ISSUE #97
BEAM FROM THE BOOTH | GRAND RAPIDS FILM SOCIETY
[EDITED BY: GRIFFIN SHERIDAN & SPENCER EVERHART]
Hello and welcome back to an all-new installment of BEAM FROM THE BOOTH brought to you by GRAND RAPIDS FILM SOCIETY!
We’re bringing our April programming to a close tomorrow, TUESDAY (4/22) at 6pm with the return of one of our FREE social events: GRFS PITCH NIGHT. Whether you’re looking to present an idea to the audience or just enjoy the presentation, be sure to RSVP!
In this issue, dig into an interview with Irene Kuperus — our latest OPN audience vote winner — and begin a journey though the Turner Classic Movies catalog with special guest contributor Paige Adams.
Check it out!
FILMMAKER SPOTLIGHT
IRENE KUPERUS
Open Projector Night Audience Vote Winner March 2025
[BY: NICHOLAS HARTMAN]
First and foremost, to our readers who don’t know who you are: who is Irene Kuperus? Please tell us about yourself.
I’m a senior at Grand Valley studying Film and Video production! I’ve loved making videos for as long as I can remember, and I’m specializing in editing as a graduate next month! I love writing, going to the theater, spending time outside along the lakeshore, hanging out with my friends, and discovering new spots to eat.
I want to make this loud and clear: the Open Projector Night panel selected Nuance for the Jury Award — congratulations! — before the audience vote even took place. Knowing that you won both awards, how are you feeling right now?
I’m so thankful and honored! My heart feels full knowing that others enjoyed the story and connected with the characters, humor, and message I wanted to convey. I’m beyond grateful for every person who helped make the project something to be proud of. It has, more than anything, given me more confidence in my writing and story building and inspired me to keep making more.
To those who haven’t seen Nuance, what’s it about?
Nuance lets you listen to two strangers’ 10-minute conversation on a very high bridge.
I’m a firm believer in less is more, and I feel Nuance is a prime example of that. Just two people, one location, and a conversation. Why did you want to tell this story and take this approach?
It was something I questioned when I first wrote a version of the script a couple of years ago. I remember very clearly asking myself, “...but what’s the story? It’s two people talking. And nothing happens. That’s not a story.” My professor and class pushed “Yes, it is.” The more I wrote, the more I felt that simplistic nature would read as real, which is, tonally, what I was going for. Shows like Arrested Development and The Office were very formative for the type of humor I felt was most effective on screen. I love their mockumentary style, where the characters are not backed by the laugh tracks of Friends or Seinfeld I also grew up watching. These characters are placed in bizarre, awkward, real-life situations with un-glamorized people and are funny enough because it feels real. I think my main goal with characters in general is to make them feel like real people; they talk and act in a way you can compare to a friend, coworker, or stranger rather than a celebrity. That way, a potentially high-stakes conversation like this one feels grounded and relatable.
As a filmmaker myself, I understand how difficult, stressful, and exciting making a film can be. Can you share some ups and downs you experienced through the process? When it comes to obstacles (if any), can you share how you overcame them?
One of the most exciting parts of the project was seeing the actors truly take over their characters...patiently sitting with my takes for fifteen minutes or more, running through the whole script each take on that bridge. It felt like genuine magic to see the words I wrote become so effortlessly acted. They were both truly amazing in embracing this challenge of one-take scenes, especially being outdoors and overnight. Speaking of, one of the biggest struggles was trying to figure out the logistics of shooting. I felt less than certain about trekking thousands of dollars of expensive gear (that wasn’t ours) into a busy street, let alone our actors and crew. In bringing the story outside, the choice of temperature and weather are never within our control, and we all felt that to the fullest effect when temperatures were in the teens and it started pouring rain on the second day. It was worth it.
To the filmmakers that are reading this interview and are setting out to make their first film, what advice would you give?
Writing what you know is the fastest way to a genuine story, even in abstract stories and images. Nothing needs to be spelled out for a viewer to grasp their own meaning and reflect on their own experiences in comparison; it’s what we do best.
Open Projector Night is a Michigan-based film series that highlights the talent we have in this state. Can you share with us how being in Michigan has helped shape you as a filmmaker?
I feel very blessed to live twenty minutes away from Lake Michigan, and I really can’t think of a more beautiful place to be born and raised. I feel equally as blessed to have had parents that took me around both the upper and lower peninsulas growing up, and I have been able to see so many incredibly picturesque places that inspire me every day. Driving to the lake has also always been therapeutic, cleansing my mentality and making me feel more creative and open to ideas.
Very generic question but I must know: what’s your favorite film and why? If you don’t have a favorite — give me three that stand out to you.
Napoleon Dynamite is one of my favorites because it’s one of my dad's favorites. It’s that type of movie. I’ve seen it a hundred times, and I think it very much influenced my humor and personality as a whole. It hits every mark on a small-town dialogue with awkward dysfunction. I think Lady Bird made me feel something similar in the way it was eerily real and reminiscent of my thoughts and feelings, only to come to understand that’s kinda why everyone else loves it too. We’re all so similar. It helped me realize that it’s not too hard to relate to others when you come with genuine and honest writing. Eternal Sunshine of a Spotless Mind is another that rings home with heartbreakingly palpable emotions.
I feel like every filmmaker has that ‘spark’ — that moment where they say to themselves, “Yes, this is what I want to do, I want to make films.” Did you have that moment, and if so, could you share it with us? If you didn’t have that moment, what made you want to make movies?
I always liked making movies. When I was growing up, I had my dad and cousins act out skits with our old home computer. I’d direct them and write the story as we went along. I made music videos on Video Star, as many 2000s children with iPods did. I edited videos of my friends on iMovie and then learned Final Cut when I went to the Careerline Tech Center. I think the film and media program there was what opened my eyes to see that this was, in fact, a career, and I could find a future in it. I loved getting to make commercials and short films and fell in love with editing and film in general. I taught myself Premiere with an online class, and I think I could tell within that flow state was something that I’d love to call a job.
What/who inspires Irene?
I’m inspired by people who are unafraid to show their art. I think the process of creating something like this, or any piece of work that comes from you, takes immense vulnerability. I applaud and look up to those who share what they do consistently, who aren’t afraid to let people into their way of viewing the world (or do it, despite the fear).
This is a question I like to ask all our award-winning filmmakers. If you were able to make your dream film and had an unlimited budget, what would you make?
Maybe this is cheating, but I’d want to make a show. I'm thinking The Bear, Arrested Development, and White Lotus have a love child. A character-driven drama based in a fast food restaurant.
What’s next for Irene? Anything exciting in the works?
Writing a new short! (And planning to film it on an old camcorder.)
How do we stay up to date with you and your work? Any socials you want to share?
My Instagram is (at)irenekuperus! My Vimeo and LinkedIn are both under my name as well!
Any words on your experience at Open Projector Night?
Open Projector Night was such a fulfilling experience! Wealthy Theatre is beautiful, but it’s also part of a beautiful community that brings so much light to the work of talented artists. I appreciate how kind and open everyone I’ve met has been, it was a highlight of my year so far! Thank you for hosting, Wealthy and the Grand Rapids Film Society, and thank you to everyone who was a part of the night!
TURNER CLASSIC MOVIES FROM A-Z
[BY: PAIGE ADAMS]
Part I: A-C
The idea behind this challenge is to watch films that I perhaps would not normally gravitate towards, ones outside of my comfort zone, and expose myself to a wide variety of (especially older) films.
I have recently found searching for a movie to be more and more difficult because we have such a saturated market of what is available to us in terms of options on streaming services — and, even within them, there are so many different categories. Then what really annoys me is that it suggests the same movie in five different categories, but you're missing out on so many different ones. I would prefer to know all my options, especially if I'm stuck. The Turner Classic Movies hub on Max is a good place to see the A-Z. Even if it takes me an hour to search through everything. For me, going back to basics like I used to when I would go to the library (support your local libraries people!) and I’d want to choose a bunch of DVDs, I scan the section A-Z on Max every single time and hope something sticks out. I feel as though we have lost that aspect in today’s world to some degree. I'm sure a lot of people feel that way in terms of physical media. I love recommendations as much as the next person via streaming service or online in general to suggest what's new and cool. However, I also enjoy having it all laid out in front of me — and this is a fun way to do that!
A.
Arsenic and Old Lace (Capra, 1944)
I started off strong with a recommendation from a friend forever ago…thus began my Cary Grant obsession. Prior to watching this, I had only seen Notorious (Hitchcock, 1946) and was not familiar with Grant’s more comedic side. Grant has a penchant for physical comedy, bouncing about the room in a frenzy, and the screwball nature of this comedy means there's a fun juxtaposition between the characters while his aunts are cool and collected and believable; however, his brother Teddy steals the show. In a way, this movie subverts certain stereotypes as women are usually the more dramatic characters trying to solve things. This time, it's Grant's character who has a flair for the dramatic. From the beginning, his wife holds her own against him, and his insecurities and musings about marriage. The aunts’ forethought to justify murder is rational logic that's refreshing and interesting. It stands the test of time for a reason.
I had a great deal of fun watching this one. Screwball comedies generally are not my forte since most of the conflict relies heavily on miscommunication which I find really frustrating at times. However, the darker tone of the story overall made it stand out and made it much more interesting.
B.
Belle de Jour (Buñuel, 1967)
This is the first feature I have seen of Buñuel’s. My first foray with his work was his first short film in collaboration with Salvador Dalí, Un Chien Andalou (1929). I highly recommend watching this film, though, in general. I am also a big fan of Catherine Deneuve, so I was excited to dive into some of her earlier work. I went in without any prior knowledge, and the film just jumps right into its surrealist fashion. It takes a moment to get your bearings with determining what is real and what is fantasy. Buñuel creates such an intriguing portrait of a woman exploring her sexuality and desires and unresolved trauma. Deneuve’s performance is quite intriguing with her often-blank dissociative stare, perhaps leading the viewer to wonder about her ambiguous childhood experiences and how that pertains to her current relationships. This film definitely piqued my interest in checking out the filmmaker’s other work!
C.
Carnival of Souls (Harvey, 1962)
Perhaps my least favorite of this first selection. I was intrigued by the concept, especially related to the titular carnival. However, as a big fan of Rod Serling’s The Twilight Zone, I found myself comparing the two as the film relays a storyline similar to an episode or two of the original series. Since stories like this one are somewhat overdone in today’s world, it was at least interesting to study one of the earlier iterations. The film’s commentary on sexism and harassment did not necessarily hit for me, but it is something in and of itself considering the era in which it was made to shed light on this particular subject openly. A strong aspect of the production is its score and the diegetic organ music, which plays a crucial role in setting the tone with its shrill eeriness. I wish it had pulled me in more, and I wanted to see more of the carnival, but without this challenge it would have been unlikely I’d watched it in the first place. I succeeded in that respect, at least!
UPCOMING EVENTS
WHAT: Local filmmakers have the opportunity to pitch their current or upcoming projects to an audience of potential supporters and collaborators at this FREE SOCIAL EVENT.
WHEN: Tuesday, April 22nd, 6:00pm
WHERE: Koning MicroCinema in The Wealthy Theatre
DUNE (Lynch, 1984)
WHAT: Part of THE MAN FROM ANOTHER PLACE: A DAVID LYNCH RETROSPECTIVE. In the year 10191, a royal decree awards the planet Arrakis to Duke Leto Atreides and ousts his bitter enemies, the Harkonnens. However, when the Harkonnens violently seize back their fiefdom, it is up to Leto's son, Paul, to lead the Fremen, the natives of Arrakis, in a battle for control of the planet.
WHEN: Monday, May 12th, 8:00pm
WHERE: The Wealthy Theatre
DINNER IN AMERICA (Rehmeier, 2020)
WHAT: Part of the MAY’D IN MICHIGAN series. An on-the-lam punk rocker and a young woman obsessed with his band unexpectedly fall in love and go on an epic journey together through America's decaying Midwestern suburbs.
WHEN: Monday, May 19th, 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 week, and stay up-to-date on all things GRFS.
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Until then, friends...
