FILM

As Ilana Sol’s new film about war and reconciliation, Samurai in the Oregon Sky, screens this week at Portland’s Northwest Film Center, a look back at the Portland filmmaker’s first documentary

Editor’s note: On Thursday, November 14, Portland Art Museum’s Northwest Film Center presents the second film by Portland filmmaker Ilana Sol. Samurai in the Oregon Sky tells the story of Japanese pilot Nobuo Fujita, the only pilot to bomb the U.S. mainland during World War II, his subsequent visit to the Oregon town the bomb struck, and the 35-year-long relationship between the Fujita family and the people of Brookings, which he came to call his “second home.” It previously screened at the East Oregon Film Festival, Astoria International Film Festival and others.

Sol’s acclaimed first film dealt with a similar subject — the Japanese balloon bomb that killed a group of Oregon picnickers during the War. On Paper Wings won several awards and was included in an episode of National Public Radio’s Radiolab. Here is the profile of Sol ArtsWatch’s Brett Campbell published in Oregon Humanities magazine when it premiered.

Nobuo Fujita during World War II

The sunlight sparkled as it made its way through the forest on Gearhart Mountain, and the small party of schoolchildren and their minister from the nearby southern Oregon town of Bly laughed and chattered as the car pulled over to the side of the road. It was May 1945. The country was at war and just emerging from a long Depression, but it was a beautiful spring day, and the young minister, Archie Mitchell, had found a perfect spot for a picnic in the woods. As they spilled out of Mitchell’s car, one of the kids spotted something white lying on the ground. Followed by Mitchell’s pregnant wife, Elsye, they raced to see what it was. “Don’t touch it!” shouted Mitchell.

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Falling in love with movies and film festivals

Justin Zimmerman of the McMinnville Short Film Festival talks about his gateway films, the festival life, and this weekend's mini-fest fundraiser

The hottest movie ticket in Yamhill County this weekend isn’t at a theater. That distinction belongs to the Ice Auditorium on the Linfield College campus, where the McMinnville Short Film Festival will hold a sneak preview.

Eight films will be screened Saturday night (including one of last year’s crowd favorites, the hilarious I Will Not Write Unless I Am Swaddled in Furs). Afterward, audience members will meet some of the filmmakers and players behind the ninth annual event, scheduled for Feb. 21-23. Tickets are only $5, and Linfield students with ID get in free. The mini film fest runs from 6:30 to 9:30 p.m. Oct. 26. Proceeds will be split between the  McMinnville Short Film Festival and scholarships for immigrant students in Yamhill County.

Justin Zimmerman was involved in the McMinnville Short Film Festival as a filmmaker and a judge before becoming executive director last spring. Photo by: David Bates
Justin Zimmerman was involved in the McMinnville Short Film Festival as an entrant and a judge before being named executive director last spring. Photo by: David Bates

One guy who will be in the audience and working the crowd afterward will be filmmaker Justin Zimmerman, who last spring was brought aboard as the festival’s executive director.

Zimmerman’s Portland-based Bricker-Down Productions has had films in more than 150 international festivals and won in dozens of them. Zimmerman also contributed a story to the Eisner Award-winning graphic novel Love Is Love. His connection with the McMinnville festival, founded by Dan and Nancy Morrow nearly a decade ago, goes back several years — first as an entrant and later as a judge.

I sat down a few weeks ago with Zimmerman during one of his visits to McMinnville, where he’s been discovering our restaurants and shops as he meets with the festival’s growing roster of partners (Linfield College among them) in preparation for February’s event. The festival has expanded to three days, entries are up, and it’s booked the largest auditorium at the local Coming Attractions multiplex for the entire weekend. “I have peers and friends in the world of film festivals, film programmers, executive directors, etc.,” he told me, “who, if they saw the budget of what we’re doing, they would be astounded.”

Zimmerman and I talked for about 90 minutes in a conversation that veered from his background and experiences and the festival to a few geek-out moments over movies we have both seen and loved. The following exchange has been edited for length and clarity.

What was your first movie memory growing up?

Zimmerman: I was fortunate enough to see Return of the Jedi, Gremlins, and Ghostbusters in a theater. Those really hit me. I remember those having a visceral effect. I remember seeing E.T. at a drive-in theater, that one blew me away. Movies really spoke to me. I was pretty young when I realized how powerful a movie could be. I didn’t have the training to contextualize it — the cinematography, the score, the acting, etc. — but it was very early on that I fell in love with movies.

What did you study in college?

Ohio State didn’t have a film production program, so I studied English and film criticism. I was fortunate to have a professor who taught the history of art named Ron Green, who was one of the most amazing film voices you could ever hope to find. I was studying Milton and Shakespeare and comparative world religions. I studied abroad in England and Ireland. Being in Scotland when Trainspotting hit was incredible. I took these courses in English where professors would teach what they were interested in: Feminism in horror movies; Orson Welles into Kubrick; and looking at the films of these wide-angle auteurs. It was remarkable.

Any particular film leap out, get inside your head?

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Calendar: Fiber arts, author talks, musical theater and whimsical cello

It's a busy month in Yamhill County, with art openings, open mics, author readings, romantic comedy, and music ranging from chamber to Latin jazz

It’s one of those weeks that illustrates the rich artistic and cultural opportunities that abound even in small Oregon towns — a reminder that one need not live in Portland to see good shows and films or hear authors speak. Let’s get to it, in more or less chronological order:

CURRENTS GALLERY IN DOWNTOWN McMINNVILLE just closed a show displaying the work of many fiber artists, only to follow it with another featuring the work of a single artist. Marlene Eichner, one of the gallery’s many owners, unveiled Just Say Sew on Monday, featuring one-of-a-kind wall hangings, pillows, purses, and screens. Stylistically, the collection is all over the map, ranging from the extremes of abstract and realism, and made using an equally diverse range of techniques. I popped in briefly during the installation and was struck by the painterly look of the pieces. The show runs through Nov. 10. A reception is scheduled during McMinnville’s 3rd on 3rd art and wine walk.

"Happy Place," by Marlene Eichner, was made with mosaic and applique techniques and is based on a watercolor by an artist friend, Joan Weins. Eichner calls it a "stylized representational landscape." Photo courtesy: Marlene Eichner
“Happy Place,” by Marlene Eichner, is made with mosaic and applique techniques and is based on a watercolor by an artist friend, Joan Weins. Eichner calls it a “stylized representational landscape.” Photo courtesy: Marlene Eichner

Eichner has been working with fabrics most of her life. Her mother made all her clothes through high school, and she made her own clothes and dolls in junior high home-economics classes. She has a degree in English literature and worked in California’s public sector after her daughter was born, while continuing to dabble in various artistic forms.

“When I retired at 54, I returned to my sewing roots and started a serious cottage industry, merging art and fabric,” she said. “I have made everything conceivable with fabric, including purses, pillows, banners, room screens, etc., starting with traditional projects and styles and gradually gaining confidence to evolve into serious fine art.”

Marlene Eichner unveiled her new fabric show at Currents Gallery in McMinnville this week. The show runs through Nov. 10. Photo by: David Bates
Marlene Eichner unveiled her new fabric show at Currents Gallery in McMinnville this week. The show runs through Nov. 10. Photo by: David Bates

She focuses on wall pieces using not only traditional quilting/piecing techniques, applique, and mosaic, but also incorporating free-style, free-motion machine thread-painting, and embroidery.  “My interest is in the interplay of light and color when using disparate fabrics to form a cohesive finished product,” she said. “So I play with many genres, from very abstract pieces, to both stylized and detailed representational pieces.”

Eichner said she uses either the highest quality fabric she can find, or she makes it herself in one of three ways: She’ll photocopy items such as textured paper and plant material, scan, and even manipulate them digitally, and then print on treated fabric.

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Spotlight shines on movies made in Oregon

Lincoln City's Bijou Theatre hosts the six-day Oregon-Made Film Festival with a dozen feature films, plus shorts and documentaries

Movie buffs learning that the Oregon-Made Film Festival is coming to Lincoln City’s historic Bijou Theatre will no doubt expect to see films such as The Goonies, Sometimes a Great Notion, and One Flew Over the Cuckoo’s Nest. And they will. What they might not expect is the handful of films they’ve probably never heard of and just as likely won’t soon forget.

The film festival will showcase about a dozen Oregon-made feature films, as well as shorts and documentaries, over six days beginning Oct. 25. I talked with Betsy Altomare, co-owner with husband, Keith, of the Bijou, about the festival. Her responses have been edited for length and clarity.

What inspired the Oregon-Made Film Festival?

Altomare: In about 2011, we did it during spring break because there were a lot of really cool movies made in this area, like Sometimes a Great Notion. (People want to see that all the time. Every month or so, someone says, “When are you going to play Sometimes a Great Notion?”) But we only did that in the mornings and just five movies. It was mostly popular with retired people who aren’t working during the week. For The Goonies and Free Willy, of course, we had families. But the films weren’t terribly well attended.

We hope doing a whole week with an Oregon-made film at every show time will change that. We’re going in different directions, too. We’re showing  short films, documentaries, and stories that deserve to be seen. The festival will also feature introductions from directors, as well as other movie experts.  
 

The cast of 1971’s “Sometimes a Great Notion,” based on Ken Kesey’s novel, included (from left) Paul Newman, Henry Fonda, Lee Remick and Richard Jaeckel as members of the Stampher family. It plays Oct. 25 during the Oregon-Made Film Festival.
The cast of 1971’s “Sometimes a Great Notion,” based on Ken Kesey’s novel, includes (from left) Paul Newman, Henry Fonda, Lee Remick, and Richard Jaeckel as members of the Stamper family. It plays Oct. 25 during the Oregon-Made Film Festival.

What were the criteria for choosing the movies?

Partially popularity and partially for information. We chose two documentaries by Salem’s Darrell Jabin. One is the History of Oregon Carousels and the other, the History of Oregon Movie Theatres. We have the silent film The General, made in 1926 in Cottage Grove with Buster Keaton. That’s always popular. Oregon film expert Dean Ingram will be on hand to introduce that. We’re also doing these shorts from the Wandering Reel Traveling Film Festival. Curator Michael Harrington does some really interesting shorts. He will be there to do the introduction.

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Notes from Eastern Oregon: Art centers keep culture alive

Former Carnegie libraries in Pendleton, La Grande and Baker City house collections ranging from rocks to Lee Marvin's yellow-striped pants.

A road trip to Eastern Oregon late this summer opened my eyes to an error of provincialism on my part. I had regarded Newberg’s Chehalem Cultural Center as being somehow unique for a small community. Granted, it is one of the largest nonprofit facilities of its kind in Oregon outside of Portland, but it is hardly the only instance of an old building being repurposed to keep arts and culture alive in a small town.

A trip that took us up the Columbia Gorge and into Pendleton, though La Grande, and finally into Baker City yielded a few journalistic snapshots.

The entrance of the Carnegie library that houses the Pendleton Arts Center was designed to resemble the Pazzi Chapel at the Basilica di Santa Croce in Florence, Italy. Randy Gundlach’s horse statue lends a western touch. Photo by: David Bates
The entrance of the Carnegie library that houses the Pendleton Center for the Arts was designed to resemble the Pazzi Chapel at the Basilica di Santa Croce in Florence, Italy. Randy Gundlach’s horse statue lends a western touch. Photo by: David Bates

The Pendleton Center for the Arts is perched on a hill on the northwest corner of downtown next to the Umatilla River. Like the other art centers we visited in Eastern Oregon, the Pendleton center is a remodeled Carnegie library, this one designed by Portland architect Folger Johnson (1882-1970) and built in 1916 in the style of Italian Renaissance Revival. The entrance was designed to resemble the Pazzi Chapel at the Basilica di Santa Croce in Florence, Italy. Near the front steps is an equestrian statue titled Sisters in Spirit by Randy Gundlach, dedicated in October 2004.

On the day I was there, the photographic work of David Webber, an artist/professor from Oklahoma, occupied the main gallery. Trees, gates, fences, sidewalks, and exterior walls were the primary motifs featured in the 15 prints, blown up to enormous size. According to the program, Webber’s “photos confuse the boundaries of their reference and challenge the viewers’ perception of what they are seeing. Superimposing images through layering, he pushes them to varying degrees of density by creating simple composites, fields of color and meshed textures.”

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40 years and 363 miles along the Oregon Coast

A show at the Newport Visual Arts Center celebrates the rambling stretch from Astoria to Brookings in a variety of media including painting, woodwork and film

Some 360-odd miles of the Oregon Coast are condensed this late summer into one modest building set just a hop above Nye Beach. Art 363: Representing the Oregon Coast, on display throughout the Newport Visual Arts Center’s galleries, features work depicting the rambling length of the Oregon Coast, from Brookings to Astoria. I talked with three of the artists involved for a look behind the pieces.

Erik Sandgren (left) and his father, Nelson Sandgren, paint at Bandon in 2004, two years before the elder Sandgren’s death. The Sandgren Coast PaintOut began in 1978 as an OSU summer watercolor course taught by Nelson Sandgren. Photo by: Kathryn Cotnoir
Erik Sandgren (left) and his father, Nelson Sandgren, paint at Bandon in 2004, two years before the elder Sandgren’s death. The Sandgren Coast PaintOut began in 1978 as an OSU summer watercolor course taught by Nelson Sandgren. Photo by: Kathryn Cotnoir

The Sandgren Coast PaintOut Project celebrated 40 years this summer. More than 40 artists who have taken part in the plein air paintout over that time share an exhibit in the Runyon Gallery.

Artist Nelson Sandgren (1917-2006) started PaintOut as an extension class through Oregon State University, where he taught for 38 years. It has evolved under his son, Erik Sandgren, into a two-week, informal summer gathering where subject matter varies from sea to forest, headlands to harbors, streams and rivers, beaches and boats, wave-swept rocks, seabirds, and lighthouses.

"Newport Bridge," by Bets Cole, is one of the paintings produced during the Sandgren Coast PaintOut.
“Newport Bridge,” by Bets Cole, is a product of the Sandgren Coast PaintOut.

“It’s a select group of people who are interested in learning,” Erik Sandgren said. “We welcome people who are serious about painting and of all levels of experience. We have professional painters and artists, skilled amateurs, newbies. They offer camaraderie, critique, and opportunities to see how other serious painters handle their gear and painting problems on site, sometimes in adverse conditions created by sun, rain, or wind. I would describe them all as intrepid.”

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Finding a voice for black media

Open Signal's screening Friday at the Hollywood Theatre of work by six young black Portland filmmakers opens the door on a world of stories

Something’s happening. And you’d better know what it is.

On Friday, June 14, Open Signal Labs is giving six black filmmakers a chance to showcase their work and let the Portland media world know they’re here, they’re thriving, and they’re ready to enter the industry and take a commanding role. The screening, at 7 p.m. at the Hollywood Theatre in Northeast Portland, is the culmination of a year of work, learning and training for six young, black filmmakers: Kamryn Fall, Elijah Hasan, Tamera Lyn, Sika Stanton, Noah Thomas and Dustin Tolman.

Open Signal’s Ifanyi Bell and RaShaunda Brooks: making it happen. Photo: Sam Gehrke

This fellowship is the first of its kind in the state of Oregon. Over the course of the year, these artists were granted “a $2,000 stipend, training, access to industry-standard equipment, staff and actors from Artists Repertory Theatre, as well as mentorship with media professionals and connections to the field from the Oregon Governor’s Office of Film & Television.” The idea, says Open Signal executive producer and industry veteran Ifanyi Bell, is to “provide our fellows the best possible resources — cutting-edge filmmaking equipment and experienced industry professionals — and then time will tell. We hope to create a safe space immune from outside influence that will inspire true innovation and authentic stories of black Americans.”

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