Film fanatics, this week is yours: You’ve just hit the trifecta.
The 40th annual Portland International Film Festival opens on Thursday.
The Portland Black Film Festival, featuring films about black life in America, is the newbie of the three, but arrives with some zing. It also opens on Thursday, at the Hollywood Theatre, with Maya Angelou: And Still I Rise, and continues through February 22 with 10 features, including Pioneers of African American Cinema. The centerpiece, this Saturday, is the blaxploitation classic Coffy, with action star Pam Grier as special guest.
And the 27th Cascade Festival of African Films, which features films by African filmmakers from the African continent, kicked off on Friday and continues through March 7. It continues a grand tradition of bringing hard-to-find films to town – this year more than 30, including feature films and shorts. Coming up Friday is The Cursed Ones, from Ghana, about a pair of village outcasts accused of witchcraft. Every offering at the Cascade Fest, which takes place at the Cascade campus of Portland Community College, is free.
PIFF, the granddaddy of the local festivals, continues through February 25 with more than a hundred movies from Afghanistan to Venezuela, in languages from Afrikaans to Yiddish. It kicks off Thursday evening with director Raoul Peck’s I Am Not Your Negro, which arrives with a passel of admiring-to-ecstatic reviews and a nomination for best documentary feature at this year’s Academy Awards. It’ll also be screened February 18 in the Portland Black Film Festival. Based on Remember This House, the final, unfinished novel of the great American writer James Baldwin, it explores “the absurd – and deeply tragic – relationship between the United States and skin color.” Some of the festival films will have broad commercial releases, and some will be available in art houses or on cable. The PIFF screenings will provide your only opportunity to see some others.
Spend a little time going through the schedules for all three festivals, then make your plans.
TEN TIPS FOR A BUSY WEEK ON THE BOARDS:
Pen/man/ship. Portland Playhouse takes on Christina Anderson’s acclaimed play about a ship at sea headed for Liberia in 1896 at a time when the American Colonization Society is campaigning to send African Americans “back” to Africa. Opens Saturday.
Marjorie Prime. Jordan Harrison’s Pulitzer finalist has a top-notch cast at Artists Rep: Vana O’Brien, Chris Harder, Linda Alper, Michael Mendelson. It’s science fiction about aging, technology, and memory loss: O’Brien plays an 85-year-old woman whose memories are prompted by an artificial version of her late husband. Opens Saturday.
Swimming While Drowning. Milagro produces the world premiere of Emilio Rodriguez’ play about a gay teen who leaves home and his homophobic father and winds up in an LGBT homeless shelter in Los Angeles. Opens Friday.
His Eye Is on the Sparrow. Maiesha McQueen stars as the great gospel singer Ethel Waters in Larry Parr’s musical biography, performed in the intimate Ellyn Bye Studio at Portland Center Stage. Opens Friday.
Trifles/Dutchman. Defunkt brings back a couple of old one-acts with contemporary inclinations: Susan Glaspell’s 1916 Trifles, a play with feminist overtones about a murder in the country; and Amiri Baraka’s 1964 Dutchman, about a young black man and a seductive white woman who meet on a subway. It was Baraka’s last play under his birth name LeRoi Jones, and coincides with his turn toward black nationalism. Opens Friday.
The Pillowman. The new Life in Arts Productions kicks off with Martin McDonaugh’s dark, brutal, chillingly beautiful drama about child murders and storytelling in a totalitarian state. Jamie Rea directs Bobby Bermea and others. Opens Friday at The Headwaters.
Interlude. Six dances by six choreographers, danced by six company members of PDX Contemporary Ballet, all in the intimate space of CoHo Theatre. Friday-Sunday.
Missed Connections and Other Love Stories. Just in time for Valentine’s Day, Readers Theatre Rep brings readings of three short plays that offer a rueful look at love: David Ives’s Sure Thing, Peter Barry’s Sex with a Mathematician, and Brooke Berman’s Defusion. Friday-Saturday, Blackfish Gallery.
Cabaret Boris & Natasha. The latest edition in this adventurous series at Performance Works NW features dancers Mike Barber and Subashini Ganesan, oboist Catherine Lee, PETE’s Amber Whitehall in a piece “made of hungriness and failure,” and more. Friday-Saturday.
In the Blood. Victor Mack directs Suzan-Lori Parks’s contemporary adaptation of The Scarlet Letter, focusing on a woman with five “illegitimate” children who’s trying to break out of poverty. Opens Friday at Portland Actors Conservatory.
A WHOLE LOT OF PÄRT. The Portland choir Cappella Romana is undertaking an Arvo Pärt Festival that kicks into high gear Thursday through Sunday, featuring the music of the Estonian composer who is perhaps the most-performed living composer in the world. Oregonians have some deep connections with Pärt and his music, and ArtsWatch writers have taken note:
When Oregon met Arvo. Brett Campbell tells the extraordinary tale of Pärt’s 1993 agreement to compose a new work for the Oregon Bach Festival in Eugene – a partnership that almost fell apart in a crisis of confidence, and ended in triumph the following year: “The ovation went on for a full 15 minutes, until, amazingly, the shy Pärt himself leapt up to the stage, a beatific smile beaming from the dark cloud of his beard, then embraced [conductor Helmuth] Rilling and the singers in turn.”
Arvo Pärt Festival: spirituality in sound. Daniel Heila explores the “holy minimalism” of Pärt’s devotional music: “The Eastern Orthodox composer’s departure from modernism was marked by an intense reexamination of all that he knew about music and an exploration and embracing of its sacred history.”
A Pärt pilgrimage. Oregon music student Justin Graff recalls his journey to Estonia to meet his musical hero and what he found, and shared, down a long rural road.
Theater for Barbarians. Maria Choban gets on her ancestral Greek and goes to a bunch of Greek plays around town. They tell her more about contemporary America than ancient Greece, she writes: where’s the raw, wild passion?
Kill the NEA? What it might mean. The new presidential administration is taking aim at the National Endowment for the Arts and the National Endowment for the Humanities. We consider what might happen if both federal agencies actually get the ax.
Fertile Ground reviews: Young Bloods. Brett Campbell takes in Broken Planetarium’s Atlantis and Orphic’s Iphigenia 3.0 and discovers theater made by and for a bold new generation.
Global Voices get a fair hearing. A.L. Adams drops in on the first weekend of Boom Arts’ mini-festival of readings of international plays (it concludes this weekend). The upshot? “Global Voices” is all over the map – and that’s a good thing.
Cappella Romana: choral conundrum. Bruce Browne, reviewing the choir’s performance of Finnish composer Einojuhani Rautavaara’s All Night Vigil (Vigilia), argues that this music from the 1970s deserves much wider attention. And he praises guest basso Glenn Miller: “He is so modest and self-deprecating, you wouldn’t know his capabilities, except his vocal quality is that of the voice of God.”
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