a PDF the PIFF 38 guide

Transcription

38 TH PORTLAND INTERNATIONAL FILM FESTIVAL
FEBRUARY 5-21, 2015
WELCOME
Welcome to the 38th Portland International Film
Festival, the Northwest Film Center’s annual
showcase of new world cinema. With this year’s
97 features and 60 shorts, we celebrate the
world’s filmmakers—and those who love their
work—no matter the language spoken. As with
November’s annual Northwest Filmmakers’
Festival, which surveys the perspectives of our
region’s makers, we hope you set aside some
time for a bit of armchair travel, discovery, and
inspiration.
The programmatic centerpiece of this year’s
Festival is a showcase of Hispanic language
films from ten countries, and the accompanying
Cine-Lit Conference on Hispanic Film and
Literature co-produced by the foreign language
departments at Oregon State University,
Portland State University and the University
of Oregon. This is the eighth such Festival and
Conference collaboration, a sharing of films,
v isiting directors, scholars, and students that
enriches one another and the community. Our
warm welcome extends to the many guests
traveling from throughout the world to Portland
for both events.
The Festival continues to flourish for countless
reasons—enthusiastic audiences, Silver Screen
Club members, generous sponsors, volunteers
and staff, film industry and media supporters,
and of course, filmmakers who continue to
surprise, delight, inform, and energize with their
vision of our world. They bring the Festival to life,
and we thank them all.
For the Film Center, the Festival is not an end,
but a means. We want this annual sampling of the
vitality of international cinema to be more than
a special event, but rather to be the impetus for a
deeper dive into the art of film—whether it is on
the big screen or in the palm of your hand.
Between Opening and Closing night the choices
are many, and we hope you find among them the
gems that will keep you searching for more.
Enjoy!
Bill Foster, Director
Northwest Film Center
PIFF 38 3
PROGRAM HIGHLIGHTS
THE FESTIVAL
PROGRAM
WILD TALES
DAMIÁN SZIFRÓN
ARGENTINA/SPAIN
Living up to the expectations of the title, Damián Szifrón’s
outrageously entertaining anthology of six blackly-comic
short stories packs a buzz-inducing wallop. Though each is
unconnected from the other, they share thematic unity in
their tales of frustration, bestial revenge, and the past coming back to haunt in escalating fashion. There is a betrayed
bride, a road rage incident gone to hell, a meltdown with
the Buenos Aires parking patrol, two passengers on a plane
making a very uncomfortable discovery, and a waitress
meeting someone from her past she would rather not see.
Produced by Pedro AlmodÓvar and possessed with overthe-top flair, this portrait of Argentinians on the verge has
the laughter of universal recognition. This year’s
Argentinian submission for the Best Foreign Language Film
Oscar. (122 mins.)
2/5 7:00PM | FOX TOWER
OPENING NIGHT CELEBRATION
The Northwest Film Center and The Oregonian invite you to
join us after the screening of Wild Tales at the Fox Tower to
celebrate the opening of this year’s Festival with co-hosts
King Estate Winery, Sierra Nevada Brewing, Swank & Swine,
and Pearl Catering.
The Festival program is arranged
alphabetically by title, with showtimes
and locations listed at the end of each
film description. Programs of short
films follow the feature listings. The
master schedule on page 47 lists each
day’s films, showtimes, and locations.
Please note that a few films have only
one showing. Sometimes, for reasons
beyond our control, screenings may
be changed, rescheduled, or canceled.
For the most up-to-date information,
call the Advance Ticket Outlet at
503-276-4310, check the Festival
schedule board at the Advance Ticket
Outlet or the Whitsell Auditorium,
or log on to the Festival’s website at
festivals.nwfilm.org/piff38.
THE FESTIVAL SCENE
Stay connected through PIFF’s social
media outlets. Schedule updates, visiting artist information, party details,
and d iscussion threads can all be
found here:
OPENING NIGHT TICKETS
$25 general; $20 Silver Screen Club Friends and Portland Art
Museum members. Admission is free for Silver Screen Club
Director, Producer, Benefactor, and Sustainer members.
Sign up for the Silver Screen Club, which in addition to PIFF,
offers access to more than 400 screenings annually.
newsroom.nwfilm.org
facebook.com/nwfilmcenter
@nwfilmcenter
@nwfilmcenter
Share your posts with
4 PIFF 38
HISPANIC FILM
SHOWCASE
& CINE-LIT VIII
This year’s Festival offers a broad
spectrum of new films from Argentina,
Bolivia, Colombia, Cuba, Mexico, Peru,
Spain, Uruguay, and Venezuela show
casing new work from both established
and emerging filmmakers. Accompanying
the films is Cine-Lit 2015, the eighth
International Conference on Hispanic
Film & Fiction, co-produced by Oregon
State University, Portland State University,
and University of Oregon, in partnership
with the Northwest Film Center and
Portland International Film Festival.
The Conference (February 19–21) will
offer a wide range of panels, papers, and
discussions by academics, writers, and
directors from the United States and
participating countries. Presenting their
films at the Festival and as part of the
Conference are Peruvian filmmaker
Javier Corcuera (I’m Still), Mexican
f ilmmaker Mariana Chenillo (Paradise),
Argentine filmmaker Celina Murga (The
Third Side of the River), Bolivian filmmaker Juan Carlos Valdivia (Yvy Maraey),
Spanish screenwriter Alicia Luna (In a
Foreign Land), and Spanish filmmaker
Mariano Barroso (All the Women). More
information about Conference programs
and activities may be found at cinelit.org.
NEW DIRECTORS
As always, the Festival has its share
of new works by established directors
already familiar to those who love
i nternational cinema. This year, such
renowned masters as Albert Maysles,
Susanne Bier, Yoji Yamada, Peter Ho-Sun
Chan, Ann Hui, Olivier Assayas, Mohsen
Makhmalbaf, Rolf de Heer, and Sergei
Loznitsa bring us new films. We are also
proud to present several new makers
whose first feature films hold promise for
great films to come. Among the 14 eligible for this year’s New Director Audience
Award are: Fernando Armando Coimbra,
A Wolf at the Door; Miroslav Slaboshpitsky,
The Tribe; Gabriel Mascaro, August
Winds; Teodorah Mihai, Waiting for
August; Tomislav Mršic´, Cowboys; Kiah
Roache-Turner, Wyrmwood; July Jung,
A Girl at My Door; Kristina Grozeva, The
Lesson; Geethu Mohandas, Liar’s Dice;
Jonas Ohman, Vincas Sruoginis, Invisible
Front; Alonso Ruiz Palacios, Güeros;
Ronnie Sandhal, Underdog; and Marah
Strauch, Sunshine Superman.
OSCAR SUBMISSIONS
This year’s Festival features the Portland
premieres of 25 films submitted for the
Best Foreign Language Film Oscar,
including: Charlie’s Country (Australia),
Wild Tales (Argentina), The Dark Valley
(Austria), Mateo (Columbia), Cowboys
(Croatia), Behavior (Cuba), Sorrow and
Joy (Denmark), Factory Girl (Egypt),
Concrete Night (Finland), Corn Island
(Georgia), Beloved Sisters (Germany),
Golden Era (Hong Kong), White God
(Hungary), Life in a Fishbowl (Iceland),
Liar’s Dice (India), Today (Iran), Gett:
The Trial of Viviane Amsalem (Israel),
Human Capital (Italy), The Light Shines
Only There (Japan), Rocks in My Pocket
(Latvia), The Gambler (Lithuania), Eyes
of a Thief (Palestine), The Japanese Dog
(Romania), Living Is Easy With Eyes
Closed (Spain), Mr. Kaplan (Uruguay),
and The Liberator (Venezuela).
SHORT CUTS
This year’s Festival features eight shorts
programs featuring 60 memorable snapshots from across the world. Among the
special programs are showcases of new
French and Spanish shorts, animated
gems plucked from top international
festivals by LAIKA’s Mark Shapiro,
experimental work curated by Cinema
Project, and a baker’s dozen of new
shorts by Oregon filmmakers.
DOCUMENTARY VIEWS
This year’s Festival boasts 18 fresh
perspectives on the world we live in and
the fascinating people and stories that
surround us. The non-fiction selections
include: I Am Big Bird (US), Hotel Nueva
Isla (Cuba/Spain), I’m Still (Peru), In a
Foreign Land (Spain), Invisible Front
(Lithuania), Iris (US), The Iron Ministry
(US), Jalanan (Indonesia/The Netherlands/
US), The Look of Silence (Denmark/
Indonesia/Norway), Magician: The
Astonishing Life and Work of Orson Welles
(US), Maidan (Ukraine), On the Way to
School (France), Red Army (US), Stop
the Pounding Heart (France), Sunshine
Superman (US), Waiting for August
(Romania), and A Year in Champagne (US).
ANIMATED WORLDS
In addition to the two-dozen award-
winning animated shorts in the Short
Cuts programs, this year’s Festival
includes three animated features that
have charmed audiences and critics
world-wide. They include international
prizewinners The Boy and the World
(Brazil), Giovanni’s Island (Japan), and
Rocks in My Pockets (Latvia/US).
PIFF AFTER DARK
Our late-night series—for the nocturnally
inclined whose cinematic tastes are
adventurous—offers special treats for
devotees of genre films that push boundaries. All of the screenings take place
at the Hollywood Theatre and start at
10:30 pm. The selections include:
Backcountry (Canada), Electric Boogaloo:
The Wild, Untold Story of Cannon Films
(Australia), Darkness by Day (Argentina),
R100 (Japan), and Wyrmwood (Australia).
Our thanks to Yelp! Portland for supporting this series.
FILMS FOR FAMILIES
Film lovers from nine to 90 will be
charmed by these award-winning films
suitable for younger viewers, depending
on subject interest and subtitle-reading
ability. Check the film descriptions for
age suitability suggestions. The films
include: Belle and Sebastian (France),
The Boy and the World (Brazil), Mateo
(Colombia), On the Way to School
(France), Secrets of War (Netherlands),
and Timbuktu (Mauritania). Special
thanks to the Lamb-Baldwin Foundation
for supporting these films.
PIFF 38 5
GLOBAL CLASSROOM
TICKETS
The Festival’s Global Classroom program
serves as a point of introduction for the
next generation of cinema lovers by
enriching the high school classroom
experience and broadening young people’s
understanding of our world through film.
With the support of the Harold and
Arlene Schnitzer CARE Foundation,
Oregon Arts Commission, Juan Young
Trust, Anne A. Berni Foundation, and
Chipotle, the Festival will screen five of
this year’s Festival selections for students
and teachers at special weekday screenings at the Film Center’s Whitsell
Auditorium. Whether watched with
a class or independently at the film’s
public screenings, Mateo (Mexico),
Marie’s Story (France), Giovanni’s Island
(Japan), On the Way to School (France),
and Magician: The Astonishing Life and
Work of Orson Welles (US) offer rich
cultural experiences. Contact Anna
Crandall at 503-221-1156 x25 or
[email protected] for more information.
GENERAL: $12
PORTLAND ART MUSEUM MEMBER: $11
STUDENT/SENIOR (65+): $11
CHILDREN (12 and under): $9
GROUP (10 or more, Sunday–Thursday screen-
AUDIENCE AWARDS
As always, you get to be the judge.
Let us know your opinions about the
films you see this year. Ballots will be
available at the screenings to rate and
comment on the films, or you can now
vote online at festivals.nwfilm.org/piff38.
At the conclusion of the Festival, the
results of the balloting will be announced,
with Audience Awards for Best Film,
Best Director, Best Documentary, Best
Short, New Director, and other special
recognitions. We welcome feedback on
your PIFF experience and how we can
improve next year’s Festival.
ings only, available at the Advance Ticket
Outlet only): $9
SILVER SCREEN CLUB FRIEND ($75 annually):
$9 (one discount per film, per screening)
DIRECTOR ($400 annually), PRODUCER
($600 annually), BENEFACTOR ($1,500
annually), SUSTAINER ($2,500 annually),
and PREMIERE CIRCLE ($5,000 annually)
embers receive free admission with
m
their valid Silver Screen Club cards
OPENING NIGHT FILM & PARTY: $25 General;
$ 20 Silver Screen Club Friends and
Portland Art Museum members
TICKET PACKAGES: 5 films for $50
PURCHASE METHODS
Advance tickets go on sale beginning
Monday, January 26.
ONLINE: Daily, 24 hours at nwfilm.org.
WALK-UP: Daily, 12–6pm, January 26–
February 22 in person at the Advance
Ticket Outlet in the lobby of the Portland
Art Museum’s Mark Building, 1119 SW
Park Avenue.
PHONE: Daily, 12–6pm, January 26–
February 22, at 503-276-4310.
DAY-OF-SHOW: On the day of a screening,
tickets (if still available) can be purchased
at the Advance Ticket Outlet until three
hours prior to showtime, then at the
specific theater’s box office beginning as
early as 30 minutes prior to showtime.
PAYMENT OPTIONS
FESTIVAL VOUCHERS
Visa, MasterCard, American Express,
and Discover cards are accepted at the
Advance Ticket Outlet and online. For
day-of-show sales, theater box offices
accept cash or check only.
Please be aware that a voucher may not
be used at a theater for admission. It
must be redeemed—in person at the
Advance Ticket Outlet—for a specific film
screening at least one day in advance
of the screening date, and tickets are
subject to availability. You’ll know it’s a
voucher because it says VOUCHER at the
top, as well as THIS IS NOT A TICKET.
We recommend exchanging vouchers
at your earliest convenience.
RUSH TICKETS
Even if advance tickets are no longer
available, rush tickets are offered at each
theater’s box office as soon as the number of unoccupied passholder seats has
been determined—typically a few minutes
before showtime. The rush line may start
anywhere from 15 minutes to two hours
prior to the screening.
FESTIVAL PASSES
An allotment of seats is reserved at every
screening for passholders. Passholders
are guaranteed admission until 10 minutes
prior to showtime or until the passholder
allotment has been reached. Early arrival
is recommended; although exceedingly
rare in occurrence, passholders may not
always be able to attend a film at their
first choice of screening times. Passes
are available exclusively as a benefit of
Silver Screen Club membership with the
Northwest Film Center at the Director
level and above. Get more from your PIFF
experience as a member with year-round
access to Northwest Film Center screenings. No more waiting in box office lines
or keeping track of individual tickets!
PATRON COURTESIES
We appreciate your assistance in helping
to keep the Festival pleasant and fun for
all. Our staff and volunteers are on site
to assist, and we ask that all audience
members observe Festival etiquette.
• A ll seats are general admission, and
seat saving is not permitted.
• Please turn off cell phones and other
devices during film presentations.
• Please complete and return your
“Audience Awards” ballot immediately
following each screening in the
designated boxes. You can also
now vote online at our website:
• W hile waiting in line, please be
considerate of our neighbors and local
businesses.
• Please refrain from smoking near
Festival doorways.
• To expedite theater cleaning and
seating, please discard your waste
in the appropriate containers when
exiting the theater.
• Be aware that many lines are outside
of the theaters and dress appropriately.
6 PIFF 38
DISABILITY SERVICES
The Festival is committed to accommodating audience members with disabilities. We allow early seating for persons
with disabilities when logistically possible. Please make yourself known to the
theater house manager for assistance.
Most venues* are wheelchair accessible
and have wheelchair-accessible restrooms.
The Whitsell Auditorium and Regal Fox
Tower offer hearing assistance devices.
*Unfortunately, due to the historical construction of the Roseway and Moreland
theaters, these venues are not equipped
with wheelchair-accessible restrooms.
FESTIVAL POLICIES
THE 10-MINUTE RULE
Seats for advance ticket and pass
holders are held until 10 minutes
before showtime, when any unfilled
seats are released to the public.
Thus, advance tickets or passes ensure
that you will not have to wait in the
ticket purchase line but do not guarantee a seat in the case of arrival after
the 10-minute window has begun. Your
early arrival also helps the screenings
start promptly. We appreciate your
understanding. Advance ticket holders
who arrive within the 10-minute
w indow but are not seated may
exchange their tickets for another
screening at the Advance Ticket Outlet
or obtain a cash refund at the theater.
There are no refunds or exchanges for
arrivals after showtime or for missed
screenings.
SEPARATE ADMISSION
Each screening is a separate admission.
Theaters are cleared between screenings
in most cases. Advance ticket holders for
a film immediately following the one
they are attending will be guaranteed
admission to the second film but cannot
save a particular seat. You must take
your belongings with you. We appreciate
your understanding.
NON-FESTIVAL TICKETS
AND PASSES
Film Center scrip and comps, Portland
Art Museum passes, and Regal, student,
and other regular passes or discount
admission tickets are not valid during
the Festival.
THE FINE PRINT
All orders are final. There are no refunds
or exchanges except as noted. If a screening is canceled, tickets must be returned
to the Advance Ticket Outlet within a
week of the canceled screening date for
refund or exchange.
LANGUAGES
All films are screened in their original
languages with English subtitles unless
otherwise noted.
FESTIVAL VENUES
1
OTHER LOCATIONS
ADVANCE TICKET OUTLET
CINEMA 21
1119 SW Park Ave at Main
(inside the Portland Art Museum’s Mark
Building)
616 NW 21st Ave at Hoyt
2
REGAL FOX TOWER 10
3
HOLLYWOOD THEATRE
4
MORELAND THEATER
846 SW Park Ave at Taylor
4122 NE Sandy Blvd
6712 SE Milwaukie Ave near Bybee
5
ROSEWAY THEATER
7229 NE Sandy Blvd near Fremont
6
WHITSELL AUDITORIUM
1219 SW Park Ave at Madison
(inside the Portland Art Museum)
7
WORLD TRADE CENTER THEATER
121 SW Salmon St at 1st (Building 2)
For public transit options, please visit
trimet.org. For parking information,
please visit the Festival website:
N
Please note: As a security policy, the
Portland Art Museum and Regal Fox
Tower require a bag check. Food and
drink are not allowed in the Whitsell
Auditorium or the World Trade Center
Theater. We appreciate your observance
of these policies and your assistance in
keeping the theaters as clean as possible.
Concession items are available for purchase at Regal Fox Tower, Cinema 21,
Hollywood Theatre, Moreland Theater,
and Roseway Theater. No outside food or
beverages allowed in any of the theaters.
Thank you.
5
NE
3
1
NW &
downtown
6
2
7
SE
SW
4
PIFF 38 7
’71
YANN DEMANGE
UK
“A riveting thriller set in the mean
streets of Belfast over the course of
24 hours, ’71 brings the grim reality of
the Troubles to vivid, shocking life.
Within days of being posted to Northern
Ireland, which would soon turn into a
war zone after January 1972’s Bloody
Sunday, squaddie Gary finds himself
trapped and unarmed in hostile territory when a house raid provokes a riot.
Running for his life as the lines between
friend and foe become increasingly
blurred, Gary gets a baptism of fire
and we get a stark, eye-opening look at
the dirty war that tore Northern Ireland
apart. Suggesting an update of Carol
Reed’s classic Odd Man Out, this
tough, compact suspense is handled
with a dynamic, vigorous energy.”
—New York Film Festival. (99 mins.)
2/9 6:00PM | CINEMA 21
THE 100 YEAR OLD MAN WHO
CLIMBED OUT THE WINDOW
AND DISAPPEARED
10,000 KM
AFTERLIFE
CARLOS MARQUES-MARCET
VIRÁG ZOMBORÁCZ
FELIX HERNGREN
Sergi and Alex, a young couple in
Barcelona, are ready to take their
passionate affair to the next level
when 10,000 kilometers suddenly
come between them. Alex is offered a
year-long, all-expenses-paid artist’s
residency in Los Angeles. Sergi, hesitant at first, encourages Alex to follow
her dream, leaving them with only one
way to bridge the divide: digital. With
Skype acting as their savior, we witness
the happy, painful, and revelatory
process of a long-distance relationship
sustained-and reinvented-through the
ether. 10,000 KM mediates our experience, as it does theirs, through texts,
video chats, and social media updates,
probing the nature of technology and
connection while it chronicles the story
of a young couple separated not only
by distance, but also dreams and
desires. (99 mins.)
Mózes, a rather neurotic young man
in his twenties, is unable to meet his
domineering father’s expectations. So
when his father suddenly has a heart
attack and dies, Mózes is almost
relieved; the pressure on him has been
lifted. But at the funeral he notices
his father’s disoriented ghost, which,
although it cannot speak, follows him
around, confused and searching.
Mózes panics at first, then decides to
complete his father’s unfinished tasks
because, according to a spiritualist car
repair man, this is the only way to get
rid of a ghost. This energetic comingof-age story from female director Virág
Zomborácz won the Best Feature Award
at the Valladolid Film Festival, where
it earned audience kudos with its fresh
blend of sweet absurdity, high drama,
and inventive style. (95 mins.)
SWEDEN
Based on a bestselling novel by Jonas
Jonasson, this delightful comedy tells
the unbelievable story of former dynamite expert Allan Karlsson, the titular
100-year-old man, who isn’t ready to
stop life’s party. Fleeing his nursing
home, Allan boards a bus and accidentally picks up a skinhead’s suitcase
filled with 50 million kronor. On the
run from the cops and the skinheads,
the droll fugitive centenarian is accompanied by his many memories; in
Zelig- and Forrest Gump-like fashion,
it turns out he has brushed shoulders
with the likes of Franco, Truman,
Stalin, and Reagan over the years—
all remembered in richly absurd flashbacks. The top-grossing film in Sweden
last year, Herngen’s zany romp won
the national audience vote for Best
Film at the Swedish Guldbagge
(Academy) Awards. (114 mins.)
2/7 9:00PM | MORELAND THEATER
2/9 8:30PM | WHITSELL AUDITORIUM
Sponsored by Scandinavian Heritage Foundation
and the New Sweden Cultural Heritage Society.
SPAIN
2/18 6:00PM | CINEMA 21
HUNGARY
2/8 4:00PM | ROSEWAY THEATER
8 PIFF 38
ALL THE WOMEN
ALLÉLUIA
ÄRTICO
AUGUST WINDS
MARIANO BARROSO
FABRICE DU WELZ
GABRIEL VELÁZQUEZ
GABRIEL MASCARO
“Spanish machismo is picked apart
with surgical precision in Barroso’s
engrossing All the Women, Winner of
the Goya (Spanish Academy Award)
for Best Adapted Screenplay. Nacho
(Eduard Fernández), a down and out
middle-aged veterinarian, seeks advice
from the most important women in his
life—his lover, his ex-wife, his mother,
his sister-in-law, and his psychologist—
after his scheme to steal cattle from his
father-in-law falls apart. He soon finds
his character indicted by each one of
them. A scaled-back, sharp-eyed,
David Mamet-inspired deconstruction
of the fragile psyches of Spanish and
other males, anchored in Fernandez’s
memorable central performance.”
—The Hollywood Reporter. (90 mins.)
Updated for the Internet era, Du Welz’s
remake of the classic The Honeymoon
Killers is based on the true story of ’60s
serial killers Martha Beck and Raymond
Fernandez, who met women through
personal ads, moved in, and then
murdered them. Here, lonely Gloria
meets conman Michel through an
online dating service and quickly falls
for his charms. When she discovers
he’s swindled both her heart and her
wallet, she agrees to help him seduce
other women just so she can be with
him. Gloria’s obsession with Michel
turns their relatively innocent hustle
into something much darker when she
jealously murders his subsequent love
interests. This violent and frenetic tale
of sex, lust, and obsession plays with
genre conventions with wicked delight.
In French with English subtitles.
(95 mins.)
In Ärtico, winner of special mention
honors at the Berlin Film Festival,
Jota and Simón are two “quinquis”
(nomads), aged 20, who wander the
streets every day to make ends meet.
But apart from their carefree thefts
and wheelings and dealings, both
want something they don’t have.
Simon, already a father, wishes to find
his freedom. Jota, whose girlfriend is
a drug-addict, wants to build a family.
What will it take for these two—and a
drifting generation like them—to find
a life? Gritty, bleak, and breathtaking,
with intensely physical performances
from its amateur cast, Ärtico contrasts
the picturesque natural landscapes
of the Spanish province of Salamanca
with the dire circumstances of dis
affected youth. (78 mins.)
Shirley has left the big city to live in a
small seaside town and look after her
elderly grandmother. She drives a tractor on a local coconut plantation, loves
rock music, and wants to be a tattoo
artist, but she feels trapped in the tiny
coastal village. She is involved with
Jeison, who free dives for lobster and
octopus in his spare time. During the
month of August, when tropical storms
pound the coastline, a researcher
registering the sound of the trade
winds arrives in their village. The high
tides and the growing winds mark the
following days of the village, and a
surprise discovery takes Shirley and
Jeison on a journey that confronts life
and death, loss and memory, the wind
and the sea. First feature. (77 mins.)
2/7 9:30PM | CINEMA 21
Thanks to PRAGDA, Spain Arts and Culture,
Accíon Cultural Española (AC/E), and the Ministry
of Education, Culture, and Sport.
SPAIN
2/18 8:30PM | CINEMA 21
BELGIUM/FRANCE
Sponsored by TV5Monde.
SPAIN
BRAZIL
PIFF 38 9
BACKCOUNTRY
BELLE AND SEBASTIAN
BELOVED SISTERS
BLACK COAL, THIN ICE
ADAM MACDONALD
NICHOLAS VANIER
DOMINIK GRAF
DIAO YINAN
What begins as a romantic weekend
camping trip deep into the Canadian
woods quickly decends into an exercise in abject horror in actor-director
Adam MacDonald’s Backcountry.
Despite the warnings of a seemingly
prescient park ranger, Alex and Jenn
venture blindly along the Blackfoot
Trail with Alex’s memory their sole
compass and only a few supplies on
hand. Before long, the couple encounters a multitude of dangers including
a menacing backwoods guide with
questionable intentions towards each
of them, a complete loss of direction,
and, most threatening of all, a wild
force of nature that stalks them relentlessly. Backcountry “will have you
thinking twice about your next camping trip.”—Nick Watson, Black Sheep
Reviews. (92 mins.)
Set during World War II in the French
Alps, Belle and Sebastian is based on a
beloved 1960s French TV series featuring resourceful young Sebastian and
the giant mountain sheepdog he calls
Belle. Sebastian is a lonely six-year-old
boy who dreams of the day his mother
will return from America—the place
that his adoptive grandfather tells him
she’s gone. He finds needed companionship with “the beast” that local
farmers are convinced is killing their
sheep—an enormous sheepdog that
quickly proves anything but dangerous,
instead becoming the boy’s best friend
and protector. With Nazis rooting out
the Resistance fighters helping Jewish
refugees cross the border, Belle and
Sebastian soon prove their courage.
(104 mins.) Ages 8+.
In this sumptuous costume drama
set in late-18th-century Germany, two
aristocratic sisters find themselves
drawn inexorably to the young ‘Sturm
und Drang’ poet Friedrich Schiller and
daringly forge a lifelong secret triangle. When younger sister Charlotte first
meets Schiller in 1788, he is a penniless dramatist whose early controversial writings and penury render him
an unsuitable husband. But Charlotte
and her married sister Caroline discover
an intoxicating kinship with Schiller
and his Romantic ideals of universal
knowledge and the transformational
power of literature. The sisters’ pact
of loyalty to each other and Schiller is
tested as their private intrigues—
revealed through an exchange of
coded letters—unfold against a backdrop of revolutionary Europe at the
violent dawn of democracy. This year’s
German submission for the Best Foreign
Language Film Oscar. (170 mins.)
Haunted by a botched police investigation five years earlier, former policeman
Zhang has retired to a distant mining
town in Northern China in an attempt
to drink his past away. But when a new
string of murders unfold in strikingly
familiar fashion to the old case, Zhang
sees a chance to atone for the sins of
his past. A one-man investigation
team, he vows to unearth the brutal
killer at all costs, and his journey
takes him down a dark road from which
there is no return. Winner of the Golden
Bear for Best Film at the Berlin Film
Festival, this surreal mix of Western
pulp fiction and Eastern philosophical
ruminations is “A salute to the classic
Hollywood film noir—an exciting
stylistic tour-de-force.”—The Hollywood
Reporter. (106 mins.)
CANADA
2/7 10:30PM | HOLLYWOOD THEATRE
Sponsored by Yelp!
FRANCE
Sponsored by TV5Monde and the French American
International School.
GERMANY
2/11 6:30PM | CINEMA 21
Sponsored by Zeitgeist Northwest and the
Oregon State University Language Department.
CHINA
10 PIFF 38
THE BOY AND THE WORLD
CHARLIE’S COUNTRY
CLOUDS OF SILS MARIA
COME TO MY VOICE
ALÊ ABREU
ROLF DE HEER
OLIVIER ASSAYAS
HUSEYIN KARABEY
Brazilian artist Alê Abreu’s whimsical,
exquisitely-rendered, animated film
views contemporary society through
the eyes of a child. Cuca, a small boy
growing up in the rainforest, finds his
serene life thrown upside down when
his father leaves to work in the industrialized city, prompting an adventurous journey to find him. Along the way
he uncovers a whole new, modern
world dominated by animal machines
and a variety of strange characters that
are a far cry from the natural environment they came from. Melding mesmerizing sound design with uniquely
original hand-drawn visuals, a samba
and hip-hop score by some of Brazil’s
stars is a perfect match for the playful,
vibrant images, which come alive with
nearly wordless eloquence. Audience
Award, Annecy International Animation
Festival. (80 mins.) Ages 8+.
This year’s Australian submission for
the Best Foreign Film Oscar features a
soulful performance from David Gulpilil,
who received the Best Actor award at
the Cannes Film Festival. Gulpilil is
Charlie, a restless elder in alcohol-free
Arnhem Land reservation who feels
the government’s growing grip on
his culture while he decries the rapid

disappearance of Yolngu traditions.
Although well past his prime, Charlie
decides to “go bush” and sets out into
the wild to practice the old ways, without reckoning how much things really
have changed and exactly where he
might be going. Eloquently depicting
the daily indignities endured by a
marginalized and impoverished people,
Charlie, with both bemusement and
despair, confronts modern society with
outrage, resilient humor, and more
than a measure of mischief. (108 mins.)
“Maria Enders (Juliette Binoche) is a
middle-aged actress who soared to
stardom in her twenties in a play
called Maloja Snake, in which she
created the role of a ruthless young
woman named Sigrid who engages in a
power game with her older boss. Now
an established international actress,
Maria is considering the role of the
older woman in a heavily promoted
revival, with an infamous young
superstar (Chloë Grace Moretz) as
Sigrid. What begins as a chronicle of
an actress going through the paces
of celebrity culture (fashion shoots,
official dinners, interviews, Internet
rumors) gradually develops into something more powerfully mysterious:
a close meditation on time and how
one comes to terms with its passage.”
—Film Society of Lincoln Center.
(124 mins.)
In a snowy Kurdish mountain village
in the east of Turkey, an old woman
and her granddaughter are distressed.
The only man in the household, the
son of one and the father of the other,
was arrested by the Turkish military.
The commanding officer has been told
that the villagers are hiding weapons,
so he arrests all the town’s men and
announces that they will be kept in
prison until their families hand over
the weapons. The problem is that no
weapons actually exist. Desperate,
the pair embarks on a long journey in
search of a gun that they can exchange
for their beloved family member.
“A beautifully crafted drama whose
traditional storytelling movingly conveys a sense of a community burdened
by loss.”—Variety. Audience Awards,
Istanbul and Milan Film Festivals.
(105 mins.)
2/14 6:30PM | CINEMA 21
BRAZIL
Sponsored by LAIKA.
AUSTRALIA
FRANCE
TURKEY
PIFF 38 11
CONCRETE NIGHT
CONDUCTA
CORN ISLAND
COWBOYS
PIRJO HONKASALO
ERNESTO DARANAS SERRANO
GEORGE OVASHVILI
TOMISLAV MRŠIĆ
In a run-down Helsinki ghetto,
14-year-old Simo spends 24 hours with
his dangerous older brother Ilkka as
he prepares to go to prison. As they
talk and drink and explore the concrete jungle they’re trapped in, both
Simo and Ilkka find themselves
pushed to the very edge by a city that
wants to forget they exist. Based on
the acclaimed cult novel of the same
name, Concrete Night’s lustrous black
and white images hauntingly portray
a seething, urban underworld of discarded men and women who power
big-city dreams. “Stunning to look at
and chilling at its core . . . a visual
knockout.”—The Hollywood Reporter.
Winner of six Finnish film awards,
including Best Film, Best Director, and
Best Cinematography and this year’s
Best Foreign Language Film Oscar
submission. (96 mins.)
One of the most heralded Cuban films
of the last decade, Conducta provides
a sensitive, unembellished look at contemporary life in Cuba. Life isn’t easy
for 11-year-old Chala. When he isn’t
getting into trouble at school for his
violent behavior, or with the police for
raising fighting dogs, he has to contend
with an alcoholic mother who spends
her nights hustling in Havana’s nightclubs. Chala has one person on his
side: his teacher Carmela, who absolutely believes that no child is a lost
cause. But when Carmela falls ill,
Chala himself is in danger of falling
through the cracks of an unforgiving
system. Winner of the Best Film Prize
at the Málaga Film Festival and this
year’s Cuban submission for the Best
Foreign Language Film Oscar.
(108 mins.)
The Inguri River forms Georgia’s
border with the breakaway Republic
of Abkhazia, and tensions between the
nations run high. Every spring the river
brings fertile soil from the Caucasus,
creating tiny islands: small clusters of
no man’s land. An old Abkhaz farmer
and his teenage granddaughter build a
hut on one of the islands, plowing the
earth to sow corn. When the corn has
shot up, the girl, herself blossoming,
finds a wounded Georgian soldier
h iding among the stalks as border
patrol boats look for trouble in a noman’s land. “An astonishing feat of
cinema presented with the utmost
modesty . . . an unparalleled big screen
experience.”—Variety. Winner of the
Best Film Prize, Karlovy Vary Film
Festival and this year’s Georgian submission for the Best Foreign Language
Film Oscar. (100 mins.)
Based on a popular, award-winning
Croatian play, Cowboys mixes social
drama and dark comedy as it puts a
fresh spin on a lovingly familiar cinematic scenario. Offered an opportunity
to re-start the neglected community
theatre in his hometown, big-city
director Saša reluctantly returns to
the dull industrial town of his youth.
Without any experienced actors, Saša
is forced to cast a group of eight lovable
misfits, his troupe wildly unprepared
for the rigors of show business. Settling
on a classic Hollywood Western, the
underdogs must come together and
give it their all if they want to make it
to opening night, which, as they do in
cheering fashion, changes the course
of their lives. This year’s Croatian submission for the Best Foreign Language
Oscar. First feature. (107 mins.)
FINLAND
Sponsored by the Scandinavian Heritage
Foundation and the Finlandia Foundation ColumbiaPacific Chapter.
CUBA
Sponsored by Delta Airlines.
GEORGIA
CROATIA
12 PIFF 38
CRACKS IN CONCRETE
THE DARK VALLEY
DARKNESS BY DAY
DEAREST
UMUT DAG
ANDREAS PROCHASKA
MARTIN DE SALVO
PETER HO-SUN CHAN
After a decade in prison for seconddegree murder, hardened but broken
35-year-old Ertan is intent on making
a new start by staying away from the
criminal world, but nobody really
believes him. Returning to the grim
streets of Vienna, he seeks out his son
Mikail, now a teenager and unaware
that his father even exists. Mikail
dreams of being a rapper, but has
turned to drug dealing and stealing to
get his career started. To try and save
his son from the life that ruined his
own, Ertan works his way into his
son’s quickly spiraling world without
letting on who he really is. But what
will happen when the inevitable truth
is bound to come out? In German and
Turkish with English subtitles.
(105 mins.)
Greider, a lone traveler, arrives in a
small village in the Alps. Initially,
no one wants him to stay, especially
Brenner, who keeps the community
under tight control with his threatening ways. But a few gold coins sway
the townsfolk, and they opt to shelter
Greider for the winter. Soon a tragic
accident leads to the death of one of
Brenner’s beloved sons. But when a
second son is mysteriously killed, it
seems evident that more than coincidence is at play. “The hills are alive
with the sound of gunfire in this
alpine revenge drama, a superior genre
piece which applies classic western
tropes to a remote Austrian mountain
village.”—The Hollywood Reporter.
This year’s Austrian submission for
the Best Foreign Language Film Oscar.
(115 mins.)
“In an a old house in a tiny village,
Virginia is left alone after her father
leaves to check on his ill niece. That is,
until her cousin Anabel, who also
seems to be under the weather, is
brought and left with her. Thankful
for another person to talk to, Virginia
makes every effort to keep Anabel
comfortable and to bond with her.
Anabel sleeps most of the day, and
at night can be found wandering the
woods alone. The radio reports a
rabies outbreak in the remote region of
Argentina where the women are holed
up. In this perpetual shadow of
impending doom, Virginia and her
cousin are left to face the darkness
of things to come.”—Fantastic Fest.
Winner, Best Director (horror feature)
at Fantastic Fest. (76 mins.)
Based on a true story, Dearest is about
the sensitivity, complexity, and indelible
pain of child abduction. The lives of
Shenzhen residents Wen-jun and his
ex-wife Xiao-juan are thrown into turmoil when their young son goes missing.
They join a support group active in
exposing child abduction rings and,
enduring several years of false-sightings
and scams, finally find their son living
with a foster mother. But their troubles
are far from over. With delicacy and
nuance, Chan explores the lasting guilt
of having ‘lost’ a child; the difficulty
of reintegration, and the discovery that
an adopted child has been abducted.
With subtle observations about class,
contemporary Chinese values, and the
difference between city and rural life,
Chan weaves a universal tale. (130 mins.)
2/15 8:45PM | CINEMA 21
Sponsored by Yelp!
AUSTRIA
AUSTRIA/GERMANY
ARGENTINA
HONG KONG
Sponsored by the Hong Kong Economic and
Trade Office, San Francisco.
PIFF 38 13
DUKE OF BURGUNDY
PETER STRICKLAND
UK
“Strickland’s latest reconfigures the
vintage erotic melodrama into something altogether deeper and darker.
Taking its title from a rare species of
butterfly, The Duke of Burgundy chronicles the increasingly intimate relationship between wealthy amateur lepidopterist Cynthia and her newly hired
housekeeper Evelyn. As Cynthia’s
demands begin to betray a sadomasochistic streak, Evelyn becomes less a
domestic servant than an outright sex
slave, submitting to her progressively
extreme humiliations with a surprising
relish. Strickland demonstrates a marvelous gift for modulating tone, pitching the tenor of his film in a strange,
beguiling register somewhere between
Buñuel’s Belle de Jour and Losey’s
The Servant. By turns kinky, dryly
comic, and compellingly surreal, and
boasting gorgeous, gothic cinematography . . . a richly immersive sensory
experience.”—Toronto Film Festival.
(101 mins.)
ELECTRIC BOOGALOO:
THE WILD, UNTOLD STORY
OF CANNON FILMS
EYES OF A THIEF
FACTORY GIRL
NAJWA NAJJAR
MOHAMED KAHN
MARK HARTLEY
This taut political thriller weaves a tale
of love and loss, revealing the suspicions and sacrifices lurking beneath
the surface of contemporary Palestinian
society. At the height of the 2002
Palestinian Uprising, Tareq, an enigmatic man bearing fresh wounds, is
tended to by local nuns who help him
to escape. He is soon arrested by
Israeli soldiers. Ten years later, Tareq
is released from prison and returns to
his town, a place drastically transformed and filled with secrets, to find
his daughter. As secrets are uncovered,
Tareq’s hidden past is revealed, and as
moral certainty is replaced by questionable choices, it is clear there are no
easy answers. This year’s Palestinian
submission for the Best Foreign
Hiyam, a young clothing factory
worker, lives in a lower-middle-class
neighborhood in Cairo. Under the spell
of the factory’s new supervisor Salah,
she believes love can transcend the
class differences between them. When
a pregnancy test kit is discovered, her
family and friends accuse her of losing
her virginity. Deciding to ignore them,
she pays a high price in a society that
can’t accept independent women.
Following the changes that take place
in her life over the course of the year,
from falling in love to facing heartbreak, Factory Girl’s portrait of everyday female struggle earned the Critic’s
Prize for Best Arab Feature at the
Dubai International Film Festival and
is this year’s Egyptian submission for
the Best Foreign Language Film Oscar.
(92 mins.)
AUSTRALIA
“Cousins Menahem Golan and Yoram
Globus helped to create the modern
Israeli film industry. . . . During the
’80s, Golan and Globus set up shop in
Hollywood by purchasing The Cannon
Group. Dismal titles such as The Apple
quickly gained Cannon a reputation
as purveyors of rotten movies. Despite
the criticism, the pair . . . went on to
produce a stunningly eclectic array of
films, ranging from straight-up genre
(Invasion USA; Death Wish 3) to more
esteemed fare (King Lear; Barfly).
Hartley expertly weaves together clips
from Cannon’s back catalog with an
impressive array of interviews with
Cannon players. The result is a whiplash-inducing ride through decades of
exploitation cinema and high-rolling
business deals.”—Fantastic Fest.
(107 mins.)
Sponsored by Yelp!
PALESTINIAN TERRITORIES
2/14 9:00PM | WORLD TRADE CENTER
2/17 8:30PM | CINEMA 21
EGYPT
14 PIFF 38
THE FAREWELL PARTY
FELIX & MEIRA
THE FOOL
THE GAMBLER
TAL GRANIT
SHARON MAYMON
MAXIME GIROUX
YURIY BYKOV
IGNAS JONYNAS
Winner of the Audience Best Canadian
Feature at the Toronto International
Film Festival, Felix & Meira is set in
Montreal’s Mile End neighborhood,
characterized by a mixture of hipsters
and Hasidism, which coexists amicably
but independently. When Meira, an
Orthodox Jewish wife and mother with
an undercurrent of rebelliousness,
meets Félix, a middle-aged atheist-loner
adrift grieving the recent death of his
estranged father, Félix hopes her religious devotion will provide insight
into his loss. Though she rebuffs him
at first, a mutual, slow-blooming affair
takes shape that will present Meira
with a difficult fork in the road: remain
within the community she has always
known or pursue an uncertain future
outside of it. In French, English, and
Yiddish with English subtitles.
(105 mins.)
A plumber’s assistant, honest and
idealistic Dima devotes his free time
studying to fulfill his dream of becoming an engineer. Leaving his family at
home one evening, he goes to a seemingly derelict building housing the city’s
poor to investigate a leak. What he
finds is much worse, however, and he
realizes that the 800 tenants need to
be evacuated immediately. Requiring
municipal authorization, he goes to
see the mayor, where he discovers that
other interests come before those of
ordinary citizens. Dima spends the
night chasing the corrupt in order to
save those whom everyone has forgotten. In Bykov’s dark view of contemporary Russia, “Kafka meets The Sopranos
as Bykov creates a murky yet absurdist
world of deep secrets and unmarked
graves.”—Variety. (116 mins.)
A celebrated paramedic, Vincentas
has a dangerous addiction: gambling.
Desperate to hit it big and pay off his
mounting debts, he’s quick to place a
bet on just about anything. In over his
head, he ups the ante by betting on
the odds of his own patients’ survival.
This twisted game, played with his
fellow paramedics, soon becomes a
major enterprise after the hospital’s
doctors and nurses want in on the
action, and Vincentas finds himself
becoming a big-time bookie. Jonynas’
gimlet-eyed black comedy is this year’s
Lithuanian submission for the Best
(109 mins.)
ISRAEL
The question “Who has the right to play
God?” is at the center of this comedic
tale of a group of friends at a Jerusalem
retirement home who construct a
machine for self-euthanasia in order to
help a terminally ill pal. With a dream
cast of septuagenarian talent, a finely
honed visual sense, and superbly ironic
comic timing and dialogue, this compassionate film doesn’t belabor the
ethics of assisted suicide but instead
treats this tricky topic with rare sensitivity. “A provocative issue is addressed
with wisdom, sensitivity, and a welcome
strain of humor. Anyone ever touched
by the inexorable decline of an elderly
family member afflicted with terminal
illness or dementia will be moved by
this tender, unexpectedly charming
tale.”—The Hollywood Reporter. Brain
Award, BNL People’s Choice Award
Venice Film Festival. (95 mins.)
2/9 8:30PM | CINEMA 21
CANADA
2/8 1:00PM | CINEMA 21
RUSSIA
2/19 8:30PM | CINEMA 21
LITHUANIA
Sponsored by the Lithuanian American Community,
Portland Chapter.
PIFF 38 15
GETT: THE TRIAL
OF VIVIANE AMSALEM
RONIT ELKABETZ
SHLOMI ELKABETZ
ISRAEL
“Gett” is Hebrew for a divorce decree—
something that is very difficult to get
in Israel, where rabbinical courts hold
jurisdiction and mutual consent is
required. This riveting drama follows
the five-year struggle of Viviane
Amsalem (Ronit Elkabetz) to break
from her loveless marriage to husband
Elisha (Simon Abkarian). A powerful
examination of the roles of men and
women in a religious society. Gett,
the winner of two Israeli Film Awards
including Best Film and Best Supporting
Actor, is an absurdist journey into the
enigmas of a couple and a society
caught between tradition and modernity.
This year’s Israeli submission for the
Best Foreign Language Film Oscar.
In Hebrew, French, and Arabic with
English subtitles. (115 mins.)
2/12 5:30PM | CINEMA 21
Sponsored by the Institute for Judaic Studies,
Portland, Oregon and the Consulate General of Israel
to the Pacific Northwest, San Francisco.
GHADI
GIOVANNI’S ISLAND
A GIRL AT MY DOOR
MIZUHO NISHIKUBO
JULY JUNG
Lebanon’s Best Foreign Language Film
Oscar submission is a gently barbed
social satire about bigotry and redemption that unfolds in a traditional
Lebanese coastal town. After having
two daughters with his childhood
sweetheart Lara, a beloved music
instructor Leba has a son. Unfortunately,
Ghadi is born with Down syndrome
and the loud noises he makes trying to
imitate his father’s singing start to take
a toll on the neighbors. Without much
understanding of the disability, the
village people start calling the boy a
“demon” and try to evict him from the
town. Unwilling to send his son to an
institution, Leba hatches a clever plan
to convince his neighbors to change
their minds. “Conceived in a fanciful
vein that Frank Capra might well have
appreciated.”—Variety. (100 mins.)
After Japan’s surrender at the end of
World War II, the lives of brothers
Junpei and Kanta are turned upsidedown as the Soviet Union occupies
their small island of Shikotan, and they
must work to keep their family together
while struggling to understand an
unfamiliar culture. Their new friend
Tanya, a Soviet girl their age, helps
make the transition smoother, but it’s
not long before Junpei and Kanta are
separated from their father and sent
away from their home. Based on true
events, as well as the classic Japanese
novel Night on the Galactic Railroad,
Giovanni’s Island is a beautifully
a nimated story about the importance
of familial bonds and persevering
through the greatest of hardships.
In Japanese and Russian with English
subtitles. (102 mins.) Ages 8+.
After a personal scandal, young police
officer Young-Nam gets transferred
from Seoul to a small fishing town.
There, the police force is mainly older
men, and she struggles with her role as
station chief. Her path crosses with a
bullied teenage girl whose thug step
father, the man who informally rules
the town, beats her. Young-Nam opens
her doors to the girl, an act that is not
without consequences. The two find
comfort in each other and a friendship
grows stronger, but when Young-Nam’s
old lover turns up, devastating rumors
start spreading in the small community.
In A Girl at My Door, director July Jung
deals with questions of sexism,
domestic abuse, and salvation with
devastating frankness. First feature.
(119 mins.)
2/8 6:30PM | CINEMA 21
2/10 6:00PM | CINEMA 21
AMIN DORA
LEBANON
JAPAN
Sponsored by the Consular Office of Japan
in Portland and LAIKA.
SOUTH KOREA
Sponsored by the Oregon Korea Foundation.
16 PIFF 38
THE GOLDEN ERA
GÜEROS
HORSE MONEY
HOTEL NUEVA ISLA
ANN HUI
ALONSO RUIZ PALACIOS
PEDRO COSTA
IRENE GUTIÉRREZ
JAVIER LABRADOR
Selected as the closing night film at the
Venice Film Festival, Hui’s modernist
biopic tells the epic tale of Manchurian
essayist and novelist Xiao Hong (1909–
1941), one of the most radical and controversial Chinese female writers of the
early twentieth century and an iconic
historical figure. The film’s title signals
the irony of the era through which
Hong lived, one of the most turbulent
times in Chinese history featuring a
seismic shift from dynastic imperial
rule to a modern state history. Through
all this, Hong survives poverty, family
chaos, the Japanese invasion in the
1930s, and post-war trauma. Hui’s
intimate tale of history, love, loss, and
poetry is beautifully brought to life
by actress Wei Tang as the tenacious,
enigmatic Xiao. This year’s Hong Kong
submission for the Best Foreign
“This plucky and effortlessly cool
black-and-white film from newcomer
Alonso Ruiz Palacios follows three
restless teens during the student
strikes of 1999. Federico and Santos
are roommates in Mexico City, students
‘on strike from the strike’ now that
their university has been shut down,
when Federico’s brother Tomás arrives.
Looking to kill some time and their
boredom, they hit the streets of the
city looking for famed rock star
Epigmenio Cruz, who once allegedly
made Bob Dylan cry.”—AFI Fest.
“A coming-of-age comedy which pays
homage to the French new wave.”
—Indiewire. Best New Narrative
Director, Tribeca Film Festival and
Audience Awards at the Morelia and
AFI Film Festivals. First feature.
(106 mins.)
Set in a crumbling infirmary, Pedro
Costa’s haunting, dreamlike film serves
as an indictment of social injustice
in postcolonial Europe. Ventura, a
70-year-old Cape Verdean immigrant,
has been worn down from a lifetime
of manual labor and civil strife in the
Lisbon slums of Fountainhas. He is
recuperating from a nervous disease
and looks back on his life through a
series of fragmented and ghostly
encounters in a film of considerable
visual and narrative originality and
power. “In the soul-space of Ventura
. . . a self-reckoning, a moving memorialization of lives in danger of being
forgotten, and a great and piercingly
beautiful work of cinema.”—New York
Film Festival. Winner of the Best Film
Prize, Locarno Film Festival. (103 mins.)
CUBA/SPAIN
HONG KONG
Sponsored by the Hong Kong Economic and
Trade Office, San Francisco.
MEXICO
2/19 6:00PM | CINEMA 21
PORTUGAL
The formerly luxurious Hotel Nueva
Isla in Old Havana is now in ruins, but
it is home to people living on the fringes
of society, like the retired public servant Jorge. Abandoned by his wife and
children, Jorge’s only motivation, like a
Don Quixote forgotten and gone astray,
is to continue a quest he’s followed for
years: dig among the dangerous ruins
of the hotel, where he is convinced that
the former owners hid valuable objects
before fleeing the Cuban Revolution.
With a keen eye that is both highly
stylized and intimate, Gutiérrez captures Jorge’s life spent doing rudimentary “maintenance” on a building
haunted by faded glory and knowing
that with the demolition of the hotel
will come the end of an era. (70 mins.)
PIFF 38 17
HUMAN CAPITAL
PAOLO VIRZÌ
ITALY
Winner of all the top Italian film
awards, this stylish ensemble piece
offers a powerful commentary on
Italian social class, privilege, and the
value of human life in a crucible. A
cyclist is run off the road by a careening SUV. As details emerge of the events
leading up to the accident, the lives of
the privileged and detached Bernaschi
family intertwine with the Rovellis,
who struggle to keep up appearances
and their comfortable middle-class
life. A taut character study that observes
the transformative events from each
character’s perspective, the result is a
nuanced account of desire and greed
in the age of rampant capitalism and
financial manipulation. “An elegant
Chinese puzzle of a movie, deftly
constructed, and boosted by strong
performances.”—The Observer,
London. (110 mins.)
Sponsored by the Italian Cultural Institute,
San Francisco and Italian Film Commission,
Los Angeles.
I AM BIG BIRD:
THE CAROLL SPINNEY STORY
I’M STILL
IN A FOREIGN LAND
DAVE LAMATTINA
CHAD WALKER
JAVIER CORCUERA
PERU
ICÍAR BOLLAÍN
Corcuera’s documentary is more than a
celebration of Peru’s rich musical heritage. Through these diverse musicians’
personal stories (some of them filmed
for the first time) and their music,
Corcuera explores issues of identity
and nationality. Divided in three parts—
Lima, Ayacucho, and the Amazon—
I’m Still captures some of the country’s
most beautiful and distant spots without turning its back to some of its most
pressing social and economic problems.
Winner of the Documentary Prize,
Lima Film Festival. (120 mins.)
The current financial crisis in Spain
has forced an estimated 700,000 young
people to emigrate in the hope of a
better life. Edinburgh is one of the most
popular destinations, and the city is
home to more than 20,000 Spanish
people. In a Foreign Land follows three
expatriates as they build new lives and
search for new opportunities while
suffering the indignation of having
been cast aside by their own country.
One of them is Gloria, 32, a teacher
from Almería who works in Edinburgh
as a shop assistant. Gloria decided to
create the collective “Ni perdidos ni
callados” (“Not lost and not silenced”)
to express the anger and frustration
felt by many Spaniards who have
moved to Scotland’s capital. (75 mins.)
US
One of the most recognizable and
beloved children’s television characters
in history, Big Bird has been entertaining and educating children around the
world for over 40 years. But few fans
know about the man who brings Big
Bird (and Oscar the Grouch) to life:
Caroll Spinney. A delightfully sweet
examination of the power of following
your dreams, I Am Big Bird chronicles
a fascinating life journey with epic
loves and losses, those of a man who
has brought joy to millions by never
losing his childlike sense of wonder.
Even at age 79, he is Big Bird. “If your
heart warmed to the big yellow bird
that entertained generations, your
heart will melt in this loving portrait
of the creative genius who brought him
to life.”—Twitch. (90 mins.) All ages.
Sponsored by Journal Graphics.
Sponsored by Music Millennium and Ace Hotel.
SPAIN
18 PIFF 38
IN ORDER OF DISAPPEARANCE
THE INVISIBLE FRONT
IRIS
THE IRON MINISTRY
HANS PETTER MOLAND
JONAS OHMAN
VINCAS SRUOGINIS
ALBERT MAYSLES
J.P. SNIADECKI
The great documentarian Albert
Maysles’s (Grey Gardens, Gimme Shelter)
latest film is about fashion and interior
design maven Iris Apfel, now 93 years
old, as she celebrates the late wave of
career popularity enjoyed on the heels
the Metropolitan Museum of Art’s
2006 exhibition “Rare Bird of Fashion”
featuring her collection of often
a ffordably priced fashion accessories.
Maysles, himself 89, who pops up from
time to time as a cheerful on-camera
presence, follows Iris as she makes
selections for the touring exhibition,
advises young women on their fashion
choices, and bargains with store
owners, usually in the company of her
husband of 66 years, Carl, now 100.
In all, testimony that creativity knows
no age. (78 mins.)
“This thrilling new film, shot over
three years during a series of train
journeys across China, begins with
metal: the sounds and sights of gears,
wheels on tracks and linked railway
cars meshing, crunching, and grinding.
We are gradually introduced to the
people who ride and work on the cars,
with their luggage, their produce, the
products they’re hawking, the goods
they’re transporting. People are
crammed into every corner of every
train car, with the exception of a firstclass compartment from which the
filmmaker is barred. Moving from one
end of a train to the other, little by
little, the passengers begin to speak
about their country, their lives, their
dreams for the future.”—Film Society
of Lincoln Center. In Mandarin with
NORWAY
Weaving dark Scandinavian comedy
with Tarantino-esque revenge thriller,
Moland tells the tale of an ordinary,
upstanding Swedish snowplow driver
in a small Norwegian town who
suddenly has his own roads to clear.
Dickman (Stellan Skarsgård) suddenly
finds that his son has apparently overdosed and died—mysterious since he
didn’t do drugs. It’s not long before he’s
plowing into what really happened—
the boy was just collateral damage in a
drug war between “The Count” (Tobias
Santelmann) and a Serbian crime don
(Bruno Ganz)—and a odd assortment
of henchmen. It will be methodical,
but “A father must avenge his son.”
“A delightfully droll tale of bloody
revenge.”—Mark Adams, Screen
International, Best Comedy Feature,
Austin Fantastic Fest. (116 mins.)
Sponsored by the Scandinavian Heritage
Foundation and the Royal Norwegian Consulate
General, San Francisco.
LITHUANIA
The Invisible Front was the code name
used by the Soviet Union’s Interior
Forces for the armed resistance in
Lithuania, a key occupied territory.
The resistance arose with hardly any
outside support during World War II,
continuing in various forms until the
fall of the Soviet Union in 1991. The
film tells the story of one of the most
significant anti-Soviet resistance
movements through the words and
experiences of its leaders, Juozas
Luksa and his fellow Forest Brothers.
Luksa risked his life to escape to Paris
in 1948, joined up with Western intelligence agencies, wrote a memoir, and
married Nijole, the love of his life.
Shortly after their wedding, Luksa was
air-dropped back into Soviet Lithuania
by the CIA to help liberate his country.
In English and Lithuanian with English
subtitles. (87 mins.)
Sponsored by the Lithuanian American Community,
Portland Chapter.
US
Sponsored by Hotel deLuxe.
US
PIFF 38 19
JALANAN
THE JAPANESE DOG
JAUJA
THE LESSON
DANIEL ZIV
TUDOR CRISTIAN JURGIU
LISANDRO ALONSO
KRISTINA GROZEVA
PETAR VALCHANOV
Part music documentary and part
examination of the frenetically paced
megacity of Jakarta (10 million people),
Jalanan (“Streetside”) tells the captivating story of Boni, Ho, and Titi, three
gifted, charismatic street musicians,
over a tumultuous five-year period.
The film deftly uses their experiences
as a lens on Indonesia’s teeming capital,
conjuring up a striking, moody, and
intimate portrait of a place caught in
the grip of globalization. Using the
powerful soundtrack of the musicians’
original compositions to drive the film,
Ziv traces their elusive quest for identity
and love in the day-to-day of a city
overrun by the effects of economic
expansion and corruption. “One of the
finest portrayals of Indonesian life to
emerge for outside audiences in
years.”—The Culture Trip. In English.
(108 mins.)
This year’s Romanian submission for
the Best Foreign Language Film Oscar,
this subtle and movingly told tale of
loss and recovery is reminiscent of the
work of Japanese master Yasujiro Ozu.
Recent floods in rural southern
Romania have swept away 80-year-old
Costache’s wife and all of their belongings. Now, after a 20-year absence, his
estranged son Ticu arrives with his
Japanese wife and young son. The
unexpected visit forces father and son
to relearn how to rebuild their relationship. Costache becomes a real grand
father to his seven-year-old grandson,
while Ticu straightens out past mistakes.
“A satisfying, unexpectedly upbeat
film, superbly played, in which hope is
always just about visible through the
tragedy.”—The Hollywood Reporter. In
Romanian and Japanese with English
“A work of tremendous beauty and a
source of continual surprise, Alonso’s
film is set during the Argentinian
army’s Conquest of the Desert in the
1870s and is his first with international
stars (Viggo Mortensen), and with a
co-writer—poet and novelist Fabián
Casas. But the emphasis, as in all his
work, is on bodies in landscapes.
Danish military engineer Gunnar
Dinesen (Mortensen, in a Technicolorbright cavalry uniform) traverses a
visually stunning variety of Patagonian
shrub, rock, grass, and desert on
horseback and on foot in search of his
teenage daughter, who has eloped with
a new love. Alonso’s style reaches new
heights of sensory attentiveness and
physicality, driving the action toward
a thrilling conclusion that transcends
the limits of cinematic time and space.”
—New York Film Festival. (108 mins.)
2/16 12:30PM | CINEMA 21
2/16 8:30PM | CINEMA 21
INDONESIA/THE NETHERLANDS/US
Sponsored by Pro Photo Supply.
ROMANIA
Sponsored by the Romanian American Society.
ARGENTINA/DENMARK/FRANCE
BULGARIA
Nadezhda is a young, hardworking
teacher in a small Bulgarian town.
One day she is shocked to discover that
there is a thief in her class. Determined
to find out who it is so she can teach
him or her the difference between right
and wrong, at the same time she is
frantically struggling to deal with the
looming foreclosure on her house and
the squanderings of her unemployed,
drunk husband. As financial ruin closes
in, personal values meet their test.
Grozeva and Valchanov maintain a
seemingly dispassionate air in the face
of their heroine’s escalating desperation,
a distance that only increases their
story’s emotional impact. The Lesson
offers a tough, unsentimental education in the limits of honesty when confronted with brutal economic reality.
New Director Prize, San Sebastian Film
Festival. First feature. (105 mins.)
20 PIFF 38
LIAR’S DICE
THE LIBERATOR
LIFE IN A FISHBOWL
THE LIGHT SHINES ONLY THERE
GEETU MOHANDAS
ALBERTO ARVELO
BALDVIN ZOPHONÍASSON
MIPO O
Part road movie, part slow-burn thriller,
actress Geetu Mohandas’s atmospheric
film examines the ominous under
currents in contemporary working-class
India. Kamala has not heard from her
husband, who is away on a construction
job in the city. Though others in their
rural village near the Tibetan border
know of men who started new families
and never returned, they urge Kamala
to wait to hear from him. She refuses,
setting off with her young daughter
and pet goat on a dangerous and
unprepared for journey to Delhi. Along
the way, they encounter the mysterious
Nawazuddin, who acts as a reluctant
guide and protector to the pair for his
own unclear motives. This year’s
Indian submission for the Best Foreign
Language Film Oscar. In Hindi with
English subtitles. First feature.
(104 mins.)
Arvelo’s lush film tells the epic personal
story of Venezuelan military and political leader Simón Bolívar (1783–1830),
who played a crucial role in freeing
Latin America from the grip of the
Spanish Empire. The caddish aristocratturned-revolutionary fought more than
a hundred battles—never conquering,
but “liberating”—that led to the founding of the first union of independent
nations in Hispanic America. “Bolívar
manages to rile the troops with passionate speeches on freedom, equality,
and dignity—themes that resonate
today be it in Ferguson, Missouri or
Ukraine. . . . The writing here is as
refined as it is moving.”—Los Angeles
Times. In Spanish, English, and French
with English subtitles. This year’s
Venezuelan submission for the Best
(119 mins.)
Director Baldvin ZophonÍasson
explores the roots of the 2008 Icelandic
economic collapse with an emotionallygripping ensemble piece focusing on
the lives of three characters, each leading a surprising double-life and all in
search of redemption: a gifted poet
haunted by his past, a debt-ridden
young mother making ends meet
through illicit ‘moonlighting,’ and a
former soccer star-turned-internationalbanker. In the ‘fishbowl’ of their lives,
they navigate the dark and sharkinfested waters, hoping to survive.
One of the biggest domestic critical
and box-office hits in Iceland, Fishbowl
is this year’s submission for the Best
(130 mins.)
This year’s Japanese submission for
the Best Foreign Language Film Oscar
and the winner of the Best Director
award at the Montreal World Film
Festival, O’s film is set in the grittiest
fringes of Hokkaido, a port town in a
permanent polluted haze. The traumatized Tatsuo spends his days drifting
aimlessly and his nights drinking to
oblivion. At a smoke-filled pachinko
bar, he meets Takuji, a brash blonde
teen parolee, who impulsively invites
him to the seaside hovel she shares
with her bedridden father, careworn
mother, and world-weary older sister
Chinatsu. As Tatsuo and Chinatsu take
tentative steps towards a relationship,
a ray of light in their hopeless world,
the happy go lucky Takuji latches on to
Tatsuo with unforeseen consequences.
(120 mins.)
2/15 6:00PM | CINEMA 21
INDIA
VENEZUELA
ICELAND
2/14 12:30PM | CINEMA 21
JAPAN
in Portland and Shigezo Restaurant.
PIFF 38 21
THE LITTLE HOUSE
YOJI YAMADA
JAPAN
When Takeshi’s unmarried great-aunt
Taki passes away, he goes to her house
with his family to help clean up her
belongings. There, they discover a
memoir that Taki had been writing,
documenting her experiences as
housemaid for the well-to-do Hirai
family during World War II. Compelled
to learn more about his great-aunt,
Takeshi begins to read. As he does, he
discovers the source of the regret and
sadness that Taki had taken with her
to the grave. “In the masterful hands
of Yamada, this simple tale of family
secrets and scandalous love triangles,
adapted from a best-selling novel
by Kyoko Nakamura, is a gorgeously
art-directed melodrama that reveals
a domestic side of nationalistic Japan
rarely seen on screen.”—Japan Times.
(136 mins.)
2/12 8:30PM | CINEMA 21
in Portland.
LIVING IS EASY WITH
EYES CLOSED
THE LOOK OF SILENCE
DAVID TRUEBA
DENMARK/INDONESIA/NORWAY
SPAIN
JOSHUA OPPENHEIMER
Beatles fans will recognize the title
from the lyrics in “Strawberry Fields
Forever,” which John Lennon wrote
while in southern Spain playing a
minor character in Richard Lester’s
anti-war movie How I Won the War.
This event forms the backdrop of
Trueba’s charming road movie about
Antonio, a Spanish schoolteacher who
is also an avid Beatles fan. When he
learns that Lennon is filming in
Almeria, he sets out to meet him.
Along the way he makes friends with
Belen, a 20-year-old pregnant girl
on her way home to her family, and
Juanjo, a teenage boy. Lennon’s words
take on special significance in a story
set in Franco’s Spain. Winner of four
Goya Awards including Best Film and
Best Director and this year’s Spanish
submission for Best Foreign Language
Joshua Oppenheimer follows his
r iveting The Act of Killing (2012), about
Indonesia’s anti-communist massacres
in the 1960s, with this searing companion piece. Here, focus shifts from
the perpetrators to their victims, who
decades later seek closure for family
members. We accompany Adi, a middleaged optician caring for his centenarian
parents, as he sets out to confront his
older brother’s killers. While he probes
former death-squad leaders about their
roles and revisits the scenes of the
crimes, their denial that the killings
even occurred proves challenging.
In pressing perpetrators to confess,
Oppenheimer exposes the high level
of accepted misinformation about the
politics, participants, and events that
occurred, which are rapidly being
erased from cultural memory. In
Indonesian and Javanese with English
2/6 6:00PM | CINEMA 21
2/8 9:00PM | CINEMA 21
Sponsored by Sierra Nevada Brewing.
THE MAFIA ONLY KILLS
IN SUMMER
PIF
ITALY
Pierfrancesco Diliberto (a renowned
TV host and political comedian), better
known as Pif, wrote, directed, and
stars in this subversive, irreverent
feature debut about Arturo, a young
boy whose obsession with the Mafia’s
casual presence in his city surpasses
even his passion for Flora, the beautiful
schoolmate who remains his main
love interest until adulthood. Pif uses
Arturo’s unrequited love story as the
vehicle to narrate the most tragic
events in Italy’s recent history, starting
with the Cosa Nostra’s criminal actions
in Sicily in the ’70s, which soon spread
through the country. A brave and intelligent dark comedy with a powerful
message, Italian Senate President Pietro
Grasso referred to the film as the best
one the Mafia ever made. (90 mins.)
2/15 3:30PM | CINEMA 21
2/17 6:00PM | CINEMA 21
Sponsored by Hotel Modera.
22 PIFF 38
MAGICAL GIRL
CARLOS VERMUT
SPAIN
In this dark and offbeat social satire,
Alicia, a 12-year-old dying girl, asks
her father Luis to buy her a wildly
expensive gift: the dress of anime
character “Magical Girl Yukiko,” once
worn by a Japanese pop star. Fate puts
Luis in the path Bárbara, a deeply
unstable married woman, and Damian,
a retired teacher with a troubled past.
Bárbara, Luis, and Damian are thrown
into a world of blackmail that will
change their lives forever. “A noirish
social critique . . . the dangerous interaction between money and emotion,
which feels authentically independent,
the sideways slant of its director’s
vision continually shifting the viewer
out of the comfort zone.”—The Hollywood
Reporter. Best Film, Best Director, San
Sebastian Film Festival. (127 mins.)
MAGICIAN:
THE ASTONISHING LIFE AND
WORK OF ORSON WELLES
MAIDAN
MARIE’S STORY
SERGEI LOZNITSA
JEAN-PIERRE AMÉRIS
CHUCK WORKMAN
Loznitsa, whose My Joy and In the Fog
have screened in recent PIFFs, brings
his distinctively vision to a remarkable
eye-witness account of the protests in
Kiev’s Independence (Maidan) Square,
which led to the departure of pro-
Russian president Viktor Yanukovych.
Filmed between December 2013 and
February 2014 in long, fixed-point
takes, we watch the ebb and flow of
actual events, from celebration and
community to violent conflict with
armed riot police. Without commentary
and only occasional identifying intertitles, Loznitsa paints a timeless portrait
of protest and change that will grip
anyone interested in what it takes to
stand for change. “This stunning, epicscaled film harkens back to the heroic,
journalistic roots of documentary-
making and yet feels ineffably modern
and formally daring.”—Film Comment.
(133 mins.)
Inspired by the life of Marie Heurtin,
Marie’s Story is a playful, inspirational, and moving emotional journey
between teacher and student set in
the 19th century French countryside.
Fourteen-year-old Marie arrives at a
school for deaf girls run by Catholic
sisters. Born deaf and blind and
trapped ever since in a world of darkness and silence, she is, at first, wild,
disheveled, and nearly unreachable.
But the idealistic Sister Marguerite
feels a deep and instant need to free
her from her sensory prison. Featuring
fierce performances by newcomer
Ariana Rivoire as the courageous
young woman struggling to connect
to the world and Isabelle Carré as her
idealistic mentor, Améris has fashioned
a story that awakens the heart and the
senses. (95 mins.)
US
“Oscar-winner Chuck Workman’s
(famed for his Academy Award clip
montages and iconic trailers) impressive, comprehensive documentary tells
the tragic, extraordinary story of Orson
Welles, a great filmmaking genius
whose masterpieces were interspersed
with films compromised by studio
intervention or never completed at all.
Workman tells Welles’s story through a
wealth of interviews with the director
and actor, an impressive assortment of
clips, and testimonies by luminaries
including Martin Scorsese, Peter
Bogdanovich, George Lucas, Walter
Murch, and Steven Spielberg.”—Telluride
Film Festival. (94 mins.) Short:
LUCINDA PARKER:
WATER AND CLOUDS
MICHAEL ANNUS | OREGON
Portland painter Lucinda Parker’s poetic
works emerge from her fascination with
clouds and water. (21 mins.)
UKRAINE
FRANCE
PIFF 38 23
MATEO
MR. KAPLAN
NUOC 2030
ON THE WAY TO SCHOOL
MARIA GAMBOA
ÁLVARO BRECHNER
NGHIEM-MINH NGUYEN-VO
PASCAL PLISSON
Sixteen-year-old Mateo works with his
uncle extorting local small business
owners and is about to be expelled
from school. The only way he can save
himself is to join a theater group led by
the town’s priest. Mateo’s uncle views
this as an opportunity for Mateo to spy
on the priest, who is extolling people
to resist the extortion and the gangs
of kids involved in petty crime. To his
uncle’s surprise, Mateo begins to enjoy
the eccentric bunch of performers and
begins to fall for star pupil Ana. Trapped
between two worlds, Mateo must
choose which path he really wants.
This heart-warming, inspirational
drama exploring the true power of the
arts is this year’s Colombian submission for the Best Foreign Language
Film Oscar. (86 mins.) Ages 13+.
Jacob Kaplan lives an ordinary life in
Uruguay. Like many of his other Jewish
friends, Jacob fled Europe for South
America during World War II. But now
turning 76, he’s become grumpy and
fed up with his life, community, and
his family’s lack of interest in its own
heritage. When a quiet, elderly German
raises Mr. Kaplan’s suspicions of being
a runaway Nazi, he ignores his family’s
concerns and secretly recruits Contreras,
a former police officer, to help him
investigate. Together, they try to repeat
the historic capture of Adolf Eichmann
by unmasking and kidnapping the
German and secretly taking him to
Israel. Brechner’s entertaining black
comedy is this year’s Uruguayan submission for the Best Foreign Language
Nuoc 2030 is set in a near-futuristic
Vietnam, where a beautiful coastal
region has been flooded as a result
of global warming and multinational
corporations compete to build floating
vegetable farms. Forced by the rising
waters to live their own tenuous floating existence, Sao and her husband
Thi survive in the primal tradition of
fishing in the now the over-harvested
waters and collecting rainwater to
drink. But tragedy strikes, leaving
Sao alone to solve the mystery of Thi’s
unfortunate and suspicious demise.
This poetic film is at once a dystopian
sci-fi fable, an eco-thriller, and a lovestory, evocatively conveyed through
lush and lyrical panoramic visuals
and beautiful underwater sequences.
(98 mins.)
2/14 9:00PM | CINEMA 21
Plisson’s César-winning documentary
extols the true worth of getting, and
getting to, an education. Shot in Kenya,
Patagonia, Morocco, and the Bay of
Bengal, the film follows the perilous
journeys of four children on their ways
to school: Jackson crosses the savannah
on foot, avoiding elephants; Carlito
rides on horseback across lonely plains
and rushing rivers; Zahira treks over
treacherous Atlas Mountain passes;
Samuel, in his antediluvian wheelchair, is pushed by his brothers over
sand dunes and through swamps.
While the breathtaking cinematography
reveals the splendor of their homelands
and the dangers of these voyages keep
you on the edge of your seat, at the
heart is the children’s resilience and
their unstoppable yearning to learn
and improve their lives. (77 mins.)
Ages 10+.
COLOMBIA
URUGUAY
VIETNAM
FRANCE
Sponsored by The World Affairs Council of Oregon,
the Consulate General of France and French
American Cultural Society, San Francisco, and
TV5Monde.
24 PIFF 38
PARADISE
PHOENIX
THE PRESIDENT
QUOD ERAT DEMONSTRANDUM
MARIANA CHENILLO
CHRISTIAN PETZOLD
MOHSEN MAKHMALBAF
ANDREI GRUZSNICKI
A touching comedy about how true
beauty comes from the inside and how
paradise is closer to home than you
might think. Carmen and Alfredo live
a happy, quiet life in the suburbs surrounded by friends and family. After
Alfredo receives a promotion, the two
move away to Mexico City where they
immediately feel the social pressure of
being overweight in a bustling metropolis full of beautiful people. Taking
the initiative, Carmen convinces her
husband to join her in losing weight,
but their relationship is put to the test
when Alfredo’s program yields far better
results than Carmen’s. Paradise is a
romantic comedy at heart that offers
compelling commentary on the pressure
that people—especially women—
receive from society to be thin at all
costs. (105 mins.)
Petzold’s riveting film follows Nelly
(Nina Hoss), a concentration camp
survivor returning to Berlin, in her
search for Johnny (Ronald Zehrfeld),
the husband she still loves who may or
may not have betrayed her to the Nazis.
Set in the period immediately following the war that gave rise to the
Trümmerfilm (literally “rubble film”)
—or “After the Camp,” as Petzold puts
it—Phoenix is an engrossing reflection
on the postwar reconstruction of identity couched as a noirish thriller of
mistaken identity. Co-written with the
late writer/artist Harun Farocki, it is a
precisely crafted chamber piece, resonant and gripping, softly building up
to knock-out finale. “The final scene,
without spoiling anything, is a movie
moment for the ages.”—Roger Ebert.
com. (98 mins.)
In this dark satire, The President and
his family rule their land with an iron
fist, enjoying lives of luxury and leisure
at the expense of their population’s
misery. When a coup d’état overthrows
his brutal rule and the rest of his family
flees, The President is suddenly left to
care for his young grandson and is
forced to escape. Now the country’s
most wanted fugitive with a bounty on
his head, they crisscross the country to
reach a ship waiting for them. Posing
as street musicians and traveling
together with the people who suffered
for years under the dictatorship, they
are exposed first hand to the hardships
that inspired unanimous hatred for
the regime. Best Film, Chicago Film
Festival. (115 mins.)
2/8 4:00PM | CINEMA 21
The story of the man on the edge
becomes a film about people who are
at crossroads. Set in Romania, 1984, a
mathematician’s decision to publish a
paper in a magazine, edited by an
American university and not asking for
the authorities’ permission, triggers a
chain of events that will change his
friends’ lives. After all, decisions with
no consequences do not exist. What
follows is a tense story of paranoia and
betrayal—skillfully shot in black and
white with remarkable attention to
period details—in which the issues
explored are anything but black and
white. “The film tries to reproduce the
nostalgia and immobility of those
years.”—Andrei Gruzsnicki. “The
v illains here are sincere, hard-working
bureaucrats, and their victims are
f requently confused or duplicitous.”
—New York Times. (107 mins.)
MEXICO
GERMANY
Sponsored by Zeitgeist Northwest and the
Oregon State University Language Department.
GEORGIA/FRANCE
ROMANIA
2/16 3:00PM | CINEMA 21
Sponsored by the Romanian American Society.
PIFF 38 25
R100
RED ARMY
ROCKS IN MY POCKET
A SECOND CHANCE
HITOSHI MATSUMOTO
GABE POLSKY
SIGNE BAUMANE
SUSANNE BIER
From the director of Big Man Japan
comes this edgy, absurd, and whipsmart dark comedy, featuring the best
use of Beethoven’s “Ode to Joy” since
Kubrick’s A Clockwork Orange. Facing
down potential familial tragedy, a
lonely man named Takafumi explores
the edges of his own repressed sexual
desire by hiring the services of a secretive S&M club. Without any warning, a
leather-clad dominatrix may appear at
any time or place and humiliate and
beat him to gratification. All the while,
our quiet department store clerk struggles to balance fatherhood, work, and
the need to not be caught. Writerdirector Hitoshi Matsumoto intercuts
the action with a hilariously meta,
film-within-a-film critique that continually questions our hero’s onscreen
choices and the very scenario upon
which the plot hangs. (100 mins.)
Whether or not you know anything
about hockey, or US-Soviet cold war
history, you’ll be entertained by
Polsky’s fascinating story of the intersection of sports and politics. Played
out on Olympic ice, Red Army chronicles the rise and fall of the dynastic
Soviet Army Hockey Team, revisiting
the era using an incredible collection
of archival material from both sides of
the Iron Curtain. Featuring revealing
commentary from the players themselves, including one of Russia’s greatest players Slava Fetisov, the film skillfully balances the personal and political
drama behind one of hockey’s greatest
stories, revealing the thin line between
national hero and political enemy. “[A]
stirring, crazy story—a Russian novel
of Tolstoyan sweep and Gogol-esque
absurdity.”—The New York Times.
In English and Russian with English
Latvian-born, New York-based animator
Signe Baumane’s charming film is a
witty and moving examination of the
director’s battle with depression, narrated by Baumane herself. Combining
both papier-mâché stop-motion and
hand-drawn animation, the film is
also a history of her family and how
their lives have been touched by the
sting of depression. “People assume one
makes a personal film to get rid of one’s
own demons . . . as some kind of psychotherapy. I make films to entertain,
to engage people in a conversation, at
times provoke—but mainly to offer my
point of view on the world”—Signe
Baumane. “Sharp, surprising, Funny
. . . Remorseless psychological intelligence, wicked irony, and an acerbic
sense of humor.”—New York Times.
This year’s Latvian submission for Best
Foreign Picture Oscar. First feature.
(88 mins.)
On what initially appears to be a
routine police raid, partners Andreas
and Simon encounter low-life junkie
Tristan. Knowing his history of domestic
violence, Andreas is understandably
unsettled to find Tristan living with
another vulnerable woman. Fears
worsen when he discovers their young
baby locked away in a cupboard, crying
and clearly neglected. A recent father
himself, Andreas becomes fixated on
safeguarding the child. It soon borders
on obsession, dangerously blinding
him to very real problems within his
own family life. “A Second Chance is
an intense personal drama about what
happens when vulnerable people are
forced into circumstances beyond their
control; about how we aren’t as immune
to chaos as we like to think; and about
the secrets harbored by those closest
to us.”—Susanne Bier. (105 mins.)
2/14 3:30PM | CINEMA 21
Sponsored by SP Newsprint.
Sponsored by LAIKA.
JAPAN
Sponsored by Yelp!
US
LATVIA/US
DENMARK
26 PIFF 38
SECRETS OF WAR
SEYMOUR: AN INTRODUCTION
SORROW AND JOY
STATIONS OF THE CROSS
DENNIS BOTS
ETHAN HAWKE
NILS MALMROS
DIETRICH BRÜGGEMANN
During World War II, everyone had to
keep secrets to survive, but at what
price? Lambert and Tuur, two 12-yearold boys living in a small village in
Nazi-occupied Holland, share a strong
friendship. But even this bond is put at
risk with the arrival of a lively young
girl named Maartje, carrying with
her a heavy secret about her past. As
Tuur and Maartje become close, the
estranged Lambert grows increasingly
jealous and acts irrationally, exposing
Maartje’s secret with far-reaching consequences that are beyond his understanding. The danger and the humanity of wartime friendships asks three
children to find maturity far beyond
their years. Winner, Best Live Action
Feature, Chicago International
Children’s Film Festival. In Dutch with
English subtitles. (95 mins.) Ages 10+.
This intimate portrait of classical
pianist, composer, author, teacher, and
sage Seymour Bernstein offers a wise
and charismatic reflection on art and
life. The question “why make art?”
winds its way through the film in conversations with accomplished friends
such as art critic Michael Kimmelman
and religious scholar Andrew Harvey.
Seymour also reflects on the careers of
such pianists Glenn Gould and Clifford
Curzon, seen in archival footage, and
his deep love of piano music proves
infectious. “Calling to mind My Dinner
With Andre, his film is full of urbane
conversation and infused with the
sophisticated rhythms of New York
City. Whether aficionados or newcomers
to the world of classical music, viewers
will find much to gain from this introduction to Seymour.”—Toronto Film
Festival. (81 mins.)
In Malmros’s moving autobiographical
film, a meditation on the limits of
human law and the infinite possibilities
of kindness, Johannes, a filmmaker,
is married to Signe, a schoolteacher.
Together, they experience the biggest
sorrow and misfortune one can ever
imagine. When Johannes returns from
a trip, he discovers that Signe—not out
of spite or hate but out of a sense of
despair and loneliness and psychosis—
has killed their infant child during a
psychotic fit. Johannes doesn’t judge
her but tries to come to grip with all
the ways he has failed her without ever
meaning any harm. Her students and
their parents want her back, and only
the State and its representatives need
to be convinced that society needs this
woman. This year’s Danish submission
for the Best Foreign Language Film
Oscar. (107 mins.)
Devout teenager Maria and her family
belong to the ultra-conservative
Society of St. Paul. Maria is intent on
walking a godly path, and yet she has
questions. Why would God give her
brother a learning disability? Why
does her mother forbid her from seeing
a boy from a different church? As the
contradictions of devout faith and
modern life multiply, Maria eschews
the easy way out and chooses to follow
the hardest road of all—that of the
savior, with all the pain and sacrifice it
may entail. Told in single-shot tableaux
that parallel Christ’s journey to his own
crucifixion, Brüggemann’s provocative
film serves as both an indictment of
fundamentalist faith’s inflexibility and
an exploration of one impressionable
teen’s struggle to find her own path in
life. (107 mins.)
THE NETHERLANDS
2/15 1:00PM | CINEMA 21
US
DENMARK
Sponsored by the Scandinavian Heritage Foundation
and the ScanDesign Foundation.
GERMANY
PIFF 38 27
STOP THE POUNDING HEART
SUNSHINE SUPERMAN
THE THIRD SIDE OF THE RIVER
TIMBUKTU
ROBERTO MINERVINI
MARAH STRAUCH
CELINA MURGA
ABDERRAHMANE SISSAKO
Blurring the line between documentary
and fiction, Italian director Roberto
Minervini’s absorbing film is a portrait
of adolescence as experienced by a
sheltered girl in a conservative farm
family in rural Texas. Without condescension or judgment, we see life
through the eyes of 14-year-old Sarah,
who is homeschooled alongside her 11
other siblings by her loving mother but
destined for a life of serving her husband as prescribed in the Bible. As she
falls for a boy from a vastly different
background, an intimate drama unfolds
revealing Sara’s turmoil about her
place in a faith where women are subservient. A portrait of contemporary
American life not often seen, Minervini’s
film was the Best Documentary winner
at the David di Donatello (Italian
Oscar) Awards. (101 mins.)
After graduating from USC and a stint
as an engineer, Carl Boenish devoted
himself to “freefall cinematography”
(John Frankenheimer’s The Gypsy
Moths). He and his wife Jean became
the prime movers in BASE jumping—
the act of leaping from Buildings,
Antennas, Spans (bridges), and Earth
(i.e., sheer cliffs) before hopefully
saving yourself from a bad ending with
a parachute. To some, the idea is madness if not suicide, but for the Boenishes
it was about the essence of life, of freedom, and the experience of defying
gravity. Strauch’s exhilarating film
tells their incredible story, not only
in words, but in breathtaking deed.
Sunshine Superman is a love story—
about what it feels like to fall, first
uncontrollably, then willingly, and
then finally ecstatically. First feature.
(96 mins.)
Seventeen-year-old Nicholas’s father is
a respected doctor, but he lives a double
life: one, seemingly harmonious, with
Nico and his mother and siblings; and
the other, mere blocks away, with his
second family—with whom he spends
most of his time and the bulk of his
money. The titular third side of the
river refers to a sort of purgatory or
limbo, effective imagery for Nicholas,
who, torn between protecting the family
he loves and choosing his own future,
becomes tormented by a tension so
tightly wound it threatens to become
explosive. Executive produced by
Martin Scorsese and winner of the
Special Prize of the Jury at the Cartagena
Film Festival, The Thrid Side of the
River is a devastating drama of family
duty and duplicity. (92 mins.)
Not far from Timbuktu, now ruled
by religious fundamentalists, mild-
mannered herdsman Kidane lives
peacefully in the dunes with his wife
and daughter. In town, the people suffer, powerless, from the regime of terror
imposed by the Jihadists; music, laughter, cigarettes, even soccer have been
banned. Every day, the new improvised
courts issue tragic and absurd sentences,
and when Kidane accidentally kills a
neighbor, he is forced to confront the
chaos head on. Set in the early days of
the jihadist takeover of northern Mali
in 2012, Sissako’s drama delivers a
warm and often humorous condemnation of religious intolerance. This
year’s Mauritanian submission for the
Best Foreign Language Film Oscar.
In French, Arabic, and Bambara with
English subtitles. (97 mins.) Ages 13+.
ITALY/BELGIUM/US
2/16 6:00PM | CINEMA 21
US/NORWAY/UK
2/7 6:30PM | CINEMA 21
Sponsored by Hotel deLuxe and Sierra Nevada
Brewing.
ARGENTINA
MAURITANIA
28 PIFF 38
TODAY
THE TRIBE
TU DORS NICOLE
UNDERDOG
REZA MIRKARIMI
MIROSLAV SLABOSHPITSKY
STÉPHANE LAFLEUR
RONNIE SANDAHL
Writer-director Mirkarimi provides a
detailed, emotional snapshot of two
individuals struggling for genuine
connection: an aging taxi driver and a
young woman coping with the struggles of being pregnant without a man.
In the middle of a bustling Tehran
afternoon, Youness is accosted by a
desperate new fare: a frantic young
woman named Sedigheh, begging to
be taken to the hospital. A man of few
words, Youness retains his stoic composure despite the young woman’s
v isible distress. Upon their arrival at
the hospital he reluctantly escorts her
inside in the absence of accompanying
family members. As personal secrets
are revealed throughout the night,
his silent compassion and Sedigheh’s
timid dependence will entwine. This
year’s Iranian submission for the Best
Foreign Language Oscar. In Persian
with English subtitles. (87 mins.)
Winner of the Critics Week Grand Prize
at the Cannes Film Festival, the astonishing The Tribe uses only sign language
and the actors’ body language to propel
the tense drama. Somewhere in
Ukraine, Sergey enters a specialized
boarding school for the deaf. He quickly encounters the Tribe, a student gang
dealing in crime and prostitution.
After passing their hazing rituals and
being inducted into the group, he takes
part in several robberies, works his
way up, and becomes pimp/protector
for two girls who turn tricks at the
local truck stop. Finding himself in
love with one of them, Sergey ultimately
breaks other unwritten rules, with
tragic consequences. “An unforgettable
cinematic experience, from its epic,
wordless opening shot to the brutal
finale.”—AFI. First feature. (132 mins.)
Adult.
Infused with absurdist humor and a
sense of ennui, Lafleur’s film hones
in on young adults at existential crossroads. Twenty-something Nicole is
adrift after college, working a dead-end
summer job in her small Quebec hometown and spending evenings with her
best pal, Véronique. When her older
brother Remi unexpectedly returns
with his bandmates in tow, disrupting
the girls’ wheel-spinning summer, it
becomes clear to Nicole that something
must—and will—change. Shot in luminous black and white and infused with
a sultry melancholy, Tu Dors Nicole
captures that liminal stage where the
fading yet familiar attachments of
youth still seem far more appealing,
precious, and real than the limitations
of the grown-up world. In French with
Dino, a young Swedish girl, has fled
Sweden’s mass unemployment for better
fortune in Oslo. But like many other
young immigrant Swedes, she finds
herself an outcast and barely surviving
on irregular work and hard partying.
When she lands a job as a housekeeper
in an upper middle-class Norwegian
household she is thrown into a life
very far from her own. During a few
sultry summer weeks she ends up in
the center of an odd love triangle and
an unpredictable struggle for affection
and dominance. Underdog is both a
tender story of privilege and longing
and a humorous recognition of the
shifted power balance between Sweden
and Norway—a reality in which Swedes
have become Norwegians’ servants.
First feature. (100 mins.)
IRAN
UKRAINE
2/6 8:45PM | CINEMA 21
CANADA
2/7 1:30PM | CINEMA 21
SWEDEN
2/10 8:30PM | CINEMA 21
Sponsored by Scandinavian Heritage Foundation.
PIFF 38 29
WAITING FOR AUGUST
WHAT WE DO IN THE SHADOWS WHITE GOD
A WOLF AT THE DOOR
TEODORAH MIHAI
JEMAINE CLEMENT
TAIKA WAITITI
KORNÉL MUNDRUCZÓ
FERNANDO COIMBRA
Man’s best friend becomes his worst
nightmare when war breaks out
between humans and dogs. After teenage Lili’s father decides to abandon her
dog Hagen on the street, we follow the
lost canine as he tries to find his way
home, making friends with fellow
strays and evading the relentless
dog-patrol only to be captured by an
organizer of dog fights. Hagen is put
through the brutal torture of being
trained as a fighting dog, driving him
past sanity and spurring him to lead
his fellow dogs in a revolt against their
oppressors. An ambitious morality play
of epic impact featuring the most stunning performances by dogs (250) you
will ever see, White God screened in
Un Certain Regard program at Cannes,
where it came out top dog. “The movie
takes a leap into bold political metaphor, offering up a memorable image
of the great unwashed gone (literally)
barking mad.”—New York Times.
(119 mins.)
Set in the suburbs of Rio de Janeiro,
A Wolf at the Door opens with a mother
arriving to pick up her young daughter
at school, only to learn that the girl
already left with another woman.
A parent’s worst nightmare takes
increasingly sinister turns as it delves
into the events that led to the girl’s
kidnapping, the story morphing into
an intense psychological drama of lust,
betrayal, and revenge told through
flashbacks revealing a marriage on the
verge of crumbling and a secret, erotic
affair. Director Fernando Coimbra has
described his inventive, neo-noir
thriller as a modern-day variation on
Medea, which provides a hint on where
the riveting story heads. Best Film, Rio
de Janeiro Film Festival and Best First
Film, Havana Film Festival. First feature.
(100 mins.)
BELGIUM/ROMANIA
Georgiana Halmac is about to turn 15.
She lives with her six brothers and
sisters in a social housing condo on
the outskirts of Bacau, Romania. When
their mother Liliana is forced to leave
the family to work in Italy, Georgiana
is abruptly catapulted into the role of
the head of the family, and her adolescence is cut brutally short. History is
repeating itself in Romania, says the
filmmaker Mihai, who as a child saw
her parents flee the Ceauşescu regime,
leaving her behind until they could
send for her. Referred to as the “home
alone generation,” children today are
being left behind due to economic
migration as people are forced to leave
the country annually to work abroad.
Best Documentary, Karlovy Vary
International Film Festival. First feature.
(88 mins.)
NEW ZEALAND
Winner of the People’s Choice Award at
the Toronto International Film Festival,
this laugh-filled salute to the mocumentary form and monster movie genre
offers a clever salute to pop vampire
myths. Viago, Deacon, Vladislav, and
Peter are four vampires—each from a
different historical time and place—
sharing a house in Wellington, New
Zealand and trying to balance being
undead with the most basic everyday
problems. None of them are quite
equipped to deal with the modern age,
leading to hilarious encounters with
potential victims, other creatures of
the night, and modern technology.
As a documentary film crew follows
them round, we learn about each of
their histories and what it means to
be hundreds of years old in the 21st
century. (86 mins.)
2/13 8:45PM | CINEMA 21
Sponsored by Ace Hotel.
HUNGARY
2/13 5:45PM | CINEMA 21
BRAZIL
2/7 4:00PM | CINEMA 21
30 PIFF 38
WYRMWOOD
XENIA
A YEAR IN CHAMPAGNE
KIAH ROACHE-TURNER
PANOS H. KOUTRAS
DAVID KENNARD
Routine family life comes to an abrupt
end for outback mechanic Barry, who,
armed with a nail gun, finds little
comfort in having resisted an airborne
contagion that’s kicked off an
Australian zombie apocalypse. Quickly
joining forces with other survivors, he
and his merry band of zombie slayers
hit the road looking to rescue his punk
rock sister from the hands of the
sadistic, gas-mask wearing government
officials who have kidnapped her.
Harvesting more than a smidgeon of
that old Mad Max energy, first-time
feature director Roache-Turner pushes
this tale of the walking dead into audacious new territory, producing a zombie
comedy with visual thrills reminiscent
of the best early work by Peter Jackson
and Sam Raimi. (98 mins.)
After the death of their Albanian mother,
two brothers—the younger Dany, a
flamboyantly gay teen, and the elder
Ody (short for Odysseas), a hunky
aspiring singer—set out on a road trip
from Crete to Thessaloniki to find their
long-lost, reputedly rich Greek father.
The plan is to sort out their citizenship
and then get Ody an audition for a TV
singing contest (think “Greek Idol”)
and a shot at stardom. The two brothers experience their share of hassles
along the way, but also benefit from
xenia—the warm hospitality and kindness of strangers. Dreamy fantasy
sequences and classic euro disco enliven
a quirky, campy romp that tackles
recession, homophobia, immigration,
and fraternal bonding. In Greek,
Albanian, and Italian with English
Only sparkling wine produced within
the boundaries of the Champagne
region is truly “Champagne.” Wine
importer Martine Saunier leads us on a
tours of six Champagne makers to see
how they make their product, from
small independent producer SaintChamant to the illustrious houses of
Gosset and Bollinger. Most Champagne
is not just the product of a specific
year and Signature house styles are
creations that happen behind closed
doors and in the miles of cellars
beneath the countryside. Pull back the
curtain and see how the people of a
cold, tough land with a grim history of
wars and conflict triumph in producing
the drink of joy, seduction, and celebration. In Champagne, they don’t sell
Appellations, they sell Brands, many of
which have been famous for 200 years.
In English and French with English
AUSTRALIA
Sponsored by Yelp!
GREECE
Sponsored by Hotel Modera.
US/FRANCE
Sponsored by TV5Monde and King Estate Winery.
YVY MARAEY,
LAND WITHOUT EVIL
JUAN CARLOS VALDIVIA
BOLIVIA
Valdivia’s lyrical and philosophical
road movie provides a journey not to a
destination, but to a deeper understanding of memory and identity. Using
a 1911 Swedish ethnographic film as a
starting point, a Bolivian filmmaker
(Valdivia) and a Guaraní guide travel
together through the forests of southeastern Bolivia to make a film about
the Guaraní people. Each man creates
and interprets his own character,
walking the thin line between documentary, fiction, and performance.
The journey not only takes them to the
interior of the country, but to their own
inner selves, as they seek to define
their identities within a country undergoing enormous social, political, and
historical change framed by colonial
legacy and the epic history of an indigenous people. (107 mins.)
JOIN OUR LEARNING COMMUNITY
+
iFilmmaking Series
get creative with
your i-device
+
Digital Storytelling
4-session class
starts February 24
+
Spring Break
Film Camps
for kids + teens
934 SW Salmon | 503 221 1156 | nwfilm.org/school
32 PIFF 38
SHORTS CUTS I:
INTERNATIONAL TIES
2/7 1:30 PM | WHITSELL AUDITORIUM
ME + HER
JOSEPH OXFORD | US
When Jack and Jill of Cardboard City are
separated by Jill’s untimely death, Jack
goes on an animated journey to mend his
(literally) broken heart. (13 mins.)
LOS ROSALES
DANIEL FERREIRA | ITALY
A humble and solitary robot is stuck in
a repetitive life, turning wheels and cogs
all day to produce his only means of
survival—until he finds a way to feed his
heart instead. (10 mins.)
TOTAL RUNNING TIME: 76 MINS.
SHERLOCK HOMELESS
Tallboy Tarrance lacks a home and traditional charm, but has a knack for solving
mysteries. (5 mins.)
ROUGHSTOCK
JESSICA BACLESSE | PORTLAND
An injured rodeo star must juggle his
dreams with his responsibilities. (14 mins.)
MORGAN KNIBBE | THE NETHERLANDS
On 3 October 2013, a boat carrying 500
Eritrean refugees sank off the coast of the
Italian island Lampedusa. Abraham, one of
the survivors, walks through a graveyard
of shipwrecks and vividly remembers the
nightmarish experience. (15 mins.)
NOT IT
PABLO ORTA | MEXICO
AMERICAN GLADIATORS
MONKEY
Jean’s little sister, Mae, may be gravely ill,
but Jean is sick of it. (11 mins.)
This surreal portrait follows a lost soul
navigating ghostly landscapes by motorcycle
in search of shelter from a vicious storm.
(15 mins.)
FÁUSTON DA SILVA BRAZIL
|
The improbable meeting between Lucas
and Nietzsche will be the beginning of a
violent revolution. (15 mins.)
Sidney’s wife brings a monkey home to live
in a giant cage in the middle of their living
room, but an aggressive territorialism
quickly develops. (5 mins.)
AUSTIN WILL | PORTLAND
MY FRIEND NIETZSCHE
SHIPWRECK (THE NETHERLANDS)
THE FRAMER
DAN SADOWSKY | PORTLAND
Portland’s Peter Murdoch builds picture
frames that are themselves works of art.
(3 mins.)
PATRICK CEDERBERG CANADA
|
A relationship steeped in social media and
told through the lens of Noah’s computer
screen. (18 mins.)
BOTTLE NECK
JOANNA PRIESTLEY | PORTLAND
MY FRIEND NIETZSCHE (BRAZIL)
VANESSA RENWICK | PORTLAND
A point of merge at a busy traffic artery
demonstrates a curious human tendency
to cooperate. (7 mins.)
LONG WAY GONE
An afternoon with a group of young boys
who draw straws to see who will perform
a grim task. (5 mins.)
LAYOVER
Swirling in flight, the Vaux’s Swifts layover
for three weeks in Portland each fall on
their migration to South America. (6 mins.)
MATT CHRISTY | EUGENE
ME + HER (US)
MYCHAL SARGENT, MATT CORNELIUS
| EUGENE
INVISIBLE SAILS
MICHAEL ANNUS | PORTLAND
SHIPWRECK
NOAH
SHORT CUTS 2:
MADE IN OREGON
Still life silhouettes, abstract shapes, and
complex, interlocking patterns renovate the
commonplace objects of a classical painting
genre in a modern setting. (3 mins.)
LARA GALLAGHER | PORTLAND
A YEAR & A DAY
PAM MINTY | PORTLAND
A series of images of Bond Butte taken each
month over the course of a year precede a
series of the same butte taken hourly on
June 21, 2014. (2 mins.)
MELVIN THE BIRDER
DAVID EMMITE, SPENCER LOTT
| PORTLAND
Melvin is a lonely fellow who is obsessed
with capturing every species of woodpecker
known to man. (5 mins.)
THE PUNISHING BUSINESS
HEATHER HARLOW | PORTLAND
Life isn’t easy for Ellen, her parole officer,
or her developmentally disabled neighbor.
(19 mins.)
Sponsored by Pond5 and the Governor’s Office of
Film and Television. Join us for a reception following
the screening, sponsored by Pond5.
PIFF 38 33
SHORT CUTS 3:
INTERNATIONAL TIES
PONY PLACE
JOOST REIJMERS | THE NETHERLANDS
When young Emma is prohibited from
taking her iPad on holiday, she asks her
grandma to look after her digital horse
farm. Koba is a seasoned agrarian, but
nothing she learned in the garden prepares
her for this leap across the generation gap.
(10 mins.)
THE PHONE CALL
THE QUEEN
MANUEL ABRAMOVICH | ARGENTINA
Memi is 11-years-old and is going to be the
queen of the carnival. Her elaborate headpiece is too heavy, but she looks so pretty.
(19 mins.)
SHORT CUTS 4:
FRESH FRENCH SHORTS
AÏSSA
CLÉMENT TRÉHIN-LALANNE | FRANCE
HIPOPOTAMY
PIOTR DUMALA | POLAND
Naked women and children are bathing
in a river. They are being secretly observed
by a group of men who decide to approach
them in a violent manner, as if inspired by
the behavior of hippopotamuses. (13 mins.)
MATT KIRBY | UK
Aïssa is Congolese, residing illegally in
France. She claims to be a minor, but the
authorities believe she is over 18, which
means she could be deported. In order to
establish whether or not she can remain in
the country, a doctor gives her a physical
examination. (9 mins.)
5 METERS 80
NICOLAS DEVEAUX | FRANCE
When a shy lady (Sally Hawkins) who
works in a suicide helpline call center takes
a phone call from a distraught man (Jim
Broadbendt), she has no idea that the
encounter will change her life forever.
(19 mins.)
This delightful animated fantasy pairs
animal life with an aquatic sport to
beguiling effect. (5 mins.)
SYMPHONY NO. 42
It’s the middle of WWII and inhabitants
of a remote Pacific island are captivated by
mysterious cargo gods who appear to drop
good fortune by the crateful. Inspired by
true events. (12 mins.)
CARGO CULT
BASTIEN DUBOIS | FRANCE
RÉKA BUSCI | HUNGARY
A series of surreal and comedic vignettes
exploring the often-anthropomorphising
nature of human/animal interaction; set in
a strange forest where anything is possible.
(10 mins.)
A TROPICAL SUNDAY
THE RUNAWAY
JEAN-BERNARD MARLIN | FRANCE
Laktar, a youth worker in a home for juvenile deliquents in Marseille, accompanies
Sabrina, one of his wards, to court where
she will be tried for an earlier crime. He
sets off confidently, convinced that their
efforts will be rewarded. (22 mins.)
OGRE
JEAN-CHARLES PAUGAM | FRANCE
A house on the beach. Inside, an overweight man remains confined, observing
from behind his curtains the young girls in
their swimsuits. He waits for the night.
(15 mins.)
MILLIONAIRES
STÉPHANE BERGMANS | BELGIUM
All her life, Christian and Ludo’s mother
played the same numbers in the lottery but
never won a single penny. After her death,
the two brothers decide to continue the
family tradition. (16 mins.)
Sponsored by Alliance Française and the Consulate
General of France and French American Cultural
Society, San Francisco.
MR HUBLOT
A TROPICAL SUNDAY (MOZAMBIQUE/ITALY)
FABIAN RIBEZZO | MOZAMBIQUE/ITALY
It’s Sunday and crowds of eager children
line up for rides at the fairground. Among
them are four street kids who have spent
the week begging and scavenging. Today,
all they want is to feel like children again.
(15 mins.)
LAURENT WITZ | FRANCE/LUXEMBOURG
Mr. Hublot finds his reclusive life turned
upside down when he overcomes personal
obstacles to do a good deed. (12 mins.)
THE AUDITION
PIERRE NINEY | FRANCE
François, a young actor, goes to a casting
call that proves surprising. (14 mins.)
THE QUEEN (ARGENTINA)
5 METERS 80 (FRANCE)
34 PIFF 38
SHORT CUTS 5:
ANIMATED WORLDS
This selection of new international animation is selected by LAIKA’S Mark Shapiro
from visits to animation festivals worldwide.
He will be on-hand to talk about the films.
WIND
ROBERT LÖBEL | GERMANY
About the daily life of people living in a
windy area who seem helplessly exposed to
the weather. The inhabitants have learned,
however, to deal with their difficult living
conditions. (4 mins.)
THE WOUND
ANNA BUDANOVA | RUSSIA
AUBADE
MAURO CARRARO | SWITZERLAND
In a surrealist, backlit scene, swimmers
and birds witness the spectacle of the
dawn, hypnotized by the music of a cellist.
(5 mins.)
MY OWN PERSONAL MOOSE
LENOID SHMELKOV RUSSIA
|
Misha, a quiet, dreamy boy, has his fantasy
come true: to meet a real elk. The film
conjures up the power of the imagination,
loneliness and the passing of time. (17 mins.)
THE SHIRLEY TEMPLE
DANIELA SHERER | ISRAEL/UK
An abstract narrative about childhood
and adulthood, escapism, and sexuality.
(9 mins.)
TIMBER
NILS HEDINGER | SWITZERLAND
A group of logs freezing in the snow work
out how they can stay warm. (6 mins.)
THE BIGGER PICTURE
DAISY JACOBS | UK
Life-size animated characters tell the stark
and darkly humorous tale of caring for an
elderly parent. (7 mins.)
A little girl’s resentment, embodied in a
shaggy creature that becomes her best
friend, starts to completely control her life.
(9 mins.)
365—ONE YEAR. ONE FILM.
ONE SECOND A DAY.
THE BROTHERS MCLEOD | UK
Illustrator Greg and writer Myles produced
one second of animation every day for a
year. No storyline, script or storyboard—
just from ideas that come. (6 mins.)
THROUGH THE HAWTHORN
ANNA BENNER, PIA BORG, GEMMA BURDITT
| GERMANY
Three characters, three perspectives, three
directors: A session between a psychiatrist,
a schizophrenic patient, and his mother.
A triptych exploring three very different
senses of reality. (9 mins.)
YEARBOOK
BERNARDO BRITTO | BRAZIL
A man is hired to compile the definitive
history of human existence before the
planet blows up. (5 mins.)
SHORT CUTS 6:
INTERNATIONAL TIES
THE CHICKEN
UNA GUNJAK | GERMANY/CROATIA
On her sixth birthday, Selma receives a
chicken from her dad, a soldier away at the
front, but her joy is quickly squashed when
she realizes her mother has other plans for
the new pet. (15 mins.)
THE LAST DAYS
OF PETER BERGMANN
THE KÁRMÁN LINE
OSCAR SHARP | UK
When a mother contracts a rare condition,
her husband and daughter must console
themselves with the thought that she’s
bound for a (much) higher place. (24 mins.)
THE CUT
GENEVIÈVE DULUDE-DE CELLES | CANADA
The story of a father and a daughter, whose
relationship fluctuates between proximity
and detachment, at the moment of a haircut.
(15 mins.)
CIARAN CASSIDY | IRELAND
In 2009 a mysterious man showed up in
Sligo Town, Ireland. He then went to great
lengths to eradicate himself from history
and to disappear. All that is left are testimonials and CCTV footage. (19 mins.)
CARRY ON
YATAO LI | CHINA
During the brutal withdrawal of Japanese
forces at the end of WWII, a Chinese father
does whatever he can to save his family.
(17 mins.)
LEIDI
SIMÓN MESA SOTO | COLOMBIA/UK
Leidi lives with her mom and her baby.
Her boyfriend Alexis hasn’t shown up in
days. A guy tells her he has seen Alexis
with another girl, but Leidi won’t be going
home until she finds the father of her child.
(15 mins.)
THE LAST DAYS OF PETER BERGMANN (IRELAND)
Sponsored by LAIKA.
THE CUT (CANADA)
PIFF 38 35
SHORT CUTS 7:
SHE NEVER DREAMS
OF PLACES
This program of experimental cinema,
programmed and introduced by Cinema
Project, delves into personal, familial, and
cultural pasts, revealing the difficulty in
going back to or moving between physical
and psychic spaces.
NOW EAT MY SCRIPT
MOUNIRA AL SOLH | LEBANON
The camera hovers over a car packed
with food to be smuggled across the SyriaLebanon border, including the segmented
carcass of a sacrificed lamb, becoming a
reflection on the exchange of goods and
food between Syria and Lebanon.
(24 mins.)
SLEEPING DISTRICT
TINNE ZENNER | DENMARK/RUSSIA
Combining outside and inside views of residential areas built during the Soviet Era
with disjointed conversations translated
from Russian into a broken English, the
film explores notions of home shaped by
memory, history, relations, and objects.
(11 mins.)
TIME BEING I-VI
BARBARA STERNBERG | CANADA
Brief moments of being, fleeting bits of the
surrounding chaos. (11 mins.)
INHABITANTS
LETICIA DOLERA | SPAIN
We live anesthetized, isolated, immune to
pain. What would happen if one day that
emotional anesthesia disappeared?
(11 mins.)
A WHOLE FUTURE TOGETHER
PABLO REMÓN | SPAIN
KOALA
DANIEL REMÓN | SPAIN
A psychologist interviews the members
of a company due to an incident: Mercedes,
one of the executives, has insulted his new
assistant, a young man who suffers from
Down syndrome. (16 mins.)
BIRDBOY
ALBERTO VÁZQUEZ, PEDRO RIVERO
| SPAIN
A terrible industrial accident changes Little
Dinki’s life forever. Now Dinki’s fate may
ride on the wings of her eccentric friend
Birdboy, a misfit who hides in the Dead
Forest, lost in his fantasies. (13 mins.)
I CAN’T RIGHT NOW
MARIA KOURKOUTA | FRANCE
ROSER AGUILAR | SPAIN
Found-footage of popular Greek movies
from the 50s and 60s is manipulated and
looped toward the hypnotic and touching,
accompanied by extracts of Greek poems
and music. (14 mins.)
MÓNICA SAVIRÓN | US
Two bankers who have sold a substantial
amount of preferred shares have a conversation at a bar. One of them, the general
manager, is suffering a protest: a group of
victims guard his house and his family.
Now, after several sleepless nights, he has
finally had an epiphany. (18 mins.)
RETURN TO AEOLUS STREET
BROKEN TONGUE
SHORT CUTS 8:
NEW SPANISH SHORTS
Sara is a young actress who, after becoming
a mother, decides to go back to her professional life. She becomes a finalist in an
audition in which the stakes couldn’t be
higher. (12 mins.)
NOW EAT MY SCRIPT (LEBANON)
INSIDE THE BOX
INHABITANTS (SPAIN)
DAVID MARTÍN-PORRAS | SPAIN
An ode to freedom of movement, association, and expression is created through
images culled from each January 1st issue
of The New York Times since its beginning
in 1851 and a soundtrack of avant-garde
sound artist Tracie Morris performing her
poem Afrika. (3 mins.)
When the local District Attorney comes
knocking, a Texan cop is forced to face a
secret that he’s been hiding from his wife
in an effort to keep his family together.
(14 mins.)
BROKEN TONGUE (US)
BIRDBOY (SPAIN)
36 PIFF 38
SPONSORS
PREMIERE
CHAMPION
PRODUCING
The Autzen
Foundation
The Lamb-Baldwin
Foundation
FEATURE
Juan Young
Trust
PIFF 38 37
SUPPORTING
Anne A. Berni
Foundation
CONTRIBUTING
SUSTAINING
The Jackson
Foundation
38 PIFF 38
NORTHWEST FILM CENTER
The Northwest Film Center is a regional media
arts organization founded to encourage the
study, appreciation, and utilization of the
moving image arts, to foster their artistic and
professional excellence, and to help create a
climate in which they may flourish. Founded
in 1971, the Film Center provides a variety of
activities and services primarily directed to
the residents of Oregon, Washington, Idaho,
Montana, and Alaska. The Film Center presents
a wide-ranging, year-round film exhibition program and offers a number of outreach programs
and activities serving the region. These include
circulation of outstanding work by regional
a rtists; sponsorship of special festivals,
i ncluding the Northwest Filmmakers’ Festival
(November), Reel Music Festival (October),
Portland Jewish Film Festival (June), Fresh
Film Northwest (November), and Portland
International Film Festival (February); a School
of Film offering diverse education classes and
workshops for children and adults, including
a Certificate Program in film production; the
statewide Young Filmmakers outreach residency program; public access to film and video
production facilities; and a variety of information and publication programs. The Film Center
is funded in part by grants from the National
Endowment for the Arts, Oregon Arts
Commission, Regional Arts and Culture Council,
The Ted R. Gamble Film Endowment, The James
F. and Marion L. Miller Foundation, The Rose E.
Tucker Charitable Trust, Henry Lea Hillman Jr.
Foundation, and the support of numerous
corporate program sponsors, Silver Screen
Club members, and friends.
FILM CENTER STAFF
Director—Bill Foster; Education Director—
Ellen Thomas; Publicity & Promotions Manager—
Nick Bruno; Membership & Individual Giving
Coordinator—Bailey Cain; Education Programs
Manager—Anna Crandall; PR & Marketing
Manager—Benna Gottfried; Facilities Manager—
Dave Hanagan; Head Theatre Manager &
Projectionist—Melinda Kowalska; Filmmaker
Services Manager—Thomas Phillipson;
Sponsorship & Events Manager—Rachel Record;
Exhibition Program Assistant—Morgen Ruff;
Equipment &Administrative Coordinator—
Karen Wennstrom; Graphic Designers—Michael
Smith, Tricia Chin; Online Communications
Specialist—Kirk Evans; Festival Volunteer
Coordinator—Felisha Ledesma; PR Marketing
Assistant—Geoff Peterson; Print Traffic
Coordinator—Erik McClanahan; Print Traffic
Assistant—Jeff Sundin; Theatre Staff—Scott
Ballard, Casea Betts, Katie Burkart, Nikki
Cormaci, Christine Davis, Joaquin de la Puente,
Corser Du Pont, Jaden Fooks, Ryan Fox, Becky
Holt, Stephanie Hough, Jennifer Knop, Liz
Lewis, Jason Longwell, Eric Macey, Emily
Mercer, Helmy Membreño, Arika Oglesbee,
Tony Olsen-Cardello, Alex Smith, Marianna
Smith, Ilana Sol, Jennifer Stapleton, Lars Steier,
Lisa Tran, Veronica Vichit-Vadakan, Jane
Vincent; Advance Ticketing Manager—Christen
Valentine; Advance Ticketing Staff—Christine
Davis, Mo McFeely, Sean McGrath, Joel
Shanahan; Education Services Coordinators—
Stephanie Hough, Andrew Price, Miles Sprietsma;
Education Program Assistant—Hazel Malone;
Office Interns & Volunteers—Natalie Carroll,
Danielle Duhaime, Hannah Fleming, Brett
Wright; Festival Volunteers—John Acerbi, Yasue
Arai, Lis Cooper, Verone Flood, Gabrielle Foulkes,
Connie Guist, Pirkko Haavisto, Douglas Hanes,
Martha Kinsella, Jean Lew, Cheryl Lewis,
Ingeborg Mussche, Kay Olsen, Nandini
Ranganathan, Joshua Rossman, Devon St.
Claire, and many more . . .
Faculty: Dan Ackerman, Kyle Aldrich, Sue
Arbuthnot, Bushra Azzouz, Jon Beanlands,
David Bryant, Richard Blakeslee, Andrew
Blubaugh, Bill Bowling, Holly Brix, Barry Bruce,
Emilie-Rose Currin, Delores Custer, Carl Diehl,
Steve Doughton, Mark Eifert, Beth Federici,
Brenda Grell, Beth Harrington, Courtney
Hermann, Lee Krist, Alain LeTourneau, Brian
Lindstrom, Roger Margolis, Chris Matheson,
Matt McCormick, Gary Nolton, Pam Minty, Amy
O’Brien, Mark Orton, Liz Randall, Dan Schaefer,
Jean Margaret Thomas, Melissa Tvetan, Will
Vinton, Cam Williams, Wayne Woods.
Portland Art Museum: Chair, Board of
Trustees—William Whitsell; Vice Chair—
Richard Louis Brown; Secretary—Laura Meier;
Treasurer—Jim Winkler; Executive Director—
Brian Ferriso.
Northwest Film Center Committee: Chair—
Linda Andrews; Mark Frandsen, Mary
Hinckley, Don Van Wart, Bob Warren, Alice
Wiewel.
SPECIAL THANKS TO
Sean Sterling—The Oregonian; Jon Douglas,
Rachel Lueras—Regal Cinemas; Mark Shapiro,
Travis Knight—LAIKA; Steve Sandstrom, Kay
Zerr, Lauren French—Sandstrom Partners;
Andrew Maffei—Hotel Modera; Tim Williams—
Governor’s Office of Film and Television;
Robert Kramer—SP Newsprint; Paul Colvin—
Advance Central Services; Brian Riffel, Kim
Freed—The Autzen Foundation; Robert Depew—
The Jackson Foundation; Joan Lamb Baldwin—
The Lamb-Baldwin Foundation; Barbara
Hall—The Harold and Arlene Schnitzer CARE
Foundation; Brian Rogers—Oregon Arts
Commission; Haroon Ishrak—Delta Airlines;
Southpark Seafood Grill; Higgins; Kate Buska,
Dani Boss, Zie Zie Senzaki—Provenance
Hotels; Tim Block—Hotel deLuxe; Kim Riggs—
Ace Hotel; Diane Bullas—Journal Graphics;
Ani Haines—KBOO; Michele Boyer and Jenna
LaCroix—King Estate Winery; Lilie Boni—
Swank & Swine/Pearl Catering; Kent Lewis,
Steven Smith, Kim DeMent, Amy Bourne—
Steven Smith Teamaker; Tom Mittelstaedt—
KINK.fm; Jonathan Combs, Lori Carruthers—
Pro Photo Supply; Joseph Saraceno—Chipotle
Mexican Grill; Nathalie Weinstein-Luby—
PDX Pipeline; Matt Eyman—Yelp! Portland;
Tamara Brown—Poster Child; Travis Rigby—
PosterGarden; Misty Tompoles, Chris Porras—
Artslandia; Ryan Gallagher—Criterion Cast;
Mario’s; Powell’s Books; Radish Underground;
Bike Gallery; Tom Ranieri—Cinema 21; Jessica
Leuenberger—Regal Fox Cinema; Marcelene
Rodgers-Brown—World Trade Center; Chuck
Nakvisil Sr., Dave Saunders, Lynn Hunt—
Moreland Theater; Greg Wood, James Bonner—
Roseway Theater; Dan Halsted, Connor
Kirkwood, Doug Whyte—Hollywood Theatre;
Greg Smith—Scandinavian Heritage
Foundation; Grace Yu—Hong Kong Economic
and Trade Office; John Leineweber—Sierra
Nevada Brewing Company; James Wright—
Pond5; Daniel Kasman—MUBI; Kristina
Bünger—Consulate General of Sweden in
San Francisco; Michael Oros, Michou Jardini—
Romanian American Society; James Rudd—
Honorary Consul of Romania for Oregon;
Travel Portland; Koichi Kim—Oregon Korea
Foundation; Greg Caldwell—Honorary Consul
of Korea for Oregon; Lee Soo-won, Vice Consul—
Consulate General of the Republic of Korea
in Seattle; Randy Miller, Ingrida Misevicius—
Portland Lithuanian American Community;
Paolo Barlera—Italian Cultural Institute,
San Francisco; Mara Radi—Italian Film
Commission, Los Angeles; Andrea Bartoloni—
Honorary Consul of Italy for Oregon; Sindre
Bornstein—Royal Norwegian Consulate
General, San Francisco; Matt Lounsbury—
Stumptown Coffee; Stéphane Ré—Consulate
General of France in San Francisco; Muriel
Guidoni, Florence Almozini, Nathalie Charles—
Embassy of France; Linda Witt, Rhonda Lynn—
Alliance Française de Portland; Arezu
Movahed—French American International
School; Sophie Suberville—French American
Cultural Society; Laura Gratta—TV5Monde;
Dana Blecher—Consulate General of Israel,
San Francisco; Ellen Theodorson, Merril Keane,
Kim Boswell—Oregon State Bar, International
Law Section; Tim DuRoche—World Affairs
Council of Oregon; Dulce María Zamora Lezama,
Oscar Chavarri Cazaurang—Consulate of
Mexico in Portland; Consul General Hiroshi
Furusawa, Vice Consul Kazuki Tanabe, Mitsuko
Kaneko—Consular Office of Japan in Portland;
Jim Baumgartner—Honorary Consul of Canada
in Oregon; Francoise Aylmer—Honorary Consul
of France in Oregon; Marie Amicci—Honorary
Consul of Czech Republic in Oregon; Robert
Manicke—Honorary Consul of Germany in
Oregon; Petra Brambrink, Yvonne Behrens—
Zeitgeist Northwest; Oregon State University
Language Department; Michael Rasko, Marty
Jones—Oregon Episcopal School; Carol Tripp—
New Sweden Cultural Heritage Society; Greg
Jacob—Finlandia Foundation; Mark Schleck,
Mary DeLorme—ScanDesign Foundation; Matt
Ransel—KIND Bars; Erika Degens—Stone Barn
Brandyworks; Ben Olberg, Sari Loveridge—
Picture This Production Services; Terry Kirk,
Mike Quinn—Mission Control; Tricia Chin,
Kirk Evans, Michael Smith, Ian Gillingham—
Portland Art Museum.
Festival Program and Poster Design—
Sandstrom Partners; Print Production—Denise
Brem; Festival Trailer—Polara Studio, Marmoset.
IDENTIFICATION STATEMENT
Publication Title:
Portland International Film Festival
Issue Date: February 2015
Statement of Frequency:
Published six times per year
Authorized Organization Name and Address:
Portland Art Museum, Northwest Film Center
1219 SW Park Avenue, Portland, Oregon 97205
Issue Number: Volume 4 3; Issue 2
BE INDEPENDENT
WITH YOUR FILM.
RELY ON US FOR THE
REST OF YOUR PLANS.
Yelp's got the reel deal on fabulous
local businesses in Portland and beyond.
Proud Sponsors of PIFF 2015
Receive Our Special PIFF Discount of
15% Off Our Best Available Rate
Use Promotion Code: PRO
515 SW Clay St
Portland OR, 97201
y elp. c o m
©2015 KING ESTATE WINERY - Please Drink Responsibly
www.hotelmodera.com
Stories Start Here
CINEMA EOS C100
Exhibition organized by
the Victoria and Albert
Museum, London
MEMBERSHIP
MEANS ACCESS!
Join the Silver Screen Club
and enjoy discounted or free
admission to festivals and
year-long programming.
available in Store:
EOS C100 Camera
CN-E 14mm T3.1 L F
CN-E 24mm T1.5 L F
CN-E 35mm T1.5 L F
CN-E 50mm T1.3 L F
CN-E 85mm T1.3 L F
CN-E 135mm T2.2 L F
available in Rental:
EOS C300 Camera
EOS C100 Camera
CN-E 14mm T3.1 L F
CN-E 24mm T1.5 L F
CN-E 35mm T1.5 L F
CN-E 50mm T1.3 L F
CN-E 85mm T1.3 L F
CN-E 135mm T2.2 L F
ITALIAN STYLE
Your local store providing
tools for visual storytelling
www.ProPhotoSupply.com | @prophotosupply
FASHION SINCE 1945
FEB 7 – MAY 3
portlandartmuseum.org
Sponsored by
Roberto Capucci, silk evening dress, 1987-88, Courtesy Roberto Capucci Foundation. Photo © Victoria and Albert Museum, London
nwfilm.org
IN THE RACE
AGAINST TIME, IT’S BEST TO
RACE IN ONE OF THESE.
America’s most on-time global airline.
ADS
Based on DOT statistics for the highest percentage of on-time arriving, domestic flights 4/14 to 6/14 and compared to our competitive set. Competitive set is U.S. carriers: Alaska Airlines, American Airlines, JetBlue Airways, US Airways, United
Airlines and Southwest Airlines.
12-070-14_Portland_Intl_Film_9.5x6.4.indd 1
1/5/15 10:42 AM
JE VOUS TROUVE TRÈS BEAU © Gaumont / Film Par Film / France 2 Cinéma • DES GENS QUI S’EMBRASSENT © Pathé / G Films / TF1 Films Production •
DU VENT DANS MES MOLLETS © Karé Productions / Gaumont / Direct Cinema • ROMAINE PAR MOINS 30 © Agat Films & Cie / Max Films Productions / UGC Images
FILM INDEX
44 PIFF 38
FEATURES
ARGENTINA
DARKNESS BY DAY Martin De Salvo.. . . . . . . . . . . . . . . . . . . 12
JAUJA Lisandro Alonso. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
THE THIRD SIDE OF THE RIVER Celina Murga.. . . . . . . . 27
WILD TALES Damián Szifrón. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
AUSTRALIA
CHARLIE’S COUNTRY Rolf De Heer.. . . . . . . . . . . . . . . . . . . . 10
ELECTRIC BOOGALOO: THE WILD, UNTOLD STORY
OF CANNON FILMS Mark Hartley.. . . . . . . . . . . . . . . . . . . 13
WYRMWOOD Kiah Roache-Turner. . . . . . . . . . . . . . . . . . . . . . 30
AUSTRIA
CRACKS IN CONCRETE Umut Dag.. . . . . . . . . . . . . . . . . . . . . 12
THE DARK VALLEY Andreas Prochaska. . . . . . . . . . . . . . . . . 12
BELGIUM
ALLÉLUIA Fabrice Du Welz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
STOP THE POUNDING HEART Roberto Minervini. . . . . . 27
WAITING FOR AUGUST Teodorah Mihai. . . . . . . . . . . . . . . . 29
BOLIVIA
YVY MARAEY, LAND WITHOUT EVIL Juan Carlos Valdivia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
BRAZIL
AUGUST WINDS Gabriel Mascaro.. . . . . . . . . . . . . . . . . . . . . . . . 8
THE BOY AND THE WORLD Alê Abreu.. . . . . . . . . . . . . . . . . 10
A WOLF AT THE DOOR Fernando Coimbra.. . . . . . . . . . . . . 29
BULGARIA
THE LESSON Kristina Grozeva, Petar Valchanov. . . . . . . . 19
CANADA
BACKCOUNTRY Adam Macdonald. . . . . . . . . . . . . . . . . . . . . . . . 9
FELIX & MEIRA Maxime Giroux.. . . . . . . . . . . . . . . . . . . . . . . . . 14
TU DORS NICOLE Stéphane Lafleur. . . . . . . . . . . . . . . . . . . . 28
CHINA
BLACK COAL, THIN ICE Diao Yinan. . . . . . . . . . . . . . . . . . . . . . 9
COLOMBIA
MATEO Maria Gamboa. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
COWBOYS Tomislav Mršic´
...............................
11
CUBA
CONDUCTA Ernesto Daranas Serrano. . . . . . . . . . . . . . . . . . . . 11
HOTEL NUEVA ISLA Irene Gutiérrez, Javier Labrador. . . 16
DENMARK
THE LOOK OF SILENCE Joshua Oppenheimer. . . . . . . . . . 21
A SECOND CHANCE Susanne Bier.. . . . . . . . . . . . . . . . . . . . . . 25
SORROW AND JOY Nils Malmros. . . . . . . . . . . . . . . . . . . . . . . 26
EGYPT
FACTORY GIRL Mohamed Kahn. . . . . . . . . . . . . . . . . . . . . . . . . . 13
FINLAND
CONCRETE NIGHT Pirjo Honkasalo.. . . . . . . . . . . . . . . . . . . . . 11
FRANCE
ALLÉLUIA Fabrice Du Welz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
BELLE AND SEBASTIAN Nicholas Vanier. . . . . . . . . . . . . . . . 9
CLOUDS OF SILS MARIA Olivier Assayas.. . . . . . . . . . . . . . 10
MARIE’S STORY Jean-Pierre Améris. . . . . . . . . . . . . . . . . . . . 22
ON THE WAY TO SCHOOL Pascal Plisson. . . . . . . . . . . . . . 23
THE PRESIDENT Mohsen Makhmalbaf.. . . . . . . . . . . . . . . . 24
A YEAR IN CHAMPAGNE David Kennard. . . . . . . . . . . . . . . 30
GEORGIA
CORN ISLAND George Ovashvili.. . . . . . . . . . . . . . . . . . . . . . . . . 11
THE PRESIDENT Mohsen Makhmalbaf.. . . . . . . . . . . . . . . . 24
XENIA Panos H. Koutras.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
CROATIA
GERMANY
BELOVED SISTERS Dominik Graf.. . . . . . . . . . . . . . . . . . . . . . . . 9
THE DARK VALLEY Andreas Prochaska. . . . . . . . . . . . . . . . . 12
PHOENIX Christian Petzold. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
STATIONS OF THE CROSS Dietrich Brüggemann.. . . . . 26
GREECE
HONG KONG
DEAREST Peter Ho-Sun Chan. . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
THE GOLDEN ERA Ann Hui. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
HUNGARY
AFTERLIFE Virág Zomborácz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
WHITE GOD Kornél Mundruczó. . . . . . . . . . . . . . . . . . . . . . . . . . 29
ICELAND
LIFE IN A FISHBOWL Baldvin Zophoníasson. . . . . . . . . . . 20
INDIA
LIAR’S DICE Geetu Mohandas. . . . . . . . . . . . . . . . . . . . . . . . . . . 20
INDONESIA
JALANAN Daniel Ziv. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
IRAN
TODAY Reza Mirkarimi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
ISRAEL
THE FAREWELL PARTY Tal Granit, Sharon Maymon. . . 14
GETT: THE TRIAL OF VIVIANE AMSALEM Ronit Elkabetz, Shlomi Elkabetz. . . . . . . . . . . . . . . . . . . . . . . . . 15
ITALY
HUMAN CAPITAL Paolo Virzì. . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
THE MAFIA ONLY KILLS IN SUMMER Pif. . . . . . . . . . . . . 21
JAPAN
GIOVANNI’S ISLAND Mizuho Nishikubo. . . . . . . . . . . . . . . . . 15
THE LIGHT SHINES ONLY THERE Mipo O. . . . . . . . . . . . 20
THE LITTLE HOUSE Yoji Yamada. . . . . . . . . . . . . . . . . . . . . . . . 21
R100 Hitoshi Matsumoto. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
LATVIA
ROCKS IN MY POCKET Signe Baumane. . . . . . . . . . . . . . . . 25
LEBANON
GHADI Amin Dora. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
LITHUANIA
THE GAMBLER Ignas Jonynas. . . . . . . . . . . . . . . . . . . . . . . . . . . 14
THE INVISIBLE FRONT Jonas Ohman, Vincas Sruoginis.. . . 18
MAURITANIA
TIMBUKTU Abderrahmane Sissako. . . . . . . . . . . . . . . . . . . . . . 27
MEXICO
GÜEROS Alonso Ruiz Palacios. . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
PARADISE Mariana Chenillo. . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
THE NETHERLANDS
SECRETS OF WAR Dennis Bots. . . . . . . . . . . . . . . . . . . . . . . . . 26
NEW ZEALAND
WHAT WE DO IN THE SHADOWS Jemaine Clement, Taika Waititi. . . . . . . . . . . . . . . . . . . . . . . . 29
NORWAY
IN ORDER OF DISAPPEARANCE Hans Petter Moland. . . 18
SUNSHINE SUPERMAN Marah Strauch. . . . . . . . . . . . . . . . 27
PALESTINIAN TERRITORIES
EYES OF A THIEF Najwa Najjar. . . . . . . . . . . . . . . . . . . . . . . . . . 13
PERU
I’M STILL Javier Corcuera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
PORTUGAL
HORSE MONEY Pedro Costa. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
ROMANIA
THE JAPANESE DOG Tudor Cristian Jurgiu.. . . . . . . . . . . . 19
QUOD ERAT DEMONSTRANDUM Andrei Gruzsnicki. . 24
WAITING FOR AUGUST Teodorah Mihai. . . . . . . . . . . . . . . . 29
RUSSIA
THE FOOL Yuriy Bykov. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
PIFF 38 45
SOUTH KOREA
A GIRL AT MY DOOR July Jung.. . . . . . . . . . . . . . . . . . . . . . . . . 15
SPAIN
10,000 KM Carlos Marques-Marcet. . . . . . . . . . . . . . . . . . . . . . . 7
ALL THE WOMEN Mariano Barroso. . . . . . . . . . . . . . . . . . . . . . . 8
ÄRTICO Gabriel Velázquez. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
HOTEL NUEVA ISLA Irene Gutiérrez, Javier Labrador. . . 16
IN A FOREIGN LAND Icíar Bollaín.. . . . . . . . . . . . . . . . . . . . . . . 17
LIVING IS EASY WITH EYES CLOSED David Trueba. . . 21
MAGICAL GIRL Carlos Vermut. . . . . . . . . . . . . . . . . . . . . . . . . . . 22
WILD TALES Damián Szifrón. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
SWEDEN
THE 100 YEAR OLD MAN WHO CLIMBED OUT THE
WINDOW AND DISAPPEARED Felix Herngren. . . . . . 7
UNDERDOG Ronnie Sandahl. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
TURKEY
COME TO MY VOICE Huseyin Karabey. . . . . . . . . . . . . . . . . . 10
UKRAINE
MAIDAN Sergei Loznitsa. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
THE TRIBE Miroslav Slaboshpitsky. . . . . . . . . . . . . . . . . . . . . . 28
UNITED KINGDOM
’71 Yann Demange. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
DUKE OF BURGUNDY Peter Strickland.. . . . . . . . . . . . . . . . . 13
UNITED STATES
I AM BIG BIRD: THE CAROLL SPINNEY STORY Dave Lamattina, Chad Walker. . . . . . . . . . . . . . . . . . . . . . . . . . . 17
IRIS Albert Maysles.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
THE IRON MINISTRY J.P. Sniadecki. . . . . . . . . . . . . . . . . . . . 18
MAGICIAN: THE ASTONISHING LIFE AND WORK
OF ORSON WELLES Chuck Workman. . . . . . . . . . . . . . . 22
RED ARMY Gabe Polsky. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
ROCKS IN MY POCKET Signe Baumane. . . . . . . . . . . . . . . . 25
SEYMOUR: AN INTRODUCTION Ethan Hawke.. . . . . . . 26
A YEAR IN CHAMPAGNE David Kennard. . . . . . . . . . . . . . . 30
URUGUAY
MR. KAPLAN Álvaro Brechner.. . . . . . . . . . . . . . . . . . . . . . . . . . . 23
VENEZUELA
THE LIBERATOR Alberto Arvelo.. . . . . . . . . . . . . . . . . . . . . . . . 20
VIETNAM
NUOC 2030 Nghiem-Minh Nguyen-Vo.. . . . . . . . . . . . . . . . . . . 23
SHORT CUTS
ARGENTINA
THE QUEEN Manuel Abramovich. . . . . . . . . . . . . . . . . . . . . . . . . 33
BELGIUM
MILLIONAIRES Stéphane Bergmans.. . . . . . . . . . . . . . . . . . . . 33
BRAZIL
MY FRIEND NIETZSCHE Fáuston Da Silva. . . . . . . . . . . . . 32
YEARBOOK Bernardo Britto. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
CANADA
THE CUT Geneviève Dulude-De Celles. . . . . . . . . . . . . . . . . . . 34
NOAH Patrick Cederberg. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
TIME BEING I-VI Barbara Sternberg. . . . . . . . . . . . . . . . . . . . . 35
CHINA
CARRY ON Yatao Li. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
COLOMBIA
LEIDI Simón Mesa Soto. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
CROATIA
THE CHICKEN Una Gunjak. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
DENMARK
SLEEPING DISTRICT Tinne Zenner. . . . . . . . . . . . . . . . . . . . . . 35
FRANCE
5 METERS 80 Nicolas Deveaux. . . . . . . . . . . . . . . . . . . . . . . . . . 33
AÏSSA Clément Tréhin-Lalanne. . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
THE AUDITION Pierre Niney.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
CARGO CULT Bastien Dubois. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
MR HUBLOT Laurent Witz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
OGRE Jean-Charles Paugam. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
RETURN TO AEOLUS STREET Maria Kourkouta. . . . . . . 35
THE RUNAWAY Jean-Bernard Marlin. . . . . . . . . . . . . . . . . . . . 33
GERMANY
THE CHICKEN Una Gunjak. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
THROUGH THE HAWTHORN Anna Benner, Pia Borg, Gemma Burditt. . . . . . . . . . . . . . . . 34
WIND Robert Löbel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
HUNGARY
SYMPHONY NO. 42 Réka Busci. . . . . . . . . . . . . . . . . . . . . . . . . 33
IRELAND
THE LAST DAYS OF PETER BERGMANN Ciaran Cassidy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
ISRAEL
THE SHIRLEY TEMPLE Daniela Sherer. . . . . . . . . . . . . . . . 34
ITALY
A TROPICAL SUNDAY Fabian Ribezzo.. . . . . . . . . . . . . . . . . . 33
LOS ROSALES Daniel Ferreira.. . . . . . . . . . . . . . . . . . . . . . . . . . . 32
LEBANON
NOW EAT MY SCRIPT Mounira Al Solh. . . . . . . . . . . . . . . . . 35
LUXEMBOURG
MR HUBLOT Laurent Witz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
MEXICO
NOT IT Pablo Orta. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
MOZAMBIQUE
A TROPICAL SUNDAY Fabian Ribezzo.. . . . . . . . . . . . . . . . . . 33
THE NETHERLANDS
PONY PLACE Joost Reijmers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
SHIPWRECK Morgan Knibbe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
POLAND
HIPOPOTAMY Piotr Dumala.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
RUSSIA
MY OWN PERSONAL MOOSE Lenoid Shmelkov.. . . . . . 34
SLEEPING DISTRICT Tinne Zenner. . . . . . . . . . . . . . . . . . . . . . 35
THE WOUND Anna Budanova. . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
SPAIN
BIRDBOY Alberto Vázquez, Pedro Rivero. . . . . . . . . . . . . . . . . 35
I CAN’T RIGHT NOW Roser Aguilar. . . . . . . . . . . . . . . . . . . . . . 35
INHABITANTS Leticia Dolera.. . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
INSIDE THE BOX David Martín-Porras. . . . . . . . . . . . . . . . . . . 35
KOALA Daniel Remón. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
A WHOLE FUTURE TOGETHER Pablo Remón. . . . . . . . . . 35
SWITZERLAND
AUBADE Mauro Carraro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
TIMBER Nils Hedinger. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
UNITED KINGDOM
365—ONE YEAR. ONE FILM. ONE SECOND A DAY. The Brothers Mcleod.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
THE BIGGER PICTURE Daisy Jacobs. . . . . . . . . . . . . . . . . . 34
THE KÁRMÁN LINE Oscar Sharp. . . . . . . . . . . . . . . . . . . . . . . 34
LEIDI Simón Mesa Soto. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
THE PHONE CALL Matt Kirby. . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
THE SHIRLEY TEMPLE Daniela Sherer. . . . . . . . . . . . . . . . 34
UNITED STATES
AMERICAN GLADIATORS Lara Gallagher.. . . . . . . . . . . . . . 32
BOTTLE NECK Joanna Priestley. . . . . . . . . . . . . . . . . . . . . . . . . 32
BROKEN TONGUE Mónica Savirón. . . . . . . . . . . . . . . . . . . . . . . 35
THE FRAMER Dan Sadowsky. . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
INVISIBLE SAILS Michael Annus. . . . . . . . . . . . . . . . . . . . . . . . 32
LAYOVER Vanessa Renwick. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
LONG WAY GONE Austin Will. . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
LUCINDA PARKER: WATER AND CLOUDS Michael Annus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
MELVIN THE BIRDER David Emmite, Spencer Lott. . . . . 32
MONKEY Matt Christy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
ME + HER Joseph Oxford. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
THE PUNISHING BUSINESS Heather Harlow.. . . . . . . . . . 32
ROUGHSTOCK Jessica Baclesse.. . . . . . . . . . . . . . . . . . . . . . . . 32
SHERLOCK HOMELESS Mychal Sargent, Matt Cornelius. . . . . . . . . . . . . . . . . . . . . . . . . 32
A YEAR & A DAY Pam Minty. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Reel
insight.
The Oregonian’s A&E provides the most in-depth
cinematic coverage of everything from major motion
pictures to independent films. Find reviews, articles
and showtimes every Friday and Sunday in A&E or
24/7 at OREGONLIVE.COM/movies.
PIFF 38 47
SCHEDULE
THURSDAY 2/5
7:00FTWILD TALES (Argentina/Spain)
FRIDAY 2/6
5:45FT MARIE’S STORY (France)
6:00WHPHOENIX (Germany)
6:00C21LIVING IS EASY (Spain)
6:00MLTHE LESSON (Bulgaria)
7:00RWTHE LIGHT SHINES (Japan)
8:30FT THE JAPANESE DOG (Romania)
8:45WHFELIX & MEIRA (Canada)
8:45C21THE TRIBE (Ukraine)
8:45MLWHAT WE DO IN SHADOWS (New Zealand)
SATURDAY 2/7
1:00MLTHE BOY AND THE WORLD (Brazil)*
1:30WHSHORTS 1 (International)
1:30C21TU DORS NICOLE (Canada)
1:30FT HOTEL NUEVA ISLA (Cuba/Spain)
1:00RWMAGICIAN (US)
3:30MLTHE DARK VALLEY (Austria/Germany)
4:00WHHUMAN CAPITAL (Italy)
4:00C21A WOLF AT THE DOOR (Brazil)
4:00FTUNDERDOG (Sweden)
5:00RWMR. KAPLAN (Uruguay)
6:30C21SUNSHINE SUPERMAN (US)
6:30FT THE GAMBLER (Lithuania)
6:30MLTHE FAREWELL PARTY (Israel)
6:45 WH TIMBUKTU (Mauritania)*
8:30RWDUKE OF BURGUNDY (UK)
9:00WHCLOUDS OF SILS MARIA (France)
9:00FTCORN ISLAND (Georgia)
9:00ML100 YEAR OLD MAN (Sweden)
9:30C21ALLÉLUIA (Belgium/France)
10:30HW BACKCOUNTRY (Canada)
SUNDAY 2/8
1:00WHSHORTS 2 (Oregon)
1:00MLBELLE AND SEBASTIAN (France)*
1:00C21FELIX AND MEIRA (Canada)
1:00RWCOME TO MY VOICE (Turkey)
1:00FT10,000 KM (Spain)
3:15MLGIOVANNI’S ISLAND (Japan)*
3:30FT CRACKS IN CONCRETE (Austria)
4:00WHON THE WAY TO SCHOOL (France)*
4:00C21PHOENIX (Germany)
4:00RWAFTERLIFE (Hungary)
6:00FTTHE LESSON (Bulgaria)
6:15MLMARIE’S STORY (France)
6:30WHSEYMOUR: AN INTRODUCTION (US)
6:30C21GHADI (Lebanon)
7:00RWTHE GOLDEN ERA (Hong Kong)
8:30FT THE LIGHT SHINES (Japan)
8:30MLHOTEL NUEVA ISLA (Cuba/Spain)
8:45WHSTATIONS OF THE CROSS (Germany)
9:00C21THE LOOK OF SILENCE (Indonesia)
MONDAY 2/9
5:45FT CLOUDS OF SILS MARIA (France)
6:00WHTODAY (Iran)
6:00C21’71 (UK)
6:00WTC
NUOC 2030 (Vietnam)
6:00MLTU DORS NICOLE (Canada)
7:00RWTHE LITTLE HOUSE (Japan)
8:30WH100 YEAR OLD MAN (Sweden)
8:30C21THE FAREWELL PARTY (Israel)
8:30FT A WOLF AT THE DOOR (Brazil)
8:30MLXENIA (Greece)
8:30WTC
ROCKS IN MY POCKET (US)
TUESDAY 2/10
5:45RWHUMAN CAPITAL (Italy)
5:45FT MR. KAPLAN (Uruguay)
5:45WHGETT (Israel)
6:00C21GIOVANNI’S ISLAND (Japan)*
6:00WTC
A YEAR IN CHAMPAGNE (US/France)
6:00MLTIMBUKTU (Mauritania)*
8:30WHA SECOND CHANCE (Denmark)
8:30C21UNDERDOG (Sweden)
8:30FT DUKE OF BURGUNDY (UK)
9:00WTC
THE IRON MINISTRY (US)
8:30MLTHE TRIBE (Ukraine)
9:00RWSTATIONS OF THE CROSS (Germany)
WEDNESDAY 2/11
5:45RWLIVING IS EASY (Spain)
5:45MLCOME TO MY VOICE (Turkey)
5:45WTC
SEYMOUR: AN INTRODUCTION (US)
6:00WHTHE BOY AND THE WORLD (Brazil)*
6:30C21BELOVED SISTERS (Germany)
6:30FT GOLDEN ERA (Hong Kong)
8:30WHJAPANESE DOG (Romania)
8:30WTC
THE LOOK OF SILENCE (Indonesia)
8:30MLLIFE IN A FISHBOWL (Iceland)
9:00RWTHE FOOL (Russia)
THURSDAY 2/12
SUNDAY 2/15
WEDNESDAY 2/18
5:30C21GETT (Israel)
5:45RWJAUJA (Argentina/Denmark/France)
5:45WTC
MAGICIAN (US)
6:00FTTODAY (Iran)
6:00MLA SECOND CHANCE (Denmark)
8:30WHIN ORDER OF DISAPPEARANCE (Norway)
8:30C21THE LITTLE HOUSE (Japan)
8:30FT THE LIBERATOR (Venezuela)
8:45WTC
INVISIBLE FRONT (Lithuania)
8:45MLCONCRETE NIGHT (Finland)
9:00RWÄRTICO (Spain)
12:45FT IN ORDER OF DISAPPEARANCE (Norway)
1:00WHSHORTS 5 (Animation)
1:00C21SECRETS OF WAR (Netherlands)*
1:00WTC
WAITING FOR AUGUST (Belgium/Romania)
1:30MLI AM BIG BIRD (US)
3:30WHGHADI (Lebanon)
3:30WTC
INVISIBLE FRONT (Lithuania)
3:30FT COWBOYS (Croatia)*
3:30C21THE MAFIA ONLY KILLS (Italy)
4:00MLMATEO (Colombia)*
6:00WHCONCRETE NIGHT (Finland)
6:00C21THE LIBERATOR (Venezuela)
6:00WTC
A YEAR IN CHAMPAGNE (US/France)
6:30 FT DEAREST (Hong Kong)
6:30MLTHE PRESIDENT (Georgia/France)
8:30WHFACTORY GIRL (Egypt)
8:30WTC
MAIDAN (Ukraine)
8:45C21THE DARK VALLEY (Austria/Germany)
THURSDAY 2/19
FRIDAY 2/13
5:45WHSTOP THE POUNDING (Italy/Belgium/US)
5:45C21WHITE GOD (Hungary)
5:45FT THE FOOL (Russia)
6:00WTC
WAITING FOR AUGUST (Belgium/Romania)
6:00MLBELLE AND SEBASTIAN (France)*
8:15WHDEAREST (Hong Kong)
8:30FT ALLÉLUIA (Belgium/France)
8:45C21WHAT WE DO IN SHADOWS (New Zealand)
8:45WTC
NUOC 2030 (Vietnam)
8:45MLBLACK COAL, THIN ICE (China)
10:30HW R100 (Japan)
SATURDAY 2/14
12:30FT CORN ISLAND (Georgia)
12:30C21LIFE IN A FISHBOWL (Iceland)
1:00WHSHORTS 4 (France)
1:00WTC
I AM BIG BIRD (US)
1:00MLCOWBOYS (Croatia)*
3:15FTMAIDAN (Ukraine)
3:30WHIRIS (US)
3:30C21RED ARMY (US)
4:00WTC
ON THE WAY TO SCHOOL (France)*
4:00MLSORROW AND JOY (Denmark)
6:00FTAFTERLIFE (Hungary)
6:30WHROCKS IN MY POCKET (US)
6:30WTC
JALANAN (Indonesia/Netherlands/US)
6:30C21CHARLIE’S COUNTRY (Australia)
7:00MLBELOVED SISTERS (Germany)
8:30FT CRACKS IN CONCRETE (Austria)
9:00C21MATEO (Colombia)*
9:00WHAUGUST WINDS (Brazil)
EYES OF A THIEF (Palestine)
9:00WTC
10:30HW WYRMWOOD (Australia)
MONDAY 2/16
12:30WH BELLE AND SEBASTIAN (France)*
12:30C21JALANAN (Indonesia/Netherlands/US)
3:00C21QUOD ERAT DEMONSTRANDUM (Romania)
3:30FT BLACK COAL, THIN ICE (China)
3:30MLFACTORY GIRL (Egypt)
6:00WHA GIRL AT MY DOOR (South Korea)
6:00C21STOP THE POUNDING (Italy/Belgium/US)
6:00FTTHE IRON MINISTRY (US)
6:00MLGÜEROS (Mexico)
8:30C21JAUJA (Argentina/Denmark/France)
8:30FT CHARLIE’S COUNTRY (Australia)
8:30MLLIAR’S DICE (India)
8:45WHRED ARMY (US)
TUESDAY 2/17
5:45FT THE PRESIDENT (Georgia/France)
6:00WHSORROW AND JOY (Denmark)
6:00C21THE MAFIA ONLY KILLS (Italy)
6:00MLAUGUST WINDS (Brazil)
8:30WHSHORTS 7 (Cinema Project)
8:30C21EYES OF A THIEF (Palestine)
8:30FT HORSE MONEY (Portugal)
8:30MLQUOD ERAT DEMONSTRANDUM (Romania)
Check nwfilm.org for information
about encore screenings.
Schedule changes posted at
festivals.nwfilm.org/piff38
6:00WHSECRETS OF WAR (Netherlands)*
6:00C2110,000 KM (Spain)
6:00FTHORSE MONEY (Portugal)
5:45MLIRIS (US)
8:30MLTHE GAMBLER (Lithuania)
8:30WHCONDUCTA (Cuba)
8:30C21ALL THE WOMEN (Spain)
8:30FT GÜEROS (Mexico)
3:30WHMAGICAL GIRL (Spain)
3:30FT XENIA (Greece)
6:00C21GÜEROS (Mexico)
6:00MLJAPANESE DOG (Romania)
6:30WHI’M STILL (Peru)
6:30FT YVY MARAEY (Bolivia)
8:30C21THE FOOL (Russia)
8:30MLA GIRL AT MY DOOR (South Korea)
9:00FTALL THE WOMEN (Spain)
9:30WHIN A FOREIGN LAND (Spain)
FRIDAY 2/20
4:15WHSHORTS 8 (Spain)
4:15FTCONDUCTA (Cuba)
6:45WHTHIRD SIDE OF THE RIVER (Argentina)
6:45FT PARADISE (Mexico)
9:30WHYVY MARAEY (Bolivia)
9:30FT I’M STILL (Peru)
10:30HW ELECTRIC BOOGALOO (Australia)
SATURDAY 2/21
2:00WHSHORTS 8 (Spain)
2:00FTLIAR’S DICE (India)
4:30WHMAGICAL GIRL (Spain)
5:00FTÄRTICO (Spain)
7:30WHALL THE WOMEN (Spain)
7:30FT THIRD SIDE OF THE RIVER (Argentina)
9:45WHPARADISE (Mexico)
9:45FT IN A FOREIGN LAND (Spain)
10:30HW DARKNESS BY DAY (Argentina)
* Family-friendly films
THEATER CODES
C21Cinema 21
FTRegal Fox Tower 10
HWHollywood Theatre
MLMoreland Theater
RWRoseway Theater
WHWhitsell Auditorium
WTCWorld Trade Center Theater
NON-PROFIT ORG
Portland Art Museum
1219 SW Park Avenue
Portland, OR 97205
www.nwfilm.org
U.S. POSTAGE
PAID
PORTLAND OR
PERMIT NO. 664
38 TH PORTLAND INTERNATIONAL FILM FESTIVAL
FEBRUARY 5-21, 2015