebastián Film Festival.

In Spanish with English subtitles. (91 mins.)

Up-and-coming filmmakers Poggi and Vinel bring us a video-game-influenced, hyper-stylized blast. Led by the mysterious Jessica (Aomi Muyock), a pack of “lost boys” with different skill sets (a la Mortal Kombat), but a shared understanding of the world and its cruelty, are on the incessant run from a techno-fetishistic army of killer drones which seeks to wipe them off the face of the Earth. In between gun battles and kitten-petting sessions, Jessica and the boys change costume more often than Lady Gaga, always fashionably ready for the next fight in their search for lasting peace. Jessica Forever is a sui generis dystopian sci-fi adventure like you’ve never seen— a glimpse into the future of cinema. “Its audacity, which will obviously leave no viewer feeling indifferent and which will undoubtedly have strong detractors and fervent followers, makes it a potentially cult title.” —Fabien Lemercier, Cineuropa.

In French and English with English subtitles. Content Warning.

(97 mins.)

Directors Salaviza and Messora spent several years living and working with the indigenous Krahô people in Tocantins, a northern Brazil state, learning the people’s customs and way of life and ultimately crafting this moving story together. Ihjãc, a 15-year-old from the village, loses his father and prepares for life with this new reality. Although Ihjãc is drawn into shamanism by the tribe’s elders, another option is to branch out into the city and try his luck at finding work and creating a new life. But life as an indigenous person in a Brazilian metropolis is not an easy one, and Ihjãc must grapple with the divide between the tradition of his village and the relative freedom that modern Brazil seems to offer. Stunningly shot on 16mm, The Dead and the Others belies the documentary background of the filmmakers in offering an anthropological yet empathetic portrait of a man—and a culture—at a crossroads. In Krahô and Portuguese with English subtitles. (114 mins.)

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Djon África

An Elephant Sitting Still

The Load

One Day

João Miller Guerra, Filipa Reis | Portugal/Brazil/Cape Verde

Hu Bo | China

Ognjen Glavonić | Serbia/France/Croatia/Iran/Qatar

Zsófia Szilágyi | Hungary

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14

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Co-scripted by Pedro Pinho (The Nothing Factory, PIFF 41), this intensely colorful and alive fiction debut by documentarians Guerra and Reis follows Rastafarian Miguel Moreira (aka Djon África) as he traces his Cape Verdean roots from his Lisbon home. Traveling to the island nation in search for traces of his estranged father, Miguel embarks on a languid, pleasurable journey through the countryside, encountering parties, local flavor, and spirits. Djon África is a vibrant, wholly charming road movie that will get under your skin in the most pleasing sense.

“In our fractured world, stories of cultural dislocation are burgeoning into a genre unto themselves, but rarely has the subject been explored with such warmth and irony.”

—The Playlist. In Portuguese with English subtitles. (96 mins.)

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A student of Hungarian master Béla Tarr, Hu Bo completed this stunning debut feature at age 29 before taking his own life amidst creative differences with the film’s producers. Following four individuals undergoing economic and social hardship in China’s northern provinces, the group is led by Wei, a quiet 16-year-old mixed up in a violent situation after aiding his bullied friend. Joining Wei are his aging neighbor Wang, cast adrift from his family; Wei’s classmate Huang, caught in a downward-spiral affair with a school official; and Yang, who is tormented over a friend’s suicide. The quartet hears of an elephant quietly existing in a northern port city, and are drawn to it—each harboring their own motivation to leave their dismal and increasingly dangerous surroundings. “An intimate and empathetic portrait of human suffering, with performances of astounding sensitivity.”

—Giovanni Marchini Camia, Sight & Sound. Winner, Best Film, 2018 Golden Horse Awards. In Mandarin with English subtitles.

Content Warning. (230 mins.)

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Opening on a gray landscape in Bosnia are distant explosions from NATO airstrikes, setting the scene for this quietly piercing road movie based on true events during the Balkan Wars of the 1990s. Vlada (Leon Lučev) agrees to transport cargo again from Kosovo to Belgrade, of what perhaps he does not want to admit or truly doesn’t know. Along the way he reluctantly picks up teen hitchhiker Paja (Pavle Čemerikić) and makes regular stops to phone his wife—narrative pauses that open space for others’ stories. Director Ognjen Glavonic, who was a teen during the war, explains that “the shape of the film is a tree, and these story branches are equally important.” While “the load” refers of course to the mysterious cargo, it equally refers to the weight of realizing one’s own complicity and the fear of burden for the next generation. In Serbian with English subtitles. (98 mins.)

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A day (and a half) in the life of a married middle-class mother of three adolescents with a husband and a day job teaching Italian: it’s intense. With One Day Szilágyi—a former assistant to Ildikó Enyedi (On Body and Soul, PIFF 41)—delivers her simmering debut, beautifully shot in the streets and cramped apartments of Budapest. Following Anna (Zsófia Szamosi, in a stunning lead performance) through an unusual period filled with both child-based banalities and heightened marital drama that many will connect with, One Day captures the nuance and detail of modern parenthood while ratcheting up the tension with one of the year’s most subtly affecting soundscapes. A profoundly intimate and honest look at motherhood, this perceptive and sensitive film marks Szilágyi as a talent to watch. In Hungarian and Italian with English subtitles. (99 mins.)

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15

Ray & Liz

Acid Forest

Afghan Cycles

Wanuri Kahiu | Kenya/South Africa/Germany/ Netherlands/France/Norway/Lebanon

Richard Billingham | UK

Rugilė Barzdžiukaitė | Lithuania

Sarah Menzies | US/Afghanistan

Known for his unflinchingly intimate portraits of his family, fine art photographer Billingham turns in one of the year’s most thrilling film debuts with the deeply autobiographical Ray & Liz. Set in the grimy Birmingham council flats of Billingham’s youth, the film focuses on the eponymous bad-parent stereotypes and their two sons—boys who grow up mostly alone, put repeatedly in precarious positions while their father drinks himself to death and their mother ignores them in favor of fulfilling her own desires. A potent, visually-stunning blend of cautionary tale and tender coming-of-age drama (replete with joyous sequences of discovery and wonder), Ray & Liz is “a rare and remarkable cine-memoir...lends complex layers of memoir and mimesis to this singular spin on the British kitchen-sink drama.”

—Guy Lodge, Variety. Content Warning. (108 mins.)

The Curonian Spit, situated on the Baltic Sea on the border between Lithuania and Russia, is one of the world’s most macabre tourist destinations, owing to its masses of downed pine trees. Beyond the apocalyptic look of the forest, flocks of cormorants (large black birds somewhat vulture-like in appearance) also roost in this scenic place, overseeing the damage. Barzdžiukaitė’s ingeniously perceptive film provides a literal and figurative overview of the forest, and through her focus on often-hilarious tourist reactions to the ecological situation, Acid Forest unearths myriad ideas about environmental catastrophe and the mass media’s effect on our perception of the world. “Beguiling, beautiful and informative.” —Kaleem Aftab, Cineuropa. In Lithuanian, English, German, French, and Finnish with English subtitles. (63 mins.) Screens with: Those Who Desire, Elena López Riera, Switzerland/Spain.

A mass of men surrounds a mass of brightly-painted pigeons, in pursuit of one procreative goal, in this film about ritual and lust. In Spanish with English subtitles. (24 mins.)

Following several young Afghan women who have taken up competitive road cycling and joined the national team, Menzies’ eye-opening film exposes the threats these women must go through simply to ride a bike in their home country, often enduring physical and emotional abuse as a result. Oscillating between the cityscape of Kabul and the rural Bamyan province, and between two groups of women living in these disparate locales, Menzies centers their unforgettable life stories, their trials and tribulations, and the hope that lays at the heart of their dreams. Afghan Cycles is an important portrait of extremely strong women who have pursued their dreams despite living in an oppressively patriarchal society, and “a captivating ride.”

—Amy Siegel, POV Magazine. In Dari with English subtitles.

(90 mins.)

A star-crossed love story between two young women, Kena (Samantha Muatsia) and Zika (Sheila Munyiva), whose fathers are political adversaries in a small Kenyan town. While using a traditional narrative structure to tell a still-taboo story (Kenya continues to criminalize homosexuality), the yearnings of a first romance condemned by family and community are presented in a delightfully sweet and vibrant visual palette. As director Kahiu describes, “My brand is something we call Afrobubblegum, which is fun, fierce, and frivolous African art…it’s important to see black people in joy, in hope, and see them in beautiful, loving ways.” Outside of a seven-day single theatre run that allowed Rafiki the chance for a Best Foreign Language Film nomination, the film has been banned in Kenya. In English and Swahili with English subtitles. Co-presented with the Cascade Festival of African Films. (83 mins.)

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Rafiki

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Suburban Birds Qiu Sheng | China/Taiwan Youthful land engineer Hao (Mason Lee) and his colleagues are on a job measuring mysterious ground disturbances in an eerily unpopulated suburban area outside a major Chinese city.

Exploring an abandoned school building one day after a long bout of drinking, Hao stumbles upon the lost diary of a young boy, flipping the story of the film inside-out as Hao’s daily life begins to strike an eerie resemblance to the boy’s—coincidentally also named Hao. A shape-shifting narrative adventure with beautiful, crisp Academy-ratio images set to a gorgeous soundtrack, Suburban Birds follows in the footsteps of legendary directors like Tsai Ming-Liang, Hong Sang-soo, and Jia Zhangke while charting a path all its own. “Enigmatic...oddly entrancing.”

—Leslie Felperin, The Hollywood Reporter. In Mandarin with English subtitles. (118 mins.)

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Open Daily in Gaston, OR 16

Anthropocene: The Human Epoch

Black Mother

Jennifer Baichwal, Edward Burtynsky, Nicholas de Pencier | Canada

Photographer-turned-filmmaker Khalik Allah returns to Jamaica, his mother’s birthplace, to fashion a multifaceted and highly collaged audio-visual portrait of the nation from which he sprang. Dividing his documentary into three distinct “trimesters,” Allah takes us on an unprecedented voyage through the spiritual, historical, political, and socioeconomic realities of Jamaica, drawing from the direct experience of his interview subjects, whose tales are further bolstered by the surfaces and spaces captured by Allah’s camera. “Some films are likened to essays. This one is more of an epic poem: a raw, dense, impressionistic odyssey through Jamaican identity, national, personal, and spiritual.” —Steve Rose, The Guardian. (70 mins.)

Previously collaborating on 2006’s Manufactured Landscapes— itself a monumental film about human impact—Baichwal, Burtynsky, and de Pencier now turn their focus to the buzzword of the moment: the anthropocene, or the age of human domination over the ecology, climate, and environment of the earth. Featuring voiceover by actress Alicia Vikander, this stunningly-shot wake-up-call details several global ecological catastrophes including rampant large-scale strip mining, luxury marble excavation, and endless trash dumps in order to sketch a picture of the destruction humanity has wrought on our planet.

Though this sounds like a pure doom-and-gloom diagnosis, this devastatingly beautiful film offers us a chance to open our eyes and see things for exactly as they are—views which often go uncaptured, unreported, and unremarked upon. In English, Russian, Italian, German, Mandarin, and Cantonese with English subtitles. (87 mins.)

Khalik Allah | US

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17

The Hidden City

Los Reyes

Karim Aïnouz | Germany/France/Brazil

Víctor Moreno | Spain

Iván Osnovikoff, Bettina Perut | Chile/Germany

Berlin’s Tempelhof airport, built in 1923 but heavily renovated during the Nazi period, was one of Europe’s busiest until its permanent closure in 2008. Rather than let the massive grounds lie dormant, its buildings now house immigrants looking for entry into Europe, while its airfield now acts as a massive city park—two use-cases that provide copious fertile material for Aïnouz’s insightful, moody documentary. Following several subjects inside the shelter—including an Iraqi doctor forced to start afresh and a young Syrian man harboring the audacious dream of a life free from violence—Central Airport THF adopts a tenderly lyrical approach in its focus on those seeking European asylum while probing deeper into this vast public space, casting light on the dichotomy at play in the center of one of the world’s busiest cities. In Arabic, German, English, and Russian with English subtitles. (97 mins.)

A sensory journey with few parallels this year, Moreno’s (Edificio España) latest investigation into infrastructure plunges us deep underground in Madrid to deliver an often-thrilling portrait of the unseen labor and locations that exist beneath a major city in the 21st century. Following workers through tunnels and caverns, Moreno uses the camera as a kind of exploratory device, much like the throbbing machinery found in these subterranean spaces. One of the year’s most exciting cinematic experiences, The Hidden City is a new kind of city symphony: dark, damp, straining to find the most miniscule sliver of light beaming down from above, but always aware of the life that nonetheless thrives so deep underground. In Spanish with English subtitles. (80 mins.)

In the heart of Santiago, Chile, a nondescript skateboarding park abuts a sleepy residential neighborhood—not an unusual situation in most major cities. But this skatepark is different, insofar as two extremely entertaining black dogs keep permanent watch, living in the park and acting as its unofficial rulers. Interwoven with scenes of the dogs’ lives, filmmakers Osnovikoff and Perut take a unique tack by giving a sound recorder to the young people who frequent the park, letting them talk, without intervention, about their lives. This tactic ­teases out hard truths about growing up in the city, neatly paralleled with the dogs’ often cute but routinely difficult lives on the streets of Santiago. But the dogs are the true stars, becoming two of the most unforgettable characters of the year and reminding us that, truly, we don’t deserve dogs. In Spanish with English subtitles. (78 mins.)

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Moonlight Sonata: Deafness in Three Movements Irene Taylor Brodsky | Oregon Twelve years after her award-winning documentary Hear and Now, director Irene Taylor Brodsky once more turns the camera on her family, documenting the gifts and challenges that come with being deaf. Brodsky’s teenage son Jonas, who was born with the ability to hear before going deaf as a boy, retains his hearing due to cochlear implants he received while still young.

Jonas is also a budding pianist who has chosen to learn Beethoven’s Moonlight Sonata for a recital. Jonas’s grand­ parents, Paul and Sally Taylor, who lived most of their lives deaf before receiving cochlear implants at 65, are now facing new life trials as age takes its toll. What emerges is an incredibly moving portrait of generations both separated and united through the ability to hear. In English and English Sign Language with English subtitles. CC/CaptiView available. (90 mins.)

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The Image You Missed

Infinite Football

Our Bodies, Our Doctors

The Proposal

Donal Foreman | Ireland/France/US/UK

Corneliu Porumboiu | Romania

Jan Haaken | Oregon

Jill Magid | US/Mexico/Switzerland

Billed as a “film between Donal Foreman and Arthur McCaig,” The Image You Missed is a powerful excavation of historical memory and a beautifully rendered cross-generational portrait of father and son, both documentary filmmakers. Set largely against the backdrop of “The Troubles,” or Northern Ireland’s violently disputed national status, the film is comprised of reams of archival footage shot by McCaig (based in Paris but very active in Northern Ireland during the 1980s). Foreman grapples with this, mining resonance to his contemporary image-making practice while connecting with his father across images and across time. “How to reconcile the personal and the political, how we connect (or fail to) with images and with each other through images lie at the heart of this absolute must-see, one of the most charged and beautifully weighted essay films of recent times.” —Kieran Corliss, Sight & Sound. In English. (73 mins.)

One of the funniest documentaries of the year, Porumboiu’s (Police Adjective, The Treasure) deceptively simple work follows Laurențiu Ginghină, a mid-level bureaucrat in a small Romanian town. An otherwise unremarkable figure, Ginghină nevertheless has one big idea: to radically and controversially reinvent the game of football (soccer!) in the hopes of making a more physically accessible and entertaining sport. Ginghină’s ideas are big and bold, but a key secret in his personal history can perhaps explain his desired rule changes. Porumboiu deftly humors Ginghină while never looking down on him, instead crafting a fascinating portrait of the ultimate self-loathing (with a wink) bureaucrat in the post-Communist state. “Few would use Plato’s cave allegory and the Bible in making their case for changing football, but then again, there are few people quite like Ginghină.” —Kevin Jagernauth, The Playlist. “This relatively short film contains worlds.” —Glenn Kenny, The New York Times. In Romanian with English subtitles. (70 mins.)

Documentarian Jan Haaken’s sixth feature highlights a significant group of individuals in the highly politicized world of women’s reproductive health rights: the doctors and nurses who have taken an oath to provide safe and ethical procedures for the those who need their help. While threats of violence remain commonplace, and religious control over healthcare expands, these quiet heroes continue to do their jobs with strength and compassion. Haaken sensitively and discreetly pulls back the curtain on this indispensable practice. “The debate continues to be defined by gruesome images from the anti-abortion movement, but Our Bodies, Our Doctors shows truth to power, exposing the daily realities of performing procedures from providers POV and why they fight for reproductive justice.”

—Gloria Steinem, author and activist. (80 mins.)

Renowned New York-based artist Jill Magid rose in the art world with both contempt and praise in 2016 for her controversial project about the legendary, Pritzker-Prize-winning Mexican architect Luis Barragán. Since his death in 1968, Barragán’s personal and professional archives have fallen into different sets of hands with very different results. The professional archive and copyrights to the work eventually wound up in a basement beneath the Vitra Design Museum in Germany, under the care of one individual with an unabiding love of Barragán. Seeking repatriation of the archive to Mexico—which the Barragán family has long sought—Magid works over several years to craft an ingeniously beautiful and ethically tricky solution, a process which The Proposal exactingly charts. An important work of artistic intervention, this quiet thriller is sure to spark copious debate. In Spanish and English with English subtitles. (85 mins.)

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Central Airport THF

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Still Recording

The Waldheim Waltz

What Is Democracy?

Robert Bahar, Almudena Carracedo | Spain/US/Canada/France

Saeed Al Batal, Ghiath Ayoub | Syria/Lebanon/France/Germany/Qatar

Ruth Beckermann | Austria

Astra Taylor | Canada/US

Under General Francisco Franco’s fascist military dictatorship in Spain, lasting from 1939 until his death in 1975, the Spanish people endured unspeakable atrocities, with dissidents regularly tortured and killed and the country held in the thrall of state violence. Over six years of painstaking work, Bahar and Carracedo focus on the victims of this violent history, following groundbreaking legal proceedings in Argentinian courts geared toward bringing some of Franco’s most notorious lieutenants— many of whom still have streets and other public spaces named after them—to final justice. A film by turns an excavation, a deeply emotional journey to justice, and a vital portrait of a country coming to grips with its fascist past, The Silence of Others is a necessary affirmation of the will to live and the fight for lives free from violence. Winner, Best Documentary, 2019 Goya Awards. In Spanish with English subtitles. (96 mins.)

The conflict in Syria, under the brutal Assad regime, has raged on for many years with no end in sight; the country torn asunder between military bombings and ISIS machinations. For first-time filmmakers Al Batal and Ayoub, two young men with a love of cinema, the conflict became inescapably intertwined with their lives. During the past seven years, the duo filmed more than 450 hours of life in Douma, a Damascus suburb and epicenter of fighting. Using their footage to craft a deeply compelling, heartbreaking, and infuriating look inside everyday terror, Al Batal and Ayoub show us the harsh reality of life in Syria— an extremely eye-opening experience that should not be missed. Content warning. In Arabic with English subtitles.

(120 mins.)

Kurt Waldheim, one of Austria’s most notorious and well-known diplomats, was UN Secretary General from 1972 to 1981, eventually running for Austria’s presidency in 1986. Waldheim was popular at home and well-liked abroad despite his Nazi ties, having served in the Wehrmacht during World War II. Candidate Waldheim fervently denied this ugly history, yet new revelations arose during the campaign. Beckermann, one of Europe’s finest documentarians, uncovers the many faces of Waldheim through a piercing kind of excavation. What results is a deeply perceptive and necessary film crafted from archival footage, showing a deeply flawed yet extremely powerful man at the center of a national process of reckoning with the horrors—and complicity— of its past. Austria’s foreign-language Oscar submission.

In German, English, and French with English subtitles. (93 mins.)

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The question posed by the title of Astra Taylor’s (Examined Life, Zizek! ) latest documentary is undoubtedly a huge one with massive implications for contemporary global society—but this piercingly forthright and wide-ranging film is surely up to the task. Shot over several years, What is Democracy? seeks to answer some of civilization’s most pressing questions, using illuminating interviews with such luminaries as Silvia Federici, Wendy Brown, Cornel West, and many others to expand our knowledge of this well-spread political system and give us some sense of its future in the age of Trump and Brexit. Beyond the experts, however, Taylor’s focus expands to the immigration crisis currently gripping Europe and the US, fashioning a brilliant film that will leave your mind churning with ideas. What is Democracy? “serves as a sharp reminder to pay attention to politics and to remember that the personal and the local are political.” —Charlie Phillips, The Guardian. (117 mins.)

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Theatre of War

The Trial

Worlds of Ursula K. Le Guin

Young Solitude

Lola Arias | Argentina /Spain/Germany

Maria Augusta Ramos | Brazil/Germany/Netherlands

Arwen Curry | US

Claire Simon | France

Ursula K. Le Guin (1929–2018) is one of America’s finest writers.

Early in her career, she sought to break the gender barrier in male-dominated science fiction and did so thrillingly, quickly racking up awards and writing a long string of unforgettable novels like The Earthsea Trilogy, The Left Hand of Darkness, The Dispossessed, and The Lathe of Heaven. Through her writing, Le Guin offered readers a glimpse into new forms of life, questioning the dominant narratives of her time (and ours) and offering a staunchly anti-capitalist, utopian view of human, plant, and animal life. Le Guin and her beloved husband Charles lived in Portland since 1958, becoming two of the city’s most cherished residents. First-time director Arwen Curry’s loving, grounded portrait of Le Guin probes deep into her life and work, offering a primer for the uninitiated and new avenues of interpretation and moments of nostalgic joy for her innumerable longtime fans. (65 mins.) Screens with: Kesh, Vanessa Renwick, US. An experimental film poem inspired by the work of Ursula K. Le Guin. (3 mins.)

Documentary filmmaker Claire Simon returns for a third time to the subject of French school life in her latest feature Young Solitude. At the Lycée Romain Rolland in Ivry-sur-Seine, a modest suburb just south of Paris, young voices take the lead as a group eleventh-graders interview each other in an improvised format about love, family life (or lack thereof), and hopes for the future. Candid and thoughtful with a tinge of melancholy, the mostly working-class kids find comfort in sharing with each other: about a parents’ recent divorce, how one was adopted from Nigeria, longing for connection with a father, or getting by on one’s own. Rarely are adults featured or introduced, creating a safe space for these intimate glimpses into lives on the verge of adulthood. In French with English subtitles. (100 mins.)

Today, the Falklands War of 1982 lives on in the collective memories of the Argentinian and British soldiers who fought it, and Arias takes that aftermath as the core material comprising her wholly surprising and unique debut feature. Gathering two groups of soldiers, Arias asks these men to reminisce and bond over a shared experience of war, but, more importantly, to create empathy between the groups and thereby exposing their underlying humanity. At once highly artificial and deeply emotional, Theatre of War is one of the year’s most consistently eye-opening documentaries: “a work of linguistic, colonial, gender and generational confrontation that pushes towards the empathy of collectivity. The trauma of the past is expressed in the woundedness of the present and through this expression finds a type of sanctuary.” —Carolina Benalcázar, Another Gaze.

In English and Spanish with English subtitles. (73 mins.)

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D O C U M E N TA R Y V I E W S

D O C U M E N TA R Y V I E W S

The Silence of Others

The Brazilian right’s 2016 impeachment (or “soft coup”) of President Dilma Rousseff of the democratic-socialist Workers’ Party (PT) remains one of the most disgraceful processes in recent global politics, ushering in a newly conservative era in Brazil following a run of left-wing rule. Beloved former President Lula (Luiz Inácio Lula da Silva) is now jailed on corruption charges and Rousseff ousted following accusations of fiscal misconduct (and of being a woman), while right-wing corruption and grift remains the order of the day. Ramos’s clear-eyed, indignant film soberly details the course of Rousseff’s impeachment from initial articles in congress to the final steps, presenting an imperative document of political process and turmoil in one the global economy’s most advanced states.

In Portuguese with English subtitles. (140 mins.)

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Lajka

Miriam Lies

Okko’s Inn

Denis Do | France/Luxembourg/Belgium

Aurel Klimt | Czech Republic

Kitaro Kosaka | Japan

Denis Do’s deeply personal, exquisitely animated debut feature grapples with the forced exile—and often murder—of millions of Cambodians during the Khmer Rouge regime’s stranglehold on power during the 1970s. Following one family’s harrowing experience, the film centers on the story of 4-year-old boy separated from his parents as the family moves, forcibly, toward relative safety in Thailand. Taking place over several years as parents Chou and Khuon—voiced by Bérénice Bejo and Louis Garrel, respectively—search for their son, this heartbreaking, vital film gives voice to those who suffered under the brutal regime. “A major artistic achievement that follows the lead of Isao Takahata’s masterful Grave of the Fireflies in using animation to create both the emotional intimacy and necessary distance to confront a historic tragedy that some find unwatchable in live action.” —Peter Debruge, Variety. Winner, Best Film, 2018 Annecy Film Festival. Ages 12+. In French with English subtitles. (85 mins.)

Aurel Klimt’s animated feature debut envisions an alternate history of the fate of Laika, the Russian dog used as a test subject in the early days of Sputnik program. Instead of a sacrificial lamb, Klimt imagines Laika being transported to a planet where various animals from the space programs of other nations all cohabitate, coming to terms with their new surroundings. Filled with jaunty musical numbers, inventive alien landscapes, and their inhabitants, Lajka is a burst of pure fun—easily the zaniest international animated film for adults masquerading as a children’s entertainment since A Town Called Panic. “Wes Anderson’s Isle of Dogs may be given a run for its money by Lajka, an utterly charming, whimsical, and funny animated musical about the famous space dog that died in the launching of Sputnik 2.” —Sharon Gissy, Daily Grindhouse.

Ages 12+. In Czech with English subtitles. (88 mins.)

Natalia Cabral, Oriol Estrada | Dominican Republic/Spain

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Fourteen-year-old biracial Miriam has been anonymously chatting online with Jean-Louis just ahead of her quinceañera while her mother obsesses over dress fittings, couples dance practice, decoration decisions, and finalizing the guest list. But when Miriam attempts to meet up IRL with Jean-Louis and invite him to her birthday party, the politics of race and class in the Dominican Republic are brought to the surface, leading Miriam to create a string of lies and plunge into a crisis of identity.

Dulce Rodríguez gives an understated performance as Miriam in this sensitive first dramatic feature by documentary duo Natalia Cabral and Oriol Estrada, highlighting the teen’s own mental anguish against her mother’s manic preparations and microaggressions and the carefree attitude of her upper-class schoolmates. Ages 13+. In Spanish with English subtitles.

(90 mins.)

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Former assistant to legendary Studio Ghibli master Hayao Miyazaki, Kitaro Kosaka’s latest film (and first in 12 years) is a delightful, colorful tale of Okko, a young girl who, after losing her parents, relocates to the countryside to live with Grandma and Grandpa. The elders run a traditional inn built on sacred ground, with a pristine ancient spring that has mysterious powers, but which also houses friendly ghosts. As Okko acclimates to her new life and begins training to be the next innkeeper, the ghosts play an increasingly central role, helping her navigate this new terrain in unexpected and charming ways. Okko’s Inn is an emotional and spiritual journey into one girl’s navigation of the unknown—but with a little help, it’s not that scary to navigate!

Ages 9+. In Japanese with English subtitles. (120 mins.)

F I L M S F O R FA M I L I E S

A N I M AT E D W O R L D S

Funan

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Virus Tropical

The Wolf House

Supa Modo

Santiago Caicedo, Paola Gaviria (Powerpaola) | Colombia/Ecuador

Joaquín Cociña, Cristóbal León | Chile/Germany

Likarion Wainaina | Kenya/Germany

Strongly resembling a contemporary version of the early works of Jan Švankmajer, Cociña and León’s feature debut is a harrowing fantasy that uses the true story of a Chilean commune (the Dignity Colony)—where child abuse was perpetrated by its religious patriarch—as the contextual jumping-off point. A young girl named Maria escapes the commune and finds herself assuming the role of matriarch in a house of pigs that magically transform into her children, all the while a wolf monitors their lives and watches as Maria rebuilds the very structure from which she has fled. “The Wolf House succeeds on every level: as an innovative stop-motion animation film; as a disturbing horror film; as a commentary on Chilean history; and as a meditation on the rationalizations for trauma of childhood abuse.”

—Eve Tushnet, America Magazine. In Spanish and German with English subtitles. Content Warning. (75 mins.)

Sometimes a little escapism is just what the doctor ordered.

Equally a superhero flick, a comedy about grief, and a family drama, Supa Modo focuses on superhero and action film obsessive nine-year-old Jo who dreams of the supernatural, but whose terminal illness brings her home to spend her last moments surrounded by friends and family. Motivated by the young heroine’s strong spirit and imagination, in an earnest performance by newcomer Stycie Waweru, the village members rally together to help Jo make a movie that ultimately immortalizes Jo as a superhero herself. A mostly self-taught filmmaker like the character Mike, Supa Modo is Wainaina’s debut feature and demonstrates both on-screen and through a surprisingly scrappy production, the resourcefulness of Kenyan communities and the healing power of cinema. Kenya’s foreign-language Oscar submission. Ages 9+. In English, Kikuyu, and Swahili with English subtitles. (74 mins.)

Based on beloved Colombian-Ecuadorian artist Powerpaola’s graphic novel of the same name, Virus Tropical is a brilliantly line-drawn, gorgeous black-and-white film covering roughly twenty years in the life of Paola, born to an average middle-class Cali family. Paola is a mischievous, spirited girl, blossoming into a headstrong young woman who’s something of an outsider.

The filmmakers beautifully capture Paola’s—and her family’s— travails including new children, domestic dramas, upheavals, and the normal stuff of life, crafting a film of subtle power and nuanced emotional intelligence. “An amazing look at a life that feels both familiar and exotic, and if we look inward, perhaps all of our own adventures have the potential to fascinate in the same way.” —Josh Hurtado, Screen Anarchy. Winner, Audience Award, 2018 SXSW Film Festival. Ages 16+. In Spanish with English subtitles. (97 mins.)

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The Hole in the Ground

Tumbbad

Valley of Shadows

Jordan Downey | US

Lee Cronin | Ireland

Rahi Anil Barve, Adesh Prasad | India /Sweden

Jonas Matzow Gulbrandsen | Norway

On the edge of a dark wood, a medieval Viking bounty hunter heeds a daily signal to enter the woods to fight and claim the heads of horrific beasts. Between mounting trophies and treating battle wounds with mysterious potions, the quiet warrior plots revenge on the monster that robbed him of his greatest treasure. “The result is a riveting, original fantasy that keeps the viewers invested until the very end.” —Shawn Pacheco, Horror Geek Life. In Norwegian with English subtitles. Content warning. (72 mins.) Screens with: Helsinki Mansplaining Massacre, Ilja Rautsi, Finland. Following a car accident, a woman struggles to survive the male-dominated family that comes to her rescue. In Finnish with English subtitles. (15 mins.)

Hot off its premiere at the 2019 Sundance Film Festival, The Hole in the Ground announces the arrival Lee Cronin, a talented new voice in genre, whose short film Ghost Train made a significant splash while on the festival circuit in 2013. Fleeing an abusive marriage, Sarah (Seána Kerslake) and her son Chris (James Quinn Markey) settle in small town on the edge of a wooded area. After a run in with a crazed neighbor (Aki Kaurismäki regular Kati Outinen), Sarah discovers a large crater hidden away in the woods and notices that all is not well with Chris.

A highwire act of maternal instincts compromised by nagging paranoid doubt, The Hole in the Ground is a thriller par excellence.

Content warning. (90 mins.) Screens with: Milk, Santiago Menghini, Canada. A mother catches her son drinking directly out of the milk carton. (10 mins.)

A curse visited upon a family member leads a young boy to discover a bottomless treasure tied to Hastar, a mythological demon god whose greed caused him to seek out the riches of the Goddess of Prosperity. Tumbbad explores the human dimensions of that vice, as the child grows into a man whose endless drive for Hastar’s wealth eclipses his understanding of the danger it presents to his family, friends, and his own soul.

A deeply cinematic experience with a chilling denouement, Tumbbad will keep you on the edge of your seat. “While Rahi Anil Barve, Anand Gandhi, and Adesh Prasad, the trio of directors behind Tumbbad, may have created a film with shades of early Sam Raimi mixed with the powerful dark fables of Guillermo del Toro, it is wholly its own beast.” —Jacob Trussell, Film School Rejects. In Marathi, Hindi, Tamil, and Telugu with English subtitles. Content warning. (104 mins.) Screens with: Fire in Cardboard City, Phil Brough, New Zealand. Disaster strikes when a city constructed entirely of cardboard ignites in flames. (9 mins.)

Six-year-old Aslak (Adam Ekeli) lives in a remote Norwegian village where someone or something has been slaughtering sheep. Much to the distress of his mother (Katherine Fagerland), he runs wild with a much older boy who tells him that a werewolf has been littering the countryside with corpses. Gathering his courage, Aslak heads into the forest to see for himself. Director Jonas Matzow Gulbrandsen imbues his debut feature with a childlike dream logic that offers visual and atmospheric callbacks to such touchstones as The Night of the Hunter and Spirit of the Beehive. “Gorgeously rendered on 35mm film, shot on location in the particularly foreboding western peninsula of Norway, it is hard to believe it is a first feature.” —Kurt Halfyard, Screen Anarchy. In Norwegian with English subtitles. Content warning.

(91 mins.) Screens with: Circle, Martin Melnick, Portland.

A man and a woman try to outrun an inescapable force. (18 mins.)

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PIFF AF TER DARK

PIFF AF TER DARK

The Head Hunter

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In Fabric

One Cut of the Dead

Casanova Gene

Diamantino

Peter Strickland | UK

Shin’ichiro Ueda | Japan

Luise Donschen | Germany

Still stinging from her divorce, Shelia (Marianne Jean-Baptiste) seeks out a confidence boost in the form of a new dress, which the mysterious and comically verbose clerk (Gwendoline Christie) of a trendy department store is more than willing to sell her. But all is not as it seems in Strickland’s (The Duke of Burgundy) highly textured critique of the fashion world, and the eerily seductive dress seems to have a mind (and a will) of its own. “Unfolding like the giallo remake of The Sisterhood of the Traveling Pants that you never knew you always wanted, In Fabric tells the bloody story of a department store in Southern England, and the cursed red dress that fits perfectly on the women who have the misfortune of wearing it.” —David Erlich, Indiewire. Content warning. (118 mins.) Screens with: Hair Wolf, Mariama Diallo, US. A white Instagram zombie invades a beauty parlor, intent on appropriating black culture. (12 mins.)

A small crew shooting a zombie film finds themselves under attack from actual undead creatures in Ueda’s innovative—and surprisingly affecting—zombie comedy. What happens after is best experienced from a cinema seat, and we recommend going in with as little foreknowledge as possible. Destined to be a cult classic, One Cut of the Dead is the meta zombie narrative to beat, easily one of the greatest films about a film of the decade.

“A low-budget, high-concept work of tongue-in-cheek genius that not only matches the best of its predecessors, but also lovingly articulates why people are drawn to these movies in the first place.” —David Erlich, Indiewire. In Japanese with English subtitles. Content warning. (96 mins.) Screens with: Squirrel, Alex Kavutskiy, US. You should have bought a squirrel. (17 mins.)

A shape-shifting exploration into human/animal sexuality and desire, Donschen’s feature debut is wide-ranging, intimate, and unafraid to ask uncomfortable questions. Casanova Gene follows several desirous threads, including a post-performance court-holding with famed actor John Malkovich, a quasi-scientific investigation into the sexual practices of finches, a portrait of a dominatrix and her clients, and many others to craft a deeply compelling fact/fiction hybrid, seductively lensed on beautiful 16mm by talented cinematographer Helena Wittman.

“Wonderfully slippery… [its] free-floating approach to documentary and fiction is perfectly suited to this most elusive of subjects.” —James Lattimer, Film Comment. In German and English with English subtitles. (67 mins.) Screens with: Ada Kaleh, Helena Wittman, Germany. A languid summer afternoon inside a sun-drenched apartment becomes a site for utopian dreaming and longing for another world. In Mandarin with English subtitles. (14 mins.)

Gabriel Abrantes, Daniel Schmidt | Portugal/France/Brazil

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WAYS O F S E E I N G

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One of the year’s most out-there conceptual works, Diamantino is an eye-opening and thoroughly hilarious experience. The film tracks the trials and tribulations of the titular Diamantino Matamouros (Carloto Cotta in a genius role), the world’s greatest soccer player and supreme rich boy. Matamouros misses a chance at the winning World Cup goal after losing his secret goal-scoring visualization: fluffy puppies and candy clouds. Set adrift, the somewhat dense yet very self-aware Diamantino is churned through a series of increasingly absurd and ultimately nefarious situations, including his entanglement with a bumbling far-right, anti-EU shadow group and his adoption of an ostensibly-African refugee with something big to hide. These just scratch the surface of the truly wild Diamantino, a cult object par excellence in the making. In Portuguese with English subtitles. (92 mins.)

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WAYS O F S E E I N G

The Grand Bizarre

Introduzione All’oscuro

Jodie Mack | US

Gastón Solnicki | Austria/Argentina

Mack’s hypnotic travelogue takes her around the world through the prism of textiles. Always extremely colorful, the film animates production processes and global trade routes to give both a deep sense of place and a larger feeling of global connectedness.

Shooting in grainy and saturated 16mm, she brings the inanimate thrillingly to life through rapid-fire edits and infectious music in this exploration of the place of textiles and the ways in which they are beautifully ubiquitous no matter where one travels.

An utterly unique film, The Grand Bizarre cements Mack’s status as “one of the most imaginative, hardest-working, and all-around best filmmakers in the game, experimental or otherwise.”

—Blake Williams, Cinema Scope. (60 mins.)

When longtime Viennale director Hans Hurch died suddenly in the Summer of 2017, the film world lost an immense figure and director Solnicki lost a great friend, one who had provided him guidance and a keen eye for details. From this tragic situation Solnicki coaxes a startling film of great tenderness and emotional rawness, traveling to Vienna once more to inhabit Hurch’s daily routines: a welcoming cup of coffee here, a stolen restaurant plate there; a silky black suit here, a beautifully and thoroughly Viennese concert piano there. So unfolds this poetic work, an unusual kind of diary film in which the residue of a life fully lived and enjoyed becomes palpable through one man’s piercingly honest tribute to a lasting friendship. In Spanish, German, and English with English subtitles. (70 mins.)

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J O I N F O R F R E E AT MY R E G A L . C O M

Meteors

Your Face

Gürcan Keltek | Turkey/Netherlands

Tsai Ming-Liang | Taiwan

Captured during a recent crucial juncture in the Kurdish-Turkish conflict that has raged in Southeast Turkey since 1978, Keltek’s poetic film is grounded in the brutal reality of this long-standing war, but also attuned to greater cosmic questions, working thrillingly in multiple modes. Oscillating between perceptive bystander-shot footage of the conflict and intimate interviews with locals, Keltek reaches for what is universal in a conflict like this—increasingly less unique in our turbulent modern world— whether that’s in a roiling cityscape or a lush yet contested countryside populated more by animals than by humans. Then there’s the can’t-miss final section of this singular film, one of the great stop-on-a-dime moments of recent cinema that will leave you transfixed in a way that only big-screen cinema can do. In Kurdish and Turkish with English subtitles. Content Warning. (84 mins.) Screens with: Gulyabani, Gürcan Keltek, Turkey/Netherlands. Keltek’s thrillingly oblique, unpredictable ghost story centers Fethiye Sessiz, a clairvoyant who recollects her story of survival through a particularly violent period in Turkey’s history. In Turkish with English subtitles. (34 mins.)

Master director Tsai’s latest experiment with heavily strippeddown cinema is no less thrilling and enveloping than his earlier quasi-neorealist work of the 1990s and 2000s. Using the human face as the central conceit, Tsai thrillingly modulates our expectations of a talking-heads film, shooting unpredictable sessions with thirteen middle-aged or elderly collaborators (including his main actor Lee Kang-sheng). Some are talkative and share stories of their lives, others are content with different forms of communication. But what Tsai most shrewdly exposes is the opportunity to deeply study the human face, its beautiful features and perfect imperfections. Featuring a stunning minimalist electronic score by famed Japanese composer Ryuichi Sakamoto, Your Face is a welcome respite from the rapid-fire imagery bombarding us daily; an opportunity to luxuriate in simple conversation, or lack thereof. In Min Nan with English subtitles. (76 mins.)

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Shorts 2

Documentary Views

Animated Worlds

3/12 6:00 | Fox Tower Total running time: 84 mins.

3/13 6:00 | Whitsell Auditorium Total running time: 95 mins.

SHORT CUTS

SHORT CUTS

Shorts 1

Programmed by Mark Shapiro, LAIKA Sponsored by LAIKA

Black Line

One Small Step

Weekends

Mark Olexa, Francesca Scalisi | Switzerland

Andrew Chesworth, Bobby Pontillas | US/China

Trevor Jimenez | US

A woman fishing in turbid waters, a desolate landscape and the broken chant of the muezzin are linked by a thin black line.

(10 mins.)

The story of Luna, a Chinese-American girl who dreams of becoming an astronaut. (8 mins.)

The story of a young boy shuffling between the homes of his recently divorced parents. Surreal dream-like moments mix with the domestic realities of a broken-up family in this hand-animated film set in 1980s Toronto. (16 mins.)

Sister Siqi Song | France A man remembers his childhood memory of growing up with a little sister in 1990s China. How would his life have been if things had gone differently? (8 mins.)

I Signed the Petition Mahdi Fleifel | Germany/Switzerland/UK

The Death, Dad & Son

Immediately after a Palestinian man signs an online petition, he is thrown into a panic-inducing spiral of self-doubt. Over the course of a conversation with an understanding friend, he analyses, deconstructs and interprets the meaning of his choice to publicly support the cultural boycott of Israel. (10 mins.)

Winshluss & Walgenwitz | France

Skip Day Patrick Bresnan, Ivete Lucas | US Intimate glimpses of one very special day in the lives of high-school seniors from an industrial corner of the Florida Everglades—prom’s over, the future is uncertain, and the irresistible pull of the beach makes the long-time friends drive 60 miles to chill, pose, and revel in the waves. (16 mins.)

Late Afternoon Louise Bagnall | Ireland An elderly woman drifts back through her memories. She exists between two states, the past and the present. (10 mins.)

Conception: Catie + Jen Moth Studio | UK

Death is re-imagined as a devoted family man whose son doesn’t entirely understand his family’s role in the grand scheme of things. (14 mins.)

My Dad (2014) Marcus Armitage | UK A dad’s influence on a young boy’s life. His judgmental character mixed with the boy’s fondness for his dad prove to be a toxic mix that tears away at a world of opportunity and experiences.

(6 mins.)

Produced as part of the New York Times’ Conception series, a six-part animated series showcasing different real-life stories about becoming a mother. Jen and Catie are two sisters struggling with infertility, an unexpected pregnancy, and difficult life decisions. Sisterhood and motherhood meet in this powerful story of love, fear, and trust. (4 mins.)

Circle Jayisha Patel | UK/Canada A haunting portrait of a rape survivor, caught in the devious ploys of her family. (14 mins.)

Men Behind the Wall

Tweet Tweet

Ines Moldavsky | Israel

Zhanna Bekmambetova | US

Tinder. Woman seeks men. Man seeks women. Everything would be so simple if she weren’t in Israel and the guys nearby weren’t in the West Bank. Israeli filmmaker Ines Moldavsky sets out to meet up with the men that she is forbidden by law to see.

(24 mins.)

Our life is like walking on a tightrope. In times we are scared or lost, we lose balance. When we are happy and excited, we forget we walk on a rope. We can even fly! (12 mins.)

Father and Daughter (2000) Michaël Dudok de Wit | Netherlands A father says goodbye to his daughter. (9 mins.)

Norman Norman

Bao Domee Shi | US A Chinese-Canadian woman suffering from empty nest syndrome gets a second shot at motherhood when one of her handmade dumplings comes alive. (8 mins.)

Sophy Romvari | Canada A young woman spends the night contemplating cloning her 16-year-old shih tzu, Norman. (10 mins.)

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Shorts 4

Past, Present, Future

Oregon Shorts 1: Documenting the Times

3/15 6:00 | Fox Tower Total running time: 93 mins.

SHORT CUTS

SHORT CUTS

Shorts 3

3/16 2:30 | Whitsell Auditorium Total running time: 83 mins.

Sponsored by Oregon Film and Prosper Portland

Gaze

Lifeboat

An Oregon Canyon

Farnoosh Samadi | Iran

Skye Fitzgerald

Sika Stanton, Donnell Alexander

On her way back from work, a woman witnesses something happening in the bus. She must decide if she will reveal it or not.

(15 mins.)

“As long as we can rescue some people, that’s what we’ll do.”

This hopeful statement was made in a tragic environment by Captain John Castle as his non-profit vessel, Sea-Watch, traversed the Mediterranean in search of refugees escaping war and poverty in over-crowded rubber boats. Over a period of three days, 3,200 people were pulled from the sea as part of a humanitarian crisis that set the world ablaze. Director Fitzgerald covertly guides viewers into this world of life and death to meet those being saved and those lending a hand to save. (34 mins.)

Oregon’s racist past was, and still is, imprinted on geological and survey maps through its derogatory names for bluffs, mountains, and canyons. In 2014, one such canyon in Jefferson county was officially renamed for John A. Brown, one of first black homesteaders in the state. Despite this positive change, many others are still necessary. (7 mins.)

Burton Before and After Courtney Hermann Fifteen years after Burton’s gender-affirming transition, his longtime friend and director Courtney invites him over to re-visit footage she had shot during this period of Burton’s life.

After first declining, Burton ultimately decides to partake in Courtney’s experiment, which shines a loving light on the past as it relates to present-day awareness and courage. (15 mins.)

How Fernando Pessoa Saved Portugal Eugène Green | Portugal/Belgium/France During the 1920s, at the request of one of his employers, the poet Fernando Pessoa conceives an advertising slogan for the drink Coca-Louca, which panics the authoritarian government of that time. (27 mins.)

Hector Malot: The Last Day of the Year Jacqueline Lentzou | Greece New Year’s Eve dawns in a moon-kissed car, and Sofia has a dream that she tells no one: while walking on a desert, she gets to know that she is sick. She pretends she does not care.

Has she lost heart? (25 mins.)

A Caged Bird Sings Amanda Leigh Smith A snapshot of the lives of three women living in Nabi Saleh, Palestine, a small village in area C of the West Bank in which infrastructure is controlled by Israeli government, impacting access to school, work, and medical services. Since being denied a vital water source in 2009, the women have become prominent activists in weekly demonstrations, fighting for their rights as Palestinians. (14 mins.)

The Glorious Acceptance of Nicolas Chauvin

Philately Pam Minty A visual homage to the study of postage stamps. (3 mins.)

Sole Doctor

Benjamin Crotty | France

Paula Bernstein

During his acceptance speech for a lifetime achievement award, Nicolas Chauvin—a farmer-soldier, a veteran of the Revolutionary Army and the Napoleonic Wars, “father” of the chauvinism that bears his name—embarks on a monologue and recounts his life story. (26 mins.)

An intimate portrait of George’s Shoe Repair, a family-owned shoe repair shop in Portland, which has served the community for over 50 years. As George prepares to finally retire, his son Josh makes the decision to take over the family business.

(5 mins.)

Why I Fight Anna Yeager Four young Latina women express their hopes and dreams for the future while living in the United States. Having arrived as immigrants through different means, each struggles to persevere in the face of society’s obstacles in order to become first-generation professionals. (5 mins.)

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Shorts 6

Oregon Shorts 2: Dreams of Escape

Lost & Found

SHORT CUTS

SHORT CUTS

Shorts 5

3/20 6:00 | Fox Tower Total running time: 85 mins.

3/17 3:00 | Whitsell Auditorium Total running time: 89 mins.

Sponsored by Oregon Film and Prosper Portland

Tides

Caucasus

Masami Kawai

Laurynas Bareisa | Lithuania

A young girl reunites with her father when her parents take her on a beach outing in the hopes of repairing their estranged relationship. While her mom takes a nap on the beach, young Kai ventures into the deep ocean on her father’s back. (12 mins.)

Tekle and her young daughter, Ema, return from abroad to visit Dalia, Tekle’s mother. When Ema goes out to walk her dog, Dalia, fearing something terrible might happen to her granddaughter, starts looking for her. (14 mins.)

The Fish Out of Water

The Orphan

Josh Brine

Carolina Markowicz | Brazil

Infuriated by his mindless desk job, Charlie sets out to quit, only to be stopped in his tracks by his personal inability to take a risk.

After much prodding from an annoying roommate and a growing fondness towards a co-worker, Charlie must decide if he can muster the strength to actually put himself out there, regardless of the outcome. (17 mins.)

The story of Jonathas, an orphan who has been adopted and then “returned” due to his effeminate mannerisms.

Based on true events. (15 mins.)

Dream Color

Anteu

Brandon Wilson

João Vladimiro | Portugal

Colorful images are set to a collection of reassembled audio interviews with subjects describing their dreams. (8 mins.)

Seventeen-year-old Anteu is left the last survivor in his village.

He carries on with his solitary life, until one night a dream brings up the question in his mind: “Who’s going to bury me?” (25 mins.)

Corpse Bryan Hiltner While visiting their friend Mark, Wayne and Becky are introduced to another couple renting out a room in Mark’s house. However, the couple’s cheerful and religious disposition does not sit well with Wayne, who was hoping to spend some debaucherous time with his old friend. What Wayne does not understand is that his old friend has become part of a new type of family. (17 mins.)

Second Session

All These Creatures Charles Williams | Australia An adolescent boy attempts to untangle his memories of a mysterious infestation, the unravelling of his father, and the little creatures inside us all. (15 mins.)

Michael Ward A woman who must tell her boss of a major job shift employs a new immersive virtual reality tool to deal with stress. While running through the simulated exercise of meeting with her boss, things take an unexpected turn. (14 mins.)

Fauve Jeremy Comte | Canada Set in a surface mine, two boys sink into a seemingly innocent power game with Mother Nature as the sole observer. (16 mins.)

Pendulum Michael Hull During a freak accident after dinner with friends, Brian learns that when he dies he comes back to life precisely five minutes prior. With this newfound gift, Brian begins killing himself to change the future. (21 mins.)

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SHORT CUTS

SHORT CUTS

Shorts 7 Ways of Seeing 3/21 6:00 | Whitsell Auditorium Total running time: 98 mins.

Fainting Spells

Altiplano

Sky Hopinka | Ho-Chunk Nation

Malena Szlam | Chile

Told through recollections of youth, learning, lore, and departure, this is an imagined myth for the Xąwįska, or the Indian Pipe Plant—used by the Ho-Chunk to revive those who have fainted. (11 mins.)

Filmed in the Andes and set in a geological universe of ancestral salt flats, volcanic deserts and colored lakes transform into a vibrating Ektachrome landscape, transformed through in-camera editing, complex 16mm pixelation and super­ imposition techniques into spaces that exist in a multitude of times simultaneously. (16 mins., 35mm)

Translations Tinne Zenner | Denmark /Canada A reflection on the power of language as a colonizer of foreign landscapes. A critical and graceful 16mm film in which the vistas of Greenland create a space for free thinking. (20 mins.)

Between Relating and Use Nazli Dinçel | US

Vever Deborah Stratman | US

Borrowing words from Laura Marks’ “Transnational Object” and DW Winnicott’s “Transitional Object,” this film is an attempt to ethically make work in a foreign land. Transitioning from assuming the position of an ethnographer, we turn and explore inwards—on how we use our lovers. (9 mins., 16mm)

A cross-generational binding of three filmmakers seeking alternative possibilities to power structures they’re inherently part of. The film grew out of abandoned film projects of Maya Deren and Barbara Hammer. Shot at the furthest point of a motorcycle trip Hammer took to Guatemala in 1975, and laced through with Deren’s reflections of failure, encounter and initiation in 1950s Haiti. (12 mins.)

Fallen Arches Simon Liu | UK/US Global in scope but intimate in spirit, Fallen Arches is a dizzying assembly of footage shot between the bucolic English countryside and buzzing metropoles New York and Hong Kong.

(11 mins., 35mm)

Wishing Well Sylvia Schedelbauer | Germany Gushing colors. A time disjointed, yet synchronous.

A transcendent turn, a quest for agency, a reunion with currents of the forest. (13 mins.)

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Polly One Kevin Jerome Everson | US Across Polly One’s two exquisite shots, veteran filmmaker (and amateur meteorologist) Kevin Jerome Everson utilizes 16mm film and unconventional lenses to render—in swirling Turneresque colours—a natural phenomenon even more cosmic. (6 mins.)

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Festival Fine Print

The Northwest Film Center is a place where filmmakers and audiences explore our region and the world through cinema. In partnership with local arts councils and other arts, education, and industry partners, the Center works to develop media arts audiences, opportunities for artists and organizations, and community.

The 10 Minute Rule

WATCH Through year-round exhibition programs s­ urveying cinema past and present, artists and ­audiences come together in conversation.

LEARN Individuals find and cultivate their personal voices as storytellers through education programs and innovative community collaborations which advance media literacy and engage all generations.

MAKE Regional filmmakers are supported as a­ rtists,

educators, mentors, connectors and community ­leaders, strengthening cinema’s place in the creative, social and economic life of the community.

Administrative Coordinator—Sergei Khlopoff; Development Manager—Rachel Record; Education Director – Ellen Thomas; Education Programs Manager/Programmer—Mia Ferm; Education Services Coordinator—Miles Sprietsma; Equipment Manager— Stephanie Hough; Exhibition Program Manager/ Programmer—Morgen Ruff; Filmmaker Services Manager/Programmer—Ben Popp; Head Projectionist— Arika Oglesbee; Marketing and Community Outreach Associate—Kanani Koster; Marketing and Community Relations Coordinator—December Carson; Membership and Development Associate—Meg Cook; PIFF After Dark Programmer—Nick Bruno; PIFF Volunteer Coordinator— Mary Mueller; PIFF Print Traffic Coordinator—Lucas Ospina; Production Design—Michael Smith, Denise Brem, Lindsay Shutt; Theater Manager—Micah Vanderhoof; Web Design—Sam Miller; Theater Staff—Scott Braucht, Patrick Barry, Chelsea Brunetti, Evan Burchfield, Katie Burkart, Tony Cardello-Olsen, Nikki Cormaci, Trillium Flor, Ryan Fox, George Gibson, Nevada Griffin, Wilhelmina Hayward, Brandon Horne, Stephanie Hough, Tracé Hulette, Jesse Iiams-Hauser, Dustin Krcatovich, Mick Mangold, Corrine Matlak, Erik McClanahan, Claudia Meza, Shannon Neale, Lucas Ospina, Joshua Rossman, RaChelle Schmidt, Joel Shanahan, Ilana Sol, Chase Spross, Roger Stack, Miriam Talus, Lisa Tran, Christen Valentine, Astraea Vanderlinden, Veronica Vichit-Vadakan, Caleb Wells, Anna Weltner, Ian Westmorland, Jasmine Wood, Deirdre Young, Larisa Zimmerman; Education Program Assistants—Scott Braucht, Jacky Cortez-Fregoso, Linda Drew, Bobby Lang, Sky McLeod, Lucas Ospina, Jordan Ros, Ian Westmorland; Faculty—Jon Alonso, Scott Ballard, Andy Blubaugh, Teresa Drilling, Beth Federici, Brenda Grell, Stephanie Hough, Randall Jahnson, Pam Minty, Amy O’Brien, Colin O’Neill Mark Orton, Andrew Price, Tim Rooney, Nathan Sonenfeld, Jean Margaret Thomas, Iris Young; PR & Marketing Interns—Balkhiis Noor, Joshua Hopkins; Education Interns—Justin Jones, Tate Cohrs, Hannah Dawson, Eleanor Hereid-O’Neill, Roger Stack, Cynthia Arellano, Lilly Lion, Lauren Reeks; Brand Design— Sandstrom Partners Portland Art Museum—Pat Ritz, Chairman, Board of Trustees; Jim Winkler, VIce Chairman; Mark Frandsen, Treasurer; Laura Meier, Secretary; Brian Ferriso, Marilyn H. & Dr. Robert B Pamplin Director. Northwest Film Center Committee—Linda Andrews, Mary Blair, Matthew French, Alix Meier Goodman, Yale Popowich, Don Van Wart, Robert Warren.

Seats for advance ticket and pass holders are held until 10 minutes before showtime, when any unfilled seats are released to the public. Advance Tickets or Passes ensure that you do not have to wait in the ticket purchase line but do not guarantee a seat in the case of arrival after the 10-minute window has begun. Your early arrival also helps screenings start promptly. Advance ticket holders who arrive within the 10-minute window but are not seated may receive a voucher that can be exchanged for a ticket at the Advance Ticket Outlet.

Advance ticket holders who arrive before the 10-minute window and are not seated may obtain a refund. There are no refunds or exchanges for late arrivals, arrival after showtime, or for missed screenings.

Champion

SPONSORS

N O R T H W E S T F I L M C E N T E R & F E S T I VA L I N F O

Northwest Film Center

Producing

Vouchers A voucher may not be used at a theater for admission.

It must be redeemed in person at the Advance Ticket Outlet for a specific film screening at least one day in advance of the screening date. Tickets are subject to availability.

Feature Hoxton Hotel

Accessibility The NW Film Center is committed to accommodating audience members with accessibility concerns. We allow and encourage early seating for persons with mobility constraints. Please make yourself known to the house manager for assistance. All venues have accessible seating and restrooms and also offer assisted listening devices. Other accommodations may be available at certain venues or if requested in advance; contact the NW Film Center or visit nwfilm.org/accessibility for more information.

Venues Outside food or drink is not allowed in any of the venues during PIFF. As a security policy, the Portland Art Museum and Regal Fox Tower require a bag check for larger bags. Food and drink are not allowed in the Whitsell Auditorium.

Supporting Mary and Donald Blair

PRODUCTION RENTALS

Contributing

Festival Passes An allotment of seats is reserved at every screening for passholders, who are guaranteed admission until 10 minutes prior to showtime or until the passholder allotment has been reached. Early arrival is recommended; although exceedingly rare, passholders may not always be able to attend a film at their first choice of screening times. Director, Producer, Benefactor, Sustainer, and Premiere Circle members receive free admission to all films (including the opening night film and party with RSVP). Film Center scrip and comps, Portland Art Museum passes and scrip, and Regal, student, and other regular passes or discount admission tickets are not valid during the festival.

Randolph Miller Diplomatic Counsul to the Republic of Lithuania

Refunds There are no refunds or exchanges except in the event of an oversold screening (before 10 minutes to showtime), or in the event of emergencies. Refunds are not available for passes.

Sustaining FACEBOOK.COM/NWFILMCENTER @NWFILMCENTER @NWFILMCENTER

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3 Faces Jafar Panahi, Iran. . . . . . . . . . . . . . . . . . . . . . . . 4 Acid Forest Rugilė Barzdžiukaitė, Lithuania.. . . . . 17 Afghan Cycles Sarah Menzies, US/Afghanistan. . . . 17 Amateurs Gabriela Pichler, Sweden.. . . . . . . . . . . 3, 8 Anthropocene: The Human Epoch Jennifer Baichwal, Edward Burtynsky, Nicholas de Pencier, Canada. . . . . . . . . . . . . . . . . . . . . 17

Asako I & II Ryusuke Hamaguchi, Japan/France. . . 8 Ash Is Purest White Jia Zhangke, China/France/Japan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Birds of Passage Cristina Gallego, Ciro Guerra,

Colombia/Denmark/Mexico. . . . . . . . . . . . . . . . . . . . . . . 8

Enjoy more than 500 French language film screenings a year with English subtitles!

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with a qualifying X1 Double Play or higher

Learn more at xfinity.com/french, or call 1-855-755-2212 Restrictions apply. Not available in all areas. Requires subscription to Xfinity TV X1 and TV5MONDE. On Demand selections subject to charge indicated at time of purchase. Call for restrictions and complete details. © 2019 Comcast. All rights reserved. All trademarks are property of their respective owners.

Black Mother Khalik Allah, US. . . . . . . . . . . . . . . . . . 17 Blind Spot Tuva Novotny, Norway.. . . . . . . . . . . . . . . 13 Casanova Gene Luise Donschen, Germany.. . . . . 25 Central Airport THF Karim Aïnouz,

Germany/France/Brazil. . . . . . . . . . . . . . . . . . . . . . . . . . 18

Chained for Life Aaron Schimberg, US.. . . . . . . . . 13 The Chambermaid Lila Avilés, Mexico.. . . . . . . . . 13 Crystal Swan Darya Zhuk, Belarus/US/Germany/Russia. . . . . . . . . . . . . . . . . . . . 13

The Dead and the Others João Salaviza,

Renée Nader Messora, Brazil/Portugal. . . . . . . . . . . 14

Dead Pigs Cathy Yan, China. . . . . . . . . . . . . . . . . . . . . 14 Diamantino Gabriel Abrantes, Daniel Schmidt, Portugal/France/Brazil. . . . . . . . . . . . . . . . . . . . . . . . . . 25

Djon África João Miller Guerra, Filipa Reis,

­Portugal/Brazil/Cape Verde. . . . . . . . . . . . . . . . . . . . . . 14

Dogman Matteo Garrone, Italy/France. . . . . . . . . . . . 8 Donbass Sergei Loznitsa, Germany/Ukraine/ France/Netherlands/Russia.. . . . . . . . . . . . . . . . . . . . . . 4

An Elephant Sitting Still Hu Bo, China. . . . . . . . 14 A Family Submerged María Alché, Argentina/Brazil/Germany/Norway.. . . . . . . . . . . . . . 15

A Family Tour Ying Liang,

Taiwan/Hong Kong/Singapore/Malaysia.. . . . . . . . . . 9

First Night Nerves Stanley Kwan,

Hong Kong/China. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Fugue Agnieszka Smoczyńska,

Poland/Czech Republic/Sweden. . . . . . . . . . . . . . . . . . 9

Funan Denis Do, France/Luxembourg/Belgium.. . . 22 The Grand Bizarre Jodie Mack, US. . . . . . . . . . . . . 26 The Head Hunter Jordan Downey, US.. . . . . . . . . . 24 The Headless Woman Lucrecia Martel, Argentina/France/Italy/Spain. . . . 7

Chile/Germany. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Maya Mia Hansen-Løve, France/Germany.. . . . . . . . . 5 Meteors Gürcan Keltek, Turkey/Netherlands.. . . . . 26 Miriam Lies Natalia Cabral, Oriol Estrada, ­Dominican Republic/Spain. . . . . . . . . . . . . . . . . . . . . . . 23

Moonlight Sonata: Deafness in Three Movements Irene Taylor Brodsky, Oregon. . . . . 19 Non-Fiction Olivier Assayas, France.. . . . . . . . . . . . . 6 Okko’s Inn Kitaro Kosaka, Japan. . . . . . . . . . . . . . . . 23 One Cut of the Dead Shin’ichiro Ueda, Japan.. . . 24 One Day Zsófia Szilágyi, Hungary.. . . . . . . . . . . . . . . . 15 Our Bodies, Our Doctors Jan Haaken, Oregon. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Our Time Carlos Reygadas,

Mexico/France/Germany/Denmark/Sweden.. . . . . . 6

The Proposal Jill Magid,

US/Mexico/Switzerland.. . . . . . . . . . . . . . . . . . . . . . . . . 19

Rafiki Wanuri Kahiu, Kenya/South Africa/Germany/

Netherlands/France/Norway/Lebanon. . . . . . . . . . . 16

Ray & Liz Richard Billingham, UK. . . . . . . . . . . . . . . . 16 Redemption Yossi Madmoni, Boaz Yehonatan Yacov, Israel. . . . . . . . . . . . . . . . . . . . 10

The River Emir Baigazin,

Kazakhstan/Poland/ ­Norway. . . . . . . . . . . . . . . . . . . . . 10

Shadow Zhang Yimou, China/Hong Kong. . . . . . . . . . 6 The Silence of Others Robert Bahar, Almudena

Carracedo, Spain/US/Canada/France. . . . . . . . . . . . 20

Sir Rohena Gera, India/France. . . . . . . . . . . . . . . . . . . . 11 Still Recording Saeed Al Batal, Ghiath Ayoub,

Syria/Lebanon/France/Germany/Qatar.. . . . . . . . . . 20

Stupid Young Heart Selma Vilhunen,

Finland/Netherlands/Sweden. . . . . . . . . . . . . . . . . . . . 11

Styx Wolfgang Fischer, Germany/Austria. . . . . . . . . . 11 Suburban Birds Qiu Sheng, China/Taiwan. . . . . . 16 Supa Modo Likarion Wainaina, Kenya/Germany.. . . 23 Ten Years Thailand Aditya Assarat, Wisit Sasanatieng, Chulayarnnon Siriphol, Apichatpong Weerasethakul, Thailand/Hong Kong. . . . . . . . . . . . . 11

Theatre of War Lola Arias,

Argentina/Spain/ ­Germany. . . . . . . . . . . . . . . . . . . . . . . 20

Too Late to Die Young Dominga Sotomayor,

Chile/Brazil/Argentina/Netherlands/Qatar.. . . . . . . 12

Transit Christian Petzold, Germany/France. . . . . . . . 6 The Trial Maria Augusta Ramos,

Ada Kaleh Helena Wittman, Germany. . . . . . . . . . . . 25 All These Creatures

Charles Williams, Australia.. . . . . . . . . . . . . . . . . . . . . . 33

Altiplano Malena Szlam, Chile. . . . . . . . . . . . . . . . . . . 34 Anteu João Vladimiro, Portugal. . . . . . . . . . . . . . . . . . . 33 Bao Domee Shi, US. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Between Relating and Use Nazli Dinçel, US . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Black Line

Mark Olexa, Francesca Scalisi, Switzerland.. . . . . . 28

Burton Before and After

Courtney Hermann, Oregon. . . . . . . . . . . . . . . . . . . . . . 31

A Caged Bird Sings

Amanda Leigh Smith, Oregon. . . . . . . . . . . . . . . . . . . . 31

Caucasus Laurynas Bareisa, Lithuania.. . . . . . . . . . 33 Circle Martin Melnick, Portland. . . . . . . . . . . . . . . . . . 25 Circle Jayisha Patel, UK/Canada.. . . . . . . . . . . . . . . . . 28 Conception: Catie + Jen Moth Studio, UK. . . . . 29 Corpse Bryan Hiltner, Oregon. . . . . . . . . . . . . . . . . . . . 32 The Death, Dad & Son Winshluss & Walgenwitz, France. . . . . . . . . . . . . . . . . 29

Dream Color Brandon Wilson, Oregon. . . . . . . . . . . 32 Fainting Spells

Sky Hopinka, Ho-Chunk Nation.. . . . . . . . . . . . . . . . . . 34

Fallen Arches Simon Liu, UK/US. . . . . . . . . . . . . . . . 34 Father and Daughter (2000)

Michaël Dudok de Wit, Netherlands. . . . . . . . . . . . . . 29

Fauve Jeremy Comte, Canada. . . . . . . . . . . . . . . . . . . . 33 Fire in Cardboard City Phil Brough, New Zealand.. . . . . . . . . . . . . . . . . . . . . . . 25

The Fish Out of Water Josh Brine, Oregon. . . . . 32 Gaze Farnoosh Samadi, Iran. . . . . . . . . . . . . . . . . . . . . . 30 The Glorious Acceptance of Nicolas Chauvin Benjamin Crotty, France. . . . . . . . . . . . . . 30 Gulyabani Gürcan Keltek, Turkey/Netherlands. . . . 26 Hair Wolf Mariama Diallo, US. . . . . . . . . . . . . . . . . . . . 24 Hector Malot: The Last Day of the Year Jacqueline Lentzou, Greece. . . . . . . . . . . . . . . . . . . . . . 30

Helsinki Mansplaining Massacre

Ilja Rautsi, Finland. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

How Fernando Pessoa Saved Portugal

Eugène Green, Portugal/Belgium/France. . . . . . . . . 30

I Signed the Petition

Mahdi Fleifel, Germany/Switzerland/UK. . . . . . . . . . 28

The Hidden City Víctor Moreno, Spain. . . . . . . . . . 18 The Hole in the Ground Lee Cronin, Ireland. . . . 24 The Holy Girl Lucrecia Martel,

Valley of Shadows

Hotel by the River Hong Sang-soo, South Korea. . . . 5 “I Do Not Care If We Go Down in History As Barbarians” Radu Jude, Romania/

The Waldheim Waltz Ruth Beckermann,

Kesh Vanessa Renwick, US. . . . . . . . . . . . . . . . . . . . . . . 21 Late Afternoon Louise Bagnall, Ireland. . . . . . . . . 29 Lifeboat Skye Fitzgerald, Oregon. . . . . . . . . . . . . . . . 31 Men Behind the Wall Ines Moldavsky, Israel. . . 28 Milk Santiago Menghini, Canada. . . . . . . . . . . . . . . . . . 24 My Dad (2014) Marcus Armitage, UK.. . . . . . . . . . . 29 Norman Norman Sophy Romvari, Canada.. . . . . . 28 One Small Step Andrew Chesworth,

What Is Democracy? Astra Taylor,

An Oregon Canyon

The Wild Pear Tree Nuri Bilge Ceylan,

The Orphan Carolina Markowicz, Brazil. . . . . . . . . . 33 Pendulum Michael Hull, Oregon. . . . . . . . . . . . . . . . . 32 Petite Avarie Manon Avirol, Léo Hardt, France. . . 10 Philately Pam Minty, Oregon.. . . . . . . . . . . . . . . . . . . . 31 Polly One Kevin Jerome Everson, US. . . . . . . . . . . . . 34 Second Session Michael Ward, Oregon. . . . . . . . . 32 Sister Siqi Song, France.. . . . . . . . . . . . . . . . . . . . . . . . . 29 Skip Day Patrick Bresnan, Ivete Lucas, US. . . . . . . 28 Sole Doctor Paula Bernstein, Oregon. . . . . . . . . . . . 31 Squirrel Alex Kavutskiy, US. . . . . . . . . . . . . . . . . . . . . . 24 Those Who Desire Elena López Riera,

The Heiresses Marcelo Martinessi, Paraguay/

Germany/Uruguay/Brazil/Norway/France. . . . . . . . . 9

Argentina/Italy/Netherlands/Spain. . . . . . . . . . . . . . . . 7

Germany/Bulgaria/France/Czech Republic. . . . . . . . 9

The Image Book Jean-Luc Godard,

Switzerland/France.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

The Image You Missed Donal Foreman,

Ireland/France/US/UK. . . . . . . . . . . . . . . . . . . . . . . . . . . 18

In Fabric Peter Strickland, UK.. . . . . . . . . . . . . . . . . . . 24 Infinite Football Corneliu Porumboiu, Romania. . 18 Introduzione All’oscuro Gastón Solnicki, Austria/Argentina.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Jessica Forever

Caroline Poggi, Jonathan Vinel, France. . . . . . . . . . . 15

Keep An Eye Out Quentin Dupieux, France. . . . . . 10 La Ciénaga Lucrecia Martel, Argentina/France/Spain/Japan. . . . . . . . . . . . . . . . . . . 7

Lajka Aurel Klimt, Czech Republic. . . . . . . . . . . . . . . . 22 The Load Ognjen Glavonić, Serbia/France/Croatia/Iran/Qatar.. . . . . . . . . . . . . . . 15

Long Day’s Journey into Night

Bi Gan, China. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

38

Shorts Los Reyes Iván Osnovikoff, Bettina Perut,

Brazil/Germany/ ­Netherlands.. . . . . . . . . . . . . . . . . . . . 20

Tumbbad Rahi Anil Barve, Adesh Prasad,

India/Sweden. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Jonas Matzow Gulbrandsen, Norway. . . . . . . . . . . . . 25

Virus Tropical Santiago Caicedo, Paola Gaviria

(Power Paola), Colombia/Ecuador. . . . . . . . . . . . . . . . 22 Austria. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Canada/US. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Turkey/Republic of Macedonia/France/Germany/ Bosnia and Herzegovina/Bulgaria/Sweden. . . . . . . . 7

Winter Flies Olmo Omerzu, Czech Republic/­

Slovenia/Poland/Slovakia/France. . . . . . . . . . . . . . . . 12

The Wolf House Joaquín Cociña,

Cristóbal León, Chile/Germany. . . . . . . . . . . . . . . . . . . 22

Woman at War Benedikt Erlingsson,

Iceland/France/Ukraine.. . . . . . . . . . . . . . . . . . . . . . . . . 12

Worlds of Ursula K. Le Guin

Arwen Curry, US. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Young Solitude Claire Simon, France. . . . . . . . . . . 21 Your Face Tsai Ming-Liang, Taiwan. . . . . . . . . . . . . . 26 Zama Lucrecia Martel, Argentina/Brazil/ Spain/Dominican Republic/France/Netherlands/ Mexico/Switzerland/US/Portugal/Lebanon. . . . . . . . 7

FILM INDE X

Features

© Distrib Films

FILM INDE X

Film Index by Title

“Le retour du héros” starring Jean Dujardin and Melanie Laurent

Bobby Pontillas, US/China. . . . . . . . . . . . . . . . . . . . . . . 29

Sika Stanton, Donnell Alexander, Oregon. . . . . . . . . 31

Switzerland/Spain. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Tides Masami Kawai, Oregon.. . . . . . . . . . . . . . . . . . . . 32 Translations Tinne Zenner, Denmark/Canada.. . . 34 Tweet Tweet Zhanna Bekmambetova, US.. . . . . . . 29 Vever Deborah Stratman, US. . . . . . . . . . . . . . . . . . . . . 34 Weekends Trevor Jimenez, US.. . . . . . . . . . . . . . . . . . 29 Why I Fight Anna Yeager, Oregon. . . . . . . . . . . . . . . . 31 Wishing Well Sylvia Schedelbauer, Germany. . . . 34

39

Films are listed under the countries in which they are primarily set.

Afghanistan

Denmark

Japan

Syria

United States

Afghan Cycles Sarah Menzies, US/Afghanistan. . . . 17

Translations Tinne Zenner, Denmark/Canada.. . . 34

Asako I & II Ryusuke Hamaguchi, Japan/France. . . 8 Okko’s Inn Kitaro Kosaka, Japan. . . . . . . . . . . . . . . . 23 One Cut of the Dead Shin’ichiro Ueda, Japan.. . . 24

Still Recording Saeed Al Batal, Ghiath Ayoub,

Kazakhstan

A Family Tour Ying Liang,

Bao Domee Shi, US. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Between Relating and Use Nazli Dinçel, US . . . 34 Black Mother Khalik Allah, US. . . . . . . . . . . . . . . . . . 17 Burton Before and After

Argentina

Dominican Republic

A Family Submerged María Alché,

Miriam Lies Natalia Cabral, Oriol Estrada,

Argentina/Brazil/Germany/Norway.. . . . . . . . . . . . . . 15

The Headless Woman

Lucrecia Martel, Argentina/France/Italy/Spain. . . . 7

­Dominican Republic/Spain. . . . . . . . . . . . . . . . . . . . . . . 23

Finland

The Holy Girl Lucrecia Martel,

Helsinki Mansplaining Massacre

La Ciénaga Lucrecia Martel,

Stupid Young Heart Selma Vilhunen,

Theatre of War Lola Arias,

France

Argentina/Italy/Netherlands/Spain. . . . . . . . . . . . . . . . 7 Argentina/France/Spain/Japan. . . . . . . . . . . . . . . . . . . 7

Argentina/Spain/ ­Germany. . . . . . . . . . . . . . . . . . . . . . . 20

Zama Lucrecia Martel, Argentina/Brazil/ Spain/Dominican Republic/France/Netherlands/ Mexico/Switzerland/US/Portugal/Lebanon. . . . . . . . 7

Australia All These Creatures Charles Williams, Australia.. . . . . . . . . . . . . . . . . . . . . . 33

Austria Introduzione All’oscuro Gastón Solnicki, Austria/Argentina.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

The Waldheim Waltz Ruth Beckermann, Austria. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Belarus Crystal Swan Darya Zhuk, Belarus/US/Germany/Russia. . . . . . . . . . . . . . . . . . . . 13

Brazil The Dead and the Others João Salaviza, Renée Nader Messora, Brazil/Portugal. . . . . . . . . . . 14

The Orphan Carolina Markowicz, Brazil. . . . . . . . . . 33 The Trial Maria Agusta Ramos, Brazil/Germany/ ­Netherlands.. . . . . . . . . . . . . . . . . . . . 20

Canada Anthropocene: The Human Epoch Jennifer Baichwal, Edward Burtynsky, Nicholas de Pencier, Canada. . . . . . . . . . . . . . . . . . . . . 17

Fauve Jeremy Comte, Canada. . . . . . . . . . . . . . . . . . . . 33 Milk Santiago Menghini, Canada. . . . . . . . . . . . . . . . . . 24 Norman Norman Sophy Romvari, Canada.. . . . . . 28 What Is Democracy? Astra Taylor, Canada/US. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Chile Altiplano Malena Szlam, Chile. . . . . . . . . . . . . . . . . . . 34 Los Reyes Iván Osnovikoff, Bettina Perut, Chile/Germany. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Too Late to Die Young Dominga Sotomayor, Chile/Brazil/Argentina/Netherlands/Qatar.. . . . . . . 12

The Wolf House Joaquín Cociña, Cristóbal León, Chile/Germany. . . . . . . . . . . . . . . . . . . 22

China Ash Is Purest White Jia Zhangke, China/France/Japan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Ilja Rautsi, Finland. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Finland/Netherlands/Sweden. . . . . . . . . . . . . . . . . . . . 11

The Death, Dad & Son Winshluss & Walgenwitz, France. . . . . . . . . . . . . . . . . 29

Funan Denis Do, France/Luxembourg/Belgium.. . . 22 The Glorious Acceptance of Nicolas Chauvin Benjamin Crotty, France. . . . . . . . . . . . . . 30 Jessica Forever Caroline Poggi, Jonathan Vinel, France. . . . . . . . . . . 15

Keep An Eye Out Quentin Dupieux, France. . . . . . 10 Maya Mia Hansen-Løve, France/Germany.. . . . . . . . . 5 Non-Fiction Olivier Assayas, France.. . . . . . . . . . . . . 6 Petite Avarie Manon Avirol, Léo Hardt, France. . . 10 Sister Siqi Song, France.. . . . . . . . . . . . . . . . . . . . . . . . . 29 Young Solitude Claire Simon, France. . . . . . . . . . . 21

Germany/France/Brazil. . . . . . . . . . . . . . . . . . . . . . . . . . 18

I Signed the Petition Mahdi Fleifel, Germany/Switzerland/UK. . . . . . . . . . 28

Styx Wolfgang Fischer, Germany/Austria. . . . . . . . . . 11 Transit Christian Petzold, Germany/France. . . . . . . . 6 Wishing Well Sylvia Schedelbauer, Germany. . . . 34

Greece Hector Malot: The Last Day of the Year Jacqueline Lentzou, Greece. . . . . . . . . . . . . . . . . . . . . . 30

Hong Kong First Night Nerves Stanley Kwan, Hong Kong/China. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Hungary One Day Zsófia Szilágyi, Hungary.. . . . . . . . . . . . . . . . 15

Iceland Woman at War Benedikt Erlingsson, Iceland/France/Ukraine.. . . . . . . . . . . . . . . . . . . . . . . . . 12

India Sir Rohena Gera, India/France. . . . . . . . . . . . . . . . . . . . 11 Tumbbad Rahi Anil Barve, Anand Gandhi, Adesh Prasad, India/Sweden.. . . . . . . . . . . . . . . . . . . . 25

Iran

Ireland Ireland/France/US/UK. . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Colombia

Late Afternoon Louise Bagnall, Ireland. . . . . . . . . 29

Birds of Passage Cristina Gallego, Ciro Guerra,

Israel

Czech Republic Lajka Aurel Klimt, Czech Republic. . . . . . . . . . . . . . . . 22 Winter Flies Olmo Omerzu, Czech Republic/­ Slovenia/Poland/Slovakia/France. . . . . . . . . . . . . . . . 12

Germany/Netherlands/France/Norway/ Lebanon.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Men Behind the Wall Ines Moldavsky, Israel. . . 28 Redemption Yossi Madmoni, Boaz Yehonatan Yacov, Israel. . . . . . . . . . . . . . . . . . . . 10

Italy Dogman Matteo Garrone, Italy/France. . . . . . . . . . . . 8

Taiwan Taiwan/Hong Kong/Singapore/Malaysia.. . . . . . . . . . 9

A Caged Bird Sings

Thailand

Chained for Life Aaron Schimberg, US.. . . . . . . . . 13 Circle Martin Melnick, Portland. . . . . . . . . . . . . . . . . . 25 Conception: Catie + Jen Moth Studio, UK. . . . . 29 Corpse Bryan Hiltner, Oregon. . . . . . . . . . . . . . . . . . . . 32 Dream Color Brandon Wilson, Oregon. . . . . . . . . . . 32 Fainting Spells

Ten Years Thailand Aditya Assarat, Wisit Sasanatieng, Chulayarnnon Siriphol, Apichatpong Weerasethakul, Thailand/Hong Kong. . . . . . . . . . . . . 11

Turkey

Lithuania

Gulyabani Gürcan Keltek, Turkey/Netherlands. . . . 26 Meteors Gürcan Keltek, Turkey/Netherlands.. . . . . 26 The Wild Pear Tree Nuri Bilge Ceylan,

Acid Forest Rugilė Barzdžiukaitė, Lithuania.. . . . . 17 Caucasus Laurynas Bareisa, Lithuania.. . . . . . . . . . 33

Mexico The Chambermaid Lila Avilés, Mexico.. . . . . . . . . 13 Our Time Carlos Reygadas, Mexico/France/Germany/Denmark/Sweden.. . . . . . 6

Netherlands Father and Daughter (2000) Michaël Dudok de Wit, Netherlands. . . . . . . . . . . . . . 29

New Zealand Phil Brough, New Zealand.. . . . . . . . . . . . . . . . . . . . . . . 25

Courtney Hermann, Oregon. . . . . . . . . . . . . . . . . . . . . . 31

Your Face Tsai Ming-Liang, Taiwan. . . . . . . . . . . . . . 26

Supa Modo Likarion Wainaina, Kenya/Germany.. . . 23

Norway

The Hole in the Ground Lee Cronin, Ireland. . . . 24 The Image You Missed Donal Foreman,

(Power Paola), Colombia/Ecuador. . . . . . . . . . . . . . . . 22

Rafiki Wanuri Kahiu, Kenya/South Africa/

Ada Kaleh Helena Wittman, Germany. . . . . . . . . . . . 25 Casanova Gene Luise Donschen, Germany.. . . . . 25 Central Airport THF Karim Aïnouz,

Bi Gan, China. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Colombia/Denmark/Mexico. . . . . . . . . . . . . . . . . . . . . . . 8

Kenya

Germany

3 Faces Jafar Panahi, Iran. . . . . . . . . . . . . . . . . . . . . . . . 4 Gaze Farnoosh Samadi, Iran. . . . . . . . . . . . . . . . . . . . . . 30

Virus Tropical Santiago Caicedo, Paola Gaviria

Kazakhstan/Poland/ ­Norway. . . . . . . . . . . . . . . . . . . . . 10

Fire in Cardboard City

Dead Pigs Cathy Yan, China. . . . . . . . . . . . . . . . . . . . . 14 An Elephant Sitting Still Hu Bo, China. . . . . . . . 14 Long Day’s Journey into Night Shadow Zhang Yimou, China/Hong Kong. . . . . . . . . . 6 Suburban Birds Qiu Sheng, China/Taiwan. . . . . . 16

The River Emir Baigazin,

Syria/Lebanon/France/Germany/Qatar.. . . . . . . . . . 20

Turkey/Republic of Macedonia/France/Germany/ Bosnia and Herzegovina/Bulgaria/Sweden. . . . . . . . 7

Ukraine Donbass Sergei Loznitsa, Germany/Ukraine/ France/Netherlands/Russia.. . . . . . . . . . . . . . . . . . . . . . 4

United Kingdom Circle Jayisha Patel, UK/Canada.. . . . . . . . . . . . . . . . . 28 Fallen Arches Simon Liu, UK/US. . . . . . . . . . . . . . . . 34 In Fabric Peter Strickland, UK.. . . . . . . . . . . . . . . . . . . 24 My Dad (2014) Marcus Armitage, UK.. . . . . . . . . . . 29 Ray & Liz Richard Billingham, UK. . . . . . . . . . . . . . . . 16

Amanda Leigh Smith, Oregon. . . . . . . . . . . . . . . . . . . . 31

Sky Hopinka, Ho-Chunk Nation.. . . . . . . . . . . . . . . . . . 34

The Fish Out of Water Josh Brine, Oregon. . . . . 32 The Grand Bizarre Jodie Mack, US. . . . . . . . . . . . . 26 Hair Wolf Mariama Diallo, US. . . . . . . . . . . . . . . . . . . . 24 The Head Hunter Jordan Downey, US.. . . . . . . . . . 24 Kesh Vanessa Renwick, US. . . . . . . . . . . . . . . . . . . . . . . 21 Lifeboat Skye Fitzgerald, Oregon. . . . . . . . . . . . . . . . 31 Moonlight Sonata: Deafness in Three Movements Irene Taylor Brodsky, Oregon. . . . . 19 One Small Step Andrew Chesworth,

Our Bodies, Our Doctors Jan Haaken, Oregon. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Pendulum Michael Hull, Oregon. . . . . . . . . . . . . . . . . 32 Philately Pam Minty, Oregon.. . . . . . . . . . . . . . . . . . . . 31 Polly One Kevin Jerome Everson, US. . . . . . . . . . . . . 34 The Proposal Jill Magid,

FILM INDE X

FILM INDE X

Film Index by Country

US/Mexico/Switzerland.. . . . . . . . . . . . . . . . . . . . . . . . . 19

Second Session Michael Ward, Oregon. . . . . . . . . 32 Skip Day Patrick Bresnan, Ivete Lucas, US. . . . . . . 28 Sole Doctor Paula Bernstein, Oregon. . . . . . . . . . . . 31 Squirrel Alex Kavutskiy, US. . . . . . . . . . . . . . . . . . . . . . 24 Tides Masami Kawai, Oregon.. . . . . . . . . . . . . . . . . . . . 32 Tweet Tweet Zhanna Bekmambetova, US.. . . . . . . 29 Vever Deborah Stratman, US. . . . . . . . . . . . . . . . . . . . . 34 Weekends Trevor Jimenez, US.. . . . . . . . . . . . . . . . . . 29 Why I Fight Anna Yeager, Oregon. . . . . . . . . . . . . . . . 31 Worlds of Ursula K. Le Guin Arwen Curry, US. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Bobby Pontillas, US/China. . . . . . . . . . . . . . . . . . . . . . . 29

An Oregon Canyon Sika Stanton, Donnell Alexander, Oregon. . . . . . . . . 31

Blind Spot Tuva Novotny, Norway.. . . . . . . . . . . . . . . 13 Valley of Shadows Jonas Matzow Gulbrandsen, Norway. . . . . . . . . . . . . 25

Paraguay The Heiresses Marcelo Martinessi, Paraguay/ Germany/Uruguay/Brazil/Norway/France. . . . . . . . . 9

Poland Fugue Agnieszka Smoczynska, Poland/Czech Republic/Sweden. . . . . . . . . . . . . . . . . . 9

Portugal Anteu João Vladimiro, Portugal. . . . . . . . . . . . . . . . . . . 33 Diamantino Gabriel Abrantes, Daniel Schmidt, Portugal/France/Brazil. . . . . . . . . . . . . . . . . . . . . . . . . . 25

Djon África João Miller Guerra, Filipa Reis, ­Portugal/Brazil/Cape Verde. . . . . . . . . . . . . . . . . . . . . . 14

How Fernando Pessoa Saved Portugal Eugène Green, Portugal/Belgium/France. . . . . . . . . 30

Romania “I Do Not Care If We Go Down in History As Barbarians” Radu Jude, Romania/ Germany/Bulgaria/France/Czech Republic. . . . . . . . 9

Infinite Football Corneliu Porumboiu, Romania. . . . 18

Serbia The Load Ognjen Glavonić, Serbia/France/Croatia/Iran/Qatar.. . . . . . . . . . . . . . . 15

South Korea Hotel by the River Hong Sang-soo, South Korea. . . . 5

Spain The Hidden City Víctor Moreno, Spain. . . . . . . . . . 18 The Silence of Others Robert Bahar, Almudena Carracedo, Spain/US/Canada/France. . . . . . . . . . . . 20

Sweden Amateurs Gabriela Pichler, Sweden.. . . . . . . . . . . 3, 8

Switzerland Black Line Mark Olexa, Francesca Scalisi, Switzerland.. . . . . . 28

The Image Book Jean-Luc Godard, Switzerland/France.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Those Who Desire Elena López Riera, Switzerland/Spain. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

40

41

Thursday, March 7

SCHEDULE

11:00

12:00pm

1:00

2:00

3:00

4:00

5:00

6:00

7:00

Whitsell Auditorium 1219 SW Park Ave (at Madison)

8:00

9:00

10:00

11:00

12:00

Opening Night Party at Portland Art Museum’s Fred and Suzanne Fields Ballroom p3

Amateurs (102 mins.) p3

Cinema 21 616 NW 21st Ave (at Hoyt) Regal Fox Tower 846 SW Park Ave (at Taylor)

Amateurs (102 mins.) p3

Cinemagic 2021 SE Hawthorne Boulevard

Saturday, March 9

Friday, March 8

Empirical Theater at OMSI 1945 SE Water Ave

Whitsell Auditorium 1219 SW Park Ave (at Madison)

Moonlight Sonata: Deafness in Three Movements (90 mins.) p19

Cinema 21 616 NW 21st Ave (at Hoyt)

Birds of Passage (125 mins.) p8

Regal Fox Tower 846 SW Park Ave (at Taylor)

Young Solitude (100 mins.) p21

Our Bodies, Our Doctors (80 mins.) p19

Asako I & II (119 mins.) p8 The Waldheim Waltz

Too Late to Die Young

Empirical Theater at OMSI 1945 SE Water Ave

Central Airport THF

Jessica Forever

(93 mins.) p21

(110 mins.) p12

(97 mins.) p18

Moonlight Sonata: Deafness in Three Movements (90 mins.) p19

Cinema 21 616 NW 21st Ave (at Hoyt)

Miriam Lies (90 mins.) p23

Woman at War (101 mins.) p12

Regal Fox Tower 846 SW Park Ave (at Taylor)

Our Time (173 mins.) p6 Supa Modo

Cinemagic 2021 SE Hawthorne Boulevard

(74 mins.) p23

(97 mins.) p15

La Ciénaga (103 mins.) p7

Dead Pigs (130 mins.) p14

(90 mins.)

Milk (10 mins.) p24

Rafiki (83 mins.) p16

Cinemagic 2021 SE Hawthorne Boulevard

Whitsell Auditorium 1219 SW Park Ave (at Madison)

The Hole in the Ground

Styx (94 mins.) p11

The Holy Girl (106 mins.) p7 Tumbbad (104 mins.)

Fire in Cardboard City (9 mins.) p25

Ash Is Purest White (141 mins.) p4

One Day (99 mins.) p15

The Load (98 mins.) p15

A Family Submerged

Virus Tropical (97 mins.) p22

Meteors (84 mins.)

Gulyabani (34 mins.) p26

Black Mother

(91 mins.) p15

(70 mins.) p17

Empirical Theater at OMSI 1945 SE Water Ave

The Headless Woman

Sunday, March 10

Whitsell Auditorium 1219 SW Park Ave (at Madison) Cinema 21 616 NW 21st Ave (at Hoyt)

The Chambermaid

Miriam Lies (90 mins.) p23

(87 mins.) p7

First Night Nerves

Okko’s Inn (120 mins.) p23 Infinite Football

Cinemagic 2021 SE Hawthorne Boulevard

The Wolf House

The River (108 mins.) p10

(70 mins.) p18

(75 mins.) p22

Valley of Shadows (91 mins.)

Circle (18 mins.) p25

Styx (94 mins.) p11

Young Solitude (100 mins.) p21

Diamantino (92 mins.) p25

Asako I & II (119 mins.) p8

Crystal Swan (95 mins.) p13

Jessica Forever

Empirical Theater at OMSI 1945 SE Water Ave

Monday, March 11

(96 mins.) p20

Non-Fiction (107 mins.) p6

(100 mins.) p4

Regal Fox Tower 846 SW Park Ave (at Taylor)

The Silence of Others

(102 mins.) p13

Long Day’s Journey into Night

(97 mins.) p15

Whitsell Auditorium 1219 SW Park Ave (at Madison)

(140 mins.) p10

The Silence of Others

Zama (115 mins.) p7

Cinema 21 616 NW 21st Ave (at Hoyt)

(96 mins.) p20

Anthropocene: The Human Epoch

The Image Book

Ray & Liz (108 mins.) p16

Ten Years Thailand

One Day (99 mins.) p15

Diamantino (92 mins.) p25

(85 mins.) p5

(87 mins.) p17

Regal Fox Tower 846 SW Park Ave (at Taylor)

The Load (98 mins.) p15

Cinemagic 2021 SE Hawthorne Boulevard

(102 mins.) p11

Empirical Theater at OMSI 1945 SE Water Ave 11:00

42

COLOR KEY:

MASTERS

12:00pm

GLOBAL PANORAMA

1:00

NEW DIRECTORS

2:00

DOCUMENTARY VIEWS

3:00

4:00

ANIMATED WORLDS

5:00

FILMS FOR FAMILIES

6:00

PIFF AFTER DARK

7:00

8:00

WAYS OF SEEING

9:00

SHORT CUTS

10:00

11:00

12:00

43

Tuesday, March 12

SCHEDULE

11:00

12:00pm

1:00

2:00

3:00

4:00

5:00

6:00

7:00

8:00

9:00

10:00

Whitsell Auditorium 1219 SW Park Ave (at Madison)

Our Bodies, Our Doctors

Cinema 21 616 NW 21st Ave (at Hoyt)

Afghan Cycles (90 mins.) p17

Woman at War (101 mins.) p12

Shorts 1: Documentary Views (84 mins.) p28

Dead Pigs (130 mins.) p14

Hotel by the River

Central Airport THF

Whitsell Auditorium 1219 SW Park Ave (at Madison)

Shorts 2: Animated Worlds

Chained for Life

Cinema 21 616 NW 21st Ave (at Hoyt)

Los Reyes (78 mins.) p19

Funan (85 mins.) p22

Virus Tropical (97 mins.) p22

Still Recording (116 mins.) p20

The Chambermaid

Too Late to Die Young

The Grand Bizarre

Chained for Life

Infinite Football (70 mins.) p18

Cinemagic 2021 SE Hawthorne Boulevard

12:00

Crystal Swan (95 mins.) p13

(80 mins.) p19

Regal Fox Tower 846 SW Park Ave (at Taylor)

11:00

(96 mins.) p5

(97 mins.) p18

Thursday, March 14

Wednesday, March 13

Empirical Theater at OMSI 1945 SE Water Ave

(95 mins.) p29

A Family Submerged

Regal Fox Tower 846 SW Park Ave (at Taylor)

(91 mins.) p15

Cinemagic 2021 SE Hawthorne Boulevard

(102 mins.) p13

Whitsell Auditorium 1219 SW Park Ave (at Madison)

(60 mins.) p26

Friday, March 15

(91 mins.) p13

Cinema 21 616 NW 21st Ave (at Hoyt)

Hotel by the River

First Night Nerves

Ash Is Purest White (141 mins.) p4

Regal Fox Tower 846 SW Park Ave (at Taylor)

The Waldheim Waltz

Amateurs (102 mins.) p8

Black Mother

Theatre of War

Our Time (173 mins.) p6

(96 mins.) p5

(100 mins.) p4

(93 mins.) p21

Cinemagic 2021 SE Hawthorne Boulevard

(70 mins.) p17

(73 mins.) p20

Empirical Theater at OMSI 1945 SE Water Ave

The Image You Missed (73 mins.) p18

The Wild Pear Tree (188 mins.) p7 Ten Years Thailand

Cinema 21 616 NW 21st Ave (at Hoyt)

Transit (101 mins.) p6

(102 mins.) p11

The Wolf House

Regal Fox Tower 846 SW Park Ave (at Taylor)

(75 mins.) p22

Cinemagic 2021 SE Hawthorne Boulevard

Whitsell Auditorium 1219 SW Park Ave (at Madison)

Shorts 4: Oregon Shorts 1

The Heiresses (97 mins.) p9

Shorts 3: Past, Present, Future (93 mins.) p30

Afghan Cycles (90 mins.) p17

Stupid Young Heart

Casanova Gene (67 mins.)

Ada Kaleh (14 mins.) p25

A Family Tour (107 mins.) p9

Long Day’s Journey into Night

Cinema 21 616 NW 21st Ave (at Hoyt)

Sir (96 mins.) p11 The Dead and the Others

Regal Fox Tower 846 SW Park Ave (at Taylor)

(114 mins.) p14

Supa Modo

Cinemagic 2021 SE Hawthorne Boulevard

Maya (107 mins.) p5

Dogman (120 mins.) p8

Suburban Birds (118 mins.) p16

The River (108 mins.) p10

The Wild Pear Tree (188 mins.) p7

(74 mins.) p23

(140 mins.) p10

“I Do Not Care If We Go Down in History As Barbarians” (140 mins.) p9

(83 mins.) p31

One Cut of the Dead (96 mins.)

Squirrel (17 mins.) p24

Shadow (116 mins.) p6

(102 mins.) p11

Empirical Theater at OMSI 1945 SE Water Ave

Saturday, March 16

(110 mins.) p12

Empirical Theater at OMSI 1945 SE Water Ave

Whitsell Auditorium 1219 SW Park Ave (at Madison)

The Proposal (85 mins.) p19

The Head Hunter (72 mins.)

Helsinki Mansplaining Massacre (15 mins.) p24 Donbass (110 mins.) p4

An Elephant Sitting Still (230 mins.) p14

Empirical Theater at OMSI 1945 SE Water Ave 11:00

44

(91 mins.) p13

COLOR KEY:

MASTERS

12:00pm

GLOBAL PANORAMA

1:00

NEW DIRECTORS

2:00

DOCUMENTARY VIEWS

3:00

4:00

ANIMATED WORLDS

5:00

FILMS FOR FAMILIES

6:00

PIFF AFTER DARK

7:00

8:00

WAYS OF SEEING

9:00

SHORT CUTS

10:00

11:00

12:00

45

12:00pm

1:00

2:00

The Proposal

Whitsell Auditorium 1219 SW Park Ave (at Madison)

Sunday, March 17

SCHEDULE

11:00

(85 mins.) p19

(68 mins.) p21

Regal Fox Tower 846 SW Park Ave (at Taylor)

Okko’s Inn (120 mins.) p23

Cinemagic 2021 SE Hawthorne Boulevard

4:00

5:00

Lajka (88 mins., 2D) p22

Monday, March 18

7:00

8:00

9:00

Winter Flies (85 mins.) p12

The Image You Missed (73 mins.) p18

3 Faces (100 mins) p4

Redemption (104 mins.) p10

In Fabric (118 mins.)

Hair Wolf (12 mins.) p24

A Family Tour (107 mins.) p9

The Image Book

Ray & Liz (108 mins.) p16

“I Do Not Care If We Go Down in History As Barbarians” (140 mins.) p9

The Trial (140 mins.) p20

(85 mins.) p5

Empirical Theater at OMSI 1945 SE Water Ave

Theatre of War

Whitsell Auditorium 1219 SW Park Ave (at Madison)

(73 mins.) p20

10:00

Anthropocene: The Human Epoch

The Hidden City

Worlds of Ursula K. Le Guin

Acid Forest (63 mins.)

Those Who Desire

(24 mins.) p17

Cinema 21 616 NW 21st Ave (at Hoyt)

Keep An Eye Out (73 mins.)

Petite Avarie (20 mins.) p10

Lajka (88 mins., 3D) p22

Regal Fox Tower 846 SW Park Ave (at Taylor)

Los Reyes (78 mins.) p19

Djon África (96 mins.) p14

Cinemagic 2021 SE Hawthorne Boulevard

Sir (96 mins.) p11

Winter Flies (85 mins.) p12

Introduzione All’oscuro

Your Face (76 mins.) p26

Fugue (100 mins.) p9

The Grand Bizarre

Cinema 21 616 NW 21st Ave (at Hoyt)

Blind Spot (98 mins.) p13

Funan (85 mins.) p22

Regal Fox Tower 846 SW Park Ave (at Taylor)

Meteors (84 mins.)

Gulyabani (34 mins.) p26

The Hidden City

Cinemagic 2021 SE Hawthorne Boulevard

The Dead and the Others

The Trial (140 mins.) p20

(70 mins.) p26

Stupid Young Heart (102 mins.) p11

12:00

11:00

12:00

(80 mins.) p18

(68 mins.) p21

Whitsell Auditorium 1219 SW Park Ave (at Madison)

11:00

Casanova Gene (67 mins.)

Ada Kaleh (14 mins.) p25

(87 mins.) p17

Empirical Theater at OMSI 1945 SE Water Ave

Tuesday, March 19

6:00

Shorts 5: Oregon Shorts 2 (89 mins.) p32

Worlds of Ursula K. Le Guin

Cinema 21 616 NW 21st Ave (at Hoyt)

3:00

(60 mins.) p26

(80 mins.) p18

(114 mins.) p14

Thursday, March 21

Wednesday, March 20

Empirical Theater at OMSI 1945 SE Water Ave

Whitsell Auditorium 1219 SW Park Ave (at Madison)

Still Recording (116 mins.) p20

What Is Democracy? (117 mins.) p21 Keep An Eye Out (73 mins.)

Petite Avarie (20 mins.) p10

Cinema 21 616 NW 21st Ave (at Hoyt)

Dogman (120 mins.) p8

Regal Fox Tower 846 SW Park Ave (at Taylor)

Shorts 6: Lost & Found

Suburban Birds (118 mins.) p16

Djon África (96 mins.) p14

Introduzione All’oscuro

Shorts 7: Ways of Seeing

What Is Democracy? (117 mins.) p21

Redemption (104 mins.) p10

Blind Spot (98 mins.) p13

3 Faces (100 mins) p4

Donbass (110 mins.) p4

Cinemagic 2021 SE Hawthorne Boulevard

Fugue (100 mins.) p9

The Heiresses (97 mins.) p9

Empirical Theater at OMSI 1945 SE Water Ave

An Elephant Sitting Still (230 mins.) p14

(85 mins.) p33

Cinemagic 2021 SE Hawthorne Boulevard

(70 mins.) p26

Empirical Theater at OMSI 1945 SE Water Ave

Whitsell Auditorium 1219 SW Park Ave (at Madison)

Your Face (76 mins.) p26

(98 mins.) p34

Cinema 21 616 NW 21st Ave (at Hoyt)

Acid Forest (63 mins.)

Those Who Desire

Regal Fox Tower 846 SW Park Ave (at Taylor)

(24 mins.) p17

11:00

46

Maya (107 mins.) p5

COLOR KEY:

MASTERS

12:00pm

GLOBAL PANORAMA

1:00

NEW DIRECTORS

2:00

DOCUMENTARY VIEWS

3:00

4:00

ANIMATED WORLDS

5:00

FILMS FOR FAMILIES

6:00

PIFF AFTER DARK

7:00

8:00

WAYS OF SEEING

9:00

SHORT CUTS

10:00

47