ISSUE #4
BEAM FROM THE BOOTH | GRAND RAPIDS FILM SOCIETY
[EDITED BY: GRIFFIN SHERIDAN]
You made it to the weekend once again, dear reader - congrats. Start it off by kicking up your feet and enjoying this latest installment of your new favorite newsletter: BEAM FROM THE BOOTH by GRAND RAPIDS FILM SOCIETY
Let’s start with a reminder about the back-to-back-to-back screenings we have next week!
We’re partnering with the beloved ‘Tuesday Movie Series’ at our home, The Wealthy Theatre, to bring you all a set of three fantastic films.
On Tuesday (3/7) at 8:00pm, the ‘Tuesday Movie Series’ continues with GIRL, INTERRUPTED (Mangold, 1999). We’re extra excited about this week’s Tuesday Movie as we have the privilege of screening IN THE BLOOD, the short film that took First Place at our most recent Open Projector Night, before the film! Find an interview with the director of that piece, Allison Riley, later in this issue.
On Wednesday (3/8) at 7:00pm, we’re presenting a recent classic: Greta Gerwig’s LITTLE WOMEN (2019). If you missed this one in theaters a couple years ago, this screening is the perfect opportunity for you and friends/family to experience the film!
And finally, on Thursday (3/9) at 8:00pm, we are thrilled to bring AFTERSUN (Wells, 2022) to Grand Rapids for what we believe to be the film’s West MI premiere! Plus, catch actor Paul Mescal in the performance that snagged him a nomination for Best Actor in a Leading Role at this year’s Academy Awards.
Find tickets to all three screenings at the designated links below:
And we wanted to get this on everyone’s radar— speaking of Oscar noms…
On Sunday, March 19th, we’ll be screening Laura Poitras’ ALL THE BEAUTY AND THE BLOODSHED (2022). This nominee for Best Documentary Feature about photographer and activist Nan Goldin is not to be missed. Mark your calendars and stay tuned for more details!
Lastly, I would be remiss to not also give a HUGE thank you to everyone who came out to our TWIN PEAKS DAY event last week! So much time, care, and consideration went into that event… as we like to put into all of our events, of course, but there is no doubt this one was special. If you were there, you know what I’m talking about; the energy in the room was so palpable, so perfect. You all made it an incredible experience, and we can’t wait for more evenings like that very soon.
While we’re talking about that event, let’s get into our first column of the issue!
A DAMN FINE TWIN PEAKS DAY
[BY: DAVID BLAKESLEE]
As the evening of Friday, February 24th, approached, my plans for how to spend my time that night were still in flux. I knew that the Grand Rapids Film Society was putting on a show, presenting the first two episodes of Twin Peaks, a landmark TV series from the early 1990s that I watched when it first hit the airwaves and had revisited a few times over the years, though never to the point of completing the whole series. My wife, Julie, had politely informed me that she wasn’t particularly interested but was fine with me attending if I wanted to do so. After hemming and hawing a bit, I thought, why not just do it? This was a good opportunity to further familiarize myself with the GRFS, a group that I actually played an exceedingly minor role in creating.
Back in 2014, a local friend and I met for coffee one afternoon to talk about our mutual love and enjoyment of classic and arthouse movies. The course of our conversation led to the conclusion that what Grand Rapids, Michigan currently lacked, but really needed, was a thriving and adventurous cinema scene— something beyond the standard fare offered at the mainstream cineplexes and such (as much as we both enjoyed our occasional visits to those fine establishments). So our embryonic solution to the problem we’d identified was simple— let’s start the Grand Rapids Film Society! And at the time, the most cost-efficient step to get that process in motion was, of course, to create a Facebook page on March 5, 2014. As it turned out, our grand ambitions never progressed much beyond that, but the Facebook page remained and, to my enduring gratification, has been transformed and activated by folks much more knowledgeable and resourceful than me to bring our vague notions from nearly a decade ago into a reality that we can all participate in. So it was with a measure of sincere satisfaction that I set out on a course from my suburban home over to Wealthy Theatre to join in on the festivities to celebrate Twin Peaks, the breakthrough phenomenon that established David Lynch (and several of his talented collaborators) as cultural icons over the decades subsequent to that first season of the TV show.
And what a fun night it turned out to be! Though I’m still in the process of building personal connections to members of GRFS and local cinephiles, I was happy to cross paths with a guy who introduced himself to me at a recent screening put on by the Chiaroscuro International Film Series. He recognized me from my TikTok channel, of all things! That led to a great conversation and what I regard as a budding friendship. After we exchanged pleasantries, I took my customary seat right up in the front rows of the Theatre and waited for the show to begin. I knew in advance that there was going to be a costume contest, but I really hadn’t given it much thought other than my deliberate choice of a plaid flannel shirt that I wore in recognition of Twin Peaks’ Pacific Northwest and generally woods-y setting. But right before the event started, I was absolutely delighted and amused to see the area in front of the stage fill up with dozens of enthusiasts who had put considerable creative thought and energy into their personal presentation for the event. Some of the characters depicted were easily recognizable to me, others were not, since I can’t claim to be a diehard student of the show, at least not at this point in my life (nut my interest has definitely been piqued, and I’m already five episodes into the series now just a few days later!)
As the panorama of Twin Peaks cosplayers established itself, I had enough presence of mind to whip out my smartphone and shoot a few short clips that I turned into a TikTok post later that night [for those on the platform, find David @dee.ell.bee]. The next day, I posted it to that very same Facebook page that I set up on a whim back in 2014 just to share the moment and commemorate the occasion for those who were there - and those who wish they were.
And then there was the screening itself. I have to acknowledge how moved I was to see and hear that opening credit sequence up on the big screen. Of course Angelo Badalamenti’s lush musical score plays such a pivotal role in setting the emotional tone, and to hear it amplified on the theatre’s sound system greatly enhanced its power. Likewise, images that I’d only seen on the small home video screen, which I’d only conceived of as ephemeral broadcast entertainment (though of a distinctly evocative and creatively audacious sort), now revealed themselves to be profoundly cinematic and exquisitely composed. My enjoyment was boosted as well by the reactions of the crowd, most but not all of whom were very well-versed in the show’s lore. The emotional energy I picked up from their responses elevated my enjoyment of the experience way beyond anything I could have felt just sitting on my sofa at home watching the episodes on my nice home theater set-up. After Episode 2 concluded on the proverbial cliffhanger, sending I assume all of us home with an eager anticipation to further our engagement with the series, I felt a surge of genuine satisfaction. Those nascent pipe dreams of establishing (or, really, just personally connecting with) a vibrant cinephile culture in good old Grand Rapids, USA didn’t seem quite as fleeting or fanciful as they once did.
It felt to me like I’d found a tribe I will enjoy hanging out with as cinematic opportunities present themselves in the months and years ahead.
ECHOES
[BY: SPENCER EVERHART]
Echoes is an exclusively-visual column based on the MUBI Notebook series of the same name - a fun way to find the repetitions, reverberations, and recapitulations in images throughout cinema history.
Invocation (Amy Halpern, 1982)
Angel's Egg (Mamoru Oshii, 1985)
FILMMAKER SPOTLIGHT:
ALLISON RILEY
(Open Projector Night Winner, Feb.‘23)
We'd like to congratulate our most recent Open Projector Night audience vote winner, Allison Riley, and their film In the Blood. Nicholas Hartman from Grand Rapids Film Society sat down to have a conversation with Riley to learn more about them, their process, and filmmaking background.
Sit back, relax, and enjoy this interview with an award-winning filmmaker!
*****
For those that don’t know you, tell us about yourself. Who is Allison Riley?
AR: My name is Allison Riley, but I usually just go by Riley! I am a writer and director originally from Holland, Michigan, currently living in Grand Rapids. I graduated from Grand Valley State University in 2022. At the moment, I’m working as a teaching artist with the organization Artists Creating Together and as an adjunct professor at Compass College of Film and Media.
I find myself to be one who’s easily inspired. I adore the arts whether it’s filmmaking, music, painting, etc. Tell us what inspires you and how it influences your creativity?
AR: First and foremost, other movies. I love to challenge myself to watch as many movies as possible to learn from others. Some of my favorite directors are Greta Gerwig, Xavier Dolan, and Kelly Reichardt. I also love watercolor painting and my newest hobby has been 1/12 scale miniatures! Both have definitely inspired me to venture into stop motion filmmaking.
I know this is a difficult yet cliché question, but I’m curious to know your favorite film, why, and how/if it played a role in your life.
AR: This is SUCH a difficult question indeed! Right now, I’d have to say Frances Ha (2012). I love everything about it - the writing, the characterization, the cinematography. It makes me cry without fail every time I watch it. I love the way that the movie portrays female friendships. I’m also a huge fan of Lady Bird (2017), and this feels like a grown up Lady Bird thanks to Greta Gerwig’s writing on both pieces. Frances Ha hasn’t played the largest role in my life, but I hold it dear to my heart and see a lot of myself reflected in Frances. Particularly now, entering my 20s post-graduation-finding-a-career-and-purpose chapter of life that Frances is similarly in.
Can you talk about the process of the film such as where the idea came from and why you wanted to make it?
AR: I wrote the first draft of In the Blood in 2019, planning to shoot the film in 2020 - until it got interrupted by COVID and went dormant for a few years. I came up with the idea first because I wanted to challenge myself to film something all in a bathroom stall. From there, I was thinking of possible ideas that would set a character stuck in a public bathroom stall (diarrhea? hiding from something? ripped pants?) and ultimately ended up on a period. Periods for myself are something of a horror - my first panic attacks were at the sight of my own blood in the bathroom, and I’ve accidentally bled through my pants in public more times than I'd care to admit. From that idea, I began to do research of periods in films to get more ideas, and it was while doing that research that I found that there are really no good representations of periods in filmmaking. That’s what locked me in to knowing I wanted to center the piece around periods.
As a filmmaker myself, I understand that making a movie can be a lot like a game of telephone. From script to picture lock – the vision goes through so many different people. Do you feel like the final product stayed true to your vision?
AR: I do feel that In the Blood stayed true to my shooting script vision through the shooting and editing stages, however, between my first draft and shooting script there were some significant changes. Originally, I went for a more comedic approach with the script, having several more funny characters enter the bathroom. Ultimately, I’m glad I settled with the two teen girls as our only characters in the bathroom.
Wow, so much blood! I’m a sucker for practical effects and your use of blood really gave meaning to the title. Can you share with us your technique and overall experience of shooting that bathroom scene?
AR: It was a TON of blood. I give as much credit as possible to our production designer, Zach Thomas, and art assistant, Hannah Dunaway. They were able to craft all of these amazing practical blood effects. We used four types of blood all varying in viscosity and color. For the final exploding blood shot, we used a “blood cannon” borrowed from the amazing production designer Matt Cunningham. It was a manually powered cannon that we funneled blood into, then stomped on a squeezebox to shoot the blood out of a hose. For the shot, we also had to protect our camera from the blood splatter. This was done with a large sheet of plexiglass and several trash bags. With those supplies, we sealed the camera (and our DP Jordan Skutar!) above the toilet in the stall.
Now, I want to be respectful as possible, so please don’t feel like you need to answer this question. The film obviously has a religious tone to it. Blood has always been metaphorically used in religion - as in drinking the blood (wine) of Christ it will grant you eternal life. What’s the connection here with the main character getting her period in church? Is there some sort of Catholic guilt/Catholic connection that you can elaborate on?
AR: When writing the script originally, I tried to think of the worst place to get your period and landed on church. I actually did not grow up Catholic, so I had many consultants while writing the script. I loved finding the juxtaposition of the blood of Christ and menstrual blood which is viewed as unholy and impure. As an outsider to the church, I never really understood the concept of the blood of Jesus - especially drinking the blood sounded so scary to me as a child. As I grew older and heard more critiques of periods and had my own feelings of impurity and shame, I felt a double standard in the values of the two bloods. This double standard is what I wanted to call attention to with In the Blood.
The final song “In the Blood of the Lamb” is such a perfect choice to end the picture on. Can you discuss your decision on this particular song?
AR: I spent probably 20 hours on Youtube searching for every hymn I could find that included the word “blood” - and there are so many more than I ever imagined. It ruined my Youtube algorithm for a couple months. When I stumbled upon “Are You Washed in the Blood of the Lamb” (which goes by several variations of names online), I was instantly hooked! The first version I heard was performed by a Mennonite choir, and it was haunting and had perfect lyrics for the film. When researching the song more, I found that it typically is sung in a country style, so we recorded our own version on set with the extras in the church while filming.
To all the inspiring filmmakers – what word of advice can you give?
AR: Watch as many movies, write as many scripts, make as many projects as you can, no matter how big or small. You’ll learn something from each one of them. Keep creating and learning as much as possible.
What’s next for you? Any new film projects in the works? Any other creative endeavors you’d like to share?
AR: I am currently working on a feature script that I hope to eventually film! I have no plans as far as a timeline, but I’d love to get a feature piece out. Career-wise, I will be relocating to Chicago in May to meet some new creatives and try to further my career.
This is a question I like to ask all our winning filmmakers: if you were granted an unlimited budget and you could make your dream film, what would it be and why?
AR: With unlimited money I would definitely make a period piece - they just seem so unattainable to make as a newer filmmaker. I love movies like Little Women (2019), The Favourite (2018), and Portrait of a Lady on Fire (2019). It would be amazing to have unlimited money to make extravagant dresses and period-accurate set dressings.
Where can we find more of your work? Do you have a web-site/social media platform you’d like to share?
AR: You can connect with and message me on Instagram @allie_riley. To see more of my work, you can check out my website arileyproduction.com
As you know, OPN is a Michigan-based festival that wants to highlight the talent we have right here in our state. What do you think are the benefits of making a film in MI compared to somewhere like L.A.?
AR: I love the homey, personal feel of working in Michigan. I’ve had the privilege of getting to work with my friends on all of my sets - especially In the Blood! Actually, all 5 people I’m living with now all worked on ITB in different crew positions. I also love the access to nature we have here in Michigan, which is something I’m looking to incorporate into my next piece - specifically the magic of the shore of Lake Michigan and the Dunes.
Any words on Open Projector Night?
AR: Open Projector night is a great opportunity for filmmakers! I had an amazing time participating.
*****
We hope you enjoyed this interview with Open Projector Night winner Allison Riley, and we hope to see you at our next OPN event on May 24th, 2023.
Are you a filmmaker and looking to screen your work on the big screen? If so, please visit our Film Freeway page for submission rules and guidelines via the button below!
UPCOMING EVENTS
TRANSIT (Petzold, 2011 - Germany)
WHAT: The final film in the CHIAROSCURO INTERNATIONAL FILM SERIES’ 2023 “Absence/Presence” season! Screening to be followed by discussion and reception with food.
WHEN: This Sunday, March 5th, 2:00pm
WHERE: The Wealthy Theatre
LITTLE WOMEN (Gerwig, 2019)
WHAT: A special screening of Greta Gerwig’s recent rendition of the classic story. Part of a triple feature event (see above)!
WHEN: Wednesday, March 8th, 7:00pm
WHERE: The Wealthy Theatre
AFTERSUN (Wells, 2022)
WHAT: West Michigan premiere! Featuring 2023 Academy Award nominee Paul Mescal (Best Actor in a Leading Role).
WHEN: Thursday, March 9th, 8:00pm
WHERE: The Wealthy Theatre
And so we’ve arrived at the end of another BEAM FROM THE BOOTH! We appreciate you taking the time to read it and truly hope you’ll continue to do so. Be sure to SUBSCRIBE to get each issue in your inbox every FRIDAY and stay up-to-date on all things GRFS!
Plus, join us on social media! We’d love to chat with everyone and hear YOUR OWN thoughts on everything above. (You can also hop in the comments section below!)
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Look for ISSUE #5 in your inbox NEXT FRIDAY, 3/10!
Until then, friends…
