Arthouse Sanctuary: An Evening at Upstate Films
Rhinebeck, NY — Tucked into a backstreet between the Foster’s Coach House Tavern and the historic Starr institute building lies one of the last bastions of arthouse cinema in the Hudson Valley. Upstate Films, a nonprofit theater company with locations in Rhinebeck and Saugerties, has been presenting a distinct curation of Hollywood, independent, and foreign films to local audiences for 50 years. On a crisp Friday evening, some of Rhinebeck’s many patrons of the arts walk briskly into the alley to make the 5:00 pm showing of The Worst Person in the World; a Norwegian film from director Joachim Trier recently nominated by the Academy Awards for Best Original Screenplay and Best International Feature Film.
The attendants of the late matinee are the usual crowd, primarily consisting of two groups and typically arriving in pairs: college students adorned in streetwear from both near and far, and elder residents in sharp but casual attire looking to support their resident movie house. While the cinema isn’t as busy as its later showings, the lobby and theater are brimming with customers eagerly awaiting showtime. The college students, entrenched in the modern film scene, chose Upstate specifically because it’s one of the only theaters where the film is being played. The only other theater featuring it in Dutchess County is the Story Screen Beacon theater in Beacon.
“Audiences are not so big for titles like The Worst Person in the World to warrant it being played at every multiplex so we’re glad to have some exclusivity,” said co-executive director Paul Sturtz. “It makes those titles feel more special.”
Inside the lobby, Posters are framed on the wall with current and anticipated releases, including Drive My Car, a Japanese film also nominated for Best Screenplay and International Film as well as Best Picture, Breaking Bread, a documentary on enacting social change amongst Israeli and Palestinians via the culinary arts, and the 2022 Oscar-Nominated Short Films, a collection short-form live-action, animation, and documentary works selected by the Academy. At the corners of these three posters is a handwritten sticky note detailing the dates of their premieres. Before purchasing tickets, customers must show their vaccination status in order to ensure a safe viewing experience. After being cleared by the ticket attendant, they sidestep to order from the popcorn steward adjacent to them. The concession stand is constructed in the vein of a cafe bar, offering not only popcorn but handcrafted sodas and ginger ale as well as pastries. The signs for beverages and confections are all handwritten in the same penmanship, authored by one of the staff behind the counter.
This personal touch is one of the defining qualities of Upstate Films. “We are a cozy, welcoming spot for neighbors and acquaintances and strangers to come together around great art,” said Sturtz. “There is more of a personal connection between our audiences and our staff.”
In the theater, Patrons shuffle through the lanes of seating, trying to figure out which seat is the best in the house. The walls are painted crimson, and to the left of the screen is a similarly shaded curtain with a blue neon light signifying that the restrooms lie beyond. On the screen, before the showtime is a repeating slideshow; an in-house graphic describes the implemented amenities put in following COVID protocols, ads for local events such as the Hudson Jazz Festival, and historic black and white pictures of Rhinebeck and the surrounding area. When the clock finally strikes five, one of the concession stand attendants strides to the front of the screen to introduce the film. She thanks everyone for supporting Upstate Films, highlights the exits that are available in both the front and rear and asks that masks remain on unless consuming food or drink. After concluding her speech, the audience claps, and the lighting dims slightly. Trailers for Breaking Bread and Drive My Car play as the last remaining theatergoers find their place. When the trailers are finished the lights are fully extinguished. An older woman whispers to her husband to turn off his phone. The movie is about to begin.
The Worst Person in the World follows the titular Julie; An Oslo resident trying to discover who she is in her career as well as in her romantic relationships. Told in 12 chapters along with a prologue and epilogue, Julie drifts across her native city attempting to determine her place as a woman in her thirties. She is torn between her long-standing relationship with Aksel, a grounded older graphic novelist looking to settle down and begin his chapter of middle age, and Elvind, a barista closer to Julie’s age who also hasn’t solidified who he is yet, appealing to her spontaneous tendencies. While the title may seem comedic (and the film itself definitely is in moments), the emotional resonance of the film is derived from Trier’s genuine and sincere perspective on what it means to love and have love in your life, even if those feelings seem illogical and unviable. Julie is constricted by the immovable weight of time, which impacts her ability to confirm decisions out of fear of making an irreparable wrong choice. Rather than assigning one of the two love interests as the antagonist or incorrect choice, both of Julie’s relationships are explored in-depth to show that, in reality, there is no right answer. The film is brutally realistic in terms of conveying the fleeting nature of satisfaction yet never falls into despair; Instead choosing to always remain in melancholy optimism. Obviously, Julie, or anyone else in the film, is not actually “the worst person in the world.” The title is reflective of the way we treat ourselves when we feel like we’re falling behind in life in comparison to others, only to inevitably realize that our paths are ultimately our own.
The audience of the 5:00 pm showing was not disappointed. Even as the credits began to roll, practically everyone remained in their seats, contemplating the emotional journey they had just been through with Julie. The various pairs and groups of patrons discuss their perspectives, explaining nuances and commenting on the complex choreography of one particular scene.
“I thought it was great,” said one patron. “I’m always worried that people would be turned off by these types of films and walk out, but no one did.” An older couple had difficulty understanding the title. “We were trying to figure out who was the worst person in the world.” One patron was particularly enamored by the locale of the film. “It makes you wanna move to Norway.”
While the showing was a success, it, unfortunately, does not necessarily translate to financial stability. “Selling tickets and popcorn is not sufficient for supporting modern cultural organizations like Upstate Films who are providing unique experiences,” said Sturtz. “We have to supplement our earned income by asking for support from private donors, foundations, and governmental agencies.” Although this is the case, the response to tonight’s showing could be foreshadowing for a brighter, more cultured, future as long as Upstate continues to offer exceptional art for public viewing. “Lots of good films are just ahead,” said Sturtz. “I’m particularly jazzed about Jordan Peele’s latest film Nope, Olivia Wilde’s Don’t Worry Darling and a whole bunch of truly independent films. Stay tuned.”
