:::: FILMS OF 2022 ::::

TOP FILMS OF 2022 IN NO PARTICULAR ORDER

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Gaspar Noé  "Vortex"  (France)
Charlotte Wells  "Aftersun"  (United Kingdom)
Brett Morgen  "Moonage Daydream"  (United States)
Luca Guadagnino  "Bones and All"  (Italy)
David Cronenberg  "Crimes of the Future"  (Canada)
Andrew Dominik  "Blonde"  (United States)
Claire Denis  "Stars at Noon"  (France)
Joanna Hogg  "The Eternal Daughter"  (United Kingdom)
Albert Serra  "Pacifiction"  (France/Spain)
Michelangelo Frammartino  "Il Buco"  (Italy)
Alejandro Iñárritu  "BARDO, False Chronicle of a Handful of Truths"  (Mexico)
Edward Berger  "All Quiet on the Western Front"  (Germany)
Mia Hansen-Løve  "One Fine Morning"  (France)
Bruno Dumont  "France"  (France)
Sebastien Meise "Great Freedom"  (Austria)
Marie Kreutzer  "Corsage"  (Germany)
Jerzy Skolimowski  "EO"  (Poland)
Park Chan-wook  "Decision To Leave"  (South Korea)
Alessio Rigo de Righi & Matteo Zoppis  "The Tale of King Crab"  (Italy)
Mia Zetterling  "Four Films by Mia Zetterling"  Restored Rereleased (Sweden)
Mark Jenkin  "Enys Men"  (United Kingdom)
Todd Field  "TÁR"  (United States)
Lucile Hadžihalilović  "Earwig"  (France)
Olivier Assayas  "Irma Vep 2022"   (France)
Panos Cosmatos  "The Viewing"  Short  (Canada)

 

For decades this annual entry has acted as an overview of music, dance, theatre and performance art attended, films seen in the cinema, visual art exhibitions and fairs, festivals covered, and international and domestic destinations traveled. Due to the ongoing effect of the global coronavirus pandemic, this year's overview will again be somewhat limited in scope. While now in its waning phases, its effect on cultural and social life is still a dominant factor. Businesses and cultural venues have limited hours, close early on weekday and weekend nights, and continue to program with a reduced scale and truncated durations over what we saw in the years preceding the pandemic. Even the most rudimentary of social meeting spaces such as cafes, bars and restaurants continue to have reduced hours. The once essential component of urban social life in the Northwest, the cafe, has been particularly hard hit. With many of them no longer offering evening hours. Regionally, arts venues and cultural institutions returned to in-person programming in fall of 2021, cautiously opening the doors to music stages, galleries and movie houses. After a year and a half of navigating the complexities of the pandemic restrictions and closures, programming returned in August and September to the majority of these Northwest culture spaces. In many cases their future remained uncertain until relief funding became available just earlier that year with the benefits of the Save Our Stages Act, alongside the newly implemented Shuttered Venues Grant. The benefits of the various pandemic relief bills, alongside regional infrastructure like the 4Culture Relief Fund, awareness efforts like the Washington Nightlife Music Association, crowdfunding and philanthropy like the ArtistRelief, ArtsFund grant, and GiveBig Washington, all came in the 11th hour for many of our regional cultural institutions and art venues.

Overseas, the European continent has rebounded in a more decisive and assertive way, with the major festivals and exhibitions returning to both bold, and pandemic conscious, in-person programming. One can clearly see the nature of commerce, and social and cultural life at all the hours that one can imagine them transpiring, have made a more lively and vital recovery from the pandemic. This was evident in traveling overseas for the first time in almost three years to attend the once-a-decade confluence of Germany's Documenta, and the Venice Biennale. This year's particular convergence of the two offered a complex set of groundbreaking firsts, as well as an unexpected set of socio-cultural setbacks. With the initial launch not going to plan, Documenta 15 found itself in a set of novel complexities, being curated by a leaderless collective, there was a "The Bumpy Road to a Group-led Documenta”. In many ways the exhibition was a success, “Welcome to the Fun House! Sharks, Skaters, and Smelters liven up Documenta 15”, yet it found itself at the center of a wider discussion and controversy, "Documenta Was a Whole Vibe. Then a Scandal Killed the Buzz". At the close of September, there was much discussion about the resulting impact, and wider considerations to the exhibition, some even speculating, "The World’s Most Prestigious Art Exhibition Is Over. Maybe Forever.". The 59th Venice Biennale was afflicted by no such troubles. This year’s big group show, "The Milk of Dreams", curated by Cecilia Alemani, took its title from an early 20th century fairytale by the British-born Leonora Carrington. The era was also at the heart of the concurrent surrealism blockbuster at the Peggy Guggenheim Foundation in Venice's Dorsoduro. Including the 56 national pavilions and over 30 collateral events, the resulting citywide exhibition produced a smorgasbord of late-flowering surrealism. In what was being called the women's Biennale, this year's exhibition was an exuberant set of, “Cyborgs, Sirens, and a Singing Murderer: The Thrilling, Oligarch-free Venice Biennale”. In an almost singular historic moment, with the world recovering from the pandemic, and the Ukraine being pummeled by Russian missiles, there was no shortage of, “Looking Inward, and Back, at a Biennale for the History Books”.

Returning home domestically, life was reduced again to grappling with the larger part of one's existence being spent in our homes these past two years. While there are now opportunities again to engage with film, music and visual art, as a culture we are still relying on online resources more than was necessary pre-pandemic. Yet these deliver only a modicum of the sensations, social engagement, and sensory thrills and satisfactions of cultural happenings. The pragmatic response would be to accept the inherent losses and embrace what vestiges of a cultural life that could be salvaged online. Yet these are poor surrogates, even temporarily. So, while its role may be reduced in the age of streaming, the magazine, both print and digital, can still be a defining tastemaker amid the multitude of channels in which to discover new music. For those not finding compelling sounds via their internet trawls, digital retailers like Boomkat, and online institutions like The Quietus, represent the kind of expertise you’ll not find coherently brought together online outside the framework of such vision and curatorial legacy. Evolving right along with the times from a free improv, modern classical and jazz magazine in the 1970s and 1980s, in the following decades The Wire expanded its scope to include every imaginable genre (and some yet invented), becoming all-inclusive by the conclusion of the 20th century. A particular advantage at year's end, is that the magazine offers the opportunity to Listen to The Wire Top 50 Releases of 2022. Similarly, film institutions like those below offer a worldly scope, compiling the life’s work of people who have made watching their enterprise. Year in and year out again, Sight & Sound, Film Comment, Cinema-Scope, Criterion Collection's The Current, and The Guardian's excellent film coverage have brought focus to the year of moving pictures from around the globe.

Luca Guadagnino's “Bones and All” at SIFF Cinema: Nov 22 - Dec 15

Filmgoers familiar with the director's breakout 1980s period romance, "Call Me by Your Name", can attest to his artistry and the sumptuous, corporeal, physical attributes of, "Luca Guadagnino's Cinema of Desire". Among the array of sensory craft on display in the film, the soundtrack offers an almost baroque reinforcement of the Italian coastline's rapturous beauty. Yet, like the mildly feverish fantasia of "A Boy’s Own Desire in ‘Call Me by Your Name’", passions of mind and heart bear influence over the following tumult, sorcery, and inner and outer conflicts of his following remake of "Suspiria". This is both apparent in the film's sound design as well as the prominent role Radiohead's Thom Yorke is given in his score for the film. An audiovisual banquet, it also watches as a showcase for the cinematography of Sayombhu Mukdeeprom, known for his award winning collaborations with Thai arthouse auteur, Apichatpong Weerasethakul. By setting his adaptation in a concretely placed sociopolitical setting, and a witchily uncanny eye for references within modern dance, Guadagnino's film offered a very different, and deeply melancholic, point of entry into the nightmare of The Three Mothers. And it is between these two points of reference that we find his Venice Film Festival shocker, with an aesthete's obsessive fixation on the sensory that Luca Guadagnino delivers his most sympathetic and carnal vision to date. This "extravagant and outrageous movie; scary, nasty and startling in its warped romantic idealism" as Peter Bradshaw calls it in the pages of The Guardian, delivers its viewers a, "Cannibal Romance that is a Heartbreaking Banquet of Brilliance". Enhanced by the talent of its cinematographer, Arseni Khachaturan, and another of Guadagnino's explicit choices in music by Trent Reznor and Atticus Ross, this is  a very different tale about a flesh-eating compulsion than those that have been made popular in recent prestige television. Nor is it another young adult exploration of youthful rebellion, marginalization, or the outsider status of a subset of identity politics, contrary to what audiences might conclude from the casting of its young stars. It is instead a finely tuned fusion of genres, that finesse a deeply sympathetic perspective on the grotesque. In "Bones and All" Guadagnino has tangibly crafted a film that burns with a shame and brand of desperation, born of poverty and homelessness and the tragedy and ruthlessness of survival. Yet underlying these earthly concerns, is a dreamlike pull that somehow both nourishes and cleanses away the horror.

Alejandro Iñárritu's "BARDO, False Chronicle of a Handful of Truths", Charlotte Welles' "Aftersun", Todd Field's "TÁR", Amanda Kramer's “Please Baby Please”, Luca Guadagnino's “Bones and All” and Ali Abbasi's “Holy Spider” at Landmark Theatres, SIFF Cinema, Northwest Film Forum & The Grand Illusion: Oct 28 - Dec 8

A substantial offering of the significant titles from this year's Cannes Film Festival, alongside films from this year's Venice, and Toronto festivals have finally arrived in Northwest theaters this month. Among them, Park Chan-Wook's Cannes award winning, "Decision to Leave" at both SIFF and Northwest Film Forum, is the South Korean director's most explicit homage to Hitchcock's cinematic labyrinth of obsession and desire. Fresh from Venice, Todd Field's Cate Blanchett-led classical music world drama "TÁR", currently at the AMC chain, watches as a convincingly authentic and tightly-wound character assasination. Also at the AMCs straight from Venice and Cannes, is the intimate portrait of childhood from Lukas Dhont in “Close" and the most recent period drama “Corsage” from Marie Kreutzer. From both Rotterdam and Berlin, we get the mashup of musical genre film set in a world not far removed from that of Kenneth Anger, in Amanda Kramer's “Please Baby Please” and the return of Ana Lily Amirpour after her cult hit vampire film, with “Mona Lisa and the Blood Moon”, both at The Grand Illusion. Also straight from Venice, SIFF Cinema is currently running both Luca Guadagnino's science fiction cannibalistic road movie, “Bones and All”, alongside another of the big films from Venice, Martin McDonagh's bruised fraternal drama, "The Banshees of Inisherin". Currently at SIFF one of the major winners from Cannes, the contentious Palme d'Or awardee "Triangle of Sadness" from the mind of Ruben Östlund may or may not be worthy of the accolades, but it certainly entertains in its comedic sadism. Showing at Northwest Film Forum and SIFF Cinema, two of the century's great documentarists Patricio Guzmán and Frederick Wiseman have new works which screened in Toronto, Cannes and Venice, with "My Imaginary Country" and “A Couple”. Seattle's last remaining Landmark Theatres, The Crest, will be screening Edward Berger's unrelenting and intimate adaptation of Erich Maria Remarque's novel “All Quiet on the Western Front”, as well as Charlotte Welles' masterful Cannes debut feature "Aftersun", and James Gray's 1980s Manhattan-set childhood drama, “Armageddon Time”. From Toronto, The Crest is also hosting Sebastián Lelio's “The Wonder”, and straight from Venice comes "BARDO, False Chronicle of a Handful of Truths", the wildly kinetic new film from Alejandro González Iñárritu. SIFF Cinema presents two late comers from Cannes, with Mario Martine's “Nostalgia” showing in their Cinema Italian Style series, and Ali Abbasi's best actress award-winning “Holy Spider”, arriving at the tail end of November.

Clan of Xymox "Days of Black" West Coast Tour: Oct 31 - Nov 14 | Claudio Simonetti's Goblin perform "Suspiria" Tour: Oct 28 - Nov 25

The month of November sees a set of influential underground bands on tour across the US, spanning the genres of theatrical progressive rock and gothic wave. Perfect musical accompaniment for the season, yet both of these bands are now in formations and touring as fragmented, disunited iterations of the groups they once were. Of the duo, Goblin are the farthest removed from their inception, being that the band was initially formed in 1972 and saw their successful period span the late 1970s to earliest 80s. Their status as one of the more peculiar of all the progressive rock bands of their decade, came with their rise to greater prominence within Giallo circles in the late 70s with a string of scores to Dario Argento's now classic "Profondo Rosso", "Tenebrae", and "Suspiria". The Italian progressive rock legends made a number of stateside appearances since their reactivation in 2005, and have intermittently toured in fragmented and recombinant lineups in the following decade. Of these iterations, the lineup containing three of the original members, excluding keyboardist Claudio Simonetti, were on tour throughout the fall of last year. The timing of which coincided with the discovery of a uncut print of "Suspiria", which was subsequently restored and screened in a repertory theatrical run. Returning to the United States this month, Simonetti leads a set of musicians from his Daemonia band as his possessively named Claudio Simonetti's Goblin. In the wake of Luca Guadagnino's contemporary remake of the Dario Argento classic, their touring performance of "Suspiria"'s score began at Baltimore's Days of Darkness festival, with west coast dates to follow, including Seattle's El Corazon.

Also returning in a second iteration, the seminal Dutch minimal synth wave group Xymox, which formed as a project of Ronny Moorings and Anka Wolbert in Nijmegen Netherlands in 1981, are back via an equally circuitous path of reformation and fragmentation. As a duo they produced a single self released mini-album, "Subsequent Pleasures" following a move to Amsterdam in 1983. Having secured a performance in Paris in the wake of the mini album's positive reception, the lineup enlisted keyboardist and vocalist Pieter Nooten, and second touring guitarist Frank Weyzig. In the following year, this central trio of Moorings, Wolbert and Nooten would become Clan of Xymox for their signing to Ivo Watts-Russell's influential British postpunk label, 4AD. After a chance meeting with Brendan Perry of Dead Can Dance at a concert in Nijmegen, the British duo brough Xymox on as their support for a tour of the United Kingdom. The resulting attention produced a commission for a demo by Watts-Russell, and subsequent signing to their shared label, which released Clan of Xymox eponymous album in 1985. Working from the demos, the label's inhouse production team of Watts-Russell and Turner looked to accentuate the unique topography of their sound, positioned between the gothic guitar pop of The Cure, and the synth-driven electronic dance wave of New Order. Refined by Watts-Russell, Jon Turner, and John Fryer's guidance at Blackwing Studios, the sui generis qualities of their sound can be heard across the eight tracks of "Clan of Xymox". Distinguished amidst the abundance of wave, postpunk and gothic at the time by it's complex meeting of acoustic, electric and electronic arrangements, naive sometimes broken English, and a stylistic assertion of the member's bohemian European origins. Their sound was unambiguous to the extent that Wolbert's "Seventh Time" was picked up by the greatest of the underground British radio tastemakers of the time, John Peel.

This led to the band recording two Peel Sessions at the BBC, and a greater focus of resources and time given by their parent label for the sophomore album, "Medusa". An elegant, haunting album of instrumental passages, propulsive synth wave songs, and gothic rock crescendos, "Medusa" would prove to be the apogee of the music Clan of Xymox would produce as a trio. On the following tours across Europe and a first in the United States, inner tensions as to the music's focus and Nooten and Wolbert's respective roles began to force its central trio in opposing directions. This culminated in Xymox leaving 4AD, following a signing to Polydor and the release of 1989's more expressly synthpop influenced "Twist of Shadows", which saw Wolbert and Nooten's contribution increasingly marginalized. From this point forward, Xymox and it's later reformatting as Clan of Xymox, would solely be the project of Ronny Moorings. He has since found new listeners in a second generation of gothic and post-wave audiences across Europe, and massive success at gothic culture events like Wave-Gotik-Treffen festival in his current home of Leipzig, Germany. Signing to domestic gothic label Metropolis, this second iteration of Clan of Xymox has made a number of returns to North America since their formation, with significantly greater frequency than the original trio. Making this year's tour following the release of their "Days of Black" album, an occasion for those who missed such opportunities three decades past.

Luca Guadagnino's "Suspiria" at SIFF Cinema: Oct 26 - Nov 29

Following directly on the heels of the monthlong seasonal programming at The Grand Illusion Cinema and Northwest Film Forum, Luca Guadagnino's adaptation of Dario Argento and Daria Nicolodi's "Suspiria" arrives in theaters. Partially inspired by Thomas De Quincey's psychological fantasy, "Sighs from the Depths", the Argento original is assertively of it's era, born from the period of Giallo Cinema spanning the mid-1960s to early 80s. Just last year, The Chicago Cinema Society and their discovery of a uncut 35mm print of Argento’s “Suspiria” that had sat in a storage room of a derelict theater since it was last screened in 1978, produced the material from which a new restoration was cut and released, thanks to Synapse Films. Concurrent with the screening of this new restoration, the Northwest Film Forum also programmed a finely-tuned monthlong series of "The Italian Masters of Shock and Gore", with a selection of Yellow Cinema gems, aptly titled, "Terrore Giallo!". An essential component to the genre are its soundtracks, and of these, few are as uniquely wed to their films as the work of Goblin and Dario Argento. A newfound fascination for the memorable scores created for much Giallo has been fueled by the burgeoning reissue revival. Mining decades of subterranean soundtracks, musique concrete, neofolk, jazz and experimental work that have adorned much of the 20th Century's cult cinema. These rich veins continue to be unearthed by reissue institutions like, Death Waltz, Mondo, and WaxWork, in new editions often corresponding with restorations of their source films issued on quality archival imprints like Arrow Films, Scream Factory, and Powerhouse Films Indicator series.

It is in it's fetishistic eye for texture, surfaces, sounds, form, bodies, buildings, and elemental forces that Luca Guadagnino's adaptation is most similar to the Giallo original. It is maybe more fair to not refer to it as a remake, as it commonly has been, as Guadagnino's film is more concretely set in the waking world, than in the oneric, phantasmagorical theater of the Argento. What little it shares with the original film is in themes assimilated from both "Suspiria", and it's follow-up, 1980's "Inferno", and an aesthete's obsessive fixation on the sensory. Anyone familiar with the director's breakout queer period romance of 2017, "Call Me By Your Name", can attest to his artistry and the sumptuous, corporeal, physical attributes of, "Luca Guadagnino's Cinema of Desire". Among the array of sensory craft on display in the film, it's soundtrack offers a almost baroque reinforcement of the Italian coastline's rapturous beauty. This same locus of attentions and resources are dedicated manifesting form and detail from the subconscious depths Argento and Nicolodi's macabre, psychedelic dream-world. This is both apparent in the film's sound design as well as the prominent role Radiohead's Thom Yorke is given in his score for the film. An audiovisual banquet, it also watches as a showcase for the cinematography of Sayombhu Mukdeeprom, known for his award winning collaborations with Thai arthouse auteur, Apichatpong Weerasethakul. Yet, like the mildly feverish fantasia of "A Boy’s Own Desire in ‘Call Me by Your Name’", passions of mind and heart bear influence over the following tumult, sorcery, and inner and outer conflicts of "Suspiria". By setting his adaptation in a concretely placed sociopolitical setting, and a witchily uncanny eye for references within modern dance, Guadagnino's film offers a very different, and deeply melancholic, point of entry into the nightmare of The Three Mothers.

Seattle International Film Festival : May 20 - June 13

First off to address grievance/concern with the curatorial direction SIFF seems
to be taking as a trend since 2009; this year, rather than the usual post expressing
my ebullient enthusiasm in an exclamatory tone, this post is to begin with criticism.
As a paragon of International World Cinema in the United States, even on occasion
eclipsing San Francisco, Chicago and New York in scale, depth and dictionary-definition
diversity, the Seattle International Film Festival has established itself over the
course of the past decade+ (I can really speak for previous decades, having only
seen them in print and not attended in-person) as a focal-point of visionary cinema
curatorialship. Admittedly, last year was a bit thin, but even then I found some 22
films of gravitas or curiosity worthy of attending, by both directors of note and
new developing artists. Overall not a bad year, but not on par with the stellar run
we'd seen spanning 2004-2008. Figuring it was a one-off lapse and the recession and
funding issues with SIFF having opened their new theatre and home to their film
archive and offices, I assumed it was a product of the times and singular qualitative
dip on their part. Even then, not a significant one, as I saw much, much great cinema
that year in the festival (also see the posts here from SIFF '07 or '08 for reference).

This year, immediately when the schedule was posted on Thursday May 6, there was
a visible void of progressive, inventive, notable, names, titles and works in the New
Global Cinema category (customarily SIFF's largest and richest) that one would expect
(and have become accustomed to) in seeing self-evidently there when doing that quickly
browsed shortlist. Off the top of my head, doing a run-down of the films I've known
have been out there in international fests awaiting arrival in the states and looking
to SIFF to hopefully bring them to our city; New Tsai Ming-Liang? No. New Gaspar Noe?
No. New Brillante Mendoza? No. New Nicolas Winding Refn? No. Pen-Ek Ratanaruang?
No. New Lou Ye? No. New Alain Resnais? No. New Jia Zhang-Ke docu? No. New
Apichatpong Weerasethakul shorts? No. New Lav Diaz? No. Things like the second
Neon Genesis Evangelion film since they played the first one last year or the new
Mamoru Oshii? No and No. You get the idea here. My usual 15-25 films annually in SIFF
reduced to this in 2010. Grateful as I am to have an ongoing annual International Film
Festival in my town, as far as the sum totality of everything I'm going to/am curious
to see, this is a sorry sight:

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Saturday, May 22
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7:00 PM - Luca Guadagnino "I Am Love"
Egyptian Theatre
IAML2210A

http://www.siff.net/festival/film/reserve.aspx?fid=166&id=7334

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Sunday, May 23
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11:00 AM - Anocha Suwichakornpong "Mundane History"
Pacific Place Cinema
MUND2310M

http://www.siff.net/festival/film/reserve.aspx?fid=166&id=7355

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Monday, May 24
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9:30 PM - Hirokazu Kore-eda "Air Doll"
Neptune Theatre
Ticket Code: AIRD2410A

http://www.siff.net/festival/film/reserve.aspx?fid=166&id=7393

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Tuesday, May 25
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6:30 PM - Lu Chuan "City of Life and Death"
Neptune Theatre
Ticket Code: CITY2510A

http://www.siff.net/festival/film/reserve.aspx?fid=166&id=7399

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Tuesday, May 25
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9:30 PM - Hong Sang-Soo "Like You Know it All"
Pacific Place Cinema
LIKE2510A

http://www.siff.net/festival/film/reserve.aspx?fid=166&id=7413

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Wednesday, May 26
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7:00 PM - Peter Strickland "Katalin Varga"
Uptown Cinemas
KATA2610A

http://www.siff.net/festival/film/reserve.aspx?fid=166&id=7424

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Wednesday, May 26
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9:30 PM - "Alternate Waves" / Guy Maddin "Night Mayor"
SIFF Cinema
ALTE2610A

http://www.siff.net/festival/film/reserve.aspx?fid=Guy Maddin166&id=7432

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Friday, May 28
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12:00 AM - Noboru Iguchi "RoboGeisha"
Egyptian Theatre
ROBO2810A

http://www.siff.net/festival/film/reserve.aspx?fid=166&id=7454

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Sunday, May 30
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9:30 PM - Bruno Forzani & Hélène Cattet "Amer"
Egyptian Theatre
AMER3010A

http://www.siff.net/festival/film/reserve.aspx?fid=166&id=7567

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Wednesday, June 02
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9:15 PM - Jessica Oreck "Beetle Queen Conquers Tokyo"
Harvard Exit
BEET0210A

http://www.siff.net/festival/film/reserve.aspx?fid=166&id=7709

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Saturday, June 12
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6:00 PM - Lixin Fan "Last Train Home"
Pacific Place Cinema
LAST1210A

http://www.siff.net/festival/film/reserve.aspx?fid=166&id=7652

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Saturday, June 12
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9:00 PM - Johnny To "Vengeance"
Harvard Exit
VENG1216A

http://www.siff.net/festival/film/detail.aspx?&FID=166&id=43961

Portland's International Film & Jazz Festivals : Feb 11 - 28

This year's Portland Jazz Festival features a number of names worthy of the drive or train ride down to
PDX. Rune Grammofon artist In The Country, ECM's Christian Wallumrod Ensemble and the legendary
man himself, who needs no label-affiliation introduction; Pharoah Sanders, among others. Check the lineup.
Also, happening during coinciding weeks, the Portland International Film Festival includes enough quality
cinema to clench it, PDX is the place to be in February 2010. New ones by; Luca Guadagnino's "I am Love",
Ken Loach's "Looking for Eric", Hong Sang-soo's "Like You Know it All", Bong Joon-ho's "Mother", Corneliu
Porumboiu's "Police, Adjective" and Jacques Audiard's "A Prophet". Northwestern-ites, I'd say this makes it
more than worth the drive/the train down there being particularly gorgeous now that we're entering pre-Spring.

"Link to Portland Jazz Festival"

"Link to Portland International Film Festival"