[image] film festival

By Elizabeth Mulloy

In the heart of the cinematic world, a beacon of empowerment illuminated the screen as the 12th Edition of the Post Alley Film Festival took center stage at the SIFF Film Center on the 30th of March. Hosted by Post Alley Film Festival Founder and Director, and the President of Women in Film (WIF) Seattle, Virginia Bogert, showcased over thirty short films from over nine countries highlighting the talent, creativity, and resilience of female filmmakers.

From the moments the lights dimmed, and the first film flickered on the silver screen, it was evident that this festival was not just about showcasing films; but was about amplifying voices, challenging norms, and rewriting the narrative of women in film. The lineup was an intricate tapestry of emotions, weaving together stories of strength, vulnerability, triumph, and orange cat behavior.

The films covered a wide range of topics, divided into seven distinct segments.

Beginnings/Endings focused on the circle of life and the inevitability of death. Films included Cuando te Vas, directed by Isabel Montes, an older film Bogert felt deserved to be seen again, and perfect for the opening offer. Next up from Iran, Witness, directed by Aida Tebianian, followed by Hangman, directed by local filmmaker Megan Brotherton, a PAFF alumna and award winner; then Scam, directed by Julie Sharbutt, a dark comedy about a telephoner who takes advantage of elders. Coincidentally, Seattle International Film Festival’s Opening Night Film, Thelma, revolves around this same theme.

Moving on to the second block, Woman’s World sheds light on the daily struggles faced by women. Films featured were: Made of Flesh from France, directed by Florence Rochat and Serena Robin; and from the UK, Roses, directed by Coral Knights; Jackie and Marilyn, by Hollin Haley; Under, directed by Aloura Charles, and Above the Desert with No Name, directed by Sonia Sebastian and written by Heather Older. At the Q&A, Older spoke about her use of fantastical realism to tell a story of immigration and domestic violence.

During intermission, if you returned early, filmgoers were treated to a charming animated one-minute student film by Olive Juge. Another surprise screening was Bottlecap by Seattle filmmaker Barbara Brown. Bottlecap is the first film produced with the new Washington State Film Incentive and filmed on location in Gold Bar, WA.

The after-lunch block, Family Ties explored generational trauma and the familiar challenges within families and included Blood Ties by first-time Canadian director Emma Campbell, and Seward, by local actor/director Debra Pralle. Filmmakers from both films were in attendance for Q&As. To round out the segment was Mangata, from Germany, directed by Maja Costa, about an astronaut’s life’s journey. It will screen again at the Seattle Black Film Festival, April 25-28th.

Mothers & Daughters focused on those loving but complex relationships. Films included in this category were The Two Lives of Sepideh, directed by Iranian filmmaker Soha Niasti; Smother, by Lea Jeanne Boehringer, and Call Me Mommy, directed by Alea Erickson.

The fifth block, Coming of Age, highlighted the struggles of adolescence in a complicated world. Films featured were Lava, from Spain, directed by Carmen Jimenez; Julie Baby, directed by Emily Groom; Scotty’s Vag, directed by Charconne Martin-Berkowicz; Gaps, by Jenn Shaw, and a sweet best friends moment called, Hold My Hair, directed by local filmmaker Rachel Taggart.

Docs Rock showcased the versatility of documentary filmmaking. Included were the experimental film The Golden Age, by Hannah Hamalian; Mudlark, directed by Chezik, spotlighting a Seattle purveyor of oddities and curiosities; Vanishing Seattle: Queer the Land, directed by local filmmaker Netsanet Tjirongo, and Ape, directed by Canadian filmmaker, artist and choreographer Allison Beda.

Curator Bogert always chooses to close the festival on an upbeat note and the final segment The Lighter Side, highlighted feel-good films. Things I’ve Made My Roommate Do Episode 1: I’ve Parked My Car in the Friend Zone, by writer/director Mylissa Fitzsimmons, is the first installment of her TV comedy series. A PAFF alumna and award winner, Fitzsimmons, was also a finalist for the first Lynn Shelton, Of a Certain Age Grant. The crowd pleaser, Savi the Cat, directed by Netsanet (Netsie) Tjirongo, which screened at SIFF 2023 and Tribeca Film Festival, followed by and the sweet animated film, Musica Quarantena, directed by Lilian T. Mehrel, ended the festival. Director Netsie Tjirongo, charmingly tells a story of a couple whose lives are upended by a furry feline. Kaila and Ken Nsmibi, the charismatic stars of the film, were also in attendance, not to be outshone by their tempestuous cat.

[image] savi

Besides this wonderful ensemble of films, there was a profound sense of community that this film festival fosters. Each Q&A with each filmmaker provided a meaningful space for conversations and connections to thrive within the female filmmaking community.

As the final credits rolled and the lights came up, it was clear that the Post Alley Film Festival had achieved its mission of celebrating the incredible contributions of women in film. But more than that, it had ignited a spark, a spark of hope and possibility for a future where women’s voices are not just heard but celebrated and embraced. As we reflect on the moments shared and the stories told, let us carry forward the spirit of this festival and continue to champion diversity, equality, and inclusion in the world of cinema. In doing so, we not only honor the past but also pave the way for a brighter and more inclusive future for generations of female filmmakers to come.

Website: https://www.siff.net/cinema/in-theaters/post-alley-film-festival

By Elizabeth Mulloy

[image] monkey man

Kid, an anonymous young man who ekes out a meager living in an underground fight club where, night after night, wearing a gorilla mask, he is beaten bloody by more popular fighters for cash. After years of suppressed rage, Kid discovers a way to infiltrate the enclave of the city’s sinister elite. As his childhood trauma boils over the man who took everything from him.

It's nothing short of a miracle that the Monkey Man has finally emerged from the depths of development purgatory. After years of languishing in the turbulent waters of Netflix's production pipeline, Jordan Peele emerged as the savior, resurrecting the project and ushering it onto the grand stage of the silver screen. However, despite the palpable excitement and joy that accompanied its long-awaited release, I find myself grappling with conflicting emotions.

On one hand, the film's stylistic choices, characterized by the relentless use of shaky cam, uncomfortably close-up cinematography, and disjointed editing, left me feeling perpetually unsettled and, at times, downright nauseated. Throughout the entirety of its runtime, I found myself silently pleading for respite from the visual chaos, yearning for clarity amidst the frenetic flurry of motion that dominated the screen. Yet, alas, my desperate entreaties were met with indifference, as the film stubbornly clung to its chosen aesthetic, heedless of its potential impact on its audience. Moreover, while the premise of the film held promise, offering the tantalizing allure of a revenge thriller, the execution ultimately fell prey to the trappings of the genre. The narrative unfolded along a disappointingly predictable trajectory, with each plot twist and turn telegraphed well in advance, robbing the story of any genuine sense of suspense or intrigue. It became increasingly evident that the film was content to tread familiar ground, relying heavily on tired tropes and clichés rather than daring to chart a more innovative and unexpected course.

However, conversely, one cannot overlook the evident passion that director, co-writer, and lead actor, Dev Patel, has poured into this project. His directorial prowess not only breathed life into the script but also elevated it to new heights through the incorporation of cultural metaphors and meticulous artistic direction. Patel's vision packs a powerful punch, particularly evident in the film's action sequences. Despite some reservations about the framing, these moments are executed with a raw and brutal intensity that hits in all the right ways Featuring unique, yet visceral kills and a trio of extended action set pieces, Patel draws inspiration from the John Wick franchise while infusing the genre with his own distinctive flair. Furthermore, the film deftly navigates numerous political and social themes with remarkable finesse, seamlessly integrating them into the fabric of the narrative. Particularly commendable is its handling of trans representation, notably through the portrayal of the Hijra people, which surpasses the treatment typically found in mainstream LGBT+ media.

[image] monkey2

As anticipated, Dev Patel shines brilliantly as an action star in the first trailer. He exudes a raw, ferocious intensity befitting a formidable action hero while also conveying an emotional vulnerability that encapsulates his character's traumatic past. Sikandar Kher and Makarand Deshpande deliver compelling performances as the antagonists, showcasing their formidable acting chops. However, their characters are somewhat underutilized, particularly Deshpande, who remains mostly in the shadows over 95% of the film. There's a yearning for a deeper exploration of his character beyond merely being a background figure. On a contrasting note, Vipin Sharma's unexpected presence brings a comforting warmth and love to the screen.

In summary, Monkey Man packs a powerful punch as Dev Patel establishes himself in the action genre. While the film may have its shaky moments, it brims with passion and creativity. It's evident that Patel is still honing his craft, but this marks a commendable debut for the first-time director. I can’t wait to see what he comes up with next.

On another note, how is it possible for a man who works at an underground flight club, to still have one of the most beautiful faces in the world despite being beaten to a pulp every night? Someone teach me this sorcery.

[image] dazed and reused

✨ Discover Tacoma’s Newest Artistic Haven ✨

Join us for the highly-anticipated soft opening of Dazed and Reused Artworks! We are delighted to invite you to step into a world of creativity and inspiration as we unveil our brand-new art studio.

📍 Location: 754 Broadway

📅 Date: April 18th

⏰ Time: 5:00-8:00pm

What to Expect:

🎨 Explore our vibrant and spacious studio

🎨 Get a sneak peek at our curated collection of artwork and vintage wears

🎨 Witness live demonstrations by talented local artists

🎨 Engage in interactive art activities and workshops

🎨 Connect with fellow art enthusiasts and professionals

At Dazed and Reused we believe that art has the power to ignite imagination, evoke emotions, and cultivate a sense of community. Whether you're a seasoned artist, a curious beginner, or someone who simply appreciates the beauty of art, our studio is a haven for all.

Experience the magic of colors, textures, and expressions as you immerse yourself in a world of artistic wonders. Be captivated by our carefully curated collection that showcases the talent and diversity of our local gritty city art scene.

Join us in celebrating at our soft opening! This is an opportunity to connect with like-minded individuals, learn from the masters, and ignite your own artistic journey.

Follow us on Facebook for exciting updates and sneak peeks leading up to the soft opening. Share the news with your friends and fellow art enthusiasts!

Join us for free refreshments and let’s celebrate!

[image] giselle

The countdown begins! Only one month left until the enchanting 'Giselle' graces the stage at the Pantages Theater on May 3, courtesy of Grand Kyiv Ballet 🎭 Prepare to be captivated by mesmerizing choreography and enchanting melodies, performed by the finest dancers from the National Opera and Ballet of Ukraine. Don't wait any longer – secure your spot for an unforgettable night of artistic brilliance! ✨ Grab your tickets now at bit.ly/gisellepantages. 🎟️

[image] wanda

Saturday, May 4, 2024

Door: 6:30PM • Show: 8PM – 21+

EQC Event Center

2920 East R Street, Tacoma, WA 98404

We hope you're ready to laugh until your sides hurt because comedy legend Wanda Sykes is coming to the EQC Event Center on May 4th!

Wanda, hailed as one of the 25 Funniest People in America by Entertainment Weekly, is set to deliver an unforgettable night of comedy that you won't want to miss. With a career spanning television, film, and animation, Wanda Sykes is a comedic force to be reckoned with. Don't miss your chance to see her live and be part of an unforgettable night filled with laughter!

Buy Tickets here.

By Doug Mackey

[image] squirt

Dick Rossetti, late of Ball Bag, and fresh from the fronting Girl Trouble’s opening song at their wildly successful 40th Anniversary bash, brings seminal-ish NW 90’s band Squirt back from hibernation for two dates only! The first being TONIGHT, April 12 at the Peterson Bros’ Valley Tavern on Puyallup Avenue. (The second and final—for now—show, will be at Slim’s in Seattle. If you venture north, get the chili with a beer back. Trust me.)

What to expect? “Hard Rock. Some hard rock,” says Rossetti, “played by some people who may or may not be wearing orthotics.” Expect, too, classic Squirt chestnuts such as “Pizza, Chicken, Burger” and maybe “See you in Heck” or “Blow Yourself Up,” as well.

“We’ve brought Terry, the Ball Bag drummer out of mothballs to drum again.” Terry Ghighi augments the classic Squirt line-up of Vee Vee Roarke (up from California), Rosetti, of course, and Eric Olson, “who we call ‘The Swede’.” Dick adds. They last reformed in 2015, and before that, 2009. Joining them will be Little Donuts, “the Northwest’s premier All-Filipino Hall and Oats cover band,” and Cathy Sorbo’s Songs of Filth Revue. “She’s this comedian/actress chick who’s been around since the mid-80s,” says Rossetti. “She’s real excitable. It’s almost like she’s on coke all the time, because she’s always going, going, going.”

After this two-night stand (“but we can call it paradise,” Rossetti suggests) Dick will resume performing with his latest musical incarnation “Dick Rossetti and Bulk Male”, supporting his new vinyl offering “Very Limited Local Appeal…No Draw,” a greatest- hits collection LP (also available on CD) culled from several Rossetti-led line-ups, including Squirt.

A greatest hits band promoting a greatest-hits LP? Does this means he’s…given up? “Kinda yeah. Pretty much. I’m kinda sick of writing songs. I’m done! It’s just like, I wrote ‘em all, and I’m tired of doing this pretense of a ‘band’. It’s a ‘band’, and everyone gets an equal say and all that shit, but it’s just like I’m tired of––you want to pretend it’s a ‘band’, then when someone quits, you fucking start over again. Unless you’re Girl Trouble and you’re gonna all be buried next to each other.”

Squirt/Little Donuts/Cathy Sorbo’s Songs of Filth Revue. The Valley. Friday, April 12. 8:30pm. $10. Also: Look for Dick Rossetti among the “Board Room” cast in the forthcoming Isaac Olsen/Peterson Bros. epic: “Rainier: A Beer Odyssey.”

[image] dark ages

By: Don and Peg Doman | The Suburban Times

Incorruptible is a cross between Brother Cadfael and Cyndi Lauper – we step back in time about 1500 years to find out that Money Changes Everything. We see Europe ages ago and we ask the question, are we really any different. Incorruptible plays through April 21 at Lakewood Playhouse.

The Middle Ages is the second of the three traditional divisions of Western history: Antiquity, Middle Ages and Modern. The three ages were not a great time to be having a great time, unless you were stinking rich and very powerful. Even if you were, you had to live through relentless wars, the black death and ridiculously bad sanitary conditions, not to mention atrocious medical practices.

Read More

[image] hybrid

In case you missed it, our amazing board member Anida Yoeu Ali's latest installation, "Hybrid Skin, Mythical Presence" graced the cover of the Stranger's A+P issue! You can see Anida's installation at The Seattle Art Museum through July 7!

Hybrid Skin, Mythical Presence explores two of Ali’s iconic performances: The Buddhist Bug and The Red Chador. The colorful, transformative garments worn by the artist and others during the performances—which the artist considers “artifacts” rather than artworks when not enacted by her—are on view. Video, photography, and other installation art bring viewers into previous performances of the works from site-specific locations around the world. During the run of the exhibition, Ali will enact the works in two separate performances: The Buddhist Bug was performed on March 23, and The Red Chador will be performed on June 1, 2024.

Read the Stranger's interview with Anida here.

[image] hybrid skin

Hybrid Skin, Mythical Presence is at the Seattle Asian Art Museum through July 7. Anida Yoeu Ali will perform The Buddhist Bug at the Seattle Asian Art Museum Saturday, March 23, 11 am–2 pm. She’ll perform The Red Chador (Afterlife) at the Seattle Art Museum Saturday, June 1, 9 am–3 pm. Tickets to both are available at seattleartmuseum.org.