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SIUSLAW NEWS ❚ SATURDAY, MARCH 5, 2016
LCC, City Lights to present Northwest Filmmakers Festival Tour
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hoods in Portland.
Recently, Eagon learned that
one of the buildings he filmed
extensively for his documen-
tary — Centennial Mills on the
edge of the Pearl District —
was being demolished.
“It’s a central theme in
Portland right now. There’s a
debate over preservation of his-
torical buildings and districts
versus builders and develop-
ers,” Eagon said. “My piece is
not meant to be political. It’s an
observation of the city and
place in time. I thought shoot-
ing it on 16mm black-and-
white film was the best way to
preserve the urban landscapes
and what they looked like over
a period of time.”
Eagon, 29, a self-taught
filmmaker, prefers working
with film rather than digital
media.
“Film is this magical thing,”
he said. “It’s printing actual
light onto the celluloid. I think
the younger generation has for-
gotten what a miracle that is.”
The tour offers Eagon and
other filmmakers an opportuni-
ty to reach a wider audience
while also offering communi-
ties the chance to experience
diverse films, said Ben Popp,
screening tour curator and
Northwest Film Center film
services manager.
“I think it gives communities
a different view that they may
not have access to,” Popp said.
“The tour is a way to reach out
and help them experience and
see films that they’re not going
to get at the Redbox.”
Films in this year’s tour
range from the three-minute
documentary “Two Roads,”
from Sooke, British Columbia;
filmmakers Troy Moth and
Josh Lambert, who chronicle
the culture of the Anishinaabe
people; to a 16-minute comedy
“Dead Hearts,” about a young
mortician who finds his love.
City Lights Cinemas co-
owner Michael Falter said he
hopes the different styles of
filmmaking represented in the
screening tour will inspire local
storytellers.
“Any time we can expose
audiences to short films — and
to their makers — we can help
demystify the filmmaking
process and inspire people to
tell their own stories, right here
in Florence,” Falter said.
“Short films, like short stories,
break free from the three-act
structure that we expect from
long-form narrative. Simply
opening up our story minds can
be very liberating.”
The other featured experi-
mental film on the tour is “Hers
is Where Yours Begins,” by
Janet McIntyre of Portland,
who uses the documentary
form to craft a poem to her
younger self.
Other featured films include:
“Seven Ways from Sunday” by
Robert Sickels of Walla Walla,
Wash., which explores the con-
cept of diversity through the
eyes of seven different people;
and two animated short fea-
tures: “To See More Light” by
Kurtis Hough of Portland and
“Robot Pavlov Sputnik” by
Oliver
Hockenhull
of
Vancouver, B.C..
“For Jean-Pierre Melville”
tells the story of an assassin
and is a hat tip to Melville, who
influenced the French New
Wave movement. The film, by
Ira Flowers of Portland, won
the Audience Award for short
narrative.
Tickets can also be purchased
at www.citylightscinemas.com.
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A screening tour of the nine
short films touted as the best of
Portland’s 42nd Northwest
Filmmakers Festival makes a
stop at City Lights Cinemas on
Thursday, March 10.
The Best of the 42nd
Northwest Filmmakers Festival
Tour represents a cross-section
of entries from the festival held
in fall 2015. Sponsored by the
Northwest Film Center, the fes-
tival attracts more than 400
entries from filmmakers in the
greater Pacific Northwest
region.
Following each year’s event,
the Northwest Film Center
curates the entries to produce a
screening tour to broaden the
filmmakers’ exposure and
share their art in communities
across the Northwest.
Two screenings will be held
at City Lights Cinemas, 1930
Highway 101, at noon and 6:30
p.m., on March 10. A special
discount is available to those
who stop by Lane Community
College Florence campus for a
discount voucher, allowing $5
admission at the door.
As part of the screening, fea-
tured filmmaker Stuart Eagon
will also be in attendance to
share his perspectives on his
short film, “Memory,” which
won the festival’s Audience
Award for best experimental
film.
Shot on 16mm black-and-
white film, the short piece is
part of a larger documentary in
production that chronicles his-
toric buildings and neighbor-