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The Spaces Between the Cities

A film Hughes envisioned to connect filmmakers around the globe using the “exquisite corpse” format of beginning where one left off. The film features 21 different filmmakers all coming together to create one feature-length road film.

Shooting locations include Seoul, Berlin, Barcelona, Newcastle, Ruma, Colliguay, Toronto, New York, Chicago, San Francisco, Los Angeles, Baton Rouge, Baltimore, Portland, and Seattle. The filmmakers include Pip Chodorov, Charles Chadwick, Kate Lain, Amy Bassin & Mark Bickley, Reed O’Beirne, Konstantinos-Antonios Goutos, Stephen Broomer, Salise Hughes, Douglas Katelus, Blanca Rego, Arto Polus, Robert Zverina, Margaret Rorison, Dustin Zemel, Ben Popp, Insa Langhorst, Anna Kipervaser, Pablo Molina Guerrero, Milan Milosavljevic, and Jesse Malmed.

Immediately following this film we will premiere a Portland based 10 min mini version of this collaborative filmmaking game featuring Jodi Darby, Matt Schulte, Karl Lind, Sam Pirnak, Micah Vanderhoof, Estevan Munoz, Sean Whiteman, Stephanie Hough, Miles Sprietsma and Howard Mitchell.  All prompts created by Salise Hughes.

On May 5th at Noon Salise will conduct a free workshop and demonstration on her own working process and in the evening present a screening of her award winning films.

Appears in: Northwest Tracking

Genres: Northwest Filmmaker

Other Films by Salise Hughes


Erased and scratched film histories set the tone for a voyage across economic production.


Through manipulated footage of the classic film CHARADE, Hughes contemplates identity and celebrity.

Tall Trees

Harsh and unglamorous life in the Old West is chillingly evoked through the firsthand photographic account of a violent bank robbery in rural Washington.

Erasures and Spaces: The Revisionist Films of Salise Hughes

Known for her unique technique of digitally erasing and layering images from found footage, Seattle animator Salise Hughes will share some of her fantastical, award winning films including, The Tourist (2008), which takes fragments of Michelangelo Antonioni’s The Passenger, with the background removed, leaving only Jack Nicholson’s character climbing in the scratched remnants of the