These films build on an early image or idea, often conjuring a meditative state. ** All film programs during Engauge 2021 include a virtual filmmaker Q&amp;A that is <a href="https://vimeo.com/showcase/8922398" target="_blank" class="ql-size-large">free to view through the festival’s Vimeo page</a>. Whether you experience the festival in person or at home, check in afterwards to hear from the filmmakers! **

Facets of pandemic obsessions stitched together.

needles

Facets of pandemic obsessions stitched together.

A cameraless portrait of the artist. Super 8mm cartridges placed inside a black cotton bag, the film advanced via a hand crank. The tiny gaps in the fabric weave make for dozens (hundreds? thousands?) of tiny pinhole lenses.

Self Portrait with Bag

A cameraless portrait of the artist. Super 8mm cartridges placed inside a black cotton bag, the film advanced via a hand crank. The tiny gaps in the fabric weave make for dozens (hundreds? thousands?) of tiny pinhole lenses.

An employee of God takes a break from heaven's bureaucracy and spends some time on Earth.

eternity on a loop

An employee of God takes a break from heaven's bureaucracy and spends some time on Earth.

A young woman takes a walk in the woods and slips into another realm, wherein she glimpses her future self. If we live long enough, we will have seen six-hundred moons at fifty years of life on earth. 600 Moons is a wordless experimental film that wonders about the fluidity of time, the fragility of our existence and what happens when we die. Shot in Ontario and Montana on 16mm, the film was hand-processed with a variety of techniques including developers made from herbs and weeds.

600 Moons

A young woman takes a walk in the woods and slips into another realm, wherein she glimpses her future self.

A motion study of passing time. Shot using a hand-built camera, 35mm film is drawn past a thin vertical aperture, organizing the image temporally. Familiar objects dissolve into abstract lines unless in motion past the lens, their shape determined not by their physical features but in the speed of their movement.

Slow Volumes

A motion study of passing time. Shot using a hand-built camera, 35mm film is drawn past a thin vertical aperture, organizing the image temporally. Familiar objects dissolve into abstract lines unless in motion past the lens, their shape determined not by their physical features but in the speed of their movement.

Beneath The Mead: cigar.lend.shave is a speculative portrait of a place in North Bristol called Pen Park Hole. The site was discovered accidentally in the 17th century and first explored in 1669 by Captain Sturmy, a renowned mariner and navigator. By the early 1990s, surveyors had mapped the cave’s many chambers and discovered impressive examples of dogtooth spar, a mineral deposit that is found in limestone caves, consisting of very large calcite crystals resembling dogs’ teeth. The entrance to the cave is adjacent to the Southmead housing estate – the site was subject to planning permission for residential homes, but this was thwarted in August 2016 when its geological origins and cave invertebrate community (including the cave shrimp Niphargus) led to its designation as a Site of Special Scientific Interest. As in the pastime of caving, Beneath The Mead: cigar.lend.shave channels the intense curiosity to seek out what lies beneath the land we occupy. Combining the real and the imaginary – conversations with local residents are layered with speculative ideas about an imagined landscape – Phillips’ film questions what is known about this specific site and ideas of locality and home.

Beneath The Mead: cigar.lend.shave

A speculative portrait of a place in North Bristol called Pen Park Hole. The film channels the intense curiosity to discover what lies beneath the land we occupy, questioning what is known about this specific site as well as ideas of locality and home.

My grandfather made a film in 1926 about his (unfinished) village project Les Fonts. In this piece he used some fragments of the enclosures where roses were grown (respecting the original intertitles of his fim). The bourgeois women of my family are depicted as happily domesticated as "roses among roses," because men did the important things and inherited the land. The women of their time were raised like flowers: they had to be educated, fine, and kind to serve the taste of men in power. They could not get out of the margin if they did not want to be marginalized. In this piece, I contrast images filmed during the confinement of the streets of Les Fonts, where no one cut the weeds and flowers grew on the sidelines of the roads. A parody, a game of contrasts: cultivated flowers, domesticated to serve the patriarchy, and wild flowers, free in thought.

Study for a Film: Origins or Seeds on the Margin

Inspired by a film by the artist's grandfather, this film mediates between the historical limitations for bourgeoisie women (“roses among roses”) and the contemporary realities of confinement.

“A triptych in which the figure of the horse becomes a medium for meditation on its various incarnations as symbol, domesticated animal for human domination, and its abstract power as spirit.” — Images Festival

3 Dreams of Horses

A triptych in which the figure of the horse becomes a medium for meditation on its various incarnations as symbol, domesticated animal for human domination, and its abstract power as spirit.

Our front window from inside and out.

In and Out a Window

Sliding Scale

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These are all the passes tied to your account. Visit https://watch.eventive.org/engauge2021 to reserve tickets to the programs that interest you. You can access your tickets via {{my_tickets_link|"My Tickets"}} or via the PDFs attached to each ticket order confirmation email.

These are all your purchased virtual tickets. Unless you are a Hybrid Pass-holder, in-person screenings are ticketed entirely separately. Links to in-person screening tickets can be found on each virtual film program, as well as at bit.ly/engauge2021nwff

General Engauge 2020 Pass

NWFF Member Pass

Student Pass

Virtual-Only Pass (General)

Virtual-Only Pass (NWFF / SIFF / GI / PCNW Member)

Virtual-Only Pass (Student/Senior)

None available

Passes

Below are all of the film programs in the 2021 festival. On each virtual listing, you'll find a link to that program's in-person showtime at NWFF. Virtual programming will be available continuously from Oct. 28 – Nov. 8; in-person programming at NWFF runs Oct. 28–31.

Each Fall, Engauge Experimental Film Festival hosts screenings sponsored by Interbay Cinema Society in partnership with Northwest Film Forum. The festival screens ONLY work that originates on film, by filmmakers both local and international. 2021 marks their return to in-person screenings at NWFF!