The Northwest Film Center

FilmWatch Weekly: Kubrick, Basquiat, Clouzot bring culture to summer

The beginning of summer movie season offers more than mere spectacle

Memorial Day Weekend was, until fairly recently, considered the start of the summer movie season. More refined fare would give way to popcorn entertainment for the masses. These days, the summer movie season feels like it runs from March through January, but fortunately it’s still possible to find movies that aspire, however imperfectly, to something more than blunt sensory spectacle and finely-honed witticisms. (Not that there’s anything wrong with either of those things!) Playing this week in Portland are a pair of documentaries about the artistic process, a couple of British films set about 150 miles apart, and two gripping early efforts form the director known as “the French Hitchcock.”

Sometimes it feels, among the community of hardcore cinephiles, like there’s a competition to see who can live a life most consumed by movies. Bleary-eyed participants undertake film-fest endurance tests, watching four, five, even six movies in a day. (I know, I’ve been one.) Blogs and social media posts testify to the central, even borderline unhealthy, role the seventh art plays in the lives of its most dedicated cultists. But in terms of devotion to the art, and in particular to its most obsessive practitioner, no one can top Tony Vitali and his single-minded service to the vision of Stanley Kubrick, as chronicled in the compelling documentary “Filmworker.”

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FILM REVIEW: “Mountains May Depart” and “A Guy from Fenyang”

The latest film from Chinese auteur Jia Zhangke plays along with a documentary about him by Brazilian director Walter Salles

In late 2012, I interviewed Brazilian director Walter Salles for the release of his film adaptation of “On The Road.” Salles, A gregarious and thoughtful conversationalist, mentioned near the end of our chat, that he loves and misses books that filmmakers write about other filmmakers, and that he planned to write one about Chinese director Jia Zhangke (“Still Life,” “A Touch Of Sin”). “For me,” he said, “he’s the most important filmmaker alive.” Only a few years later, Salles made good on that promise. Sort of.

While there’s no sign yet of a book, we do have “Jia Zhangke, A Guy From Fenyang,” a documentary portrait by Salles of the revered filmmaker, screening this weekend along with Jia’s latest film, “Mountains May Depart,” at The Northwest Film Center’s Whitsell Auditorium. For anyone who follows contemporary world cinema, or who appreciates entertaining, moving, and beautiful films, it’s the highlight of the weekend.

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Top Down: Making It Happen Every Week

Projectionist Erik McClanahan provides a glimpse at the hard work that makes Rooftop Cinema a reality

The act of showing a movie today is almost embarrassingly easy. Push a button and voilà, movie time! Digital magic, you know? All you have to do is press that button and the show will go on.

Now, put all that equipment outside and things get a little more complicated.

It can be a magical way to experience a movie, under the stars of a gorgeous Summer evening in Portland. That’s the appeal of Top Down, at least for the audience. For projectionists like me and my co-workers, it’s a whole different story.

The annual rooftop movie series put on by The Northwest Film Center is back and ready to kick off Thursday. The makeshift outdoor cinema will be built, as always, atop the Hotel deLuxe parking structure in downtown Portland, once per week through the end of August. The Film Center staff is a small but devoted clan of film lovers, and it takes nearly all of us every Thursday to pull off this event.

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The projectionists’ view from behind the screen at Top Down

For sound, we have six speakers and two large sub-woofers shaped liked giant ice cubes, all run through a mixing board which is set up behind the massive 16′ x 9′ inflatable screen. Keeping that screen erect is a small machine that simply shoots a non-stop funnel of air through it all night long. If the power goes out, or some hapless child decides to pull the plug (which has happened before), it will deflate almost instantly, and we have to scramble to solve the problem.

Setting up projection, though, is the most laborious and time-consuming part of the process. We opt for rear projection up there, so the portable digital projector is setup behind the screen. This arrangement is akin to a great special effect: when it’s done well, with plenty of advance preparation and testing, the audience won’t even notice all the hard work it took to make it happen.

Portland is spoiled rotten with outdoor screenings during these hot Summer months. Most of them are free, relatively low-key community-based events at parks across town. Not Top Down, where your ticket gets you a seat to the movie (or at least a place to put the lawn chair you bring), a live band or DJ performance preceding it, and a stunning 360 degree panorama of our lovely city. If you’re lucky, a gorgeous sunset will not only fill the sky with more sparkling yellows, oranges and purples than a Terrence Malick film projected through black lights, but also signal the movie is about to begin.

Once the sun goes down, the real magic hour begins. After the film ends, the audience departs, almost certainly tired and maybe a little tipsy, but also (ideally) buzzing with the joy of a special cinematic experience. For the staffers on site, breakdown begins and we reverse all the set-up from the day, packing up the equipment, tents, and hundreds of chairs. If we’ve done our job correctly, there’s nary a trace that a movie was shown here, or that 500 people sat atop and watched it. We won’t be done working until 1:00 am, if we’re lucky. Working Top Down is a right of passage for the staff, something we all have to do at some point, and even though it’s exhausting and stressful as hell, it’s all worth it.

attack-the-blockThe seven films programmed for the series this year—can’t miss highlights include “Attack The Block,” “Raising Arizona” and “Key Largo”—include something for everyone. As always, it’s an eclectic mix of titles. Where else could you see Spike Lee’s “She’s Gotta Have It” one week and then John Waters’ musical “Hairspray” only a few weeks later, all projected on a big screen? (If it’s windy up top, the screen will bulge in and out as though you’re watching a 3-D movie without glasses, which is a special treat, believe it or not). Talking Heads frontman David Byrne’s 1986 film “True Stories,” less a musical than an art film inspired by that decade’s music video aesthetics, closes out the series on August 25. But first, this week, there’s Ed Wood’s infamous shitshow “Plan 9 From Outer Space,” which you have to see to believe.

Now’s your chance to see them all, under the stars with friends and a bunch of like-minded strangers. I can’t think of any better reason to work so hard for one screening. There’s plenty more to this story, but at least now you know that simply pushing a button is only 1% of this event.

Erik McClanahan is a projectionist for The Northwest Film Center. If you see him and/or any other crew members at Top Down, make sure to say hi. Advance tickets are highly recommended for this event. You can purchase tickets for each film here.

ArtsWatch looks ahead to the 38th Portland International Film Festival

The Vancouver International Film Festival gave us a great jump on the best films coming to PIFF and beyond

Film festivals are complex, multifaceted, logistical nightmares… (almost) as much for the audience as for staff. However, if one distills them down to their essence, an inherent bifurcation is revealed. They are the final bastion for a not insignificant crop of smaller, foreign, arthouse, documentary and independent films to be seen in a cinema with a crowd. They’re also an odd microcosm of all that’s wrong with the industry today.

I’m willing to bet almost every reader here already agrees with the former, but the latter? Not so sure. Perhaps it’s our dirty little secret. Gasp! There are just as many bad movies produced every year in world cinema as Hollywood, probably even more.

Which is why you, dear movie lover, need some guidance. Some good, old-fashioned curation. After all, Portland is rife with endless festivals. It has a deep bench of specialty, indie and arthouse theaters. We’ve got choices. Too many, perhaps. In a way, though, it’s a good problem to have, but it’s all too easy (and understandable) to take for granted such privileged access to films far and wide, strange and square, big and small, and nearly everything in between.

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