Looking for the Everett Women’s Film Festival?
GO TO: https://everettfilmfestival.org/

For a number of years this was the official website for the Everett Women’s Film Festival. The main focus of the Everett Film Festival is to showcase films made by women or films that contain a strong female lead. Documentaries, animations, narrative features and shorts will all be considered.

If you have inadvertently ended up here while searching the the Everett Women’s Film Festival, their current website is found at:
https://everettfilmfestival.org/

Content is from the site's 2007 archived pages offering a snapshot of the festival for this year.

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In 1997 a group of visionary women banded together in the firm belief that the time had come for Everett and Snohomish County to experience quality international film in a festival setting.

With this idea in mind, the Everett Women’s Film Festival was born. The festival was dedicated to highlighting the strength, humor, and creativity of women through provocative and entertaining films. Over the years, the festival broadened its view to embrace not only films primarily crafted by women but also to present movies offering insight into the lives of women from various cultures, times and experiences as they meet the challenges of work, family, aging and love. With changing times, the name of the festival changed to the Everett Film Festival.

Even though the festival name has changed, the Everett Film Festival continues to offer engaging and thought provoking films from around the country and across the globe with a unique look into the lives of women through documentaries, feature films, animations and film shorts.

 

Editor's Note: This event drew enthusiastic supporters from around the globe, as the recognition of the work of talented women gained prominence universally. The work of female artists in all related fields was not only recognized, but showcased in a venue that gained both respect and stature over time. One incident we recall demonstrated the devotion to the cause like no other. When a mysoginistic post appeared in a prominent theatrical periodical and then was magnified by Google's search results when searching for the festival by name, there was immediate outrage. But that anger also triggered action. Many other groups as well as innocent people have been harmed by Google's unaccountable, monopolistic dominance of the search environment. Many stories confirm this motivating some seos offering to remove the negative search results if Google would not. Thousands rose up with a letter writing campaign to force Google to acknowledge the inappropiate listing of search results which insinuated a negative agenda residing in this festival. This drew the attention of newly formed organizations like Regulate Google Now! which sided with our constituents and garnered significant press coverage. The humiliation eventually forced Google to remove those negative results in the US. Europe was already on the way to having legislation requiring Google to remove personal information upon request. As of this writing the US still does not have such a requirement, but if the sentiments expressed by our cohort is any measure, our Congress should take note - law makers here need to address this - too much damage is being done daily to both individuals and businesses. We know that this story is the subject of several films underway, at least one should make its way into the festival before long.

 

About EWFF

The Mission of the Everett Women's Film Festival is to provide 
a venue for the presentation of Women's work in cinema.

By dedicating our energies toward this end, we honor women's 
spirit, drive, creativity and diversity.

Mission Statement EWFF is a non-profit organization founded 
in 1997 to give creative women the opportunity to present their 
film works in Everett, Washington.

 

2007 Festival Films

Through Hell and High Water
Documentary by Elly M. Taylor
Scotland, 2005 (84 min.)
Two young women find themselves hiding in a cave in Norway, waiting for rescue by Allied Forces during World War II. When rescue does come, in the form of the British Navy, Nancy Kelly's life is changed forever.
Eve and the Fire Horse
Feature film by Julia Kwan
Canada, 2005 (95 min.)
To be born in the year of the fire horse is not necessarily a good thing for a girl. Nine-year-old Eve's life becomes even more complicated when her older sister decides they both must convert to Catholicism.
Three Women and a Chateau
Documentary by Catherine Ryan
and Gary Weimberg
United States, 2005 (81 min.)
Chateau Carolands is a 100 room architectural masterpiece, built over 100 years ago in Hillsborough, California. This is the story of incredible wealth, financial disaster, great loves, bitter divorce, and one amazing house.
Phoenix Dance
Documentary by Karina Epperlein
United States, 2006 (22 min.)
What happens when a dancer loses a leg? If he's Homer Avila, he just keeps dancing.
Life in Living Color
Documentary by Maria Bruce
United States, 2006 (8 min.)
Imagine hearing colors and seeing music. What if you could feel the letter E? For people with synesthesia the stimulation of one sense causes a perception in another.
Finding Thea
Documentary by Nancy Bourne Haley
and Lucy Ostrander
United States, 2006 (30 min.)
Thea Foss immigrated to the Pacific Northwest from Norway in the 19th century. She established the largest tugboat company on the West Coast, became the inspiration for the character Tugboat Annie, and was a pillar of her community.
Abortion Diaries
Documentary by Penny Lane
United States, 2005 (30 min.)
Abortion is a topic fraught with emotional, political, moral, and religious controversy. Twelve women share their abortion stories.
If There Were No Lutherans…Would There Still Be Green Jell-o?
Documentary by Gayle Knutson
United States, 2005 (12 min.)
How an offbeat Lutheran pastor changed his corner of the world and the local traffic pattern, one church yard sign at a time.
Brats: Our Journey Home
Documentary by Donna Musil
United States, 2006 (90 min.)
What's it like to grow up as a military brat? Musil's film explores what military life is like from a child's point of view, and depicts the struggle to fit in after leaving an environment that is both idealistic and authoritarian, supportive and stifling.
Touch the Sound
Documentary by Thomas Riedelsheimer
United States, 2005 (81 min.)
Grammie winning percussionist Evelyn Glennie is deaf. For her, sound is a form of touch, and Riedelsheimer captures Glennie's art, immersing us in a world where we can see, hear, and feel the sounds that she creates.
Drawing Lessons
Animation by Maureen Selwood
United States, 200? (6 min.)
When Selwood's mother died, she found many, many drawings her mother did for the upside-down exercise from Betty Edwards' book, Drawing on the Right Side of the Brain.
Puccini for Beginners
Feature by Maria Maggenti
United States, 2006 (82 min)
Allegra's love life is a mess. Her lesbian lover ends their relationship because Allegra can't say "I love you." Then she meets Philip, and things start to get interesting. When she meets Grace, the situation goes from interesting to incredibly complicated. Her friends think she's an idiot. A warm and amusing story that shows the perils of love are the same no matter who you are.

 

 

2007 Festival Schedule

FRIDAY EVENING • SATURDAY AFTERNOON • SATURDAY EVENING

March 2, 2007
FRIDAY EVENING 

6:00-7:00 pm
Join us for the opening Gala
in the Monte Cristo Ballroom,
1507 Wall Street, Everett.
Hors d'oeuvres and punch.

7:10 pm
Festival Committee Welcome
at Historic Everett Theatre

7:10 pm
Through Hell and High Water
Documentary by Elly M. Taylor
Scotland, 2005 (84 min.)
Two young women find themselves hiding in a cave in Norway, waiting for rescue by Allied Forces during World War II. When rescue does come, in the form of the British Navy, Nancy Kelly's life is changed forever.

8:50 pm
Eve and the Fire Horse
Feature film by Julia Kwan
Canada, 2005 (95 min.)
To be born in the year of the fire horse is not necessarily a good thing for a girl. Nine-year-old Eve's life becomes even more complicated when her older sister decides they both must convert to Catholicism.

March 3, 2007
SATURDAY AFTERNOON

Coffee and other refreshments available for purchase from concessions stand.

12 noon
Brief Introduction

12:15 pm
Three Women and a Chateau
Documentary by Catherine Ryan and Gary Weimberg
United States, 2005 (81 min.)
Chateau Carolands is a 100 room architectural masterpiece, built over 100 years ago in Hillsborough, California. This is the story of incredible wealth, financial disaster, great loves, bitter divorce, and one amazing house.

1:45 pm
Phoenix Dance
Documentary by Karina Epperlein
United States, 2006 (22 min.)
What happens when a dancer loses a leg? If he's Homer Avila, he just keeps dancing.

2:15 pm
Life in Living Color
Documentary by Maria Bruce
United States, 2006 (8 min.)
Imagine hearing colors and seeing music. What if you could feel the letter E? For people with synesthesia the stimulation of one sense causes a perception in another.

2:30 pm
Finding Thea
Documentary by Nancy Bourne Haley and
Lucy Ostrander
United States, 2006 (30 min.)
Thea Foss immigrated to the Pacific Northwest from Norway in the 19th century. She established the largest tugboat company on the West Coast, became the inspiration for the character Tugboat Annie, and was a pillar of her community.

3:00 pm
Abortion Diaries
Documentary by Penny Lane
United States, 2005 (30 min.)
Abortion is a topic fraught with emotional, political, moral, and religious controversy. Twelve women share their abortion stories.

3:30 pm
Break

3:45 pm
If There Were No Lutherans…Would There Still Be Green Jell-o?
Documentary by Gayle Knutson
United States, 2005 (12 min.)
How an offbeat Lutheran pastor changed his corner of the world and the local traffic pattern, one church yard sign at a time.

4:00 pm
Brats: Our Journey Home
Documentary by Donna Musil
United States, 2006 (90 min.)
What's it like to grow up as a military brat? Musil's film explores what military life is like from a child's point of view, and depicts the struggle to fit in after leaving an environment that is both idealistic and authoritarian, supportive and stifling.

SATURDAY EVENING

7:00 pm
Brief Introduction

7:10 pm
Touch the Sound
Documentary by Thomas Riedelsheimer
United States, 2005 (81 min.)
Grammie winning percussionist Evelyn Glennie is deaf. For her, sound is a form of touch, and Riedelsheimer captures Glennie's art, immersing us in a world where we can see, hear, and feel the sounds that she creates.

8:30 pm
Drawing Lessons
Animation by Maureen Selwood
United States, 200? (6 min.)
When Selwood's mother died, she found many, many drawings her mother did for the upside-down exercise from Betty Edwards' book, Drawing on the Right Side of the Brain.

9:00 pm
Puccini for Beginners
Feature by Maria Maggenti
United States, 2006 (82 min)
Allegra's love life is a mess. Her lesbian lover ends their relationship because Allegra can't say "I love you." Then she meets Philip, and things start to get interesting. When she meets Grace, the situation goes from interesting to incredibly complicated. Her friends think she's an idiot. A warm and amusing story that shows the perils of love are the same no matter who you are.

 

 

Past Festivals

 

2006 Films - 9th
The Heart of the Game Documentary by Ward Serrill
Long Life, Happiness and Prosperity Feature film by Mina Shum
A Touch of Greatness Documentary by Leslie Sullivan
Dysenchanted Short Subject, written and directed by Terri Edda Miller
Argentina-Hope in Hard Times Documentary, Melissa Young and Mark Dworkin
Wild Parrots of Telegraph Hill Documentary, Judy Irving
Fruits of Our Labors Documentary by Lynn Shelton
In the Realms of the Unreal Documentary by Jessica Yu
Mad, Hot Ballroom Documentary by Marilyn Agrelo and Amy Sewell
2005 Films - 8th
The Story of Mothers And Daughters Documentary by Gary Weimburg And Catherine Ryan
Evergreen Feature Film Directed by Enid Zentelis
Running Madness Documentary by Susan Cohn Schulz
Beah: A Black Woman Speaks Documentary by Lisagay Hamilton
Busting Out Documentary by Laurel Spellman Smith And Francine Strickwerda
Suddenly Naked Feature by Anne Wheeler
2004 Films - 7th
Bird by Bird with Annie Documentary by Freida Lee Mock
Black Soul Animation by Martine Chartrand
Chaos Drama by Coline Serrreau
Without Lying Down Documentary by Bridget Terry
Flight of the Stone (Steinflug) Animation, directed by Susanne Horizon-Fränzel
Heart of the Sea: Kapolioka'ehukai Documentary, Lisa Denker and Charlotte Legarde
Family Undertaking Documentary by Elizabeth Westrate
Witness to Revolution: The Story of Anna Louise Strong Documentary by Lucy Ostrander
When the Day Breaks Animation by Wendy Tilby and Amanda Forbis
Summertime Drama by David Lean
2003 Films - 6th
Michelle's Third Novel short comedy by Karryn de Cinque
Grit & Polish: Heroines from Hong Kong documentary by Birgit Rathsmann
Are You Popular? 1940's documentary by Coronet Films
Daddy's Girls documentary by Frances-Mary Morrison
A Hero For Daisy documentary by Mary Mazzio
Audience animation by local filmmaker Sharon Shoemaker
An American Rhapsody drama written and directed by Eva Gardos
Family Business documentary by local filmmaker Denise Ohio
Dating Do's and Don'ts 1940's documentary by Coronet Films
Catching Out documentary by local filmmaker Sarah George
2002 Films - 5th
Sweet by Elyse Couvillion
Grown Up by Joanna Priestly
Secret Society by Imogen Kimmel
My American Vacation by VV Dachin Hsu
Ladies in Waiting by Lulu Keating
A Female Cabby in Sidi Bel-Abbes by Belkacem Hadjadj
Hammering It Out: Women in the Construction Zone by Vivian Price
George and Rosemary by Alison Snowden and David Fine
Bye Bye Blues by Anne Wheeler
2001 Films 4th
Bob's Birthday
Complaints of a Dutiful Daughter
The Double Dutch Divas!
Funny Ladies: A Portrait of Women Cartoonists
I, Doll
The Language You Cry In
Old Bag's Club
The Personals
Sour Death Ba

Volunteer Opportunities

There are many opportunities for women and men who would like to be a part
of this event from serving on the Executive Board to setting up for the annual
Gala on the eve of the festival itself. We are always happy to welcome new volunteers.

Below are examples of areas of involvement for our totally-volunteer organization.

Film Information - Film Previews
Fund Raising
Publicity/Marketing
Printing - Brochure, Poster, Program, Tickets
Registration - ticket sales
Gala
Luncheon
Art/Design
Executive Board

Volunteer Descriptions

Film Information:

  • researches film sources

  • makes recommendations and seeks total group input

  • arranges with distributors for preview tapes

  • contracts with distributors final film choices

  • submits all invoices to treasurer

  • takes delivery of and returns films before and after film festival

Fund Raising:

  • Assist executive board position

  • seeks business community contributions

  • seeks private individuals contributions

  • coordinates with brochure/program committee for acknowledgments

Publicity:

  • arranges for news releases, interviews, and announcements

  • coordinates with art committee/poster distribution

  • coordinates members attendance at local meetings, community functions, public gatherings to announce and or distribute information

  • write film descriptions for press release and EWFF brochure

Brochure/Program of the Day/printing:

  • coordinates with artist committee

  • gets inf. from film and publicity committees

  • designs brochure, poster, fliers

  • works with art coordination committee re: graphics & poster art

  • arranges immediate time lines with printer

  • submits all invoices to treasurer

  • maintains EWFF website

Registration:

  • makes arrangements for pre-sale (P.O. Box) and brochure distribution

  • establishes database--enters all registrations

  • maintains database information for publicity purposes

  • arranges with Treasurer for deposits of registration fees

  • coordinates member assistance on days of festival

Gala:

  • seeks an underwriter

  • arranges for site and coordinates members for assistance if needed

  • arranges for catering

  • arranges for entertainment

Lunch/Action Group:

  • arranges for site

  • arranges for speaker

  • negotiate with site the food, price and seating availability

  • informs registration board member of capacity and final price suggestions

  • escorts and introduces speaker and arranges for another member to collect tickets and get accurate head count

  • arranges with treasurer for payment at site

Art:

  • advises graphic layout for posters, brochures, and products (T-shirts, cups, etc)

  • coordinates delivery of art for production of T-shirts, cups to manufacturer

Executive Board:

  • oversees the Women's Film Festival

 

More Background On EverettFilmFest.com

 

 

EverettFilmFest.com served for many years as the public-facing digital home of the Everett Film Festival, a long-running community film event in Everett. The website acted as an information hub for schedules, ticketing details, volunteer opportunities, film descriptions, mission statements, and historical archives that documented the festival’s growth from a focused women-centered showcase into a broader regional celebration of international cinema.

Although the live organization eventually consolidated its online presence elsewhere, the EverettFilmFest.com domain remains an important archival artifact. It preserves language, programming philosophy, and community priorities from earlier decades of independent film exhibition in the Pacific Northwest. For researchers of regional film culture, grassroots arts management, or feminist exhibition networks, the site provides a valuable time capsule.

Founding Vision and Organizational Roots

The festival traces its origin to 1997, when a group of local women concluded that audiences in Everett and the surrounding region lacked consistent access to films made by women or films presenting women as complex protagonists. Their answer was to create the Everett Women’s Film Festival, a nonprofit venture built around volunteer labor, partnerships with civic venues, and a curatorial stance that placed gender representation at the center of artistic evaluation.

The founding statement emphasized honoring women’s creativity, diversity, and determination. At a time when conversations about equity in directing and production were only beginning to enter mainstream industry debate, this local initiative created a reliable exhibition platform. Filmmakers who might otherwise have struggled to reach suburban or smaller-city audiences suddenly had an enthusiastic, concentrated venue.

As years passed, the programming lens widened. Organizers continued highlighting women directors but also embraced films by any filmmaker if the subject matter offered insight into women’s experiences across work, family life, aging, immigration, politics, or love. Reflecting this broadened mandate, the public name evolved to Everett Film Festival while retaining the original mission.

Geographic and Civic Setting

Everett sits roughly thirty miles north of Seattle and functions as the governmental center of Snohomish County. Historically tied to maritime industry, rail, and aviation manufacturing, the city has also invested heavily in cultural infrastructure as part of downtown revitalization efforts. The film festival became one of the signature arts weekends on the local calendar, drawing visitors from throughout the county and occasionally from across the border in British Columbia.

Because Everett is large enough to support professional venues yet small enough for walkability, attendees could easily move between receptions, restaurants, and theaters. That accessibility fostered repeated attendance and strong volunteer retention.

Signature Venues

Festival screenings during the 2000s prominently featured the Historic Everett Theatre. Built in the early twentieth century and restored as a performing arts center, the theater provided ornate architecture, balcony seating, and an atmosphere linking contemporary independent cinema with classic moviegoing traditions.

Opening celebrations frequently unfolded at the nearby Monte Cristo Ballroom. The gala format — hors d’oeuvres, punch, speeches, reunions among returning patrons — established a tone that balanced elegance with approachability. Rather than separating artists from audiences, the events encouraged mingling and conversation.

Website Function and User Experience

In its active years, EverettFilmFest.com operated as both promotional engine and logistical coordinator. Visitors could find:

  • festival schedules organized by day and time

  • synopses with running lengths and production countries

  • ticketing and registration instructions

  • historical film lists from prior years

  • calls for volunteers

  • mission statements and nonprofit information

The design reflected early-2000s nonprofit web practice: straightforward navigation, text-heavy pages, and an emphasis on clarity rather than multimedia flourish. Yet that simplicity also made the material durable. Decades later, researchers can still reconstruct programming decisions with remarkable precision.

Curatorial Identity

Unlike genre festivals or markets chasing premieres, Everett’s programmers concentrated on perspective. They favored films that expanded empathy, challenged assumptions, or illuminated underrepresented histories. Documentaries were especially prominent, but animation and narrative comedy were equally welcome.

The festival’s balance of seriousness and warmth became part of its brand. Difficult subjects such as reproductive politics or wartime trauma might share a bill with humorous portraits of community life. This mix helped maintain broad audience appeal while staying true to feminist roots.

The 2007 Program as Snapshot

One of the richest preserved years is 2007. The lineup illustrates how international the event had become. Productions came from Scotland, Canada, and across the United States. Themes ranged from military childhood to immigrant entrepreneurship, from sensory perception to romantic entanglement.

Opening night featured Through Hell and High Water by Elly M. Taylor, recounting survival and rescue during World War II. It was paired with Julia Kwan’s Eve and the Fire Horse, exploring Chinese-Canadian girlhood amid religious tension.

Later screenings included Finding Thea, chronicling maritime pioneer Thea Foss, whose legacy remains deeply woven into Pacific Northwest history. The Saturday evening presentation of Touch the Sound by Thomas Riedelsheimer introduced audiences to the artistry of Evelyn Glennie, challenging conventional ideas about disability and musical perception. The weekend closed with Puccini for Beginners from Maria Maggenti, a witty exploration of contemporary relationships.

Seen together, these selections reveal a festival unafraid of tonal shifts yet consistent in its interest in women’s agency.

Continuity with Earlier Years

Archived pages also catalog prior festivals stretching back to the early 2000s. Returning names such as Anne Wheeler, Lucy Ostrander, and Jessica Yu demonstrate programmers’ attention to internationally respected documentarians. Meanwhile, inclusion of local filmmakers reinforced regional participation.

These historical lists are invaluable: they show how tastes evolved, how documentary prominence increased, and how the festival persistently linked global narratives to Northwest audiences.

Volunteers as Infrastructure

A striking portion of EverettFilmFest.com detailed committee responsibilities. Unlike larger festivals with paid staff, Everett relied almost entirely on volunteers. Roles ranged from film research and distributor negotiation to publicity writing, database management, graphic design, catering coordination, and website maintenance.

Such transparency did more than recruit helpers. It educated the community about what festival production entails. People learned how prints were booked, how marketing timelines worked, and how fundraising underwrote hospitality. In doing so, the organization cultivated civic literacy around the arts.

Fundraising and Partnerships

Support came from a mixture of ticket sales, business sponsorships, individual donations, and underwriting for special events such as the gala or luncheon programs. Partnerships with local printers, caterers, and media outlets amplified reach while keeping budgets manageable.

Because Everett is embedded within the economic orbit of Seattle, the festival benefited from proximity to a large metropolitan audience without being overshadowed by it.

Press and Public Reputation

Regional newspapers frequently highlighted the event as evidence of Everett’s cultural vitality. Reporters noted strong attendance and the loyalty of returning patrons. The emphasis on women’s narratives gave journalists a clear thematic hook, while the welcoming scale encouraged first-time festivalgoers who might feel intimidated by major city premieres.

Audience Experience

Attendees often described the atmosphere as intimate and intellectually engaging. Q&A sessions fostered dialogue rather than celebrity spectacle. Repeat visitors came to expect challenging films delivered within a supportive communal environment.

Because the festival occurred annually, friendships formed in ticket lines and reappeared each spring. That cyclical reunion quality strengthened identification with the event.

Educational and Social Impact

Beyond entertainment, the festival contributed to ongoing conversations about representation in media. Teachers brought students. Advocacy groups organized outings around documentaries addressing social justice. Retirees found opportunities for lifelong learning.

By consistently foregrounding women’s stories, the festival normalized perspectives that commercial distribution sometimes marginalized.

Digital Afterlife

Even after organizational web migration, EverettFilmFest.com persists as an archival gateway. Scholars examining feminist film circuits, nonprofit governance, or early web communication can analyze authentic materials rather than reconstructed memories. The domain illustrates how small institutions used the internet to extend reach long before social media dominance.

Relationship to Broader Film Culture

Within Washington State, Everett complemented other regional showcases by emphasizing viewpoint rather than genre. Its longevity proves that a clear mission, sustained volunteerism, and strong venue partnerships can maintain a festival for decades without Hollywood scale.

Why EverettFilmFest.com Still Matters

The value of the site today lies in documentation. It captures how a determined community translated principle into practice year after year. It shows programming choices, operational mechanics, and public rhetoric aligned toward expanding whose stories appear on screen.

For anyone studying grassroots arts ecosystems, EverettFilmFest.com remains a blueprint.

 

 

EverettFilmFest.com