34th Annual Olympia Film Festival

Table Of Contents Ticket Information.................................................................. 4 Special Events....................................................................... 5 Map & Hotel Information....................................................... 6-7 Our Sponsors........................................................................ 8 Opening Night................................................................10-11 Closing Night..................................................................28-29 Guest Bios......................................................................32-35 Guest Q & A....................................................................38-42 OFS Cast & Crew.................................................................. 1 OFS Member List................................................................ 48 CAST and CREW

Celebrating Women in Film!

Did you know that only ONE woman has ever won an academy for Best Director, and none nominated for cinematography? The imbalance between men and women in all fields in filmmaking is outrageous, let alone the staggering low numbers on women of ethnic backgrounds playing lead characters in a film. This year at the 34th Olympia Film Festival we present to you a mix of premiers, notable classics, and essential local and national films made by some of the most creative and glass shattering women in the industry!

Let’s support these courageous women on stage, behind and in front of the camera, let’s encourage each other to be proactive and intentional about what we watch and listen to; empower more women in entertainment, and our actions will tip those scales.

I am privileged to be in a community that supports independent and diverse art. I look forward to sharing the laughter, stories, and music with you at the 34th Annual Olympia Festival!

Audrey M. Henley Executive Director Film is many things: experiential, fun, and sometimes deeply affecting. Above all else, its most valuable function is conversation.

It speaks to us about culture, society, underrepresented warriors, and, at its best, love. The 34th Annual Olympia Film Festival is a celebration of female-identifying and non-binary filmmakers, a diverse gathering of wonderfully uncompromising artists who tell their stories through resolute and powerful images. We are uplifted by curiosity, kindness, and community. And these identifiers are present with all of the filmmakers, critics, and musicians at this year’s fest. It’s essential to find and support your community heroes. Here, I would like to thank mine: Vera Papisova, Mary Anne Carter, Avery Trufelman, Robin Edwards, Jenn Champion, and Lindy West. Without your guidance and inspiration, this festival may have looked very different.

To our beloved and punk rock Olympia, we love you! Enjoy, interact, and fight on!

Rob Patrick Film Programming Director

STAFF Audrey M. Henley, Executive Director Rob Patrick, Program Director Morgan Picton, Volunteer Coordinator Aimee Hughes, Bookkeeper & Office Manager Noraa Danielle, Marketing Coordinator Joaquin de la Puente, Cinema Technician Chris Hughes, Production Manager Richard Swanson, Membership Coordinator JR Taylor, Housekeeping & Maintenance Engineer Darla Ashford, Graphic Designer Cinema & Stage Staff: Mike Ditrio, John Winter, Gabe Judd, Eli Wasserman, Rachel Weber, Harrison Hannon, Patrick Black, Riley Gibson, Hayes, Brooke Bolding, Jeremy Buethe, Mirrah Stoller Michael Sherrill, Concessions Manager Tara Wolfe, Mezzanine Lounge Manager Rick Perry, Art Space Curator BOARD OF DIRECTORS Tim Sweeney, President Eileen LeVan, Vice President, Fundraising Chair Dick Meyer, Treasurer, Finance Chair Elaine Fischer, Secretary, Fundraising & Outreach Committee Christine Salvador, Fundraising & Outreach Committee Michael Stein, Facilities Committee Jerry M. Gray, Board Development Bruce Botka, Outreach Chair Autumn Yoke, Facilities Committee Kelly Lux, Fundraising & Outreach Committee COMMITTEE MEMBERS Fundraising & Outreach Committee: Suzette Rangel, Chris Bruce Facilities: Tom Rieger/TARC Studios, Ron Thomas/ TARC Studios, George Richmond/Richmond Engineering, Shane Jewell Education Programming: Devon Damonte Street Team: Sue Daniels, Vicky Gorny, Eva Lang, Bram Draper Film Festival Programming: Chris Day, Kelly Lux, Savannah Oakes, Glenn Heath Jr., Brian Hu

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TICKET PRICING FULL PASS PLUS - $150 general admission; $120 OFS members/students. Includes festival gift bag, bottomless soda and popcorn, and priority entrance. Entitles bearer to all movies and events.

FULL PASS - $100 general admission; $85 OFS members/students.

Entitles bearer to all movies, plus Opening Night, Closing Night.

Excludes special events. Includes priority entrance.

PARTIAL PASS - $40 general admission; $30 OFS members/students.

Entitles bearer to any (5) five movies. Excludes special events.

STUDENT PASS - $40 (w/ ID). Entitles bearer to all movies. Excludes special events.

SINGLE - $10 general admission; $7 OFS members/students; $5 kids (12 and under). Excludes special events.

SPECIAL EVENTS

11/10 - OPENING NIGHT SMITHEREENS on 35mm Post film Q&A with star Susan Berman Directed by: Susan Seidelman $15 general admission; $12 OFS members/students with ID

11/11 - KIDS CLUB CONCERT with KIMYA DAWSON $10 general admission; $7 OFS members/students with ID; $5 kids (babes in arms FREE) 11/15 - VAGABOND on 35mm Presented by Oregon filmmaker and former Parisian Megan Hattie Stahl Directed by: Agnes Varda $12 general admission; $9 OFS members/students with ID 11/16 - GIRLFRIENDS on 35mm Presented by film critic Kristen Yoonsoo Kim Directed by: Claudia Weill $12 general admission; $9 OFS members/students with ID 11/17 - RAVENOUS on 35mm Plus shorts: Whiskey Fist + Kiss Kiss Fingerbang Presented by: Gillian Wallace Horvat Directed by: Antonia Bird $12 general admission; $9 OFS members/students with ID

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11/18 - LANE 1974 Post film Q&A with Director SJ Chiro, Sophia Mitri Schloss $12 general admission; $9 OFS members/students with ID 11/19 - CLOSING NIGHT OLYMPIA FOOD Co-op 40th ANNIVERSARY! Northwest Premier: WASTED! THE FOOD WE WASTE $12 general admission; $9 OFS members/students with ID Directed by: Nari Kye and Anna Chai FOCUS ON WOMEN SYMPOSIUM Kristen Yoonsoo Kim, SJ Chiro, Gillian Horvat, Myisa PlancqGraham, Danny Tayara, Megan Griffiths, Sophia Mitri Schloss and Courtney Sheehan $12 general admission; $9 OFS members/students with ID LISA PRANK - CONCERT $10 general admission; $7 OFS members/students with ID

WHERE TO BUY

Tickets and passes available now.

Sold exclusively at the Capitol Theater box office 30 minutes before each screening or online www.olympiafilmfestival.org *service fees apply for tickets and passes purchased online Group Sales: Groupsales@olympiafilmsociety.org CAPITOL THEATER 206 5th Avenue SE Olympia, WA 98501 For event times: 360-754-6670 x4

FESTIVAL ETIQUETTE

Welcome to the Festival. Below are a few guidelines to help you enjoy your movie-going experience to the fullest.

• Become a member of OFS, and support your favorite non-profit arts organization. Membership saves you money on tickets both during festival and year-round.

• Full Pass Plus holders and Full Pass holders get priority admission for all events, but please show up early because seating is on a first-come, first-served basis.

• Advance purchase of tickets is recommended. Some events are expected to sell out.

• Every attempt is made to ensure that events start on time.

Showing up late is not okay if you want to get a good seat, see the entire film, and avoid the enmity of fellow film goers.

• Please remember to turn off your cell phones, and as always, no talking during the film. No alcohol in the theater except at designated events, and no smoking ever.

• Seating in the Capitol Theater is general admission only.

• Arrive on time for all events. For SOLD OUT events arrive no later than 10 minutes prior to show time, any unfilled seats will be released to the general public for sale.

F e s t i va l

Special

Events

Post-Film Q&A with star Susan Berman

Introduced by Oregon filmmaker Megan Hattie Stahl

Introduced by journalist and film critic Kristen Yoonsoo Kim

11/10

Introduced by director, producer and film programmer Gillian Wallace Horvat Post-Film Q&A w/ filmmaker SJ Chiro and actress Sophia Mitri Schloss

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HOW TO GET HERE To visit the Capitol Theater from Interstate-5: Take I-5 to exit 105B (“City Center/”Port of Olympia” exit) – this exit splits in two; follow the “Port of Olympia” signs. Off the exit ramp, stay to the right to merge with north-going traffic on Plum Street. You will pass Union, 8th, 7th, and Legion Avenues; the next street is 5thAvenue. Turn left. There is no traffic light at 5th. (If you miss 5th do not turn left on 4th Avenue it is a oneway street; you must continue to State before you can make a left.) You will soon see the Capitol Theater glowing on the horizon, between Franklin and Washington Streets.

Just a short walk from the Capitol Theater you can find many one of kind shops, cafes, restaurants, bars, and galleries, and places to stay. Please take time to support our sponsors and downtown businesses.

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SPONSORS

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FRIDAY

NOVEMBER 10

Opening Night 7:30pm doors • 8:00pm show

$15 general $12 members, students

Post-Film Q&A with star Susan

Berman

Presented on 35mm

Dir. Susan Seidelman 1982 / US / 89 min

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Known as the first American film to compete for the coveted Palme d’Or at the 1982 Cannes Film Festival, Susan Seidelman’s Smithereens is an inimitable and uncompromising look at a raw and unfiltered New York City. Strewn trash, smudged bottles of alcohol, cold nights: the palette of an unflinchingly independent film.

Seidelman’s punk rock opus, seen here on a brand new 35mm print, showcased the textured talents of Susan Berman and rock icon Richard Hell. The film’s perceptive narrative predates Instagram culture, with its protagonist, Wren (Berman), creating a narcissistic guerilla marketing scheme that feels all too prescient. With its quiet moments of sharp naivete and striking soundtrack by The Feelies, Smithereens is a film that is still relevant today.

Hold We'll b onto your ticke e raff t stu to the f i ling off 2 FULL b! lm festiv al ($100 PASSES value)!!

An Introduction to Smithereens by director Susan Seidelman In the 1970s NYC was in the midst of a bankruptcy crisis. The city was falling apart.

This made it a great and affordable place for young artists to live and work. The Downtown area (East Village and Alphabet City) with its crumbling tenement buildings and abandoned lots, became the backdrop for many indie films and an outdoor canvas for graffiti artists paint and punk musicians to advertise their bands. It was a rough area back then, especially at night. There were homeless people, crack dens and squatters – but there were also a lot of cool cheap bars, pop-up art galleries and emerging performance spaces that gave the neighborhood a tattered and textured beauty.

Against this gritty backdrop a small group of independent NY Filmmakers started to make low budget films. Among that group were Amos Poe, Jim Jarmusch, Scott and Beth B, Bette Gordon. Although we didn’t work together per se, we knew each other, exchanged information and in some cases, shared the same actors and production crews.

Back then, being an “indie” filmmaker meant that you are not just the director, but often the producer, editor, screenwriter, casting director, music supervisor and location scout, rolled into one. In some cases this was simply because of a lack of money to pay anyone else – but as a result, these films all had a very specific and personal vision. They were made on the cheap and provided an opportunity for a new generation of filmmakers, (many of whom had been inspired by the French New Wave cinema of Jean Luc Godard), to make their own kind of movies shot cheaply on the streets of Lower Manhattan.

I had come to NYC in the mid 1970s to go to film school, -- but also to escape the boring, homogeneous, suburbs of Philadelphia where I had grown up. It seemed like NYC (especially downtown), was a mecca for people from all around the country and all parts of the world, looking for an alternative lifestyle and seeking to reinvent themselves in some way. Downtown was still cheap and full of creative young people doing inventive new things. That sense of personal reinvention became an important theme in both “Smithereens” and “Desperately Seeking Susan”. The fact that the city was grimy and a little dangerous, made it all the more exciting. Downtown NYC, like the people who had moved there, was reinventing itself with a veneer of cheap, funky, badass glamour. That was very much the inspiration for the character of Wren (played by Susan Berman) who fly-posters the walls of the city with Xerox copies of her face and the slogan: “Who Is This?” Back then, someone could move to the city and reinvent themselves as a “legend in their own mind.” Actually, in many ways what Wren was doing is a precursor to todays self-reinvention on Instagram or Facebook.

Before I got involved in filmmaking, I thought I wanted to be a fashion designer. As a teenager, clothing was a way of defining yourself and setting yourself apart. When I started making films, I realized that what an actor wears on screen can tell you visually a lot about who that character is, without having to rely on dialogue or unnecessary narrative. I had hoped that the opening shot of Smithereens would define Wren in a very quick and concise way. You see a woman holding a pair of big black and white checkered sunglasses on a subway platform, then suddenly a mysterious set of thin legs, in ripped fishnet stockings and a black and white checkered vinyl mini-skirt, enters the frame, snatches the sunglasses out of the woman’s hands and runs off into a dark subway tunnel. The audience gets a strong first impression about who Wren might be.

Making the movie was not easy. In fact, it was made over a two-year period. There were challenges throughout the shoot because I never had all the money at one time. The original 16mm version of the film ended up costing about $40,000, but I probably only had a small part of that money at any given moment. I was racking up laboratory bills, but I wasn’t really thinking about how I was going to pay them. Fortunately, the film was accepted into the Cannes Film festival shortly after it was finished, which enabled me to pay off my production debts.

Aside from the financial challenges, the lead actress, Susan Berman, fell off a fire escape and broke her leg during the first week of shooting. There was no getting around that. We had to stop filming while she was in a cast for several months. I was extremely worried that I would not be able to hold the cast and crew together while she recovered. But I also thought, screw it, I’m not going to let this stop me. It actually made me more determined to finish the film. Also I now had time to look at the footage we had already shot, see what was working and what wasn’t, and as a result rewrite the script to make the story and characters stronger.

It was during this “break” that we redefined the lead male character of “ERIC”, who was originally not played by Richard Hell.

Originally “Eric” had been conceived as a downtown painter/art gallery owner, not a musician — and was played by a European actor.

By recasting and redefining the role as a rocker with Richard Hell in mind, it shaped the tone of the movie in a more interesting direction. Richard gave the movie authenticity as well as an edge. And although he was not a professional actor, he had a magnetic persona and a sexy “ bad boy” attitude that helped define the punk world of the East Village in the late 70s, early 80s — the world that “Wren” had run away from suburban New Jersey to desperately be a part of.

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SATURDAY 11am KIDS CLUB CONCERT Captain Little Presents:

KIMYA DAWSON

NOVEMBER 11

1pm

Birthright: A War Story

Post-film Skype Q&A with filmmaker Civia Tamarkin

Dir. Civia Tamarkin 2017 / US / 100 min

Kimya Dawson’s childhood home was a daycare center called Kids At Play, and she has been surrounded by the chaos, noise, and fun that big groups of small children bring along with them her whole life. Kids are welcome to bring kazoos and other sound making things if they would like. Typically, Kimya’s kid shows are chaotic and kind of a mess: The kids end up on stage and turn the event into an open mic (the same song might get sung five times!). A highly memorable and adorable disaster.

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This pressing and vital feature length documentary examines how women are being jailed, physically violated, and even put at risk of dying as a radical movement tightens its grip across America. The film tells the story of women who have become collateral damage in the aggressive campaign to take control of reproductive health care and to allow states, courts and religious doctrine to govern whether, when and how women will bear children. The documentary explores the accelerating gains of the crusade to control pregnant women and the fallout that is creating a public health crisis, turning pregnant women into criminals and challenging the constitutional protections of every woman in America.

This is the real-life Handmaid’s Tale.

4pm Lukens Tree Preservation Presents:

The Memory of Fish Post-film Q&A with filmmaker Jennifer Galvin and Emma Jones

Dir. Jennifer Galvin and Sachi Cunningham 2016 / US / 54 min Rivers connect us all. This fall, American Rivers presents the Pacific Northwest tour of the awardwinning film The Memory of Fish – a documentary portrait of one man, the wild salmon he loves, and his fight to free a river. The Memory of Fish film tour aims to inspire communities near rivers at risk, encourage people to engage in political action and citizen science, and equip the audience to support American Rivers, whether through financial donation, service, or volunteering. A portion of proceeds benefit American Rivers’ work in the Puget Sound-Columbia Basin.

6:30pm Rainy Day Records presents:

L7: Pretend We’re Dead Post-film Skype Q&A with producer

9pm

Clueless

Dir. Amy Heckerling 1995 / US / 97 min

Dir. Sarah Price 2017 / US / 93 min Sarah Price’s documentary takes us on an all-access journey into the 1990’s grunge movement that took the world by storm, and the band that helped define it as the genre of a generation. Culled from over 100 hours of vintage home movies taken by the band, never-before-seen performance footage, and candid interviews, L7: Pretend We’re Dead is an engrossing time capsule told from the perspective of L7, these true insiders who brought their signature blend of grunge punk to the masses. Chronicling the early days of the band’s formation in 1985 to their height as the ‘queens of grunge,’ the film takes a roller coaster ride through L7’s triumphs and failures, providing never-beforediscussed insight into the band’s eventual dissolution in 2001. To highlight the fact that L7 was an all-female group, however, was to miss the point. Yet the “gender issue” would return time and again for the band; from shock jocks refusing to play “chick rock” to academics accusing the band of “incorrectly” embracing their feminism to hard rock press implying the band was merely riding a wave of “grrl power” trendiness. Despite these obstacles, L7: Pretend We’re Dead shows the thread of influence the band had not only on rock and roll but on future generations of women everywhere.

Filmmaker Amy Heckerling’s Clueless has blossomed into a seminal teen comedy classic. Alicia Silverstone plays Cher, a popular student at Beverly Hills High whose heart is as big as her extremely stylish wardrobe. When she sees a problem she wants to help. Helping people is her specialty, whether it’s matchmaking lovelorn faculty or donating a wholesale makeover to the stylistically challenged new girl, Tai (Brittany Murphy). But while Cher is busy making others happy she forgets herself, so it’s up to the universe to bring her the perfect guy that she has wished for like forever.

Full of fun, well-written comedy, original slang, and marvelous clothes, Clueless, crystallizes the mid ‘90s era like a magical time machine.

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SUNDAY

KIDS CLUB Free for kids 12 and under

11am Olympia Federal Savings presents:

The Secret of Kells

NOVEMBER 12 2:30pm Old School School Pizzeria presents:

Roller Dreams

Post-film Q&A with Producer Diana Ward Dir. Kate Hickey 2017/ US / 80 min

5pm The Gyro Spot presents:

Marie Antoinette

Dir. Nora Twomey and Tomm Moore 2009 / France, Belgium, Ireland / 75 min The Secret of the Kells is a unique and enchanting animated tale about the power of belief and imagination. Set in medieval Ireland, Brendan is a young monk living in a monastery with his uncle, the Abbot. The monks have been trained to fear the world beyond the high brick, monastery walls. And then one day a traveler arrives. He is in the midst of creating a beautiful book filled with intricate art and profound words. All he needs to complete his masterpiece is special colored ink that can only be found in berries located in the deep, dark woods just outside the walls. Brendan swallows his fear and takes on the daunting task, only to find, to his surprise, unexpected friends, and the stunning courage to defend the world from a looming danger that threatens to engulf humanity into eternal darkness.

The Wishing Cranes Dir. Ellen Arnold, Kaiya Telle, Thomas Anderholm 2017 / US / 3 min

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When an orphaned paper boy fails to spend time with his light-hearted younger sister, she makes a wish by folding his papers into a thousand cranes that magically come to life and fly away.

Dir. Sofia Coppola 2006 / US / 123 min It’s 1984 and Venice Beach, CA is at the epicenter of a pop culture explosion.

Young people of color seeking refuge from the turmoil of inner city life flock to the eclectic ocean community to create a brand new phenomenon: roller dancing. The talent and vibrant personality of this multicultural roller ‘family’ draws massive crowds and influence Hollywood.

But just as roller dancing flourishes, politics, money and gentrification conspire to take their dreams away. “I wanted to find out why these larger than life characters never made it onto my TV screen back in Australia,” said director Kate Hickey, “and I began bringing my camera down to the beach every weekend. As I got to know these inspiring men and women, I never dreamed that their stories and that of roller skate dancing at Venice Beach would be filled with more drama than the movies they inspired.”

The Yellow Room Dir. Kitty McNamee 2017 / US / 4 min

In a series of increasingly lush and intimate encounters, two dancers are forced to confront each other and themselves, exploring the expansion of identity beyond solely masculine or feminine.

Marie Antoinette is a modern historical account wrapped in a cotton candy fever dream. Marie (Kirsten Dunst) is 14-years-old when she’s thrust into the hapless role of Queen to Louis XVI (Jason Schwartzman). In the pressure to create an heir, she becomes submerged in an insulated world of protocol, extravagance and luminous beauty that’s as imprisoning as it is lavish. Radiating a self-aware modernity, and a postpunk sensibility, featuring an awesome soundtrack that includes Gang of Four, Adam & the Ants, Siouxsie & the Banshees, and The Strokes, filmmaker Sofia Coppola (Lost in Translation, The Beguiled) paints Marie’s life in Versailles as a timeless story of a lonely girl with impeccable style and a sprightly spirit, trapped in a suffocating world of luxury and unrealized existential pain.

7:30pm

LOCALS ONLY

FOUR MACABRE MARVELS

Hosted by the Olympia Film Collective • FREE ADMISSION

Buzzard Hollow Beef

Cat Video Dir. Joshua M. Johnson & Tara C. Hall 2017 / US / 115 min

Still reeling from her divorce and struggling as the single mother of a 9 month old, Jordan Vollmer looks forward to a relaxing Thanksgiving weekend with her family and her best friend, Paige. Unfortunately the guy she’s been blowing off has crashed the Vollmer’s holiday weekend, tagging along with Jordan’s brother, Joel. As the group ventures into the small town of Buzzard Hollow they are greeted with strange and unsavory characters known around these parts as the Solomon family. Their suspicions surrounding the Solomon’s are aroused by the fact that they all seem unwilling to talk about the beef that they serve in their hamburgers and sell in their butcher shop. The Vollmer family experience horrifying hallucinations and begin to suspect that the Solomons are somehow involved when they catch Garrett, Darrell & Cody hunting on their property. Jordan narrowly escapes their rifle sights and the danger quickly escalates as they are picked off one by one.

Maggie’s Problem

OT3

Dir. Rachel Millena Saul 2017 / US / 20 min

Dir. Anne Hartner 2016 / US / 2 min Using the cat video as a medium, the artist attempts to reach a wider audience while also exploring universal themes of isolation, windiness, and the inexplicable beckoning of nature, luring us into fragility.

A mid-twentieth century romp, OT3 begins when murderer Nico Van Camp discovers that his boyfriend Josiah’s brother has been killed by a local drug gang called The Collective, headed by their notorious and mysterious leader, Dir. Molly Hewitt OT3. Nico has no choice but to 2014 / US / 30 min enlist the help of his arch nemesis, the deadly Wednesday St. James—a With the use of carbonated music and washed out showgirl, and Josiah’s second lover. Though initially hesitant, she agrees to pastels, Molly Hewitt’s short film focuses on an uncona one-night truce with Nico in order to hunt their common enemy. Together, ventional love story between a lime-green creature with a bound by their love for the same man, the pair of killers descend into an heart of seaweed and a rosy-cheeked protagonist under underground ‘60s world of madness, blood, and lust. Set in a time of turbuduress. Maggie’s Problem is a monster movie that lamlent change and shifting social norms, Nico and Wednesday, with their stiff poons film tropes, utilizes madcap music, and employs formalwear and stab-happy killing style, are threatened by The Collective’s a dizzying carousel of practical effects and set designs. “I fluid ways, psychotropic drug menu, and reliance on undetectable poison. always remain myself,” Hewitt says, “attempting to relate, By the end of the night, they’re protecting not only Josiah, but their very way understand and subvert through imitation. Unraveling the of life, and they wind up bonded in a way they never thought possible. But mechanisms and meanings of cultural text to be reused when they have to face each other in the stark light of day--at a tomato-asin an illuminating or empowering way. I am intrigued by pic-filled funeral, no less--it remains to be seen whether their tenuous bond the grotesque, the violent and extreme. I am low-budget- will last; not to mention how their shared boyfriend will react. The directorial chic creating a new genre that combines lumpy, figurative debut of local actor Rachel Millena Saul, OT3 draws on the director’s love ceramics and narrative video.” Maggie’s Problem is a of anachronisms, vintage recipes, brooding yet sympathetic murderers, and deconstruction of the expected, and one of the weirdest the glory of camp. films in this year’s fest: Imagine Creature from the Black Lagoon by way of Terminal USA.

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MONDAY

NOVEMBER 13

4 pm

6:30 pm

Wendy and Lucy

Polina

Dir by: Kelly Reichardt 2008/ US / 80 min Filmmaker Kelly Reichardt’s (Certain Women, Old Joy) Wendy and Lucy is a tale of a young woman attempting to gain footing in the world. Wendy (Michelle Williams) is on a quest for a new life. Packing her meager belongings into an aging Honda, Wendy and her dog Lucy are traveling to Alaska where our protagonists have heard about available jobs at a fish cannery. But when Wendy’s car breaks down in a small Oregon town, plans go awry. Lacking money for repairs and no place to stay, Wendy has nowhere to turn and resorts to stealing to survive. As her situation grows grimmer, a parallel is established between haves and have-nots that is sadly realistic to our current time. Featuring a quietly striking performance by Michelle Williams, Wendy & Lucy is a subtle and arresting work of cinematic art.

In the Skip Distance Dir. Emily McNeill 2017 / US / 8 min A young girl alone in the wilderness finds analog technology. An exploration of childhood inspired by solitude, Ray Bradbury, abandoned buildings and shortwave radio.

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Dir. Valérie Müller and Angelin Preljocaj / 2017 / French, Russian / 108 min Trained from an early age by rigorous, perfectionist Professor Bojinski, Polina (a terrific Anastasia Shevtsova, whose nuanced and uncompromising performance is one of 2017’s best) is a promising classic dancer. She is just about to join the prestigious Bolchoï Ballet when she discovers contemporary dance. That throws everything into question on a profound level. Polina leaves it all behind and moves to France to work with famous choreographer Liria Elsaj (Juliette Binoche). Despite her determination and hard work to the point of obsession, Polina just can’t seem to break through. So she moves to Anvers in search of work - and a new life.

9 pm

Kill Me Please

Dir. Anita Rocha da Silveira 2017 / Brazil / 101 min Director Anita Rocha da Silveira’s blood-flecked film follows a troupe of high school students whose primary interests include the victims of a local murderer. The macabre monomania of one teenager, played by the uncompromising Valentina Herszage, takes a suffocating and serpentine path as Kill Me Please unspools into an electric heap of carnality and chaos. With ferocious and intimate use of sound, color, and performance, Anita Rocha da Silveira’s film is a neon nightmare, where stirring images create a stinging sensation of vibrant dread. Imagine John Hughes by way of Raw’s Julia Ducournau. One of the most intriguing and talented filmmakers to emerge today, the Brazilian director’s artistic compass explores pop culture, friendship and youth with a strikingly observant approach. Kill Me Please is an honest piece of filmmaking that circumvents the homogeny of standard high school movies. Using the impressionable aspects of adolescence to ask questions about the finite and confusing nature of life, Anita Rocha da Silveira is one of the smartest directors working today.

Idee Fixe

Dir. Isabella Pierson 2017 / Spain / 6 min A young man becomes obsessed after briefly meeting a young woman in an elevator.

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TUESDAY 4 pm New Traditions Fair Trade presents:

Tribal Justice

NOVEMBER 14

6:30 pm

Girl Asleep

Dir. Anne Makepeace 2017 / US / 88 min In the California Native American community a revolution is being forged.

Tribes are creating their own court systems, which emphasize solving problems and saving lives over standard legal means. The illuminating documentary, Tribal Justice focuses on the Yurok and the Quechan tribes. Chief Justice Abby Abinati is the heart and soul of the successful Yurok Tribal Wellness Program, which is the benchmark for the tribal court model. Claudette C. White is the Chief Justice of the Quechan Tribe, which is in the process of building a Wellness Court of its own. Through both judges’ experience, we become acquainted with three people going through the Wellness Court program, which strives to rehabilitate with the restorative power of deep tribal tradition and customs, with an objective to heal an entire culture’s spirit, along with individual lives.

Eclipse City Dir. Antares Davis & Cameron Jutte 2017 / US / 9 min Thousands of eccentric people from around the world flock to the small town of Madras to witness the Great American Eclipse.

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Dir. Rosemary Meyers / 2016 / Australia / 77 min Girl Asleep is an eccentric coming of age story where the unexpected can be expected. Greta is 14-years-old and starting a new school. Lots of people want to be her friend: a dweeby kid named Elliot, a group of mean girls, and more. But then Greta isn’t sure she wants to be friends with anyone. It’s hard enough being a teenager; she’d almost prefer lonely detachment than to become mired in high school social mores. And then it happens—her parents decide to throw her a birthday party and they invite the whole school. Can anything be more mortifying? As the pressure builds, the atmosphere grows surrealistic, as Greta is forced to confront the chaotic world of teenaged existence brought to startling life in her own backyard. Highly original, Girl Asleep breathes refreshing new life into the teen film genre.

Oh, I Get It Dir. Danny Tayara & Sara McCaslin 2016 / US / 9 min Seattle-based queer comedians are changing comedy using their own brand of humor, proving that social change is best served funny.

9 pm Marijuana Mart presents:

Dir. Mary Harron 2000 / US / 101 min American Psycho, in its original inception, was Bret Easton Ellis’ divisive, descriptively grim 1991 novel. The blood-spattered, narcissistic glee of the book’s antihero, Patrick Bateman, created dialogue about materialism, psychology, and carnal fear. Loathed and liked in equal measure, American Psycho became a bedrock for pop culture malaise. When Mary Harron adapted the novel for screen, some nine years later, the Canadian director optimized the satire of Ellis’ opus by lampooning machismo. The subsequent adrenaline shot gave the source material a vehement boost of levity, horror, and pathos. Harron’s polarizing film dissected toxic masculinity through a perceptive and uncompromising lens. With an unnerving performance from Christian Bale -Leonardo DiCaprio was originally attached as the teeth-gnashing investment banker -- Mary Harron’s version of American Psycho has become a cultural mainstay, giving way to essays and memes alike.

SUGAR. Dir. Kristin Pearson 2017 / US / 3 min An animated collage that ruminates on the futility of a good night’s sleep... and other things.

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WEDNESDAY 4 pm

6:30 pm

Barracuda

Vagabond

NOVEMBER 15

Presented on 35mm Introduced by Oregon filmmaker Megan Hattie Stahl Dir. Agnes Varda

Dir. Julia Halperin and Jason Cortlund 2017 / US / 98 min The sly and complex thriller, Barracuda, is a slow burning character study filled with terrific music, magnetic performances, and fascinating depth. Sinaola (Sophie Reid) has traveled far and wide to find her only remaining blood relative. Merle (Alison Tolman) doesn’t know what to make of the young woman sitting on her front porch who claims to be her half sister. They both share the same father—a philandering country musician who has recently died.

As Sinaola enmeshes herself into Merle’s smoothly established family life, the seams begin to fray, just as their relationship is being forged.

Intentions are veiled, as Sinaola’s behavior becomes more erratic; her pent up anger uncoiling in the beautifully menacing country folk songs she plays on her dead daddy’s guitar.

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1985 / France / 95 min Agnes Varda was the first lady of the French New Wave. Her radiantly realistic portrayals of humanity burned through the pervasive Hollywood artifice, preceding Godard and Truffaut. Varda considers Vagabond to be her most realized work, effortlessly illustrating compassionate themes that she illuminated throughout her prolific career. In the celebrated director’s film, a young woman named Mona (a fearless Sandrine Bonnaire) is found frozen to death in a gully. From there we flash back to her solitary life on the road, one week prior. Mona’s ferocious independence is both alluring and unpredictable. Varda’s textured film follows the varied people Mona encounters and the indelible marks made upon them. These vignettes are embossed in memory, creating a puzzle-like portrait of a complex life lived through rebellion, empowerment, and ultimate freedom. Vagabond is a stunning work of empathetic cinema that you won’t soon forget, here presented in glorious 35mm and presented by Megan Hattie Megan Hattie Stahl Stahl, a local Pacific Northwest filmmaker and former Parisian.

9 pm

Pariah

GRAPHIC DESIGN

PRINTING

TREE FREE PAPER

g Helpin

Dir. Dee Rees 2011 / US / 86 min Pariah is a coming-of-age story about a girl in Brooklyn who wants genuine love. Alike (Adepero Oduyeis) is 17-years-old, artistic, loves literature, and has a taste for adventure, but still feels trapped in her life. Hiding her true identity, Alike fears her church-going mom would never accept a lesbian living under the family roof; and her perceptive dad would rather be oblivious in order to avoid controversy. Alike’s best friend, Laura is an inspiration—out and proud, she shows Alike the ins and outs of the community she desperately wants to be a part of. Through it all, our protagonist must learn to embrace the obstacles on the challenging journey to become true to herself and the world in which she already belongs.

Maiden

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the e t a e r c l a u s i v t s g re a te with t c a imp t as the l e

l a t n e m n enviro

t c a p m i

Dir. Emily Esperanza 2017 / US / 13 min Expressed through a landscape of sound and often static imagery, Maiden is a video mediation on the “maiden” archetype. Maiden is the newest addition to Emily Esperanza’s “Wretched Woman” series, an ongoing investigation into female/femme sensuality/sexuality, morality, gendered spaces, and archetype conveyed through a series of non-verbal video tableaus.

4003 8th Ave SE, Lacey Monay - Friday by appointment

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THURSDAY

NOVEMBER 16

4 pm

6:30 pm

Big Sonia

Girlfriends

Presented in 35mm and Introduced by journalist and film critic Kristen Yoonsoo Kim

Dir. Leah Warshawski and Todd Soliday 2017 / US / 93 min Wrapped in leopard prints and brimming with wry humor, Sonia Warshawski is a spry octogenarian who runs a successful tailoring service in the Kansas City Mall. Sonia is also on a crusade. The awardwinning documentary, Big Sonia tells a story of memory, optimism, and love. A Holocaust survivor, Sonia shares her experience of devastation and hope. From the loss of her family to the grueling and miraculous survival in the concentration camps, Sonia became a beacon of resilience. Stunned into action, the seamstress is now a motivational speaker whose life inspires dialogue about history, kindness, and fortitude.

Recounting her story to both students and to prisoners, Big Sonia is an indispensable documentary in our current climate.

Dir. Claudia Weill 1978 / US / 86 min Susan (Melanie Mayron) is a photographer stuck in odd jobs, just waiting for her big break. The only thing she can truly depend on is Ann (Anita Skinner), her long time roommate and confidant. But when Ann decides she’s getting married and moves out, Susan’s world is turned upside down, as she quickly realizes how dependent she has become on her best girlfriend and the comfortable bond they share. Forced to make due in the lonely world, Susan soon realizes what a rare occurrence finding true human connection can be.

Reminiscent of such ‘70s, slice-of-life classics as The Goodbye Girl and An Unmarried Woman, Girlfriends is an sparkling, under seen gem just waiting to be rediscovered, here presented in glorious 35mm.

The Legacy of Linc’s Tackle Dir. Lauren Frohne 2017 / US / 5 min

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Linc’s Tackle has been the heart and soul of Seattle’s urban fishing culture for generations. But that legacy almost didn’t exist when the Beppu family, shop owners since the 1930s, were interned during World War II. This year marked the 75th anniversary of Executive Order 9066, signed by President Franklin D. Roosevelt in 1942, sending JapaneseAmericans along the West Coast to internment camps for the duration of World War II. This policy forever upended the makeup of communities and families throughout the west. The Legacy of Linc’s Tackle shows the impact of this executive order through the experiences of one family in Seattle.

9 pm

The World Is Mine

Dir. Ann Oren 2017 / Japan / 70 min Cosplayer Ann Oren moves to Tokyo, seeking an identity through Japanese cyber diva Hatsune Miku. While there, she is drawn into a love affair with one of the fans. Miku is a Vocaloid, a vocal synthesizer software personified by a cute animated character. Her entire persona: lyrics, music and animation – is fan created, and that’s her charm. She even performs sold out concerts as a hologram. By transforming herself into a Miku character through cosplay, director Ann Oren enters a world of real hardcore fans where fantasy is more real than reality and the differentiation between the two becomes obsolete.

The film examines the performative nature of cosplaying – dressing up and playing the role of fictional characters – as a hybrid space where reality blurs into fetishistic fantasies and pop culture clichés. Combining fan-made lyrics and songs, Oren’s trials and tribulations in the fictional Miku world unfolds through vague erotic episodes and encounters with characters whose ontological status remains mysterious, bringing to mind the adventures of a modern Alice in a virtual Wonderland.

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Be Cute, Now! Dir. Megan Hattie Stahl 2017 / US / 4 min Why do people turn into filmmakers once they become parents? What are they trying to capture when filming their children, treating them as adorably charismatic hosts of talk show with an audience of few? And what if their children don’t follow the script?

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FRIDAY

NOVEMBER 17

4 pm

KQED Film School Shorts

UNCODE Dir. Ali Graham and Myisa Plancq-Graham 2017 / 30 min UNCODE is an ongoing series of short stories as seen through the distinctive lens of Black storytellers.

Since its 2016 launch, UNCODE has partnered with reputable brands, Grammy-award winning musicians, and world renowned artists to create short stories related to art, tech, food, health, and travel.

runtime: 60 min KQED’s Film School Shorts is a national public television series showcasing short student films from around the country. Each week, viewers are treated to a glimpse at the future of cinema with an artfully curated line-up of films featuring sophisticated storytelling and production value that rivals industry professionals. Filmmakers from past seasons include Destin Daniel Cretton, Sarah-Violet Bliss, Sarah Gertrude Shapiro, Ana-Lily Amirpour, and others who went on to leave their mark. Films are culled from major institutions like NYU, Columbia, UCLA, and AFI and have enjoyed successful runs at festivals such as Cannes, Sundance, Toronto, and SXSW. Follow us online for more short films.

Sequin Raze - A cynical producer will go to any lengths to get one last interview from a reality show runner-up. A short film by Sarah Gertrude Shapiro.

uNomalanga & the Witch - A church-going woman in South Africa is drawn to her hairdresser neighbor - a rumored murderer. A short film

by Palesa Shongwe.

Stage Two - A young man in small town Oregon navigates both the

perils of high school and his mother’s cancer diagnosis without the benefit of an emotional road map. A short film by Lara Gallagher.

Rita Mahtoubian is Not A Terrorist

- When Iranian-born Rita Mahtoubian sets out to change her life from ordinary to extraordinary, she accidentally captures the attention of a homeland security agent (Patrick Fugit).

A short film by Roja Gashtili and Julia Lerman.

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This Olympia Film Festival exclusive episode of UNCODE includes: Great Smoke: Jesce Horton is a nationally recognized, award winning cannabis farmer. He's also one of the only Black cannabis business owner in the state of Oregon. In this story, Jesce and recording artist Killer Mike share their truths about the billion dollar cannabis industry.

Amora: Dominic, a 30 year old man from Seattle, competes competitively as drag performer, "Amora Dior Black". Dominic shares his pre-performance rituals, his initial inspiration for performing, and his commitment to the local LGBTQIA community.

6:30 pm

9 pm

STEP

Ravenous

Presented in 35mm Introduced by director, producer and film programmer Gillian Wallace Horvat Dir. Antonia Bird 1999 / UK, USA / 110 min

Dir. Amanda Lipitz 2017 / US / 83 min STEP is the true-life story of a girls’ high-school step team against the background of the heart of Baltimore. These young women learn to laugh, love and thrive – on and off the stage – even when the world seems to work against them.

Empowered by their teachers, teammates, counselors, coaches and families, they chase their ultimate dreams: to win a step championship and to be accepted into college. This all female school is reshaping the futures of its students’ lives by making it their goal to have every member of their senior class accepted to and graduate from college, many of whom will be the first in their family to do so. Deeply insightful and emotionally inspiring, STEP embodies the true meaning of sisterhood through a story of courageous young women worth cheering for.

Ravenous is a pitch-black horror comedy set in the early 1900s. The Mexican-American War is in full force, when a feat of heroism gone terribly wrong relegates Boyd (Guy Pearce) to a dank, unforgiving outpost high in the Sierra Nevada Mountains. Fort Spencer is a godforsaken camp populated by a group of soldiers so dysfunctional that they’ve been hidden from view.

When a half-dead man (Robert Carlyle) stumbles into the sullen camp, he shares a terrifying account of trauma and the corresponding desperate measures his company were forced to endure. In doing so, the “wendigo,” a mythical being that it absorbs the strength of the men it consumes, is brought into the fray. As the uninvited stranger attempts to recruit men for a rescue mission at a nearby cave, tensions swell and an electrifying dread permeates the air.

Whiskey Fist Dir. Gillian Wallace Horvat 2017 / US / 11 min Whiskey Fist is a short film that uses absurd and vulgar comedy to probe the sensitive social sphincter holding back a much-needed dialogue on the obstacles to empathy between genders. It’s set in the world of “branding”, where our young protagonist, Justin, works. In danger of assimilating the misogyny of his environment, Justin seems in certain danger of becoming a douchebag. But one night a mysterious blonde impregnates him with a bottle of high-end whiskey -- magical realism ensues.

Kiss Kiss Fingerbang Dir. Gillian Wallace Horvat 2015 / US / 11 min Anton Yelchin. Kate Lyn Sheil. A satirical title that calls out to Shane Black and a poster that lampoons Robert Aldrich. This is a hysterical take on manipulation, soft rock, the struggle of relationships, and the blind fog of self-adulation.

Gillian Wallace Horvat

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SATURDAY 11 am

KIDS CLUB Free for kids 12 and under

Olympia Federal Savings presents:

Window Horses

NOVEMBER 18

1 pm Psychic Sister presents:

Free CeCe!

Two for One Admission!

Dir. Ann Marie Fleming 2016 / Canada / 89 min Rosie Ming, a young Canadian poet, is invited to perform at a Poetry Festival in Shiraz, Iran, but she’d rather be in Paris. She lives at home with her over-protective Chinese grandparents and has never been anywhere by herself.

Once in Iran, she finds herself in the company of poets and Persians, all who tell her stories that force her to confront her past; the Iranian father she assumed abandoned her and the nature of Poetry itself. It’s about building bridges between cultural and generational divides. It’s about being curious. Staying open. And finding your own voice through the magic of poetry. Rosie goes on an unwitting journey of forgiveness, reconciliation, and perhaps above all, understanding, through learning about her father’s past, her own cultural identity, and her responsibility to it. Window Horses adds more peace, love and understanding to our increasingly complex and conflicted world through art, poetry, history and culture.

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Dir. Jacqueline Gares 2016 / US / 87 min On her way to the store with a group of friends, Chrishaun Reed “CeCe” McDonald was brutally attacked. While defending her life, a man was killed.

After a coercive interrogation, CeCe was incarcerated in a men’s prison in Minnesota. An international campaign to free CeCe garnered significant support from media and activists, including actress Laverne Cox. Cox signed on as executive producer of Free CeCe!, committed to exploring the role that race, class, and gender played in CeCe’s case. In the end, CeCe emerged not only as a survivor, but also as a leader. Documentarian Jac Gares pushed past the everyday narratives of victimhood surrounding the lives of transgender people, to spotlight the way CeCe and other trans people are leading a growing movement fighting for their rights. CeCe’s powerful story highlights the groundswell of voices questioning the prison industrial complex and calling for its disassembly.

5 pm

8 pm

Lane 1974

Post-Film Q&A w/ filmmaker SJ Chiro and actress Sophia Mitri Schloss

Suck It Up

Post-film Skype Q&A with filmmaker Jordan Canning

Dir. Jordan Canning 2017 / Canada / 101 min

Dir. SJ Chiro 2017 / US / 80 min Based on Clane Hayward’s memoir The Hypocrisy of Disco, Lane 1974 tells a true coming of age survival story. It’s 1974. 13-year-old Lane lives on a beautiful Northern California commune, wild and free, until her mother, a rebel and iconoclast, alienates their small group from the security and safety of the community land. They begin moving from one unlikely situation to another, leaving normal life far behind. Scrounging for food and hitch-hiking, while her mother cadges cash and begs favors, Lane and her siblings rely on one another in an increasingly desolate and isolated emotional landscape. After a series of dangerous events, Lane must decide how to survive.

SJ Chiro

Sophia Mitri Schloss

Director Jordan Canning’s Suck It Up is matted by clammy palms, punctuated by aorta straining regret, and earmarked by teeth baring frustration. It’s a road trip movie that circumvents artifice and carbonation, and digs its soles into the worn floor mats of friendship, love, and identity.

Faye (Erin Carter) is submerged in an existential and career focused crisis, while her friend, Ronnie (Grace Glowicki), is tailspinning in a helix of engine smoke. The two protagonists are whirring tops headed to the edge of a table. The root of the pair’s shared emotional malaise is Garrett, Faye’s first love and Ronnie’s brother. Having passed from cancer, only two months earlier, Garrett is a phantom limb between the two friends. In a routinely optimistic, if somewhat misplaced, road trip of animated distractions and blacktop mashing adventure, Faye and Ronnie trek up to a pastoral British Columbia in hopes that their mutual pain will be treated.

Suck It Up utilizes music, spatial awareness, and the unpredictable nature of grief as a compass for compassion and discovery. Tops of trees billow with wind, friendship is reconstituted from embers, and the finite minutes of our life are reduced to printed handwriting. Jordan Canning’s picture is a valuable turnkey to empathy in this crazy Coney Island ride that is 2017.

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SUNDAY

NOVEMBER 19

1pm

OLYMPIA FOOD Co-op 40th ANNIVERSARY!

Wasted! The Story of Food Waste

5pm

CLOSING NIGHT EVENT

the Brotherhood Lounge presents:

g n i r featu

Dir. Anna Chai and Nari Kye 2017 / US / 90 min Wasted! The Story of Food Waste aims to change the way people buy, cook, recycle, and eat food.

Through the the eyes of chef-heroes like Bourdain, Dan Barber, Mario Batali, Massimo Bottura, and Danny Bowien, audiences will see how the world’s most influential chefs make the most of every kind of food, transforming what most people consider scraps into incredible dishes that create a more secure food system.WASTED! exposes the criminality of food waste and how it’s directly contributing to climate change and shows us how each of us can make small changes –all of them delicious –to solve one of the greatest problems of the 21st Century.

Courtney Sheehan

Danny Tayara

Gillian Wallace Horvat

Sophia Mitri Schloss

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730pm

Lisa Prank concert

A panel of filmmakers, critics, and programmers discuss the importance of representation, diversity, and the expectations of female-identifying and non-binary artists in the film industry.

Dubbed “bratty” by the New York Times, Lisa Prank is a Seattle-based artist who NPR called “…bubblegum pop-punk for lovesick, rainbow-colored unicorns.”

SJ Chiro

Megan Griffiths

Adult Teen, the debut album from the Pacific Northwest phenom, was named one of the ten best albums of 2016 by Rolling Stone’s Rob Sheffield. Lisa Prank’s glitter-doused distortion, uncompromising lyrics about Myisa Plancq-Graham love, and surefire snark come together to create perfect pop-punk songs that make you both dance and Kristen Yoonsoo Kim cry. And, yes, you may have heard that The Seattle Times called the artist a “…premier pop-punk prom queen.”

After the Olympia Film Society’s Focus on Women: Symposium, come rock out with one of Washington’s best songwriters, tarot card readers, and Dolly Parton historians.

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GUEST BIOS JORDAN CANNING A native of St. John’s, Newfoundland, film director and writer Jordan Canning has directed over a dozen short films which have screened and at festivals all over the world including the Toronto International Film Festival, the Tribeca Film Festival and Interfilm Berlin. Canning’s films have won a number of awards, including two Golden Sheaf Awards, three awards at the NSI Online Short Film Festival, and top prize at the 2012 Toronto International Film Festival RBC Emerging Filmmaker Competition. She directed all twenty-three episodes of the IPF-supported web series Space Riders: Division Earth for CTV. The show won the 2014 Canadian Screen Award for Best Digital Series and four Canadian Comedy Awards, including Best Director.

Canning’s 2014 feature film We Were Wolves screened at the Toronto Film Festival. In 2015, Canning was awarded the Women In the Director’s Chair Feature Film Award for her second feature film, Suck It Up (2017), which premiered at the 2017 Slamdance Film Festival. Canning is a 2010 graduate of the Director’s Lab at the Canadian Film Centre and an alumnus of TIFF Talent Lab, TIFF Pitch This!, and the WIDC Story and Leadership Program.

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TARA CARRE HALL Tara Carre Hall graduated from The Evergreen State College with a BA in Film.

She has also studied sketch and improv at UCB Theater in Los Angeles. Then founded her own production company with her writing partner and fellow producer, Joshua M. Johnson. A Man & A Woman Productions was born. Their first project, Envy, won “Best Comedy” at the First Glance Film Festival in 2012. Since then Tara and Josh have continued to produce award-winning projects, including their first feature film, Buzzard Hollow Beef.

SJ CHIRO

SJ Chiro graduated from Bennington College with a degree in theater and French literature. She spent much of her early career as an actor and director in Seattle’s theater scene. Her 2006 debut short film Little Red Riding Hood garnered awards for Best Live Action Short at Children’s Film Festival Seattle and Best Cinematography at the San Francisco Women’s Film Festival. Her next film, Third Day’s Child, premiered at the Seattle International Film Festival 2008 and screened at the Science Fiction & Fantasy Short Film Festival, One Reel Festival of Shorts, and Palm Springs International Festival of Short Films, among others. Next, her short film Howard From Ohio was awarded a special jury prize at SIFF (Seattle International Film Festival) 2011, best short film at Seattle’s Local

Sightings Film Festival 2011, as well as the Director’s Award at the Boston Underground Film Festival. Her short film The Epiphany, based on a short story by Jonathan Lethem, was made for the Fly Film Challenge, SIFF 2011. This film marked the first collaboration with producer Mel Eslyn. In 2011 a tribute to Jørgen Leth’s The Perfect Human, was commissioned

by Seattle’s The Project Room.

Most recently a collaboration with Charles Mudede, The Third Wheel, premiered at SIFF in 2013. LANE 1974, Chiro’s first feature film, draws on her own experience as a child of revolutionary thinkers who retreated to a communal life in Northern California in the 1970s.

KIMYA DAWSON

Kimya Dawson is a celebrated writer and singer of songs and an all-purpose force for good in the world.

First making her artistic mark as half of the antifolk duo the Moldy Peaches, Kimya soon turned to solo work, where the twisted punchline poetry of the Peaches was deployed in the service of Dawson’s gem-like personal narratives, creating such singular works as I’m Sorry That Sometimes I’m Mean (2002), My Cute Fiend Sweet Princess (2004), Hidden Vagenda (2004), Remember That I Love You (2006), and Thunder Thighs (2011), and earning her a 2009 Grammy for her work on the soundtrack for the film Juno. More recently, she joined forces with hip-hop artist Aesop Rock to form the Uncluded, whose debut record Hokey Fright was released to critical acclaim in 2013. She frequently tours the world, often with her kid Panda by her side.

ISABELLA CUEVAS PIERSON Isabella Cuevas Pierson is a 20-year-old filmmaker from Bellingham, Washington.

She started making films the summer before middle school and hasn’t stopped since, creating over 100 short films. Her films range from comedy to drama to experimental. Her passion is using the medium for storytelling and expressing emotion. Isabella’s work has been accepted and recognized in film festivals, including the National Film Festival for Talented Youth. Her work has also been featured in several magazines, both online and physical. Currently Isabella attends the Evergreen State College in Olympia, Washington.

LAUREN FROHNE Lauren Frohne is a video journalist and filmmaker based in Seattle. She is currently a staff filmmaker for The Seattle Times, and previously produced, directed and filmed short documentaries for the Open Society Foundations in New York City and was a video journalist for The Boston Globe. She is also working on a long-term documentary film called ‘Spilling Over’, focusing on the lasting effects of the BP oil spill on a family and community in Venice, La., which premiered as a short in the 2010 Carrboro (NC) Film Festival.

JENNIFER GALVIN Jennifer Galvin runs reelblue, LLC – an independent film production and media company based in New York. A public health scientist by training and a storyteller by nature, her motivations remain fueled by the maxim protect the vulnerable.

Commercial to indie, documentary to fiction, moving image to print – for Jennifer it all starts with a great story. Recent honors include being named to GOOD Magazine’s GOOD 100, representing the vanguard of artists, activists, entrepreneurs, and innovators from over 35 countries making creative impact.

Her most recent feature documentary The Memory of Fish (2016) was a Wildscreen Panda Award nominee – the highest accolade in the wildlife film and TV industry, dubbed the ‘Green Oscars’. More about Dr. Jennifer Galvin at reelblue.net and jengalvin.com.

MEGAN GRIFFITHS Megan Griffiths is a writer/director working in film and television.

She recently directed two episodes of the Duplass Brothers’ HBO anthology series ROOM 104 and an episode of the Epix comedy GRAVES, starring Nick Nolte. Prior to this, she wrote and directed the thriller THE NIGHT STALKER, starring Lou Diamond Phillips as serial killer Richard Ramirez. Her film LUCKY THEM starring Toni Collette, Thomas Haden Church and Johnny Depp premiered at the Toronto International Film Festival and was distributed by IFC Films. Me-

gan’s film EDEN, based on the true story of a young woman captured into the world of human trafficking, was a breakout at SXSW 2012, winning the Emergent Narrative Director Award, the Audience Award for Narrative Feature as well as a Special Jury Prize for lead actress Jamie Chung. Megan’s feature THE OFF HOURS, distributed by Film Movement, premiered at the 2011 Sundance Film Festival. Additionally, she has produced several other projects including Lynn Shelton’s YOUR SISTER’S SISTER and the Sundance absurdist buddy comedy THE CATECHISM CATACLYSM. Megan and Lynn Shelton also co-wrote a feature for This American Life, and together with producer Gregg Fienberg sold an original pitch to HBO. ANNE HARTNER

Anne Hartner has been darting furtively around the edges of filmmaking for well over a decade.

She wrote and directed the short film Cougar Mountin’ which debuted at STIFF in 2015. Her feature script Dead Eye was selected as a part of SIFF’s Catalyst series for a live table read. She is currently in postproduction with her short horror film The Skipping House. She likes avocados and swearing.

MYISA PLANCQ-GRAHAM San Francisco native, Myisa Plancq-Graham, began her photography career exploring the streets of Atlanta in 2011.

Her growing appreciation for photography and

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GUEST BIOS

CONT.

videography culminated in the creation of Annie Graham Imagery which led to her work with The Hive Gallery & Studios in downtown Los Angeles. In 2013, she worked as photographer and graphic designer for clothing company, Blu Pony Vintage.

Myisa serves as lead director, videographer and editor for documentary short series UNCODE, highlighting people of the African Diaspora.

RACHEL MILLENA SAUL Rachel Millena Saul is an actor, writer, and film director. She is the creator of the short “OT3” and the upcoming short “The Groke.”

Rachel has appeared in the feature films Dusk to Dusk, The Fabricated Partner of Cody McGuire, the webseries Wake Up!, the Seattle stage Play Twin Peaks Live, and several short films.

Seeing the movie Kids for the first time at sixteen made her want to be a filmmaker. Her stories take inspiration from antique dolls, 20th century dishes, and Ryan Murphy shows.

Rachel lives in Olympia with her husband and daughter.

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MEGAN HATTIE STAHL Megan Hattie Stahl is a documentary filmmaker, video artist, radio producer and standup comedian. An Oregon native who has spent 3 years living and studying in Paris, France, her work is guided by her cultural curiosity, her fascination with real people and their perspectives, a love for music and a sense of nostalgia. She self-released a cassette tape of home recorded music entitled 9 Bed, No Bath in April 2017.

COURTNEY SHEEHAN As Executive Director of the Northwest Film Forum, Courtney Sheehan guides vision and strategy by overseeing artistic programs and services, operations, finances, and fundraising activities. Courtney has curated film programs and produced events for theaters and festivals on three continents. On a yearlong Watson Fellowship, Courtney investigated the organizational structures, community roles, and programming strategies of twenty film festivals and media centers in India, Spain, the Netherlands, Brazil, Bosnia-Herzegovina, Croatia, Serbia and Macedonia. As a journalist, Courtney has covered film events ranging from the world’s largest documentary festival (IDFA in Amsterdam) to South America’s largest animation festival (Anima Mundi in Rio de Janeiro) and her publications include Bitch Magazine, Senses of Cinema, The Independent, and NECSUS: European Journal of Media Studies.

She co-founded Cine Migratorio, a migration-themed film festival in Santander, Spain. Courtney first worked at Northwest Film Forum in 2009 as a programming and Children’s Film Festival Seattle intern. She holds a degree in Visual Culture from Grinnell College.

CIVIA TAMARKIN

Civia Tamarkin is an awardwinning investigative journalist, documentary filmmaker and former television news executive. She has produced independent and

cable documentaries as well as developed programming content, models and strategies for cable, internet and digital global platforms.

Tamarkin formerly was a CNN executive and Executive Producer of CNN’s Emmy Award weekly news magazine show “CNN & Time.”

She produced investigative segments and series for ABC World News Tonight, half-hour specials for Nightline and contributed to ABC’s coverage of major news stories. Her investigative reporting led to one of the first exculpatory DNA exonerations in America as well as the exoneration of a death row inmate. She has contributed to numerous magazines and newspapers and reported stories in Central America, Africa, India and Southeast Asia, including the fall of Vietnam and its aftermath. Tamarkin has received a National News and Documentary Emmy, National Emmy nominations, National Headliner Awards, an Edward R. Murrow Award, and awards from The Society of Professional Journalists, the Overseas Press Club of America and the Chicago Headline Club.

DANNY TAYARA

Danny Tayara is a filmmaker and festival programmer in Seattle, WA. They founded Seattle Queer Filmmakers, a hub for people looking to make connections and find collaborators. Currently Senior Programmer with Three Dollar Bill Cinema, Danny is Festival Director for TWIST: Seattle Queer Film Festival and assists in programming for Translations: Seattle Transgender Film Festival. Danny’s career as a filmmaker began at Reel Queer Youth video production and media literacy training for LGBTQ youth and allies. She now manages

the program. She also volunteers yearly for Camp Ten Trees summer camp for LGBTQ youth as a counselor, board member, and videographer. Danny collaborates with many different organizations to bring her projects to completion.

She would like to thank Blanket Fort Films, Reel Grrls, and Three Dollar Bill Cinema for providing support throughout the years.

GILLIAN WALLACE HORVAT Gillian Wallace Horvat is a Los Angeles-based filmmaker, writer and film programmer.

Her short, Kiss Kiss Fingerbang, starring Anton Yelchin, Kate Lyn Sheil and Buck Henry was awarded the Grand Jury Prize in its category at the 2015 SXSW Film Festival. She is also the producer of the Sam Fuller documentary, A Fuller Life which premiered at Venice in 2013. Her latest work, Whiskey Fist, premiered at the 2017 SXSW Film Festival where it was nominated for Best Midnight Short.

KRISTEN YOONSOO KIM Kristen Yoonsoo Kim is a New York-based freelance film critic and journalist.

She was born and raised in South Korea and studied media at New York University. During her schooling, she interned at The New Yorker and Vice.

Previously Kristen was a staff writer at Complex Magazine. She now writes for various publications such as GQ, Vice, Elle, Nylon, Village Voice, and Pitchfork. She’s also always at the movies (there’s a good chance you’ll run into her at a New York rep theater).

NIKKI MCCLURE Nikki McClure is a self-taught artist.

She made her first papercut in 1996 for a selfpublished book “Apple”. She has been making her popular yearly calendar since 1998. She is a writer and/or illustrator of seven children’s books published by Abrams Books, including the New York Times Bestseller “All in a Day” by Cynthia Rylant. Sasquatch Books and Chronicle Books also publish her work. She is currently working on “The Golden Thread: A Song for Pete Seeger” by Colin Meloy, to be published by Balzer and Bray (Harper Collins) in May of 2018.

Her children’s books have earned many starred reviews from Publisher’s Weekly, Kirkus, Booklist, School Library Journal, the Wall Street Journal, the New York Times and more. She received a Washington State Book Award for “To Market, To Market”, about the Olympia Farmers Market. Nikki’s papercuts have been featured on snowboards, Patagonia t-shirts, record covers, magazine illustrations, The New York Times, greeting cards, book covers, movies, tote bags, nonprofit logos, stranger’s tattoos, and Olympia’s storm drains. She has shown her work internationally from Tokyo to Lyon. Nikki lives in Olympia, Washington where she makes a yearly calendar and swims in Budd Inlet.

Visit her online at www. nikkimcclure.com.

SOPHIA MITRI SCHLOSS Born in Seattle, Sophia was described from a young age as a gifted actor with an old soul. Numerous passions include Cuban music, piano, guitar, and singing in addition to math, reading, programming, writing, painting, and soccer.

Favorite inspirations include The Beatles, Stevie Wonder, Joni Mitchell, Mark Twain, Malala, and Emma Watson. After shooting Lane 1974, Sophia went on to a leading role in Amazon’s The Kicks. Previous roles include the starring role of Isabel in NBC’s pilot Isabel, alongside Marcia Gay Harden and Kevin Nealon, and guest star stints on Portlandia, The Librarians, and Grimm. She most recently starred in the title role of Sadie in Megan Griffiths’ upcoming feature Sadie with Melanie Lynskey, John Gallagher Jr., Danielle Brooks, and Tony Hale.

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GUEST Q&A

Why did it take Wonder Woman’s success to place female-directed films in the public conversation, when there are incredible directors such as Kelly Reichardt and Andrea Arnold being overlooked in popular media?

Bridey Elliott is an actress, writer, and director whose short, AFFECTIONS, earned a Grand Jury Prize nomination at the Sundance Film Festival. In 2014, she starred in director Sarah-Violet Bliss’ FORT TILDEN. Bridey is currently working on her directorial debut, CLARA’S GHOST. In a recent study conducted by San Diego State University, twenty-three prominent film festivals -- including AFI Fest, Sundance, and SXSW -- “screened three times as many narrative films, and almost twice as many documentaries, directed by men as by women.” What is the cause of this conspicuous programming problem, and why have no major festivals addressed inequality in film?

It’s pretty unreal when you think about the bias against women in film programming.

There’s a real block from taking minorities voices seriously, including females. Even the most prestigious festivals are guilty of following the tradition of just not taking risks with female driven projects. I don’t why it’s still this rampant, but we do have a terrible person running our country, and so, most likely, a lot of people are unconscious still to their own prejudice. More films are needed to wake up those of us who are still asleep. But to call out female bias and not minority bias would be hypocritical. There is a bigger problem affecting women, people of color and the LGBTQ community.

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Wonder Woman is inspiring because it’s further proof that a female driven and directed movie can be a huge success. It is, however, a blockbuster movie whereas Arnold and Reichardt make independent films with a strong point of view that aren’t necessarily for mainstream audiences.

Their movies are highly accoladed, but probably not fun and inspiring to my five year old cousin. Apples and Oranges.

Author Andi Zeisler of Bitch Media wrote about the big business advertising of feminism, and the revenue generated by turning real concerns into contemporary commercialism. How can moviegoers, music listeners, and consumers, in general, parse the two things?

If big business advertising is using feminism for revenue gain, I say let them.

Whatever it takes for the conversation to keep getting louder and more accepted in our reality. I think making it “cool” to be feminist is not a bad thing.

Zoe Lister-Jones recently directed, wrote, and starred in Band Aid. In doing so, she hired an entirely female production crew, something that has never been done before on a full-length feature. Why has it taken so long for a crew to be assembled entirely of women?

I know a lot of female filmmakers who work with only or mostly women on set, that are just not publicized.

Affections, a short you wrote, directed and starred in, was a fantastic exploration of assigned emotions. In a climate where tentpole Hollywood films -- and even independent shorts and features -favor hyper-stimulation over vulnerability, doubt, and self-awareness, do you feel as though popular storytelling needs more humor and minimalism?

I think popular storytelling just needs more honesty. If people, myself included, allowed themselves to be fully aligned with

their unique truth, then we’d be flooded with powerfully distinct voices, which I think we are, but even more flooded! I’m talking I want us all to drown in smart, funny, sweet, dark, challenging, talent.

Jessica Chastain made an incredibly moving statement at Cannes about the lack of developed female characters at the festival. Do you imagine that this will be a wakeup call for directors and festival programmers in the future?

I think her speech was awesome and hopefully a wake up call for some, but for most of us I think it’s another line in a much longer, and wider conversation that’s been in the conscious of the film world for a long time. Not only are women shown as one dimensional, but minorities are still very much absent onscreen and in the director’s chair. We need more multi-cultural stories, more gay stories, trans stories, stories that are fresh and real and haven’t been heard because Grandpa Alvin is just not ready for that stuff! No offense to any woke Grandpa Alvins.

Finally, who are a few of your favorite female filmmakers, and how have they changed your creative compass as an actor, writer and director?

Some female filmmakers I love are Sarah Polley, Sofia Coppola, Elaine May, and Jill Solloway. All of them share very different, but fierce senses of humor informed by, among other things, female pain with a unique self- awareness about it. Stories We Tell by Sarah Polley heavily influenced me as well as Sofia Coppola’s Somewhere.

They both were so intimate, diving into revealing family portraits and how insanely complicated they can get. My feature, CLARA’S GHOST, stars my real-life family, in roles mirroring our actual lives. My short film, AFFECTIONS, starred my then boyfriend, exploring the malaise in our relationship. I’m inspired by my reality, and often simply need to make art about it, and these filmmakers paved the way for me not feeling shame about that.

something for my Wretched Woman series. A friend had recently taken a hike in a beautiful location and had come back with some stunning photos. Some friends and collaborators happened to be in town, so we took a little road trip. We got lost on the drive there and couldn’t find the original location but something beautiful came out of that. The overall experience was very fortuitous and the process, very intuitive.

Emily Esperanza is a filmmaker, artist, and curator whose passions lie in discarded aesthetics, liminal spaces, guerrilla approaches, and unconventional narrative. Her recent video works, grouped under the title, WRETCHED WOMAN, investigate stillness, duration, atmosphere, and archetype, specifically relating to representations of femininity. In 2016 Emily toured WRETCHED WOMAN across the country, showing in Brooklyn, Seattle, Chicago, and Oakland. Emily was selected as one of Chicago’s New City 2016 ‘Film 50’ directors, and was featured in a followup article in Filmmaker Magazine. Her new project, ‘Make Out Party’, co-produced

by Full Spectrum Features, is currently in post-production. She is the founder and curator of WRETCHED NOBLES, an immersive monthly film/video series & shorts program.

Maiden is part of the WRETCHED WOMAN, an ongoing investigation into female sensuality/sexuality, morality, and archetype through a series of non-verbal video tableaus. What prompted you, creatively, to begin the project within these specific parameters?

As an artist, it is exciting to continually learn new things about oneself and one’s practice. Working with these ideas wasn’t really a conscious choice, but rather an eventual realization of certain themes and dialogues I’ve been circling and unknowingly working with for years.

Maiden uses sound, silence, and color to create atmosphere and dialogue. There is conflict and comfort throughout the short. How did you decide upon the location and use of light?

Earlier this year, southern California had a super bloom. When I heard about it, I immediately knew that I wanted to film

There is a distinct lack of equality that runs through film criticism, film programming, and distribution. What needs to be done to change the industry?

I think a big misconception is that resources are more equally-distributed now than ever before. While there may be more opportunities *available* to female filmmakers, filmmakers of color, and LGBTQ+ filmmakers, programmers, distributors, and the like have yet to realize that just “opening the doors for diversity” isn’t enough -- diversity must be actively sought. A person who is not a straight cis white guy may be less inclined to apply for - or might not even know about - these opportunities because advantages have, time and time again, been simply handed over to cishet white men. Mainstream structures aren’t yet in place to ensure that systematicallyothered people feel like they are deserving of, or even have a chance at, the same opportunities as those who have dominated the industry for so long. In the meantime, programmers and distributors have the privilege to curate culture, and in doing so, change dialogues. It is thus the responsibility of the curator to reach out directly to communities and seek out individuals who might not be aware of - or constantly presented with - these opportunities.

Your next project, Make Out Party, is described as a “high-style comedy of errors” featuring a variety of vibrant characters. How specifically important was the cast to the content and narrative of the film?

So important! I call Make Out Party a “love letter” to the Chicago underground and indeed the film itself was made for and by the Chicago underground artistic community. This is further reflected in Make Out Party’s cast, who are all, in one way or another, a part of the Chicago underground/ DIY art scene. The film literally could not

exist without them!

Your friend and fellow director Molly Hewitt has her short film, MAGGIE’S PROBLEM, playing at our festival this year. How would you describe her style of filmmaking?

Molly is the real deal. She is one of my favorite contemporary artists and filmmakers and her style is super unique.

We’ve collaborated on a couple projects now including Make Out Party (Molly did production design on the film and played Make Out Party hostess, Mary Woah), and an unfinished performative video which may eventually join the Wretched Woman series. I would describe her filmmaking style as “high-glam with a Do-It-Yourself approach meets 1980’s baby-femme and kind of gross”.

You’ve been quoted as saying the DIY scene in Chicago is resilient. Having had toured WRETCHED WOMAN in areas such as Seattle and Oakland, what is your estimation of the national health of the DIY community in general?

As a culture and subculture, DIY takes many forms and can vary in different communities within a city. For example, Chicago’s queer DIY scene is different than Chicago’s music DIY scene, is different from Chicago’s film DIY scene, etc. And while I can’t speak for every DIY scene in every city, as long as there are impassioned individuals and artists who dare to challenge culture, resist oppression, subvert tradition, and defy normative stifling capitalistic values, DIY will never die and there will always exist an underground artistic bohemia!

Finally, who is your favorite femaleidentifying filmmaker and how have they changed your idea of cinema?

Maya Deren is a favorite. The use of sound, light, and shadow in her work is striking and creates a splendid mystery.

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GUEST Q&A

CONT.

services and the way films are watched.

As a fellow programmer, how do you combat the ease and accessibility of home viewing?

Elizabeth Mims grew up in Austin, Texas and graduated with a BFA from CalArts. Her 2012 film Only The Young was theatrically released by Oscilloscope and won numerous awards including the Silverdoc’s Sterling Silver Award for best US documentary, American Film Institute Audience Award, and was nominated for a Spirit Award. She has worked with Austin Film Festival previously as the Director of the Young Filmmakers Program and has now been the Senior Film Program Director for AFF for the last three years.

As a film programmer, what is something you have to be cognizant of when putting together a film festival?

It comes in layers. We have to ask ourselves, “what is different and unique?” while still championing storytellers. A lot of that is finding new voices that deserve to be heard. We are forgiving when it comes to production values, especially if it’s a new filmmaker who has a distinct voice. As a filmmaker myself, I know how much work goes into something.

Being that you are a filmmaker yourself, how does that change the way you program?

Coming from that background I am definitely a little more understanding when it comes to certain things. When we’re considering the overall program, I work with our conference director to ask “what are the things that filmmakers can take away from the festival?” As you know, building those relationships and making sure there’s enough content that speaks to an ever-changing climate is important.

Those are the things that last. It would be great to have a red carpet and photos that are nice looking, but education and workshops are more important.

Much has been said about streaming

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It’s really interesting because it’s going to require year-round events and making things more interactive. How can you make this particular event engaging? How do you find particular niche crowds? You have to build programs to make sure there is a really compelled audience. Festivals are still a great launching pad for building press. Events make more sense for filmmakers, too. It’s going to be interesting with these different [streaming] services.

We’re trying to build relationships with Amazon and all of these distributors. Everything is becoming a shifting target.

During festivals, programmers have historically screened fewer female-directed films than male-directed films. How do we change this?

There’s an exciting movement happening right now. People are more aware. Personally, if I can find a first-time female director I’ll screen their film. We need to make sure these movies are programmed and elevated. It’s still so difficult for women to be given the chances they need. We need to work together. I think everything that happened at Cannes this year will provide positive and immediate impact. The more we can have effective roles - we need more women in the writers room - the more we can come together.

Who are some of your favorite female filmmakers?

There are a couple of directors who we worked with out of Austin that we’re keeping our eye on. Annie Silverstein made a short called Skunk that won at Cannes.

She’s one of my hometown heroes. Every year we find someone great.

Katherine E. Scharhon grew up in Seattle, Washington, where she graduated from Cornish College of Arts with a BFA in theater. Upon graduation, Katherine went on to perform with the prestigious Steppenwolf Theatre Company in their production of The Time Of Your Life, at the Seattle Repertory Theatre. In 2005 Katherine was cast as the twin detectives, Chance and Wendy Hale, in Guy Maddin’s feature film Brand Upon the Brain!, which went on to international acclaim, and was released by the Criterion Collection. In 2006 Katherine moved to New York City where she acted in Luke Matheny’s Academy Award winning short film God Of Love, and wrote her feature film screenplay, Rules for Drowning, which was selected for IFP’s Emerging Narrative Program.

Olympia Film Society: Festivals, according to a recent study by San Diego State University, continue to screen more films by male directors than by female directors. What is causing this overwhelming lack of equality in film programming?

Katherine Scharhon: That is a great question. This lack of equality in programming extends to the LGBTQ community as well.

I’ve spent a lot of time thinking about not just the lack of representation in film programming, but also in film and TV making as a whole. I think, to break down this question, one must consider race, class, and gender. Our culture, as a whole, currently defaults to the cis, white, male gaze. On top of that, those in a higher class, are more likely to get their voices heard. We, as a society, have built whole structures around this, and filmmaking is no exception (from the people who come up with the idea of what story to tell, to the people who frame the shots, to those who ultimately choose what films go on the big

screen) . The result is mostly one kind of voice breaking through. My mind always goes back to Riot Grrrl for a solution to this issue. Not just girls to the front, but everyone who isn’t currently getting a chance to talk. Don’t just put a guitar in a little girls hand and tell her to play, give her a camera too. Let her tell whatever story she wants. I hope for a future filled with female directors, and genderqueer directors, and every kind of director imaginable.

Much has been said and done to change the overwhelmingly white and largely male Academy membership in the past twelve months. With more representation and diversity in voting, how do you see the Oscars changing over the next few years?

I’d like to think positively on this, but I don’t expect a seismic shift. Maybe the start of a small push. I don’t see anything changing on a large scale until we start focusing on a local level. Instead of looking to the Oscar podium, we should be watching, listening to, and propping up our local artists around us. We as humans are diverse. Each one of us has incredible stories to tell. We need to actively clear space for more voices to speak.

Who are your favorite female directors, and how have they changed the way you look at filmmaking?

One of my favorite directors is Kelly Reichardt. Reichardt’s films completely changed, not only the way I look at filmmaking, but storytelling in general. Reichardt’s films take the time to show the quiet beauty of the moments between moments.

In Wendy & Lucy we stand nervously with Wendy (Michelle Williams), as she transfers her belongings from her broken down car into a plastic bag. In Certain Women we sit with The Rancher (Lily Gladstone) as she lays awake staring at the ceiling, looking deeply at one particular tile. Reichardt’s films have taught me a strong story doesn’t need to be vast, but rather, it can be more important to zoom in and tell a story as truthfully as you can, without being afraid to slow down and take time to zero in on a moment. She taught me the deep honesty of just floating with a character in their environment.

Another one of my favorite directors is Ja-

mie Babbit. Babbit’s But I’m A Cheerleader is all at once bold, funny, and to the point.

I think Jamie Babbit doesn’t get nearly enough credit.

As a respected writer, actor, and editor what do you see as being the biggest challenges for women and non-binary filmmakers in the industry?

I can only speak from my own experience.

I identify as genderqueer, and not exclusively, but mostly tend to write LGBTQ stories that, I hope, resonate with everyone regardless of gender or orientation. I think the biggest challenge is to keep talking, and telling stories, even when met with resistance, and to understand when to take a note, and recognize when a note is coming from a place of fear, or unfamiliarity. Over the past decade I’ve experienced a great deal of pushback to what people aren’t familiar with. For instance, I wrote a scene, (and have since written many scenes), in which three or four LGBTQ characters are all gathered in the same space talking about something other than being LGBTQ. People were very uncomfortable with this.

They said, Katherine, not everyone is gay.

You can’t have that many gay characters in one place at one time. People are also very set on having being LGBTQ the source of a character’s driving problem. If you take that problem away, and make it a nonissue, freeing that LGBTQ character up to talk about other things from their point of view, it makes people nervous. This blew my mind. What I came to understand was, these people didn’t understand queer spaces. They had never experienced being around a group of LGBTQ people. I had completely taken for granted that everyone experiences the world the way I do. I instantly, more than ever, became committed to telling that kind of story.

USC’s Media, Diversity and Social Change Initiative explored 900 of the top grossing films from 2007 to 2016. In doing so, they also noted that LGBTQ+ characters represented only 1.1% of all speaking characters in 2016. Why are we seeing such a low-number?

This issue is not just exclusively happening in film, but also extends to television as well. What’s upsetting is, statistically speaking, on television, most LGBTQ characters die. Worse yet, of the 1.1%, how

many are actually full characters, and not just cardboard tropes propping up other characters? I feel like LGBTQ characters are pigeonholed in a way their straight counterparts are not. I feel like there is a tendency to say - we already have that one LGBTQ character, we can’t have two, or we already have had that one LGBTQ show, we can’t have another. But people don’t think along those same lines with straight characters, and shows.

With Lynn Shelton, Megan Griffiths, and S.J. Chiro leading the way for female filmmakers in Seattle, how do you feel about Washington’s artistic direction?

Those are some of my very favorite people.

(Everyone should run and not walk to see S.J.’s new feature Lane 1974!). I feel like they’re not just leading the way for female filmmakers in Seattle, but rather, the entire country. Seattle has always been a microcosm on the cutting edge of music and art, and I think it will continue to be such.

However, to keep things pushing forward, it’s important the Washington film tax incentive stays in place to keep the influx of film moving into Washington state.

We’re screening Wendy & Lucy at the festival, a film I know you love. What impact did that particular title have on you as an artist?

I am jealous of the audience viewing Wendy & Lucy on the big screen! Wendy & Lucy had such a large impact on me as a human being. It was one of the first times I saw my deepest hopes and fears distilled so rawly, and yet elegantly, on screen. The Pacific Northwest plays such a large, vivid character in the film. I had never seen such a true to life depiction of place. So much so, that watching the film now from Brooklyn, I get homesick, but as if I’m homesick for a person, and not a place. In Wendy (Michelle Williams), I just felt like I was spending time with someone one of my friends might have known. As an artist Wendy & Lucy taught me not to settle for anything less than getting at the quiet truth of a moment.

Finally, and most inconsequentially, what is your favorite Rooney Mara character?

Lisbeth Salander from The Girl With The Dragon Tattoo. Hands down. No question.

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GUEST Q&A

CONT.

film?

Probably because most of the people who make movies and hold positions of power in studios, and even review movies, are men, sadly. I loved that Ducournau brought that up. This is exactly why we need more women making movies. I already loved Raw but it made me appreciate her vision even more.

Kristen Yoonsoo Kim is a film critic and contributor to GQ, Rolling Stone, Village Voice, Vice, Elle, Vulture, Complex, Nylon, Collider and Pitchfork among others.

You interviewed Sofia Coppola earlier this year. She characteristically gave both insightful and interesting responses to the questions you asked her. What is your personal opinion on the polarizing discord in relation to the director’s deliberate omission of the character Mattie?

First of all, I just want to say I’m a huge fan of Sofia Coppola. I think by choosing to remake The Beguiled she set herself up for a double-edged sword situation.

Can you imagine the criticism if she had decided to include Mattie? There would be all sorts of backlash about how her one character of color is a slave. I think she was probably smart in staying in her own lane, but there were probably better ways she could have addressed the omission in the film itself. Coppola is great at what she does but I’d love to see her be more inclusive (yes, I noticed that she cast a half-white/half-Asian actress in The Bling Ring when the real person is full Asian, and yes, I know Kirsten Dunst’s character is supposed to be of mixed race).

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When interviewing Raw director Julia Ducournau, you both discussed the way the film deconstructed themes of sexuality, image, and fetishization. Ducournau was quoted as saying, “I have more to defend with a female character because I do believe that the way the female body is portrayed on our screens is unrelatable. I cant relate to the sexualization of the body and I can’t relate to the glamorization of the female body.” Why isn’t this discussion brought up more often in

Because film criticism is largely dominated by white males, there is a conspicuous lack of variance in opinions. How do we change representation in media, so that we’re reading reviews from many perspectives?

Doesn’t it get so stale to read like 10 reviews in a row from white men? I guess if you’re an editor or in a position to hire writers, be conscious of including more voices from women, people of color, and other minorities... take more chances on them. I guarantee your publication will be better for it. Also, don’t only assign your women critics “women movies” and don’t only assign your black critics “black movies,” thanks!

In your opinion, what makes a wellresearched and thoughtful review?

There are the basics—especially if there’s some sort of historical or real-life context, read the press notes, do some Googling.

Also, be familiar with the cast and crew to a degree. Even if it’s a negative review, I like a review that shows the writer really studied what’s on the screen and tried to understand what the filmmaker was going for. It shows.

Historically, programmers have screened more features directed by men than by women at film festivals. Why have we not seen a sea change in the way movies are being booked?

I’m guessing visibility. I appreciate film festivals that make an effort to change this.

I was at Maryland Film Fest earlier this year, and their slate reflected that effort, and the movies were great too.

Who are your favorite female-identifying filmmakers, and how have they changed the way you look at both art and moviemaking?

Sofia Coppola was hugely inspirational to me when I was growing up, especially because she really knew how to capture what a young woman goes through and feels.

I’m still very moved when I re-watch her movies. I think Sofia herself being a woman is key here. Amy Heckerling and Penelope Spheeris showed me there should be more women behind the camera in comedy. Ida Lupino—my god, no one was doing that at her time. Later, especially as I became interested in French cinema, I got into Agnes Varda and Claire Denis, two of my all-time favorites. They’re both so damn good at what they do. Chantal Akerman, Julie Dash, Joan Micklin Silver are all OG badasses. Newer voices I love include Ava DuVernay, Josephine Decker, Lauren Wolkstein.

In an article for Esquire, you recently called Aubrey Plaza the “antithetical example of a Manic Pixie Dream Girl.”

What has Aubrey meant to film?

She’s a magnetic presence. And as I wrote in that piece, she’s not used as your classic MPDG type who just exists to further develop a male character. I think at one point I was like, “She’s always doing the same thing and it’s kind of annoying” but Ingrid Goes West made me realize how compelling she is. More directors should take note of her as a lead actress rather than someone who just has sarcastic punchlines.

As someone who works with both music and movies, what do you see as the most pressing challenge to women in each industry?

Honestly, just being taken seriously. I’ll often be in a group of men and if they don’t know what I do, I have to prove extra hard that I know my shit and have every right as any of them to belong there. I can’t stop thinking about the time I was at an arthouse theater in New York (Metrograph) wearing a Godard jacket and a strange man asked me if I even knew who he was and if I could name one movie by him.

That makes my blood boil still.

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THEATRICAL HISTORY AND A UNIQUE ORGANIZATION

Since 1980, the Olympia Film Society has presented independent films and music by local, regional, and national artists. Many local and national nonprofits, bands, filmmakers, youth organizations, and schools host events at the theater year round.

The global disappearance of independent movie and concert theaters highlights the importance of OFS’s mission and the challenges it has overcome in maintaining financial viability. Recently, the Olympia Downtown Strategy group’s citizen participants rated the Capitol Theater among the “ top ten treasures” of the city. This vibrant resource is supported by 1,600 members, 200 dedicated volunteers, and attracts 35,000 visitors annually who count on our award winning programs (and popcorn)!

The Capitol Theater is the only remaining single screen movie theater in Thurston County, and the largest in the Northwest.

Independent films partnered with top-notch live music within a historic setting and staffed by exuberant volunteers is what makes the Capitol Theater a place like none other.

The Capitol Theater has continually operated since 1924. The theater was used primarily as a film venue and as a home for vaudeville. In the early days, many films premiered here, including Tugboat Annie, Ring of Fire, and Twenty Thousand Leagues Under the Sea, as well as many performances by famous musicians and singers like Judy Garland.

Not only does the Capitol Theater’s heritage and tradition support community diversity and entertainment, but the building itself adds historically significant visual beauty to downtown Olympia as a recognizable landmark, and a symbol of our city’s independent spirit. Designer Joseph Wohleb, a significant South Sound architect known for many important local buildings, worked with Northwest artisans in creating the theater for original owners E.A. Zabel and William Wilson. Local glass artist Raymond Nyson’s greek muses were a recent theater restoration project that underlined the importance of preservation. Additionally, many more restoration projects are underway. The Olympia Film Society has been working towards preservation of the Capitol Theater since becoming the sole owners in 2010.

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1625 members of the Olympia Film Society celebrate the 34th Annual Film Festival at the historic Capitol Theater in Olympia, Washington!

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Neil Aaland • Justin Abbasi • Ashley Adams • Cindy Aden • Greg Aden • Mahel Adkins • Ray Adler • Frances Adney • Ingo Adney • Kaile Adney • Ken Adney • Kim Adney • Barbara Agee • Carla Ahrens • Cameron Akita • John Alessio • Ben Alexander • Lesia Alexander •KaleeAlexandria • Eugnio Aliotta • Lauri Allen • Mark Allen • Rita Allen • Paula Allison • Peg Amandes • Michael Ambrogi • Rick Ammons • John Amos • Allan Anderson • Bret Anderson • Charles Anderson • Keith Anderson • Linda Anderson • Pam Anderson • Renee Anderson • Rick Anderson • Susan Anderson • Tobey Anderson • Adam Andres • Alenka Andruss • Timothy Andruss • Julie Andrzejewski • Craig Apperson • Olivia Archibald • Diana Arens • Gina Arnold • Alrick Arthur • Crystal Ashley • Brianna Asman • Jerry Asman • Jim Asman • Madelle Atkinson • Stuart Atwood • Jordanna Averett • Ramon K Averett • Jessica Babcock • Betsy Bacon • Tom Badger • Connie Bahner • Logan Bahr • Betty Bailey • Debi Bailey • Lynn Bailey • Wil Bailey • Julie Baker • Sherri Baker • Stephen Baker • Cullen Balch • Diane Balch • Janet Ball • Johny Baltimore • Margit Bantowsky • Eco Barbieri • Edmund Barker • Allison Barnes • Richard Barnhard • Rosemary Barnhart • Laurie Barnoski • Robert Barnoski • Seth Bartels • Beverly J Bassett • Marilyn Battin • Barbara Baughman • OwenBays • Randal Bays • Willie Bays • Jonah Beach • Harriet Beale • Mark Bean • Will Beattie • Joe Beatty • Ray Beavchene • Camille Beavgard • Chrisann Beckner • Naomi Bell • Tom Bell • Austin Bellamy • Bonnie Benard • Carolyn Benepe • Julie Bennett • Anisa Bentlemsani •Mohammed Bentlemsani • Tarik Bentlemsani • Larry Berebitsky • Mark Bergeson • Max Bert • Lareena Besse • Teri Bevelacqua • Amanda Biddle • Renee Binns • Mary Bishopp-Woods • Deborah Black • Tamara Black • Glenn Blackmon • Kristin Blalack • Penny Blanchett • Valerie Bline • Peter Blinn • Gale Blomstrom • Dennis Bloom • Dylan Bloom • Keila Bloom • Amy Boatright • Debi Bodett • Richard Boesiger • Peter Bohmer • Filemon Bohmer-Tapia • Inti Bohmer-Tapia • Josina Bohmer-Tapia • Gregory Boles • Rebecca Bolles • River Bolster • Todd Bolster • Rosalie Bond • Seth Book • Talus Book • Victoria Book • Bruce Botka • Janice Bougher • Cecelia Boulais • Beth Bowden • John Bowden • Rosalie Bowden • Susan Bowe • Priscilla Bowerman • Barbara Boyd • Joe Boyd • Jane Boysen • Joseph Bradley • Katy Bradley • Mary Bradley • Tom Bradley • Angela Brandenburg • Bryan Brandenburg • Pearl Brandenburg • Julie Brannberg • FirstName,LastName • Neil,Aaland • Justin,Abbasi • Ashley,Adams • Cindy,Aden • Greg,Aden • Mahel,Adkins • Ray,Adler • Frances,Adney • Ingo,Adney • Kaile,Adney • Ken,Adney • Kim,Adney • Barbara,Agee • Carla,Ahrens • Cameron,Akita • John,Alessio • Ben,Alexander • Lesia,Alexander • Kalee,Alexandria • Eugnio,Aliotta • Lauri,Allen • Mark,Allen • Rita,Allen • Paula,Allison • Peg,Amandes • Michael,Ambrogi • Rick,Ammons • John,Amos • Allan,Anderson • Bret,Anderson • Charles,Anderson • Keith,Anderson • Linda,Anderson • Pam,Anderson • Renee,Anderson • Rick,Anderson • Susan,Anderson • Tobey,Anderson • Adam,Andres • Alenka,Andruss • Timothy,Andruss • Julie,Andrzejewski • Craig,Apperson • Olivia,Archibald • Diana,Arens • Gina,Arnold • Alrick,Arthur • Crystal,Ashley • Brianna,Asman • Jerry,Asman • Jim,Asman • Madelle,Atkinson • Stuart,Atwood • Jordanna,Averett • Ramon K,Averett • Jessica,Babcock • Betsy,Bacon •Tom,Badger • Connie,Bahner • Logan,Bahr • Betty,Bailey • Debi,Bailey • Lynn,Bailey • Wil,Bailey • Julie,Baker • Sherri,Baker • Stephen,Baker • Cullen,Balch • Diane,Balch • Janet,Ball • Johny,Baltimore • Margit,Bantowsky • Eco,Barbieri • Edmund,Barker • Allison,Barnes • Richard,Barnhard • Rosemary,Barnhart • Laurie,Barnoski • Robert,Barnoski • Seth,Bartels • Beverly J,Bassett • Marilyn,Battin • Barbara,Baughman • Owen,Bays • Randal,Bays • Willie,Bays • Jonah,Beach • Harriet,Beale • Mark,Bean • Will,Beattie • Joe,Beatty • Ray,Beavchene • Camille,Beavgard • Chrisann,Beckner • Naomi,Bell • Tom,Bell • Austin,Bellamy • Bonnie,Benard • Carolyn,Benepe • Julie,Bennett • Anisa,Bentlemsani • Mohammed,Bentlemsani • Tarik,Bentlemsani • Larry,Berebitsky • Mark,Bergeson • Max,Bert •Lareena,Besse • Teri,Bevelacqua • Amanda,Biddle • Renee,Binns • Mary,Bishopp-Woods • Deborah,Black • Tamara,Black • Glenn,Blackmon • Kristin,Blalack • Penny,Blanchett • Valerie,Bline • Peter,Blinn • Gale,Blomstrom • Dennis,Bloom • Dylan,Bloom • Keila,Bloom • Amy,Boatright • Debi,Bodett • Richard,Boesiger • Peter,Bohmer • Filemon,Bohmer-Tapia • Inti,Bohmer-Tapia • Josina,Bohmer-Tapia • Gregory,Boles • Rebecca,Bolles • River,Bolster • Todd,Bolster • Rosalie,Bond • Seth,Book • Talus,Book • Victoria,Book • Bruce,Botka • Janice,Bougher • Cecelia,Boulais • Beth,Bowden • John,Bowden • Rosalie,Bowden • Susan,Bowe • Priscilla,Bowerman • Barbara,Boyd • Joe,Boyd • Jane,Boysen • Joseph,Bradley • Katy,Bradley • Mary,Bradley • Tom,Bradley • Angela,Brandenburg • Bryan,Brandenburg • Pearl,Brandenburg • Julie,Brannberg • Kaelyn,Brannberg • Kendra,Brannberg • Megan,Brannberg • Moriah,Brannberg • George,Bray • Karen,Bray • Stephen,Bray • Diane,Bredeson • Molly,Bredeson • Richard,Bredeson • Andrew,Brenna • Bob,Brennand • Sally,Brennand •Marny,Bright • Kenton,Brine • Carlin,Briner • Betty,Brinkman • Bing,Bristol • Heather,Brodsky • Fay,Bronson • Carole,Brooks • Matthew,Brooks • Stephanie,Brooks • Karen,Brown • Peyton,Brown • Sharon,Brown • Tanner,Brown • Toni,Brown • Vince,Brown • Sally,Brownfield • Abbey,Bruce • Casey,Bruce • Chris,Bruce • Joanie,Bruce • Elena,Brummel • Garrett,Brummel • Jack,Brummel • Marti,Buck • Marnie,Buckland • Connie,Bucove • Greg,Bucove • Sarah,Buel • Sherrie,Buendel • Susan,Buis • Trish,Buker • Peter,Buller •Darryl,Bullington • Otto,Buls • James,Burke • Michelle,Burke • Rachel,Burke • Kevin,Burnett • Susan,Burnhan • Michele,Burton • Doug,Buster • Ann,Butler • R. Matthew,Butler • Frank,Byrne • Jim,Byrne • Ron,Byrnes • Patricia,Cairns • Gabriel,Calabria • Julie,Calabria •Robert,Calabria • Cynthia,Cameli • Alison,Campbell • Connie,Campbell • Ralph,Caputo • Mike,Carlson • Pat,Carlson • Warren,Carlson • Conner,Carman • Jim,Casebolt • Paul,Cavanagh • Jackeline,Cavlfield • Jon,Ceazan • Lisa,Ceazan • Don,Chalmers • Becky,Chan • Jeffrey,Chan • Samantha,Chandler • Bonnie,Chandler-Warren • Cynthia,Chase • Jodie,Childress • Susan,Christian • Gretchen,Christopher • W. Ian,Christopher • Gerald,Cichlar • Sandy,Ckodre • Desmond,Clann • Owen,Clann • Dennis,Clarin • Jim,Clark • Mark,Clark•Anne,Clay • Peggy,Clifford • Robert,Clifford • Don,Cline • MaryBeth,Cline • Penny,Cline • Bianca,Cloudman • Robyn,Cloughley • Claude,Coats • Leah,Cochran • Don,Cohen • Jordan,Cohen • Lili,Cohen • Mikayla,Cohen • Barbara,Colburn • Linda,Cole • Lynn,Coleman • Rosa,Colman •Vic,Colman • Paula,Connelley • William,Connor • Mariann,Cook-Andrews • Sharron,Coontz • Dennis,Cooper • Kathryn,Cooper • Stephen,Coots • Ben,Coppin • Katania,Corda • Deb,Cornett • Craig,Corrie • Cynthia B,Corrie • John,Corzine • P S,Costanza •Craig,Costello•Sherwin,Cotler • Keith,Cotton • Megan,Cotton • Mike,Cousino • Judy,Covell • Gabrielle,Coviello • Paula,Coviello • Peter,Coviello • Carolyn,Cox • Kathy,Cox • Ira,Coyne • Safiya,Crane • Barbara,Craven • Cassandra,Cridlebough • Elayne,Crow • Corey,Crowley-Hall • Karen,Crowm • Diane,Crutcher • John,Crutcher • Natividad,Cruz • Annie,Cubberly • Scott,Cubberly • Daisy,Curley • Chaney,Curry • Alice,Curtis • Denys,Curtiss • Nancy,Curtiss • Jo,Curtz • Thad,Curtz • Judith,da Silva • Diane,Dakin • Ben,Daniell • Doug,Daniell • James,Dannenmiller • Marcia,David • Holly,Davies • Jimmi,Davies • Allan,Davis • Barbara,Davis • Emily,Davis • Kathy,Davis • Laurie,Davis • Misha,Davis • Myra,Davis • Quigg,Davis • Zack,Davis • Zeb,Davis • Catherine,Dawdy • Arlene,Day • Socorro,de Luca • Anne,De Marcken • Adam,Dealan-de • Alex,Dealan-de • Bellaluna,Dealan-de • Maia,Dealan-de • Sally,DeGarmo •Bob,Delaney • Janet,DeLapp • John,DeLapp • Bob,Delastrada • Jean,Delastrada • Bob,Dellwo • Michael,Dempster • Sylvsn,Dennis • Danny,Dennisson • Laurie,Dils • Alice,Dinerman • Kathi,Dismore • Marla,Dittloff • Caleb,Dobey • Jacob,Dobey • Leah,Dobey • Donna,Doerer • Diane,Dolstad • Delsi,Donelan • Peter,Dorman • Liz,Douglas • Paul,Downing • Bram,Draper • Bill,Drumheller • Scott,Dubble • Jodie,Dubois • Susan,Dubuisson • Maxine,Dunkelman • David,Dunn • Maiie,Dunn • Morgan,Dunn • Orion,Dunn • P.j.,Dunn • Rowan,Dunn • Dan,Durham • Bill,Duris • Alison,Eastlake • Fiona,Edwards • Michael,Edwards • Rose,Edwards • Susan,Eichrodt • Rose,Eilts • Jessica,Elbert • Leslie,Emerich • Rose,Emerson • Jon,Engelman • Jenny,Epstein • Talya,Erez • Judith A,Erkanat • Candace,Espeseth • Alejandra,Espinosa • Matt,Evans • Josh,Everson • Cindy,Extine • Michael,Extine • Michael,Extine • Margo,Eytinge • Nancy,Faaren • Sandi,Fabry • Vicki,Fagerness •Daniel,Farber • Jean,Farber • John,Farinelli • Sarah,Farley • Nancy,Farman • Cynthia,Farrar • James,Farver • Cuitlin,Fate • Hannah,Faulkner • Whitney,Faulkner • Andrea,Faust • Signe,Feeney • Kate,Fehsenfeld • Karl,Feldthausen • Kristen,Feldthausen • Linda,Feldthausen• Clare,Fellmann • Susanna,Fenner • Mimi,Fields • Paula,Finch • Rick,Finch • Jason,Finney • Theresa,Finney • Mary,Firmin • Anne,Fischel • Sascha,Fischel-Freeman • Elaine,Fischer • Mary,Fleckenstein • Edward,Fleisher • Maggie,Fleming • Mark,Fleming • James,Foley • Joseph,Ford • Brandon,Fortner • John,Foster • Russell,Fox • Sylvia,Fox • Don,Freas • Elana,Freeland • Marilyn,Freeman • Mary,Frei • T J,French • Bonnie,Frey • Constance,Frey • Gary,Frey • Linda,Friedman • Rachel,Friedman • Kathy,Friedt • Carol,Froelich • Diane,Froelich • Diane,Froslie • Chris,Fuess • Ciindy,Fulton • Jim,Fulton • Bill,Funk • Ronelle,Funk • Nicholas,Furnier • Terry,Furst • Jane,Futterman • Cynthia,Gaddis • Charlie,Gale • Gretchen,Gale • Steve,Gance • Arel,Gardner • Autum,Gardner • Jack,Gardner • Tom,Gardner • Patrick,Gariety • Jess,Garrett • Christine,Garst • Todd,Gay • Elizabeth,Gebhardt • Lee Ann,Gekas • Irina,Gendelman • Fred,Gentry • Mary,Gentry • Rebecca,Genung • Laurance,Geri • Wendy,Gerstel • Eliza,Ghitis • Melissa,Gildersleeve • Bryson,Gilreath • Dorothy,Gist • Paula,Glasor • Jewel,Goddard • Kris,Goddard • Julie,Godden • John,Godfrey • Irene,Goforth • Anna,Gogven • Howard,Goldberg • Roberta,Golden • Leslie,Goldstein • Arlene,Golloday • Simon,Goodenough • Alan,Goodin • Tracy,Goodnight • Dot,Gordon • Max,Gordon • Kathy,Gore-Fuss •Star,Gorky • Vicky,Gorny • Steven,Gorton • Derek,Goudrian • Kim,Goudrian • Nina,Grace • Linda,Graetz • Andrew,Graham • David,Gravelle • Adriane,Gray • Donovan,Gray • Emily,Gray • Jerry,Gray • Juliet,Gray • Logan,Gray • Colin,Green • Duncan,Green • Kassandra,Green • Norma,Green • Joel,Greene • Fritz,Greenlee • Lee,Greenlee • Michael,Greenstreet • Alissa,Greenwald • Susan,Gresia • John,Grettenberger • Thomas,Gries • Alexander,Gries-Hoffman • Barbara,Grigsby • Timothy,Grisham • Gail,Griswold • Marlene,Groening • Daniel,Grosboll • Trent,Grubbs • Bebah,Guenther • Martha,Guilfoyle • Melanie,Guptill • Michael,Gurling • Aaron,Gutierrwz • Alan,Gutman • Ken,Guza • Carol,Guzy • Jereny,Hacker • Faith,Hagenhofer • Erich,Hahn • Tanner,Hainsworth • Monique,Hakett • Kathy,Hale • Judith,Hall • Meghan,Hall • Nora,Hallett • Jonathan,Halling • Jonathan,Halling • Steve,Hallstrom • Kela,Hall-Wieckert • Gregory,Hamblin • Emily,Hamilton • Nancy,Hamilton • Shaun,Hamilton • Tierney,Hamilton • Tracy,Hamilton • Ellen,Hamlin • Zoe,Hamm • Sarah,Hamman • Valerie,Hanes • David,Hanig • Felicia,Hanig • Tracey,Hanna • Kari,Hanson • Alan,Hardcastle • Eric,Hardcastle • Kayle,Hardcastle • Kayli,Hardcastle • Edith,Harding • Eileen,Harke • Vince,Harke • Tai,Harmon • Trixie,Harmon • Aaron,Harris • Maggie,Harrison • Scot,Harrison • Jo,Hartman • Dave,Harvey •Gary,Harvey • Michelle,Harvey • Rachel,Hastings • Robert,Haukart • Hilarie,Hauptman • Betty,Hauser • Dick,Hauser • Scott,Hauser • Zach,Havekost • Cliff,Hawkeswood • Terriann,Hawkeswood • Ruth,Hayes • Kevin,Head • Karen,Healy • Caity,Heath • Sue,Hedrick •Walker,Hedrick • Wanda,Hedrick • Lynn,Helbrecht • Jackie,Helton • Christine,Hempleman • Josh,Henderson • Nat,Henderson • Stewart,Henderson • Diana,Hendrickson • Audrey,Henley • Hank,Henry • Helen,Henry • Patricia,Hensley • Tamie,Herridge-Meyer •Zannah,Herridge-Meyer • Joan,Hess • Laurie,Heuermann • Amanda,Hewell • Lorie,Hewitt • Mellora,Hibbard • Nolan,Hibbard-Pelly • Tiffany,Hicks • Heather,Hilf • Blanche,Hill • Maureen,Hill • Derek,Hines-Mohrman • Jeff,Hines-Mohrman • Courtney,Hjelm • Elliot,Hjelm • Mckelly,Hjelm • Norm,Hjelm • John,Hoagland-Scher • Mary,Hoagland-Scher • Doreen,Hodgkins • Mark,Hodgkins • Carolyn,Hoffman • Edward,Hoffman • Erika,Hoffman • Karen,Hoffman • Oliver,Hoffman • Richard,Hoffman • Riley,Hoffman • Karen,Hogan • Marley,Holbrook • Daniel,Holder • Susan,Holder • Marijean,Holland • Mike,Holly • Deb,Holmes • Craig,Holstine • Sara,Holt-Knox • Ally,Holttum • John,Holttum • Sam,Holttum • Simon,Holttum • Bev,Honda • Harry,Honda • Marta,Hontas • Dawn,Hooper • Keegan,Hooper • Thom,Hooper • Roger,Horn • Anders,Hornblad • Carol,Horner • G.,Hough • George,Hough • Samuel,Hough • Anika,House • Chris,House • Elijah,House • Keyra,House • Kyra,House • Kathleen,Houston • Linda,Hoverter • Linda,Hoverter • Richard,Hoverter • Megan,Hubbard • Mike,Hubbart • Glen,Hudson • Anton,Hudson-Damm • Francoise,Hudson-Damm • Tristan,Hudson-Damm • Aimee,Hughes • Brian,Hughes • Elden,Hughes • Patrick,Hughes • Margaret *Meg*,Hunt • Tina,Hurtado • Ghalib,Husseini • Randall,Huyck •Joe,Hyer • Velerie,Inforzati • Valerie,Inforzato • Adam,Inglin • Barbara,Inglin • Ali,Ishaq • Nissa,Iversen • Ann,Jackson • Judith,Jacoby • Jenny,James • Karen,Janowitz • Patricia,Jatczak • Jordan,Jeffers • Robert,Jeffers • Willa,Jeffers • Chris,Jellison • Bud,Johansen • Mary,Johansen • Bobbie,Johnson • Calvin,Johnson • Christopher,Johnson • Elise,Johnson • Evan,Johnson • Lawren,Johnson • Leah,Johnson • Ryan,Johnson • Zoe,Johnson • Samara,Joldersma • Tom,Joldersma • Sarah,Jolley • Callie,Jones • Daniel,Jones • John,Jones • Lou Ellyn,Jones • Philip,Jones • Shirley,Jones • Walter,Jorgensen • Joe,Joy • Megan,Joy • Sadie,Joy • John,Joyce • Sandra,Jsames • Ricki,Kahn • James,Kainber • Reid,Kainber • Dianna,Kallerges • Richard,Kalman • Max,Kant • Steven,Kant • Blake,Kanz • Lori,Kanz • Rick,Kanz • Ericka,Kaplan • Daniel,Kapsner • Kara,Karboski • Peter,Kardas • Mara,Kardas-Nelson • Kate,Kasimor • Dan,Katz • Daniel,Katz • Josh,Katz • Susan,Kavanaugh • Ariel,Kay • Allison,Kaye • Steve,Kazda • Steve,Kazda • Carolyn,Keck • Charlie,Keck • Thomas,Keenan •Kiki,Keizer • Juli,Kelen • Eileen,Keller • Penny,Kelley • Steve,Kelso • Theresa,Kelso • William,Kendra • Timothy,Kenney • Valee,Keogh • Lainie,Kertesz • Cole,Ketcherside • Susan,Kibbey • Stuart,Kidder • Muel,Kiel • Kay,King • Robert,Kirby • Troy,Kirby • Barbara,Kirkner • Lon,Klatt • Charlotte,Kline • Olivia,Kline • Randy,Kline • Bob,Klossner • Courtney,Klossner • David,Klumpp • Vanessa,Knight • Chloe,Knox • Jasper,Knox • Jasper,Knox • Paul,Knox • Curtis,Knudsen • Anna,Knudson • James,Knudson • Margaret,Knudson • Janet,Knutson • Mark,Knutson • Anne,Kohlbry • Kitty,Koppelman • Charles,Kowallis • Michael,Kretzler • Lester,Krupp • Judith,Kuehn • Heide,Kupfahl • Diane,Kurzyna • Chris,La Beau • Steven,La Fontaine • Diego,Lacamara • LeRoy,LaCelle • Marilyn,LaCelle • Amy,LaCroix • Mia,LaCroix • Brian,LaFae • Brooke,LaFae • Merek,LaFae • Watson,LaFae • Jacqueline,LaFrance • Thomas,Laird • Catherine,Lamb • George,Lamb • Linda,Lamb • Tom,Lamb • Cathy,Lamenzo • Chloe,Lamenzo • Calla,Lamenzo-Stine • Austin,Lampert • David,Lampert • Elysia,Lampert • Connie,Lane • Denis,Langhans • Sue,Langhans • Joan,Lankford • Diana,Larsen-Mills • Sydney,Larson • Taylor,Larson • Jack,Lattemann • Ralph,Latza • Joyce,LaValle • Peter,Lavallee • Jessica,Lawrence • Niel,Lawrence • Danielle,Lazarus • Joan,Lazo • Tracy,Leach •Roger,Ledbetter • Jasper,Lee • Joanne,Lee • Kyle,Leeder • Toni,Leigh • Kathy,Leitch • James,Lengenfelder • Kay,Lennartson • Bill,Leonard • Megan,Leonard • Nick,Leonard • Vicki,Leonard • Victoria,Leonard • Andre,LeRest • Eileen,LeVan • Ryan,LeVan • Larry,Leveen • Audrey,Levine • Emma,Levine • Karen,Lewis • Roxanne,Lieb • Wayne,Lieb • Becky,Liebman • Bill,Liechty • Nathan,Liechty • Paula,Liechty • Clare,Lilliston • Janine,Lindsey • Tom,Livingston • Karen,Lohmann • Vivian,Lombillo • Laura,Long • Mary,Longrie • Sarah,Lopez • Marsha,Lorentson • Andrea,Love • Derek,Love Johnson • Katherine,Love Johnson • Nancy,Lowe • Kerry,Lowry • Rosemary,Lowry • Nicolyn,Lukin • Donald,Lund • Jens,Lund • Charles,Luttrell • Joan,Lynch • Tim,Lynch • Kevin,Lyon • Marissa,Lyons • Kerensa,Mabwa • Bonnie,Mackaness-Knudsen • Douglas,Mackey • Jody,Mackey • Ellen,Madsen • David,Maestas • David C.,Maestas • Michelle,Maestas • Savannah,Maestas • Charles,Magoon • Mary,Mahaffy • Imani,Malaika • Inanna,Malaika • Eduardo,Maldonado • Jerahmeel,Males • Anand,Maliakal • Sylys,Malyck • Jean,Mandeberg • Martha,Manley • Martha,Manley • Hillary,Mannion • Patrick,Mannion • Paul,Marchant • Rose,Marchant • Samantha,Margerum • Penny,Marksheffel • Tim,Markus • Stephanie,Marquis • Bob,Marsalli • Martha,Marsh • Dieter,Martin • Jacqui,Martin • Patricia,Martin • Galen,Martindale • Jimmy,Mateson • Mark,Matteson • Liz,Matthies • Mark,Matthies • Nancy,Maudslien • Jean,Maust • Gary,May • Patty,May • Stephen,Mazepa • Zoe,Mazepa • Michael,McCafferty • Annie,McCaughan • Calvin,McCaughan • Joanne,McCaughan • John,McCaughan • Doug,McChesney • Shannon,McClelland • Finn,McClure • Nikki,McClure • Gil,McCoy • Susan,McCoy • Rhonda,McCunn • Justin,McDowell • Brenden,McFarland • Jameson,McFarland • Liam,McFarland • Claire,McGahern • Des,McGahern • Tom,McGahern • Hugh,McGavick • Colin,McGee • John,McGee • Marlene,McGee • Mikhail,McGee • Julie,McInnis • Marion,McIntosh • Robert,McIntosh • Chloe,Mcintyre • Callum,McKean • Kay,McKenzie • Carol,McKinley • Jana,Mckinley • Paul,McMillin • Arlo,McMillin-Hastings • Rebecca,McMillin-Hastings • Barbara,McNinch • Kaz,McWilliam • Fred,Medlicott • Sally,Medlicott • Marian,Mehegan • Emily,Melcher • Judi,Mendoza • Joyce,Mercuri • J,Merrill • Candace,Messinger • Emma,Messinger • Lily,Messinger • Mark,Messinger • Emily,Metcalf • Caroline,Metzger • Chaela,Meyer • Dick,Meyer • Jennifer,Meyer • Norine,Meyer • Jean,Meyn • Stefan,Michaelsen • Carol,Middleton • Ashley,Miller • Cara,Miller • Carla,Miller • Dan,Miller •Dustin,Miller • Emma,Miller • Eric,Miller • Gayle,Miller • J. D.,Miller • Jennifer,Miller • Joshua,Miller • Karen,Miller • Lee,Miller • Lina,Miller • Maddison,Miller • Marna,Miller • Randi,Miller • Randi,Miller • Larry,Mills • Austin,Milner • Ruth,Milroy • Patrick,Moast • Gregory,Mohan • Lee,Mohler • Marge,Mohoric • Mike,Mohrman • Liv,Monroe • David,Monthie • Kelly,Monthie • Riley,Moody • Eleise,Moore • Hanna,Moore • Jared,Moore • Julie,Moore • Mason,Moore • Michael,Moore • Molly,Moore • Patti,Moore • Stephen,Moore • Victor,Moore • Scott,Morelock•Scott,Morelock • Peggy,Morgan • Shawn,Moriarty • Ken,Morimoto • Wendy,Morris • Patrick,Morrison • Kristine,Mosher • Ruth,Moss • Alan,Mountjoy-Venning • Mary,Mulholland • Peter,Mullins • Barbara,Munson • Aki,Murphy • Christopher,Murphy•Nancy,Murphy • Toni,Murray • William,Murray • Meg,Myhre • J,My’Kel • Maria,Nardella • Anne-Fransoise,Nayrolles Laird • Diante,Neagle • Darren,Nealis • Rick,Neidhardt • Blake,Nelson • Lin,Nelson • Mark,Nelson • Mary,Nelson • Russell,Nelson •Tom,Nelson • Lori,Nesmith • Courtney,Nevitt • Tyrel,Newbill • John,Newman • Rachel,Newmann • Rachel,Newmann • Darmn,Newton • David,Newton • Perla,Newton • Sevena,Newton • Sylvia,Nicholas • Bob,Nichols • Victoria,Nickels • Norm,Nickle • Paul,Nixon • Nyla,Noah • Kyle,Noble • Michelle,Noel • Sally,Nole • Greg,Nordlund • James,O’Barr • John,O’Brien • Kate,O’brien • Maia,O’Brien • Mary-Margaret,O’Connell • Ryan,O’Connor • Kelly,Odell • Kathy,O’Halloran • Meg,Oleary • Diana,Olegre • Christopher,Olson • Jamie,Olson • Mary,Olson • Lisa,Omstein • Karen,O’Neal • Hugh,O’Neill • Anna Rae,Ong • Thamas,Osborn • Zach,Osborn • Ricky,Osborne • Bill,Osterhout • Tracy,Osterhout • Katie,Otanez • Carmen,Otto • Gene,Otto • Nolan,Otto • David,Overby • Charles,Pailthorp • Eleni,Papadakis • Jessica,Parker • Thomas,Parnell • Alexandra,Parrott • Monica,Peabody • William,Peer • Mike,Pelly • Miguel,Perez-Gibson • Robert,Perretz • Simon,Perretz • Lezlie,Perrin • Audrey,Perry • Rick,Perry • Sara,Pete • Dana,Petersen • Dave,Petersen • Patricia,Petersen • Patricia,Petersen • Kaia,Peterson • Michelle,Peterson • Kaylene,Petitt • Ryan,Petitt • Lisa,Pfenning • Mark,Pfenning • Miles,Pfenning • Ginger,Phalen • Ray,Philen • Sarah,Phillips • Betsey,Pierce • John,Pierce • Marilyn,Piper • Jasmine,Pippen-Timco • Genevieve,Pisarski • Caleb,Pitts • Lydia,Pitts • Moriah,Pitts • Nathan,Pitts • Shannon,Pitts • Steven,Pitts • Charles,Pitz • Sandra,Plagemann • Walter,Plagemann • Sophie,Pockets • Jula,Pollitt • Gail,Pollock • Joshua,Pollock • Rebeca,Potasnik • Millie,Powers • Marur,Prile • Ariel,Provasoli • Judith,Provasoli • Robert,Provasoli • Kathy,Pruitt • Penny,Purkeison • Maree,Quade • Rebecca,Quade • Carlos,Quintanilla • Sara,Rabin • Sam,Rabito • Vanessa,Rabito • Chris,Rahn • Randy,Rahn • Rachel,Raider • Mark,Rains • Kristina,Ramsey • Peter,Ramsey • Pietro,Ramsey • Peter,Randlette • Suzette,Rangel • Laurie,Rasmussen • Karen,Ray • Maggie,Reardon • Gerta,Rebfeld • James,Reddick • Sharon,Reddick • Laurence,Reeves • John,Regan • Alan,Reichman • Joe,Reichman • Max,Reichman • William,Reiner • Bill,Reiswig • Cheryl,Reynolds • James,Reynolds • Abigail,Rice • Donna,Rice • Edith,Rice • Haley,Rice • Jack,Rice • Timothy,Rice • Bill,Riener • Karen,Riener • Lisa,Riener • Alison,Riffer • Sharon,Rivard-Kagy • Bill,Robertson • Zachary,Robinson • Rita,Robison • Jan,Rocks • Ann,Rockway • Lynn,Rodeheaver •Judith,Roderick • Arturo,Rodrigwez • Daniel,Roemer • Morgan,Rogers • Michael,Rogoza • Cathy,Rohman • Jeff,Rohman • Alisha,Rollins • Aubri,Rollins • James,Rollins • Kyle,Rollins • Tanner,Rollins • Leslie,Romer • Kathy,Rooney • Brian,Roper • Dawn,Rorvik • Wallace,Rosa • Gris,Rosales • Nichole,Rose • John P,Rosenberg • Curtis,Rosler • Myrna,Rosler • Sarah,Rossman • Mana,Rostami-Mouripour • Joel,Roth • Debbie,Rowe • Stephen,Rowe • Alice,Rubin • Dan,Rubin • Amanda,Rudisill • James,Rudy • Mary,Rulewicz • John,Rummel • Shaura,Rumsey • Jody,Rush • Diane,Russell • Dick,Russell • Margaret,Russell • Mary,Russell • Joseph,Ryan • Kathy,Ryan • Sarah,Ryan • Diane,Ryon • Brisa,Sabel • Elsie,Sabel • Jennifer,Sabel • John,Sabel • Michelle A,Sadlier • Christine,Salvador • Kelli,Samson • Juan,Sanchez • Evan,Sanders • Robert,Sando • Susan,Sandwell • Curtis,Sather • Ken,Saucke • Sally,Sawtell • Carolyn,Scafidi • Kathy,Scarborough • Lea,Schaetzel-Hawthorne • Sandra,Schafer • Theodore,Schaffer • Patt,Schiele • Geoff,Schiller • Anna,Schlecht • Paul,Schlienz • Justin,Schmal • Alexander,Schneider • Doug,Schneider • Heidi,Schroder • Tina,Schubert • Meredlth,Schuler • Jeremy,Schwartz • Madelyn,Schwartz • Jay,Scott • Sally,Scott • Glen,Scroggins • Lynn,Scroggins • Paul,Seabert • Andrea,Seabert-Olson • Peter,Seidman • Lisa,Seifert • Seyta,Selter • Richard,Selvage • Jill,Severn • Amy,Sewell • Abel,Shackelford • David,Shackelford • Espen,Shackelford • Heather,Shackelford • Mairead,Shackelford • Glenda,Shannon • Robert,Sheldon • Hans,Shephard • Martha,Shinners • Jane,Showalter • Fayth,Shuey • Alan,Siegel • Arturo,Sievert • Jennifer,Sievert • Leslie,Sikora • Yvonne,Silver • Bruce,Silverman • Carol,Simon • Connie,Simpson • Kelly,Simpson • Richard,Simpson • Sarah,Simpson • Leslie,Sirag • Jane,Skinner • John,Slevin • Kailey,Slevin • Kelsie,Slevin • Kiersten,Slevin • Riley,Slevin • Lyndy,Slyker • Karen,Small • Maureen,Small • Barbara,Smith • Chloe,Smith • Dave,Smith • David,Smith • Dayle,Smith • George,Smith • James,Smith • Kelsey,Smith • Linda,Smith • Lisa,Smith • Lon,Smith • Matt,Smith • Meghan,Smith • R Peggy,Smith • Steve,Smith • Susan,Smith • Tim,Smolen • Janet,Snider • Kenneth,Snider • Julie,Snyder • Mary,Soehnlen • Josie,Solseng • Kate,Somer • Greg,Sorlie • Virginia,Sorrells • Susan,Southwick • Stacy,Spears • Donna,Spencer • Hal,Spencer • Janet,Spencer • Sandra,Spoor • Webb,Sprague • Dana,Squires • Rama,Squires • Arale,Stambaugh • Jason,Stambaugh • Melissa,Stambaugh • Silas,Stambaugh • Allen,Stanton • Michael,Stapleton • Christopher,Stearns • Gordon,Stedman • Gretchen,Steiger • Michael,Stein • Robert,Stephens • Karey,Stephenson • Linda,Steretz • Nancy,Stevenson • Debbie,Stewart • Michael,Stine •Brenda,Stocker • Lynne,Stockwell • Kristen,Stoimenoff • David,Stolier • David,Stone • Jane,Stone • Nora,Stone • Dan,Stonerock • Elijah,Stonerock •Kimberly,Stonerock • Kathy,Strauss • Ansel,Strauss-Reeves • Aurora,Strauss-Reeves • Phyllis,Sturges • David,Suguitan • Sherry,Sullivan • Steven,Suski • Catherine,Suter • Bruce,Sutherland • Gerald,Suzawith • Richard,Swanson • Sharon,Swanson • Sharon,Swanson • John,Swartley • Tim,Sweeney • Ellen,Sweetin • Shelley,Swelland • Eric,Swenson • Kyle,Swezey • Larry,Swingle • Nikki,Swingle • Luke,Swinney • Scott,Szeman • Monya,Tabor • Avelin,Tacon • Makenna,Taggart • Sharon,Taggart • Gordon,Tambellini • Jennie,Tambellini • Frances,Tanaka • Trudes,Tango • Lynn,Taylor • Mary,Taylor • Polly,Taylor • Tessa,Taylor • Tonda,Taylor • Wendy,Taylor • Sonia,Telesco • Gloria,Temple • Jenifer,Thacher • Theodore,Thomas • Alan,Thompson • April,Thompson • Beth,Thompson • Gary,Thompson • Teezy,Thompson • Barbara,Tomford • John,Tooley • Leonard,Trabka • Carol,Trasatto • Catherine,Treadwell • Next,Trepel • Beth,Tribwell • Bry,Troyer • James,TRUE • Patricia,Tucker • Cindy,Tufford • Dan,Tufford • Corie,Tunberg • Mary,Turcotte • Eric,Turnbow • Marilyn,Turnbow • Vicki,Turnbow • Vicki,Turnbow • Frank,Turner • Pam,Turner • Susan,Tusa • Jan,Tuttle • Joan,Tyner • Amber,Ulvenes • Jimmy,Ulvenes • John,Underwood • Chelsea,Unruh • Krag,Unsoeld • Anne,Uttermann • Tobi,Vail • Karen,Valenzuela • Derek,Valley • John,Van Eenwyk • Juliet,Van Eenwyk • Anne,Van Holde • David,Van Holde • Keli,Van Holde • Eleanor,Van Noppen • Beth,Vande Velde • David,Vanderluat • Jennifer,Vandeve • Sarah,Vanucci • Bill,Vasek • Connie,Vasek • Constance,Vasek • Reid,Vasek • James,Vaupel • Michael,Vavrus • Cathy,Vergara • Sharon,Versteeg • Bronwyn,Vincent • John,Vincent • Matt,Vinson • Nicholas,Vnoman • Candace,Vogler • Richard,Vosburgh • Aimee,Wagonblast • Casey,Wagonblast • Gabe,Wagonblast • Jash,Wagonblast • Carole,Wahlers • Amelia,Waits • Jack,Waits • Katie,Waits • Kyler,Waits • Wendy,Waits • Terry,Waldron • Ann,Walker • Petrina,Walker • Teresa,Walker • Jerilyn,Walley • Kate,Walsh • Mike,Walsh • Nancy,Walsh • Debra,Walter • Shilo,Walter-Mazepa • Lois,Ware • Cathy,Wasserman • Eli,Wasserman • Tali,Waterman • Susan,Waters • “R.L. “”Seth”””,Watkins • Rain,Watkins • Carole,Watson • Michael,Watson • Christine,Watts • David,Watts • Eloise,Watts • Joseph,Watts • Laura,Watts • Michael,Watts • Will,Watts • Marty,Webb • Christine,Weekes • Peg,Wehrle • Bethany,Weidner • Steven,Weinberg • Elyette,Weinstein • Alex,Weirauch • Molly,Weirauch • Amy,Weisbrot • Suzanne,Wenner • La Donna,West • Kathy,Wettke • Carl,Wheat • Gordon,Wheat • Ian,Wheat • Stefan,Wheat • Joe,Wheeler • Doug,White • Douglas,White • Kc,White • Lethe,White • Nora,White • Sara,White • Tyler,White • Alysson,Whitlam • Sandra,Whitmore • Ella,Wickham • Luke,Wickham • Parker,Wickham • Tara,Wickham • Teresa,Wilkin • Mary,Wilkinson • Nancy,Willard • Cassandra,Willbourn • Bill,Williams • Candace,Williams • Gregory,Williams • Henry,Williams • Joe,Williams • Katherine,Williams • Marilyn,Williams • Sabrina,Williams • Sarah,Williams • Susan,Williams • Cameron,Wilson • David,Wilson • Barbara,Winfree • Stacy,Winokur • Anthony,Winters • Hannah,Winters • Tony,Winters • Zoe,Winters • Teri,Wiss • Cheryl,Witt • Janet,Witt • Joshua,Wolf • Frances,Wolff • Christiane,Wollaston-Joury • Katie,Wolt • Laura,Wood • Martin,Woodruff • Sheryl,Woodruff • Robert,Woods • Elisabeth,Wooton • Fritz,Wrede • Fritz,Wrede • Gail,Wrede • Brad,Wright • Geri,Wright • Kevin,Wright • Lindsy,Wright • Carla,Wulfsberg • Daniel,Yamamoto • Julie,Yamamoto • Naomi,Yamamoto • Yoshihiro,Yamamoto • Linda,Yang • Bill,Yates • Yonit,Yogev • Autumn,Yoke • Sharon,Yoshida • James,Young • Jeff,Young • Josey,Young • Kim,Young • Nancy,Young • Liliana,Zamora • Micheal,Zamora • Nicole,Zamora • Oliver,Zamora • Byron,Zarp • Patricia,Zarp • Julia,Zay • Gregory,Zentner • Justin,Zinn • Marilyn,Zuckerman • Joe,Zuech •

Olympia Film Society 416 Washington St SE, Suite 208 Olympia, WA 98501

NON-PROFIT 0RG

US POSTAGE PAID OLYMPIA,

WA

MAILBOX OF OLYMPIA

CAPITOL THEATER 206 5th Ave SE, Olympia, WA 98501

FRIDAY NOVEMBER 10

OPENING NIGHT FESTIVITIES

7:30pm doors 8:00pm show .. Smithereens Presented in 35mm - Q&A with star Susan Berman SATURDAY NOVEMBER 11 10:30 doors

11:00am show..Kids Club Cottcertwith KIMYA DAWSON 1pm................ Birthright: A War Story Skype Q&A with filmmaker Civia Tamarkin 4pm................The Memory of Fish Q&A with filmmakers Jennifer Galvin and Emma Janes 6:30pm........... L7: Pretend We're Dead Skype Q&A with producer 9pm................Clueless

SUNDAY NOVEMBER 12 11 am ..............Kids Club: The Secret of Kells

The Wishing Cranes 2:30pm........... Roller Dreams Past-film Q&A with Producer: Diana Ward The Yellow Room 5pm................ Marie Antoinette

7:30pm........... LOCALS ONLY Free Ad1Mlsslonl MONDAY NOVEMBER 13 4 pm...............Wendy and Lucy In the Skip Distance 6:30 pm.......... Polina 9 pm...............Kill Me Please ldee Fixe TUESDAY NOVEMBER 14 4 pm...............Tribal Justice Eclipse City 6:30 pm.......... Girl Asleep Oh, I Get It 9 pm...............American Psycho SUGAR.

WEDNESDAY NOVEMBER 15 4 pm............... Barracuda 6:30 pm..........Vagabond Presented an 35mm and introduced by Oregan filmmaker Megan Hattie Stahl 9 pm............... Pariah Maiden THURSDAY NOVEMBER 16 4 pm...............Big Sonia The Legacy of Linc's Tackle 6:30 pm.......... Girlfriends Presented in 35mm Introduced by journalist and film critic Kristen Yaansaa Kim 9 pm............... The World Is Mine Be Cute, Now! FRIDAY NOVEMBER 17 4 pm...............KQED's Film School Shorts UNCODE 6:30 pm.......... STEP 9 pm............... Ravenous Presented in 35mm Introduced by director, producer and film programmer Gillian Wallace Harvat Whiskey Fist Kiss Kiss Fingerbang SATURDAY NOVEMBER 18 11 am .............Kids Club: Window Horses

1 pm...............Free CeCe! 5 pm............... Lane 1974 Past-film Q&A w/ filmmaker SJ Chira and star Sophia Mitri Schloss 8 pm...............Suck It Up Skype Q&A with filmmaker Jordan Canning

SUNDAY NOVEMBER 19

CLOSING NIGHT FESTIVITIES

Celebrate the Oly1Mpla Food Co-op +0th Anniversary 1 pm................Wasted! The Story of Food Waste 5pm................Focus on Women Symposium

7:30pm ........Closing Night Concert: LISA PRANK www.olympiafilmfeslival.org • facebook.com/olympiafilmsociety twitter.com/olyfilmsociety • lnstagr am.com/olympiafilmsociety • #olyfilmfest Cover artist: Nikki McClure

Olympia Film Society Identification as required by the US Postal Code: This is the Olympia Film Festival Program Guide. The issue date is November 2017. This is issue #34 of an annual, non-profit publication, published by the Olympia Film Society, a 501 (c)(3) non-profit, at 416 Washington Street, Suite 208, Olympia, WA 98501