Post Alley Film Festival at SIFF Film Center 2024

Celebrating women’s voices in film. A day of outstanding shorts from around the block and around the globe.

Post Alley Film Festival 2024, a review 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 Virginia Bogert, Post Alley Film Festival Founder and Director, and President of Women in Film (WIF) Seattle; PAFF showcased over thirty short films from ten countries highlighting the talent, creativity, and resilience of female filmmakers. From the moment 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 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 offering. 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, an imagined conversation; 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 from the New Orleans Center of Creative Arts . 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 and Cascadia International Women’s 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, Producer Queen Latifah, 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 one of 3 finalists 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 tender sweet animated film, Musica Quarantena, directed by Lilian T. Mehrel, ended the festival. At the Q&A, 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.

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.

Review by Elizabeth Mulloy - Edited by Virginia Bogert