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Directed by Joanna Priestley


Starting her career as a film presenter in Central Oregon, Priestley made her first films using rubber stamps and sand before going on to study with legendary experimental animator Jules Engle at Cal Arts. Finding her stride with drawing and computer-based animations, and collaborating with sound artists, she has since become one the world’s most prolific independent animators. Tonight’s program will include: 

Voices (1985, 4 min.)  

A humorous exploration of the fears we share: fear of the dark, of monsters, of aging, of being overweight and of human caused global destruction.

She-Bop (1988, 8 min . )

E xplores the dark, feminine side of spirituality. Made with index cards with pen, watercolor and pastels and combined with a little puppet animation. 

All My Relations  (1990, 5 min. )

S atirizes the pitfalls of romance, from marriage, childbirth and upward mobility to the disintegration of a relationship. 

Pro and Con (1993, 9 min. )  

I nvestigates life in prison through two monologues: one by a corrections officer (Lt. Janice Inman), and the other by Oregon State Penitentiary inmate

Streetcar Named Perspire (2007, 6.5 min.)

A wild roller coaster journey through the mood swings, hot flashes and brain fog of one of life’s great transitions.

Dear Pluto (2012, 4 min.)

A tribute to everyone’s favorite planetoid, Dear Pluto blends 2D and 3D animation to explore Pluto’s unfortunate demotion in our Solar System.

Missed Aches (2009, 4 min.)

A witty commentary on ignorance, idiocy and our over-reliance on spell check .

Utopia Parkway (1997, 5 min.).

A  film about covert forces and mysterious containers that was inspired by the boxes of American sculptor Joseph Cornell .

Dew Line (2005, 4.5 min.) 

A tapestry of biomorphic forms that hints at the loss of botanical diversity. 

xo1 (2011, 19 seconds)

S hapes based on tribal tattoos juxtaposed with objects common in still life painting: vase, flower, bowl, bottle and teakettle. Made in one week .

Eye Liner (201 1 , 4 min . )

B eneath archetypes of the human face are patterns that suggest a  relationship between bold shapes and ethereal backgrounds. 

Split Ends (2013, 4 min.) 

P atterns that reference mass produced ornamental designs of the industrial era stimulate a collective memory of youthful self-hypnosis and visual absorption. 

Bottle Neck (2015, 4 min.)

A crush of still life silhouettes, abstract shapes and complex, interlocking patterns, Bottle Neck explores the commonplace objects of a classical painting genre in a modern setting. 

The Northwest Film Center recognizes and honors the Indigenous peoples of this region on whose ancestral lands the museum now stands. These include the Willamette Tumwater, Clackamas, Kathlemet, Molalla, Multnomah and Watlala Chinook Peoples and the Tualatin Kalapuya who today are part of the Confederated Tribes of Grand Ronde, and many other Native communities who made their homes along the Columbia River. We also want to recognize that Portland today is a community of many diverse Native peoples who continue to live and work here. We respectfully acknowledge and honor all Indigenous communities—past, present, future—and are grateful for their ongoing and vibrant presence.