Film society

We had screenings of The Day the Earth Stood Still and An American in Paris from the 1950s.

And we had four screenings with our Broadway Youth Film Society, our four different branches.

We showed The Firm, The Terminal, we showed The Jungle Book and Juno.

And those Jungle Book and Juno screenings were also with our two newest film society branches of Carrick Academy and Gunvan Academy.

And I'm really looking forward to discussing more potentially in an upcoming episode about those Film Society updates as well.

There's been lots happening with that.

And of course, all of these screenings at the Broadway have provided a fantastic basically trial run for what a full programme of film might look like.

I'm guilty of not always watching credits at the end of films growing up.

And now going into Film Club and filmmaking, you gain more of an appreciation for all the people involved in that process.

So many people go into making it.

I think that's so fun.

That's good.

I mean, you, you should've told her, "Mom, I could've bought tickets for you," unless your mom's a CineClub member, then-

She's a CineClub member.

Wow, look at her.

Yeah.

I've never seen Mrs. Zippy in a style that you watched it without me recently, didn't you?

It was Wellington Film Society.

Film Society.

I've tried to pull you along.

I've heard about one of them, The Em- The Emperor's Naked Army Marches On.

That's probably the one, uh, that has been the most popularly viewed when I've mentioned this set to, like, folks at the Film Society here in Grand Rapids or online.

That's the one that seems to get some reactions because, uh, it's got a reputation and a following out there.

The others, uh, maybe not as much, but I think they are all pretty provocative, pretty unique approaches to cinema, and all kind of growing out of this radical Japanese approach that I think, uh, was a very significant split between, you know, what was happening in the Japanese films of the '40s and '50s, that kind of golden age of Kurosawa, Mizoguchi, Ozu, and, and all the others.

Duppy's hanging out, Texas Hop, Alt Mod.

Um, tonight I would really like to watch a movie with you all for Film Club.

Um, so if you are a, a member on through YouTube, if you are, uh, a Culture Club member on Patreon, on SubscribeStar, through quitefrankly.tv right there on the Culture Club, all of your options are there.

No matter where you are as a monthly sponsor, just keep checking, keep checking what's up, um, because I haven't picked a movie yet or what we're gonna watch.

But I would like to watch something tonight, 'cause I, I don't, I don't really have any plans, and once everybody's in bed, I, I think I would like to pop something on at nine o'clock that's not, like, scary, but I'd like to find something that's at least, that feels autumnal and, uh, and feels good, you know? I don't know what the hell that would even be.

But either way, be on the lookout, because perhaps there might be a Film Club watch party tonight, and at the very least, tomorrow night at nine o'clock PM we will be live for a s- a very special Saturday night show.

We're gonna have a room full of friends.

You're gonna see Mark Swan in the flesh.

And first-time visitors are welcome at no charge.

At the Arts Centre, the Film Society screens It Was Just an Accident, in which a group of former political prisoners in Iran think they found the man who tortured them, and an ordinary car accident sparks a tense, darkly comic debate about revenge.

Shot in secret by director Jafar Panahi and winner of the Palme d'Or at Cannes, subtitled Certificate XIIA from half past seven until quarter past nine.

And at Father's House, the Free Acoustic Café opens its doors at half past seven with music from eight, featuring Debbie Cassell and Martin Ansell making their debut, The Hats trying out a brand-new lineup, and returning favorites Pete Robson, Plum Loco, and Rich Atkinson & The New Billionaires, with a hat going round for the musicians.

Uh, yeah.

Well, this one's like the, the Film Society one where it's not the public screening.

Oh.

So, uh-