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Silver Screen Club


VENUES AND TICKETS
Whitsell Auditorium
1219 SW Park Avenue
Portland, OR 97205

The Box Office opens 30 minutes prior to showtime.

PARKING

ADMISSION PRICES
$9 General
$8 PAM Members, Students, Seniors
$6 Friends of the Film Center

Tickets are now available online. Click on the 'Buy Tickets' links to buy online.

BOOK OF TEN TICKETS
$50 Buy Here

THE 10-MINUTE RULE
Seats for advance ticket and pass holders are held until 10 minutes before showtime, when any unfilled seats are released to the public. Thus, advance tickets or passes ensure that you will not have to wait in the ticket purchase line but do not guarantee a seat in the case of arrival after the 10-minute window has begun. Your early arrival also helps get screenings started promptly. We appreciate your understanding. Advance ticket holders who arrive within the 10-minute window but are not seated may exchange their tickets for another screening at the Ticket Outlet or obtain a cash refund at the theater. There are no refunds or exchanges for late arrivals or for missed screenings.



   
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Special Screenings


Wed, Sep 12, 2012
at 6:30 PM

Wed, Sep 12, 2012
at 8:30 PM

SAM GREEN & YO LA TENGO: THE LOVE SONG OF R. BUCKMINSTER FULLER
NWFC & TBA FESTIVAL PRESENT

VISITING ARTISTS—Can one person change the world? Architect, inventor, and twentieth-century futurist R. Buckminster Fuller experimented tirelessly for 50 years trying to answer this question. Drawing equal inspiration from TEDtalks and Benshi film narration, THE LOVE SONG OF R. BUCKMINSTER FULLER is a new “live documentary” from filmmaker Sam Green (director of the Academy Award-nominated documentary THE WEATHER UNDERGROUND, 2004). Accompanied by a score performed live by Yo La Tengo, Green will cue images and narrate the film, exploring Fuller’s utopian vision that a design revolution could usher in radical social change. Indie stars Yo La Tengo, remembered for their inspiring score for the surreal aquatic science films of Jean Painlevé presented at the Film Center in 1991, have again composed a magical score for this inspired collaboration. (60 mins.)

Location: Washington High School, 531 SE 14th Ave.


Admission: $20 Silver Screen members, $25 General

Tickets are available through the Film Center site by clicking on BUY TICKETS above or at pica.org/tba.


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Sat, Sep 15, 2012
at 7 PM

Watch Trailer
AN EVENING WITH MAUREEN SELWOOD

VISITING ARTISTS—Animator Maureen Selwood’s beautiful, poetic, hand-drawn films attempt to, in her words, “give images a quality of the mental processes of life, for them to move in a way in which the mind moves.” Tonight, Selwood will present a selection of her more recent work, several featuring live music performances. The program includes A MODERN CONVENIENCE (2012), a tale of unexpected washing machine madness with live accompaniment by Archie Carey and Odeya Nini; HAIL MARY (1998), memories and images of growing up Catholic; AS YOU DESIRE ME (2009), a single-channel version of an installation inspired by a residence at the American Academy in Rome; I STARTED EARLY (2007), an exploration of the sexual awakening of a young woman as she visits the sea; DRAWING LESSONS (2006), a film about obsession and love; HOW MUCH BETTER IF PLYMOUTH ROCK HAD LANDED ON THE PILGRIMS (2009), a collaboration with composer David Rosenboom; and MISTAKEN IDENTITY (2001), her alluring deconstruction of the noir classic KISS ME DEADLY (1955), with live accompaniment by Anna Oxygen. (80 mins.)

Selwood, who is on the Experimental Animation faculty at the California Institute of the Arts, is the judge for the 39th Northwest Filmmakers’ Festival, November 9-18.


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Fri, Sep 21, 2012
at 7 PM

DAVID COPPERFIELD
THE THANHOUSER COMPANY FILM PRESERVATION PRESENTS
DIRECTOR: GEORGE O. NICHOLS
US, 1911

GUEST PRESENTER—Produced by the Thanhouser Film Company in New York in 1911, this DAVID COPPERFIELD is the oldest known film adaptation of Charles Dickens’ classic novel about a man who recounts how the events of his life shaped him. In true Dickensian serial fashion, the film was originally screened as three separate films released in consecutive weeks. In 1955, the film was acquired by the Museo Nazionale del Cinema Film Library in Turin, Italy. Fifty years later, the current head of Thanhouser Company Film Preservation, Ned Thanhouser, collaborated with the Museo Nazionale del Cinema Film Library to produce a new preservation print from the original nitrate, completed in 2012 to celebrate the 200th anniversary of Dickens’ birth. Tonight’s screening marks the re-release of the film 101 years after its original debut. Each attendee will receive a complimentary DVD, courtesy of Thanhouser Company Film Preservation. (Italian intertitles with English subtitles and musical accompaniment, 40 mins., silent.)

Introduced by Ned Thanhouser, grandson of silent film pioneers Edwin and Gertrude Thanhouser and president of Thanhouser Company Film Preservation.

Free admission.


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Sat, Oct 27, 2012
at 7 PM

Sun, Oct 28, 2012
at 4:30 PM

Watch Trailer
FAUST
DIRECTOR: ALEKSANDR SOKUROV
RUSSIA, 2011

GUEST PRESENTERS—Winner of the Golden Lion at the Venice Film Festival, FAUST is Sokurov’s fourth and final film in his tetralogy on the corrupting effects of power. In MOLOCH (1999), TAURUS (2001), and THE SUN (2005), Sokurov turned his gaze on Hitler, Lenin, and Japan’s Emperor Hirohito, respectively. Here, the RUSSIAN ARK director offers a visceral, freestyle reading of the legend of Dr. Faust, a scholar who exchanges his soul for unlimited knowledge. Departing sharply from Goethe’s version of the tale, Sokurov’s Faust (Johannes Zeiler) inhabits an earthy, 19th-century world of primitive autopsies and medical rituals. He becomes obsessed with the beautiful Margarete (Isolda Dychauk) and desperately turns to a physically grotesque Moneylender to conjure their union. “Intensified by the immersive, painterly cinematography of Bruno Delbonnel (AMELIE), FAUST is a poetic meditation on, and a sensually overwhelming vision of, man’s unyielding hunger for knowledge.”—AFI Film Festival (140 mins.)

Sponsored by the Russian and German departments of Reed College. Evgenii Bershtein, Associate Professor of Russian, and Michael Taylor, Assistant Professor of German, will introduce the Sunday screening.


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Fri, Nov 2, 2012
at 7:30 PM

Sat, Nov 3, 2012
at 7 PM

Sat, Nov 3, 2012
at 9 PM

Sun, Nov 4, 2012
at 4:45 PM

Sun, Nov 4, 2012
at 7 PM

Mon, Nov 5, 2012
at 7:30 PM

Watch Trailer
BEAUTY IS EMBARRASSING
DIRECTOR: NEIL BERKELEY
US, 2012

VISITING ARTIST—You may not know painter-cartoonist-puppeteer-filmmaker Wayne White by name, but you know his work. A guiding force behind PEE-WEE’S PLAYHOUSE, White made an indelible mark on ’80s and ’90s pop culture by creating some of the decades’ most arresting and iconic images. BEAUTY IS EMBARRASSING chronicles his ongoing struggles to find peace and balance between his brilliant art directing work on TV, music videos (Smashing Pumpkins, Peter Gabriel), and commercials (W+K’s Old Spice), and his witty, irreverent “word paintings.” Berkeley captures White at home, on the road, and onstage doing his one-man show, resulting in a funny, joyful portrait that inspires us all to follow our own passions. “[White is] ... a little bit Zach Galifianakis, a little bit Snuff Smith, a little bit Unabomber.”—Matt Groening. “A future perennial favorite on the order of CRUMB.”—Austin Chronicle. “Hilarious ... Wayne rails against the pretentious, pointy-headed high-art establishment, serving as a compelling folk hero for those who never knew art could be fun.”—Variety (87 mins.)

Wayne White will attend the Friday night screening.

Sponsored by Wieden+Kennedy.


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Tue, Nov 6, 2012
at 7 PM

Watch Trailer
JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES
YU & NWFC PRESENT
DIRECTOR: CHANTAL AKERMAN
BELGIUM/FRANCE, 1975

“Three days in the life of a forty-year-old bourgeois widow are depicted in three hours and fifteen minutes of film. We watch Jeanne Dielman (Delphine Seyrig) perform the endlessly repetitious, robotized routines she requires to maintain her fusty home and care for her pampered, sullen son, structured and precisely timed activities that include prostituting herself each afternoon in her own tidy bedroom after she puts the potatoes on to boil and before her boy returns from school. So familiar have we become, halfway through the film, with the structure of this woman’s life that an excruciating, Hitchcock-like tension emerges when she simply forgets to put the lid on her cash kitty or turn off a light or when the potatoes begin to burn—when she begins to fall apart. This is a tight, engrossing, and exhilarating experiment with a new kind of ‘melodrama’ and a masterful integration of the commercial feature with the avant-garde film, shot by an all-woman crew.”—Pacific Film Archive. “A feminist masterwork of minimalist constraint; a cinematic powerhouse of narrative innuendo; Ackerman’s pièce de resistance.”—Todd Haynes (198 mins.)

Shown in conjunction with the Marianne Wex exhibition at Yale Union (YU), October 12 - November 30.


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