Revelations of Divine Love
An experimental biopic about the most famous author you've never heard of.
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Donate NowRevelations of Divine Love
A feature film about plague, revolution, and religious ecstasy in 14th-century England, by way of 21st-century Brooklyn.
Brooklyn, NY, US
- $49,888 raised of $25,000 goal
- 317 donations
- -1434871 minutes left
Fiscally Sponsored by Fractured Atlas
How's post-production going? My, how time flies! Strap in pals, because there's a lot to cover! It's been a pretty productive and exciting seven months over here at Cinema Firmament HQ. Everywhere we go, folks are asking us: "What's new with the movie?" or "When will I see it?" or "Who are you and what are you doing my kitchen?" (Just kidding about that last one, folks!). Now, if you're waiting on a big, splashy HERE'S OUR PREMIERE email, this ain't it. And don't worry - when we're on the precipice of our auspicious debut, you'll hear about it! But if you, like me, love hearing about the nitty-gritty behind-the-scenes seemingly endless slog of post-production, this update is for you! So, what've you been up to? Glad you asked! Since April, we've been busy as little Franciscan friars getting all the pieces together. Spring: Picture Lock! After our last shoot - on the incredibly and auspiciously heady day of the Solar Eclipse - editor Zach Clark and I got right back to work incorporating our second shoot footage into the cut. After an undisclosed number of rounds, we picture locked the film in May of this year! To be honest, the whole thing felt a little anticlimactic - no popping champagne bottles, no ticker-tape parades - because as any old salt can tell you the picture lock is just the first step. Still, I won't lie to you: it felt really fucking good to say "this is the film, right here," and start thinking about the icing on that weird medieval cake. Summer: Sound Mix! All summer long, the lovely and talented Wren Haven and I spent many a blissful hour on the final sound mix for our film. This was an especially fun one for both of us: sound design adds another narrative layer to the story, affording artisans like Wren a chance to craft a parallel soundscape to compliment the mis-en-scene. Digging into libraries for effects like wagon wheels, hooves on cobblestone, door hinges and church bells (we listened to so many different church bells) was far and away one of the most fun and insightful parts of this process. Combining all of that with the incredible electronic score from our pal Zachary "Kroba" Koeber created a sonic potpourri that pushed this film into new, more polished and engaging territories. With the mix finished just before Labor Day, we got ready for.... Fall: Color Grading! Time to start twiddling those knobs! Earlier in the fall (or what passes for fall nowadays, am I right kids??) we convened at Nice Dissolve in Bushwick for our first look-set session with visionary colorist Joseph Mastantuono and father-of-the-year/EP/post supervisor/mentor Pierce Varous. This is where it starts to get real weird, creative, and fun, using color as another narrative element to bring out the rich hues of our sets, costumes, and lighting choices. Thankfully, Joseph shares our passion for the medieval era. It's a delight to work with someone who understands the historic and theological import of things like the Holy Virgin's blue cape, the rich crimson of Christ's (vaguely vaginal) side wound, and the earth-tones of our Norwich sets. Watching our already-colorful footage come to vibrant life in the hands of a master craftsman is such a joy, and remains one of my favorite parts of the process. Later Fall, maybe into Winter: Titles and VFX With picture lock sorted, and all of the above in-progress, we enlisted typographer, title designer, and fellow Spectacle comrade Benjamin Tuttle to create a special title sequence and typeface for our opening and closing credits. Some of you may have seen Ben's fantastic work in the opening titles for A Different Man! Truly, you'd be hard-pressed to find a more gifted typeface designer - and like the rest of our cast and crew, he loves drawing from historic texts and sources for inspo. The image at the top of this massive update is his handiwork - a test output of the main title that combines Lombardic script, illuminated letters, and early woodblock typefaces to create something wholly unique (just like this film!). The last piece of the puzzle will be our VFX work, also spearheaded by our pals at Nice Dissolve, which will integrate painted backdrops from Art Director Grant Stoops into the model shots we filmed last spring at Gabe's studio. This will be my first time making a film with compositing, and I'm really looking forward to learning about that technical process - because it surely won't be the last time! So, what's next? Not to jinx anything, but we're humming right along over here, and are still on track to wrap this baby up in early 2025 (sounds so weird to say, but it'll be here before we know it!). With a picture-locked/sound-mixed cut at the ready, we've been tentatively reaching out to festivals at home and abroad looking for the perfect home for this labor of (divine) love. And, most importantly, now that the hard part's over I can finally get to work packing those envelopes and sending out crowdfunding prizes! Sorry you had to wait to the end of this update to get the status, but there's just so much to share and tell you all about. Thanksgiving is in a week (!!) and then it's holiday-this, holiday-that, so this could very well be the last update of the year. I can't believe it's been over two years since we launched (and CRUSHED!) this campaign. I can't believe it's been SEVEN years since I decided to make this movie! But you know what I can believe? That you're all going to love it, and that I am the luckiest goddamn independent filmmaker in the five boroughs. Until next time I remain, Your obedient servant, Caroline Golum |
THAT'S A WRAP (FOR THE LAST TIME)!!We did it everybody!Almost one year and one month to the day after we wrapped principal photography at our Ridgewood studio, I am so thrilled/grateful/relieved to announce the last of our pick-ups are in the can! What's new? Last February, we filmed Julian's visions at the splendid grounds of the Glencairn Museum in Bryn Athyn, PA! Last weekend, we filmed our credits sequence (with beautiful original art from Jennifer Mae Reiland) and the model shots of Julian's church in Norwich!  And yesterday, on the sandy shores of Plumb Beach, Brooklyn (Exit 11 off the Belt Parkway), we filmed our spectacular climax - Christ's crucifixion at Golgotha - alongside the Solar Eclipse!  A thousand thank-yous are in order: to our principal cast and crew for sticking with this wild movie for over a year, to our pals for coming out to play penitents at the foot of the cross, and a special shoutout is due to our Jesus Christ Superstar Abe Makany for braving the elements in his role as the Nazarene!  Now for a bit of eclipse lore: the last solar eclipse in NYC was in 2017, just around the time I'd first conceived of this film. To conclude its final day of shooting during another solar eclipse feels very meaningful to me, as an esoteric Valley Girl, and I can only hope it augers some larger astrological significance for this film. But however you feel about that woo-woo New Age business, I think we can all agree that this is pretty sick:   Where's my crowdfunding reward? The question on EVERYONE'S mind! As you can imagine, taking two years to complete my second feature has been very time-consuming, but I am excited to get back to doing what I love best: reading tarot cards, sending gifts in the mail, and talking to a captive audience about the 14th century! In the coming weeks, I'll be in touch about your best mailing address to send pilgrims badges, props, and wardrobe - because I want all of this crap out of my house ASAP! If you have a more ephemeral gift, like a tarot reading, walking tour, or some other such reward, expect an email from yours truly to iron out the particulars! And sorry for the delay, folks - all of this would've happened a lot sooner if I was a millionaire and didn't have to go to work! What's next? Now comes the fun part: picture lock, color grading, and a sound mix! We're hustling like mad to get this labor of love ready in time for the summer festival season, and once the new footage is in it's go-go-go to get the post elements in order! Odds are very good that the last phase is going to be pricey, so to that end we're applying for post-grants and attempting to seduce some last-in-first-out funding partners. If all else fails, I'll probably apply for another credit card and deal with it later (it's the American Way™!) This is what it takes to make a truly independent film today: it's not always pretty, it's never easy, and you absolutely cannot do it alone. It takes a crew like none other, patient and supportive friends and family, a lot of elbow grease, and a little bit of celestial seasoning. And so, from the bottom of my very tired, very full heart - I want to thank each and every one of you for coming with us on this long and arduous journey. God-willing, the next time you hear from me, it'll be a big breaking news update about the premiere! Until then I remain, Your humble director, Caroline Golum |
THE END IS NIGH: Filming Julian's Visions in February!Hello friends,
Happy 2024! It's been a minute, but I've got a big, juicy update for everyone so strap in: What's the latest? In less than three weeks (mid-Feb) we are shooting the final scenes of the film! These remaining scenes are the most exciting and essential: Julian's ecstatic visions of Christ, the Holy Virgin, and the infamous hazelnut!  Why so soon? Earlier this month, we were invited to submit our film to a very prominent and famous film festival. To say this invitation lit the fire under us is an understatement: it lit the fire and threw on some gasoline, to boot. With a crucial deadline in sight our scouting kicked into high gear, and just last week we secured the perfect location: a beautiful museum situated in a Gothic revival-style mansion just outside Philadelphia:   What happens next? We're getting the band back together! All of your favorite people from "Revelations: Season One" are coming back: Nell Simon, our incredible costume designer; Sydney Buchan, our unflappable assistant director; Grant Stoops, our brilliant and resourceful art director; Gabe Elder, the most visionary cinematographer in North America; and of course, Tessa Strain, the breakout star of our picture! Accommodations have been booked, a schedule is coming together, and we're visiting the location one last time in early February to finalize our shot list. Then it's all hands on deck for a four-day shoot, starting Tuesday, February 20! How can I help? We shot 90% of this film last year because of you. Now with the finish line in sight, and with abundant gratitude, we're asking once more for your support.  As we near this final phase of production, please consider a tax-deductible general support donation to our film. Every dollar we raise now goes directly toward our shoot next month. And next month, by God, we're finally going to finish this picture. Then what? Expect more updates when we shift gears into post-production, and watch this space for sneak-preview clips, behind-the-scenes photos of a riveting color grade session and, fingers crossed, some news about a future premiere! Until then I remain, Forever your humble servant, Caroline |
Good News: We're Finalists for the From the Heart Grant!Hey pals,
It's your humble servant Caroline here with a quick and fun update! "Revelations of Divine Love" has been selected as a finalist for the 2023 From the Heart grant! What does this mean? Essentially, our project will be reviewed by the granting panelists, after which they will deliberate and potentially select "Revelations" to receive this season's iteration of the grant. Every bit of good news inches us one step closer to completion funding! If we succeed in receiving this fantastic grant, you'll most certainly hear about it! Until then, we're plugging away at the edit and getting ready to make some scale models, so expect a better (photo-heavy) update when that process begins in earnest. Stay blessed, Caroline |
SNEAK PREVIEW: Look at how beautiful this movie is!Can't believe it's been six weeks since we wrapped! It feels like a year ago, and just yesterday. Now that the hard part is over (for now), we're moving into the next phase: post-production/completion funding! Zach Clark, our awesome editor, has been cutting what we shot and it's just plain fantastic. If I wasn't the director of this movie, and someone showed me this footage, I'd beeline for the box office. It's a testament to what you can do by collaborating with great artists and geniuses! The footage looks remarkable, and it's clear this crew really punched above our collective weights with the quality of production value. To whet your appetite, here are a few stills from the most recent cut: With principal photography wrapped, our fantastic producer Kate Stahl and I are hard at work trying to source completion funds for the most important scenes of all: Julian's VISIONS! These will be shot outdoors and on-location, over a few days, and in a radically different style than the bulk of the film. It's going to have that classic Cinema Firmament touch! This month, we submitted applications to the Jerome Foundation and the SFFILM Rainin Grant, and next month we're applying for the Gotham's US Features in Post Lab! Keep your fingers crossed for us in the meantime, we can't wait to finish this movie and share it with the world! |
THAT'S A WRAP (on principal photography)!Well folks, we did it. From January 1 through March 12 (last night!) we were in here seven days a week, upwards of 12 hours a day, building sets, painting walls, painting floors, rigging lights, and making movie magic.
After five long weeks, yesterday was our last day of principal photography, and I am in absolute awe of this production. As our marvelous DP likes to say, "All of our stupid ideas are working!" We went in with a litany of notions, many untested, and came away wearier but wiser. I can confidently say this film looks like nothing else - and it's a testament to the craftsmanship of our collaborators. So, what's next? - Our lease at the studio ends on March 31! Until then, we'll be loading out, painting the walls and floors (again, but for the last time), and putting some great props/wardrobe items up for sale! - Thank-you gifts are forthcoming! If you donated and are awaiting a physical object from yours truly, I appreciate your patience (I've been busy). - More grant applications! The fun doesn't end when you wrap - there's a whole new round of begging for money on the horizon. - The final phase: we shot just about everything except the model shots, some montage-y elements, and Julian's visions! Our brilliant and optimistic producer, Kate Stahl, is confident we can get those in the can by the end of the year - ideally by the Summer/Fall. So stay tuned for all that! Until then, I remain Your humble servant, Caroline |
We're shooting in February! Check out the sets in progress!Hello generous patrons, Your faithful filmmaker friend Caroline here, with a mini-update on the status of our production: Things have been chugging along full steam ahead since we signed our lease on January 1. Having a dedicated, indoor location for shooting is helpful, to say the least. We won't have any company moves for the shoot, won't have to contend with the weather (much), and you really can't beat the washer/dryer and two bathrooms. It's been a real joy cloistering at our Ridgewood space, and our landlords have been really supportive and helpful. Through our fiscal sponsorship, we've received a membership to Materials for the Arts, a NYC Department of Community Affairs initiative that offers free supplies to non-profits, educational institutions, and fiscally-sponsored artists like myself! Their warehouse in Long Island City is overwhelming, to say the least, and rife with fantastic materials that are just right for our production. We've found old crockery, baskets, barrels, rolls of fabric, even a coffee maker! And our most exciting update: principal photography begins February 9! Expect fun behind-the-scenes photos from set if/when I have the time to send them. For now, enjoy these photos and this time-lapse video of our set building in progress. More to come! Until then I remain, Your humble servant, Caroline |
We've Found a Location + more!Greetings friends and comrades! It's time for yet another thrilling update from the realm of Revelations: After an arduous search that began, in earnest, last summer, we've finally secured a three-month lease for a studio space! Beginning January 1, through March 31, we'll be holed up in Ridgewood, Queens (where else?) creating a dream vision of the Middle Ages. The building is a former sweater factory, family-owned and operated, with a close-knit community of artists and makers throughout. Our space is on the ground floor, which is a major bonus as we'll be shlepping in all manner of equipment, scenic elements, and sundry other supplies. As we scheme out the set design, I wanted to share a few rough drawings I made based on photos of the space. Maybe we'll proceed with these notions, maybe we'll throw them out altogether. The only limit is our imagination (and budget). Pre-production continues apace, and our plan as it stands is to spend January loading in, building a lighting grid, building sets, mapping out the shot list, and staging our exhaustive props and wardrobe cache. If all goes well, we're on track to begin principal photography in February, beginning with Julian's scenes in the anchorhold - about 60% of the film. One advantage to having a three-month lease on the space is freeing up March to film additional scenes, which will require some very canny thinking on our part. The above drawings are harebrained ideas I had for a tavern, a church, and a convent (respectively). None of this would be possible without the tireless efforts of our amazing line producer, Kate Stahl, who has been burning the midnight oil (at both ends??) to keep us on schedule and within our (rather modest) budget. And speaking of....if your employer is matching charitable gifts this holiday season, a friendly reminder that all donations to Fractured Atlas are tax-deductible! Maybe a colleague of yours has some extra walking around money, a fondness for the Middle Ages, and a desire to see their gift go twice as far? If so, by all means, hip them to our little effort. Now back to work (shopping for nun's habits on Etsy)! Look forward to more dispatches from our Ridgewood anchorhold and, most importantly, have yourself a happy and healthy Holiday Season. Until then I remain... Your humble servant, Caroline |
Shooting Updates and More ProgressWhew! It's been a while, hasn't it folks? Don't panic - I'm still alive, still making this movie, and still crazy after all these years.
So, what's new? For the interested, a quick rundown of the noteworthy updates at "Revelations of Divine Love" HQ (my Brooklyn apartment): 1. Shooting Schedule After much careful deliberation and several production meetings, we (meaning the department heads, principal cast, and yours truly) unanimously decided to push our shoot dates to February. This was a wise decision, and will help us in a number of ways: it'll be easier to find a shooting location (more on that in a minute), everyone will be less busy after the holidays, and it gives us additional time to raise more funding (more on that, too). 2. Casting I've miraculously enlisted the expertise of Eisenberg + Beans Casting, who have done some incredible work with some of your favorite New York indies. While they're hard at work engaging with interesting performers and future stars, I've been dutifully watching audition tapes and doing some background casting of my own. Last month, we visited the Medieval Festival of New York at the Cloisters and the Renaissance Faire at Tuxedo Park, NY, armed with a sandwich board and a QR code, to meet other enthusiasts who can roll up to set in costume. 3. Location Scouting This movie is going to take a million favors! To that end, I'm counting my lucky stars, pulling cards, burning incense, playing Powerball - everything short of animal sacrifice, really (child sacrifice still not off the table) - to find a suitable space for our "mini soundstage." Do you know someone with a massive event space they won't be using in February? Maybe you've got an uncle somewhere with a warehouse full of merchandise that "fell off the truck"? Or an artist looking to sublet their studio space? If any of the above applies to you, get in touch - we're calling any and all commercial agencies in the greater NYC area looking for a deal. 4. Effects Testing Gabe Elder, our marvelous DP, has a studio of his very own in which we've been testing some effects. Part of the research for this film, beyond the historical component, is digging up movie magic from days of yore, trying to discern how the great silents used practical magic to exciting effect! As part of my research, I finagled an interview with Roman Coppola, whose practical effects work on Bram Stoker's Dracula (1992) remains a high-watermark for Hollywood filmmaking. In addition to his sage wisdom, he also recommended a small library of books on special effects and movie magic. I've been devouring them! 5. The Rest of the Money? Good question - I've often wondered this myself. Just kidding! There is a plan, of sorts, in the works: thanks to your largesse, we've raised 50% of the budget for this film. With another 10% from NYSCA in December 2021, we're a scant $40,000 shy of our $100,000 mark. In November, I'll begin the process of applying for a Small Business Loan from the Brooklyn Cooperative Federal Credit Union (an aside: if you can, bank with a credit union, it's way better). Because I am technically an S-Corp, I could be eligible for up to $30,000, so we'll see. Cross your fingers and hope the Fed doesn't jack up the rates! Well, I've said a mouthful. Stay safe out there, everyone, and watch this space! The gears, as always, are in motion. Until then, I remain Your humble servant, Caroline |
A Last-Minute Push + Sweepstakes!Folks, the end is nigh!
We're just over the $42K mark and I remain, as ever, continuously amazed and humbled by the generous outpouring of support for my film. As we approach the final day of this campaign - Thursday, 3/31 - I'm offering a special 11th-hour prize! Savannah-based artist Faran Riley, whose exceptional work can be seen here and on Instagram, is in the process of creating a beautiful custom artwork that takes visual and thematic inspiration from Julian's visions! There will be only five prints of this work in existence, and a donation of $500 or more puts you in the running. If you've already given at this (very magnanimous) level, you're automatically retroactively entered into the sweepstakes. BUT if you're on the fence, or know someone with a spare five bills laying around, here's their opportunity to support this film and get a beautiful work of art in the process. So check out Faran's work, help spread the word, give 'til it hurts, and rest easy knowing you've helped to make "Revelations of Divine Love" a reality! xo, C |
A new reward with a cool historical origin storyHappy [almost] spring, everyone! The shock and gratitude of last week's outpouring is still very fresh in my mind, and this week I've added a new reward for donations of $25 or more: a tarot reading from the Visconti-Sforza tarot deck!
A little tarot history So why the video from the Morgan Library YouTube channel? Glad you asked! If you'll allow me wax Wellesian for a minute, here's a little spiel about the history of tarot: Cartomancy in some form or other existed for centuries. For years, rumor had it that tarot cards were from Ancient Egypt - I suspect this had something to do with Napoleon's Egyptian campaign, and the popularity of his court-appointed fortune teller, Madame Lenormand. Traditionalists, including certified creep Alejandro Jodorowsky, swear by Lenormand's early iteration of the modern-day tarot. What's the medieval connection? The actual history of tarot - or tarrochi, as it was known in the Italian courts - actually dates back to....wait for it....the Middle Ages! Divination methods were plentiful during the medieval era, and cartomancy in particular became more widespread after playing cards were introduced to the Decadent West sometime in the 14th century. One of the earliest recognizable tarot decks in existence is the Visconti-Sforza deck, commissioned by the court of Visconti (ancestors of everyone's favorite pervert genius, Luchino) as a Florentine parlor game. In fact, the suits we recognize in a modern day card deck - clubs, spades, hearts, and diamonds - have their direct antecedent in the wands, swords, cups, and coins of the tarot. And one of the most complete Visconti-Sforza decks is in the Morgan Library because, like many of his fellow 19th-century robber barons, J. P. Morgan was obsessed with the Middle Ages. What's in it for me? Because I am a total head, I've been an avid tarot reader for years - it became my go-to relaxation and restoration method during the first year of the pandemic, and last winter I finally got my hands on a copy of the Visconti-Sforza deck. So keeping with the medieval theme, and in the interest of offering another opportunity to accrue modest donations, I'm offering up a three-card reading for any donation of $25 or more. What's a three-card reading? Unlike more elaborate traditional spreads, like the famous Celtic cross, a three card spread gives a quick and general overview of any given situation. Some common three card spreads include: - Past/Present/Future - A Situation/an Action/an Outcome - Thoughts/Feelings/Actions to Take - Conscious Thoughts/Unconscious Thoughts/Reconciling the Two But you can ask about anything, really. Tarot reading isn't fortune-telling, per se - or at least, now how I do it. What tarot offers is a way to narrativize and understand situations in one's life, using popular allegorical symbols and images that represent common factors of our life. Ever had a tarot reading before? Well if you haven't, this is a nice little entree into what is arguably the most esoteric form of CBT available. That's all from me - thanks to everyone who has come out in support thus far. If you know someone looking to part with $25 for a worthy cause, pass it on! xo, C |
$25K raised in one day and I have no idea how it happeend! Really!I didn't make a video for this update because I don't have time and, also, I am speechless. If you had told me even last week that I'd make this goal on DAY ONE I would've said you were off your rocker - but here we are, day one down, and the goal has been achieved.
Talking with my friend, star of "Revelations" Tessa Strain, I asked her if I should end the campaign today as a bit, for a laugh. She brought up a very salient point: every dollar I raise today is one less dollar I don't have to ask for in the future. My plan for the remaining $60K of the total $100K was a combination of additional grants - many still TBD - a loan from my bank, and my unethically high credit limit. Three years ago I established an LLC because I figured I could get a small business loan down the line, but if things progress the way they have been I may not even need to! So thanks, everyone, for showing up early and often with your generous support. I'm going to heed Tessa's wise words, as I often do, and keep this campaign running for the whole 30 days - you never know what might turn up! xo, C |
THE FILM: REVELATIONS OF DIVINE LOVE
Revelations of Divine Love is a feature film about Julian of Norwich: a 14th-century mystic who survived the Black Plague, witnessed a nationwide uprising, and became the first woman to write a book in English. It's based on a true story, and my collaborators and I have been working on it for five years.
In January 2021, we made a five-minute proof-of-concept in a 2,200 sq. ft. Brooklyn warehouse, casting friends and family (shoutout to my kid sister, Jen!) in lieu of our principals as it was not yet safe to travel. This gamble paid off - now, it's time to make this thing for real. We've set a timeline to shoot in October and are trying to raise as much as we can in a few short months.
THE NEED: $25,000
When COVID threw a wrench in my development and pre-production process, I doubled down and devoted every spare moment of my free time to bringing this film to fruition.
In 2021, I secured ten percent of the film's budget through grants from the Brooklyn Arts Council and the New York State Council for the Arts. In order to begin production on the right foot - paying technicians and artists what they deserve, providing a safe set for all involved, and effectively creating a handcrafted atmosphere - we need your support.
With 40% of the budget in place, we can begin preproduction in earnest and garner the remaining funds from private investors and a small business loan of $20,000 from my cooperative credit union. It's a real patchwork approach to fundraising, but if that's what it takes to make this movie I'll do it. Julian of Norwich's work has become alarmingly relevant, and now is our moment to tell her story.
THE CAST & CREW: REAL HEADS ONLY
From the outset, Revelations has been in development with a dedicated core group of collaborators, including...
Tessa Strain (Julian) has a background in Shakespearean theater and Latin studies. This is our second collaboration and first feature effort. We have also known each other since third grade, and for those 20+ years Tessa has been my idol. When I pictured Julian in this film, she immediately came to mind, and I wrote the role as a testament to her strength and gravitas.
Theodore Bouloukos (Father Ambrose) is a New York-based actor whose film work has premiered at Sundance, Venice, SXSW, Rotterdam, Berlin, Tribeca, Strasbourg, Rio de Janeiro, Copenhagen, Vienna, Sarasota, Moscow, BAMcinemaFest, Lincoln Center and the Museum of Modern Art, among numerous festivals and venues. I cornered him after a screening of Mike Bilandic's Jobez's World and begged him to do a table read. Like many members of the team, he's been an integral part of this process from jump - I basically rewrote this role for him.
Laurence Bond (Co-Writer/Historical Consultant) is a PhD candidate at Johns Hopkins University and holds his Master of Arts degree from Columbia University. His scholarship focuses on the intersection of religious, intellectual, and social history in late-medieval England. Laurence's paper about Julian, written during his Masters studies at Columbia, was the impetus for this film. While little is known about Julian, Laurence's academic research and creative sensibility have fleshed out her story and shaded in the historical details that help bring her to life.
Lyman Creason (Producer) is a producer of independent films for the past five years. His recent feature Becks won the Fiction Award at the Los Angeles Festival before playing in theaters across the country. His most recent film Lucy in the Sky, starring Catherine Curtin and Kelly Hu, is finishing post production.
Gabe Elder (Cinematographer) is a cinematographer based in Brooklyn, NY. While his work is wide ranging, he holds a particular passion for experimental technique. We met through my friend Grace, who I have known since middle school, and he's been a key collaborator on this project for more than four years now! No one I've worked with exhibits the same depth of knowledge and enthusiasm for practical effects and good old-fashioned movie magic.
Zach Clark (Editor) is an editor and director, known for White Reindeer (2013), Little Sister (2016) and Modern Love Is Automatic (2009). We met while I was looking for an editor for my first feature, A Feast of Man (2019), and immediately hit it off. It was like meeting someone in a foreign country who speaks your language. He understands the tone and style of my work perfectly, to the degree where I wonder if we weren't separated at birth. I'm so thrilled to be working with him again!
Grace Sloan (Production Designer) is a brilliant auteur in her own right, and has designed 10 feature films and a plethora of shorts and commercials. Recent work includes The Cathedral (Ricky D’ambrose, Venice 2021), We’re All Going to the World’s Fair (Jane Schoenbrun, Sundance 2021) and Premature (Rashaad Ernesto Green, Sundance 2019). She is creative and inventive in a way I've never seen before, and has a unique sensibility that adds so much to this project.
Grant Stoops (Scenic Designer) was born in Kansas and received his BFA from the School of Visual Arts, New York, where we met way back in 2007. As a painter he has exhibited at Kustera Projects, Paradice Palase, Field Projects, and SPRING/BREAK. His technical and historical knowledge of medieval and Renaissance painting styles are an essential component the look and feel of this film.
As Revelations coalesces, our cast and crew will expand into the realms of film acting, performance art, historical reenactment, and musical performance.
THE THEME: THE PAST IS PRESENT
Revelations asks audiences to see themselves not as passive observers of a bygone era, but active participants in a centuries-old struggle for liberation.
Julian self-isolated during a plague, witnessed the revolution it inspired and recorded seismic events that closely resemble our own. When COVID forced millions into seclusion, scholars and journalists looked to her work for guidance. Just as thousands of working people rose up in resistance following the Black Plague, uprisings throughout the summer of 2020 exposed how economic and cultural inequality have intersected throughout history.
THE IMPACT: RECLAIMING AND RESURFACING
Period films are about two eras: when they’re set, when they’re made.
The Middle Ages have become a lightning rod for white supremacists, who exploit stereotypes of the era to push a violent and oppressive agenda. My film is a direct rebuke to this dangerous revisionism, with a script that draws extensively from research by a new wave of scholars. In this spirit, my depiction of 14th-century Norwich looks like the community I inhabit: inclusive and equitable, with collaborators of different backgrounds and identities.
Revelations of Divine Love is a feature film about Julian of Norwich: a 14th-century mystic who survived the Black Plague, witnessed a nationwide uprising, and became the first woman to write a book in English. It's based on a true story, and my collaborators and I have been working on it for five years.
In January 2021, we made a five-minute proof-of-concept in a 2,200 sq. ft. Brooklyn warehouse, casting friends and family (shoutout to my kid sister, Jen!) in lieu of our principals as it was not yet safe to travel. This gamble paid off - now, it's time to make this thing for real. We've set a timeline to shoot in October and are trying to raise as much as we can in a few short months.
THE NEED: $25,000
When COVID threw a wrench in my development and pre-production process, I doubled down and devoted every spare moment of my free time to bringing this film to fruition.
In 2021, I secured ten percent of the film's budget through grants from the Brooklyn Arts Council and the New York State Council for the Arts. In order to begin production on the right foot - paying technicians and artists what they deserve, providing a safe set for all involved, and effectively creating a handcrafted atmosphere - we need your support.
With 40% of the budget in place, we can begin preproduction in earnest and garner the remaining funds from private investors and a small business loan of $20,000 from my cooperative credit union. It's a real patchwork approach to fundraising, but if that's what it takes to make this movie I'll do it. Julian of Norwich's work has become alarmingly relevant, and now is our moment to tell her story.
THE CAST & CREW: REAL HEADS ONLY
From the outset, Revelations has been in development with a dedicated core group of collaborators, including...
Tessa Strain (Julian) has a background in Shakespearean theater and Latin studies. This is our second collaboration and first feature effort. We have also known each other since third grade, and for those 20+ years Tessa has been my idol. When I pictured Julian in this film, she immediately came to mind, and I wrote the role as a testament to her strength and gravitas.
Theodore Bouloukos (Father Ambrose) is a New York-based actor whose film work has premiered at Sundance, Venice, SXSW, Rotterdam, Berlin, Tribeca, Strasbourg, Rio de Janeiro, Copenhagen, Vienna, Sarasota, Moscow, BAMcinemaFest, Lincoln Center and the Museum of Modern Art, among numerous festivals and venues. I cornered him after a screening of Mike Bilandic's Jobez's World and begged him to do a table read. Like many members of the team, he's been an integral part of this process from jump - I basically rewrote this role for him.
Laurence Bond (Co-Writer/Historical Consultant) is a PhD candidate at Johns Hopkins University and holds his Master of Arts degree from Columbia University. His scholarship focuses on the intersection of religious, intellectual, and social history in late-medieval England. Laurence's paper about Julian, written during his Masters studies at Columbia, was the impetus for this film. While little is known about Julian, Laurence's academic research and creative sensibility have fleshed out her story and shaded in the historical details that help bring her to life.
Lyman Creason (Producer) is a producer of independent films for the past five years. His recent feature Becks won the Fiction Award at the Los Angeles Festival before playing in theaters across the country. His most recent film Lucy in the Sky, starring Catherine Curtin and Kelly Hu, is finishing post production.
Gabe Elder (Cinematographer) is a cinematographer based in Brooklyn, NY. While his work is wide ranging, he holds a particular passion for experimental technique. We met through my friend Grace, who I have known since middle school, and he's been a key collaborator on this project for more than four years now! No one I've worked with exhibits the same depth of knowledge and enthusiasm for practical effects and good old-fashioned movie magic.
Zach Clark (Editor) is an editor and director, known for White Reindeer (2013), Little Sister (2016) and Modern Love Is Automatic (2009). We met while I was looking for an editor for my first feature, A Feast of Man (2019), and immediately hit it off. It was like meeting someone in a foreign country who speaks your language. He understands the tone and style of my work perfectly, to the degree where I wonder if we weren't separated at birth. I'm so thrilled to be working with him again!
Grace Sloan (Production Designer) is a brilliant auteur in her own right, and has designed 10 feature films and a plethora of shorts and commercials. Recent work includes The Cathedral (Ricky D’ambrose, Venice 2021), We’re All Going to the World’s Fair (Jane Schoenbrun, Sundance 2021) and Premature (Rashaad Ernesto Green, Sundance 2019). She is creative and inventive in a way I've never seen before, and has a unique sensibility that adds so much to this project.
Grant Stoops (Scenic Designer) was born in Kansas and received his BFA from the School of Visual Arts, New York, where we met way back in 2007. As a painter he has exhibited at Kustera Projects, Paradice Palase, Field Projects, and SPRING/BREAK. His technical and historical knowledge of medieval and Renaissance painting styles are an essential component the look and feel of this film.
As Revelations coalesces, our cast and crew will expand into the realms of film acting, performance art, historical reenactment, and musical performance.
THE THEME: THE PAST IS PRESENT
Revelations asks audiences to see themselves not as passive observers of a bygone era, but active participants in a centuries-old struggle for liberation.
Julian self-isolated during a plague, witnessed the revolution it inspired and recorded seismic events that closely resemble our own. When COVID forced millions into seclusion, scholars and journalists looked to her work for guidance. Just as thousands of working people rose up in resistance following the Black Plague, uprisings throughout the summer of 2020 exposed how economic and cultural inequality have intersected throughout history.
THE IMPACT: RECLAIMING AND RESURFACING
Period films are about two eras: when they’re set, when they’re made.
The Middle Ages have become a lightning rod for white supremacists, who exploit stereotypes of the era to push a violent and oppressive agenda. My film is a direct rebuke to this dangerous revisionism, with a script that draws extensively from research by a new wave of scholars. In this spirit, my depiction of 14th-century Norwich looks like the community I inhabit: inclusive and equitable, with collaborators of different backgrounds and identities.
Rewards
Tarot Reading from a 15th Century Deck + More!
Donate $25.00 or more
Amount over $1.00 is tax-deductible.
Did you know that tarot cards were invented in the Middle Ages? Now you do! The Visconti-Sforza "tarocchi" deck was commissioned by the ducal ancestors of filmmaker Luchino Visconti and is considered the oldest-known precursor to the modern-day tarot. In addition to an invitation to the virtual premiere and a "thank you" in the credits, I'll give you a custom three-card pull from my splendid, gold-leaf deluxe edition! Ask about your past, present, and future; your thoughts, feelings, and actions; a situation, an action, and an outcome; or whatever your heart desires.
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Virtual Premiere Invitation + Thank You!
Donate $5.00 or more
Amount over $1.00 is tax-deductible.
Enjoy an exclusive first look at what will surely be the strangest medieval period film of our young century! For the low cost of one avocado toast (latte, or similarly maligned food item), you'll snag a ticket to the advanced virtual premiere and a well-deserved "thank you" in the end credits!
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A Weird or Sexy Medieval Pilgrim's Badge + More
Donate $100.00 or more
Amount over $6.00 is tax-deductible.
Pilgrim's badges were sold as souvenirs at sites of Christian pilgrimage and bear imagery relating to the saint venerated there. These badges are rendered in handsome faux-gold, and include a penis on wheels, Thomas a Becket, the Lamb of God, seashells, a cat, any number of weird things! Check them out!
PLUS: An invite to the virtual premiere and a "thank you" in the credits!
PLUS: An invite to the virtual premiere and a "thank you" in the credits!
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Props, Wardrobe, and a Walk-On Role + More
Donate $500.00 or more
Amount over $10.00 is tax-deductible.
Here's your chance to own a piece of [alternative, cinematic] history! From Julian's custom-made writing slab to pewter chalices, devotional objects, fine silks and fake candles, nothing is off limits when we wrap. And for the bolder donor, take a chance to unleash your inner peasant, pilgrim, tavern wench, or Weeping Jew with a walk-on role that is sure to be a feather in your cap.
PLUS: A weird or sexy medieval pilgrim's badge, access to the virtual premiere, and a "thank you" in the credits!
PLUS: A weird or sexy medieval pilgrim's badge, access to the virtual premiere, and a "thank you" in the credits!
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A Blacksmithing or Calligraphy Class from a Real Expert + More
Donate $1,000.00 or more
Amount over $200.00 is tax-deductible.
Scribal Workshop founder Lucas Tucker is a foremost expert in medieval manuscripts. He's worked with the Museum of the Bible, the Folger Shakespeare Library, and exhibited at the Boston Antiquarian Book Fair - and he's generously offered to teach you the art of manuscript calligraphy! In addition to the aforementioned prizes at other tiered levels, $1,000 snags you a virtual calligraphy class with all supplies included from this heralded master.
Looking for something a little more physical? In addition to a virtual premiere invite, a thank-you, a pilgrim's badge, a prop, and a walk on role, you can opt for a blacksmithing course at a local forge, taught by experts in the ancient art of metallurgy. Work those biceps for a worthy cause!
Looking for something a little more physical? In addition to a virtual premiere invite, a thank-you, a pilgrim's badge, a prop, and a walk on role, you can opt for a blacksmithing course at a local forge, taught by experts in the ancient art of metallurgy. Work those biceps for a worthy cause!
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A Medieval Feast and a Tour of the Cloisters + More
Donate $2,000.00 or more
Amount over $200.00 is tax-deductible.
Enjoy the splendor of medieval devotional life without ever leaving New York City, contextualized by an actual historian and a visionary auteur. The Met Cloisters is actually four separate cloisters purchased by John D. Rockefeller because he was a pervert for the Middle Ages. And you can tour it with me and Revelations co-writer/Johns Hopkins University medieval history PhD candidate Laurence Bond!
Nothing works up an appetite like a day at the museum, and what better way to cap off this glorious outing than with a medieval feast! Thanks to this great cookbook I found at Topos in Ridgewood, you can! A mere $2,000 snags you a seat at the table where you'll dine on historical delicacies like quail, braised greens, cakes, and more!
PLUS: A calligraphy or blacksmithing class, a prop or walk-on role, a weird or sexy medieval pilgrim's badge, access to the virtual premiere, and a "thank you" in the credits!
Nothing works up an appetite like a day at the museum, and what better way to cap off this glorious outing than with a medieval feast! Thanks to this great cookbook I found at Topos in Ridgewood, you can! A mere $2,000 snags you a seat at the table where you'll dine on historical delicacies like quail, braised greens, cakes, and more!
PLUS: A calligraphy or blacksmithing class, a prop or walk-on role, a weird or sexy medieval pilgrim's badge, access to the virtual premiere, and a "thank you" in the credits!
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You are the Executive Producer of this Film + More
Donate $5,000.00 or more
Amount over $200.00 is tax-deductible.
Take your pick of any - or all - available rewards, plus the prestige that only an Executive Producer credit can afford. If you're willing to donate $5,000 (or more) to this production, you deserve all of that and more. This is a medieval patron-level contribution, after which I will refer to you exclusively as "My lady" or "My liege."
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