2-Week Calendar

Printable Version

August 13 - 19

  • Sunday
  • Monday
  • Tuesday
  • Wednesday
  • Thursday
  • Friday
  • Saturday
  • THEATRE

    Trudeau Stories

August 20 - 26

  • Sunday
  • Monday
  • Tuesday
  • Wednesday
  • Thursday
  • Friday
  • Saturday

ALL UPCOMING EVENTS

  • THEATRE
    The Addams Family
    Thursday August 24, 7:00p–9:30p
    Presented by Edalene Theatre
    ▶ Show Details

    Cost: Adult:$14
    Children under 16:$12
    Group of 4:$50

    Tickets: tickets available at https://www.eventbrite.ca/e/the-addams-family-tickets-36290868966?aff=es2 or emailing Kerri@edalenetheatre.ca

    Buy Tickets Online

    Edalene Theatre Intensive Camp presents The Addams Family. Based on the comic strip and later tv show and movies, this musical by Lippa, Brickman and Elice sees our beloved Addams Family on the brink of change. In one fateful, hilarious night, secrets are disclosed, relationships are tested, and the Addams family must face up to the one horrible thing they’ve managed to avoid for generations: change. This hilarious and entertaining show is performed by local talent that worked tirelessly over three weeks to bring it to life! With direction by Kerri Leier, Musical Direction by Lisa St Clair and choreography by Alexa Ewert-The Addams Family is not to be missed!!!

    Contact: kerri@edalenetheatre.ca  |  902-799-9009

  • THEATRE
    The Addams Family
    Friday August 25, 1:00p–3:30p
    Presented by Edalene Theatre
    ▶ Show Details

    Cost: Adult:$14
    Children under 16:$12
    Group of 4:$50

    Tickets: tickets available at https://www.eventbrite.ca/e/the-addams-family-tickets-36290868966?aff=es2 or emailing Kerri@edalenetheatre.ca

    Buy Tickets Online

    Edalene Theatre Intensive Camp presents The Addams Family. Based on the comic strip and later tv show and movies, this musical by Lippa, Brickman and Elice sees our beloved Addams Family on the brink of change. In one fateful, hilarious night, secrets are disclosed, relationships are tested, and the Addams family must face up to the one horrible thing they’ve managed to avoid for generations: change. This hilarious and entertaining show is performed by local talent that worked tirelessly over three weeks to bring it to life! With direction by Kerri Leier, Musical Direction by Lisa St Clair and choreography by Alexa Ewert-The Addams Family is not to be missed!!!

    Contact: kerri@edalenetheatre.ca  |  902-799-9009

  • THEATRE
    The Addams Family
    Friday August 25, 7:00p–9:30p
    Presented by Edalene Theatre
    ▶ Show Details

    Cost: Adult:$14
    Children under 16:$12
    Group of 4:$50

    Tickets: tickets available at https://www.eventbrite.ca/e/the-addams-family-tickets-36290868966?aff=es2 or emailing Kerri@edalenetheatre.ca

    Buy Tickets Online

    Edalene Theatre Intensive Camp presents The Addams Family. Based on the comic strip and later tv show and movies, this musical by Lippa, Brickman and Elice sees our beloved Addams Family on the brink of change. In one fateful, hilarious night, secrets are disclosed, relationships are tested, and the Addams family must face up to the one horrible thing they’ve managed to avoid for generations: change. This hilarious and entertaining show is performed by local talent that worked tirelessly over three weeks to bring it to life! With direction by Kerri Leier, Musical Direction by Lisa St Clair and choreography by Alexa Ewert-The Addams Family is not to be missed!!!

    Contact: kerri@edalenetheatre.ca  |  902-799-9009

  • CINEMA
    Beatriz at Dinner
    Sunday September 10, 4:00p–5:22p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    Director Miguel Arteta (Cedar Rapids) and writer Mike White—the team behind the acclaimed indie films Chuck & Buck and The Good Girl—reunite for an uncomfortable and suspenseful satire at one of the unlikeliest of events: an upscale dinner party.

    Beatriz (Salma Hayek), a self-effacing immigrant from Mexico working as a massage therapist and holistic healer, has spent her adult life caring for the sick while neglecting herself. When her car breaks down and she is stranded at a client's luxurious Newport Beach home overnight, her well-meaning employer Cathy (Connie Britton, Me and Earl and the Dying Girl) insists she join them for a dinner party that evening. There, Beatriz is introduced to Doug Strutt (John Lithgow, Love is Strange), a ruthless billionaire real-estate developer. She listens uncomfortably while Doug brags about his aggressive business tac­tics, but when he boasts about shooting a rhino in Africa, she can no longer hold her tongue. As opposing worldviews collide over the dinner table, Beatriz's pent-up outrage emerges in a way that surprises even herself.

    Stripped of her usual glamour, Hayek’s per­formance is one to watch. Arteta and White sharply take on a buffet of ill-advised dinner topics including money, power, and class, all with subtle, dark humour that is bound to get audiences talking.

    "The first dramatic comedy that's an explicit—and provocative—allegory of the Age of Trump." (Owen Gleiberman, Variety)

    "The real power of Beatriz at Dinner is that it isn't about politics but the human heart. Beatriz and Strutt are not arguing legislation; they're arguing two visions of the American dream, two visions of the human soul." (Barbara VanDenburgh, Arizona Republic)

    "Deftly balances subtle humor with sharp observations about class, wealth and power." (Calvin Wilson, St. Louis Post-Dispatch)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    Beatriz at Dinner
    Sunday September 10, 7:00p–8:22p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    Director Miguel Arteta (Cedar Rapids) and writer Mike White—the team behind the acclaimed indie films Chuck & Buck and The Good Girl—reunite for an uncomfortable and suspenseful satire at one of the unlikeliest of events: an upscale dinner party.

    Beatriz (Salma Hayek), a self-effacing immigrant from Mexico working as a massage therapist and holistic healer, has spent her adult life caring for the sick while neglecting herself. When her car breaks down and she is stranded at a client's luxurious Newport Beach home overnight, her well-meaning employer Cathy (Connie Britton, Me and Earl and the Dying Girl) insists she join them for a dinner party that evening. There, Beatriz is introduced to Doug Strutt (John Lithgow, Love is Strange), a ruthless billionaire real-estate developer. She listens uncomfortably while Doug brags about his aggressive business tac­tics, but when he boasts about shooting a rhino in Africa, she can no longer hold her tongue. As opposing worldviews collide over the dinner table, Beatriz's pent-up outrage emerges in a way that surprises even herself.

    Stripped of her usual glamour, Hayek’s per­formance is one to watch. Arteta and White sharply take on a buffet of ill-advised dinner topics including money, power, and class, all with subtle, dark humour that is bound to get audiences talking.

    "The first dramatic comedy that's an explicit—and provocative—allegory of the Age of Trump." (Owen Gleiberman, Variety)

    "The real power of Beatriz at Dinner is that it isn't about politics but the human heart. Beatriz and Strutt are not arguing legislation; they're arguing two visions of the American dream, two visions of the human soul." (Barbara VanDenburgh, Arizona Republic)

    "Deftly balances subtle humor with sharp observations about class, wealth and power." (Calvin Wilson, St. Louis Post-Dispatch)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    The Big Sick
    Sunday September 17, 4:00p–5:59p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    "As a genre, the romantic comedy has been on its last legs lately. But an otherwise endangered form gets a welcome kick in the pants in The Big Sick, an exhilarating, utterly endearing movie that feels like both a return to classic principles and a bracing look forward.

    Kumail Nanjiani, best known for his work on the HBO series Silicon Valley, stars in The Big Sick as Kumail, a Pakistani American stand-up comedian who works as an Uber driver on the side while he works out his routine in a Chicago club. When he’s heckled one night by a bright, blond graduate student named Emily (Zoe Kazan, Meek's Cutoff, The Private Lives of Pippa Lee), the encounter leads to a funny, instant-karma one-night-stand. But what Kumail and Emily intend to be just one of those things eventually morphs into something more serious, a development that threatens Kumail’s relationship with his traditionalist parents, who are trying to fix him up with a suitable Muslim wife.

    Nanjiani wrote The Big Sick with his real-life wife, Emily V. Gordon, whose serious illness, depicted on-screen, introduces yet one more complication into the already fraught culture clash of the story. Loosely based on the couple’s courtship and early romance, the movie moves easily between a seemingly endless series of false starts and setbacks, which never feel forced or plot-driven, but simply a reflection of the dizzyingly overdetermined experience otherwise known as Life. Kumail and Emily’s near ­instant recognition of each other as bright, slightly sarcastic observers of life feels just as organic and true as Kumail’s competitive banter with his fellow stand-up strivers (Bo Burnham, Aidy Bryant, Kurt Braunohler), which feels just as on-point as his dissembling with his mother and father (Zenobia Shroff and Anupam Kher) and the awkward first impression he makes with Emily’s parents, played with dazed concern and brittle rage by Ray Romano and Holly Hunter.

    Aided by producers Judd Apatow and Barry Mendel, as well as director Michael Showalter, they succeed brilliantly with The Big Sick, which pays homage to the bless-this-mess reality of life while offering just the right fizz of romantic idealism. This alternately hilarious and wrenching portrayal of commitment threads a whisper-thin needle between candor and cathartic laughs, gliding from grim hospital vigils one minute and into antic screwball family dynamics the next. Anchored by Nanjiani’s superbly calibrated performance—not to mention his and Gordon’s scrupulous massaging of their own lived experience—The Big Sick winds up being one of the most satisfying films of the summer, and quite possibly the year." (Ann Hornaday, Washington Post)

    "It is funny and smart and wise and silly, it is romantic and sweet and just cynical enough, and it is without a doubt one of the best romantic comedies I have seen in a long time." (Richard Roeper, Chicago Sun-Times)

    "I fell hard for both Ms. Kazan and Mr. Nanjiani and The Big Sick, which tells a great story with waves of deep feeling and questions of identity and makes the whole thing feel like a breeze." (Manohla Dargis, The New York Times)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    The Big Sick
    Sunday September 17, 7:00p–8:59p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    "As a genre, the romantic comedy has been on its last legs lately. But an otherwise endangered form gets a welcome kick in the pants in The Big Sick, an exhilarating, utterly endearing movie that feels like both a return to classic principles and a bracing look forward.

    Kumail Nanjiani, best known for his work on the HBO series Silicon Valley, stars in The Big Sick as Kumail, a Pakistani American stand-up comedian who works as an Uber driver on the side while he works out his routine in a Chicago club. When he’s heckled one night by a bright, blond graduate student named Emily (Zoe Kazan, Meek's Cutoff, The Private Lives of Pippa Lee), the encounter leads to a funny, instant-karma one-night-stand. But what Kumail and Emily intend to be just one of those things eventually morphs into something more serious, a development that threatens Kumail’s relationship with his traditionalist parents, who are trying to fix him up with a suitable Muslim wife.

    Nanjiani wrote The Big Sick with his real-life wife, Emily V. Gordon, whose serious illness, depicted on-screen, introduces yet one more complication into the already fraught culture clash of the story. Loosely based on the couple’s courtship and early romance, the movie moves easily between a seemingly endless series of false starts and setbacks, which never feel forced or plot-driven, but simply a reflection of the dizzyingly overdetermined experience otherwise known as Life. Kumail and Emily’s near ­instant recognition of each other as bright, slightly sarcastic observers of life feels just as organic and true as Kumail’s competitive banter with his fellow stand-up strivers (Bo Burnham, Aidy Bryant, Kurt Braunohler), which feels just as on-point as his dissembling with his mother and father (Zenobia Shroff and Anupam Kher) and the awkward first impression he makes with Emily’s parents, played with dazed concern and brittle rage by Ray Romano and Holly Hunter.

    Aided by producers Judd Apatow and Barry Mendel, as well as director Michael Showalter, they succeed brilliantly with The Big Sick, which pays homage to the bless-this-mess reality of life while offering just the right fizz of romantic idealism. This alternately hilarious and wrenching portrayal of commitment threads a whisper-thin needle between candor and cathartic laughs, gliding from grim hospital vigils one minute and into antic screwball family dynamics the next. Anchored by Nanjiani’s superbly calibrated performance—not to mention his and Gordon’s scrupulous massaging of their own lived experience—The Big Sick winds up being one of the most satisfying films of the summer, and quite possibly the year." (Ann Hornaday, Washington Post)

    "It is funny and smart and wise and silly, it is romantic and sweet and just cynical enough, and it is without a doubt one of the best romantic comedies I have seen in a long time." (Richard Roeper, Chicago Sun-Times)

    "I fell hard for both Ms. Kazan and Mr. Nanjiani and The Big Sick, which tells a great story with waves of deep feeling and questions of identity and makes the whole thing feel like a breeze." (Manohla Dargis, The New York Times)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    The Gardener
    Wednesday September 20, 7:00p–8:27p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    In filmmaker Sébastien Chabot’s feature debut, influential gardener and horticulturalist Frank Cabot recounts his personal quest for perfection at Les Quatre Vents, his twenty-acre English style garden and summer estate that was opened to a film crew for the first time ever, shortly before his passing at the age of 86.

    Nestled amongst the rolling hills of the Charlevoix County in Quebec, Les Quatre Vents has become one of the world’s foremost private gardens. Created over three generations, it is an enchanted place of beauty and surprise, a horticultural masterpiece of the 21st century.

    Through interviews with Cabot, and admirers such as former Governor General Adrienne Clarkson, the film highlights his extraordinary scope and vision. Beautiful cinematography invites one to stroll Cabot’s gardens and explore different worlds crafted out of trees and hedges. This poetic documentary, set to Luc St. Pierre’s evocative classical soundtrack featuring some of Frank Cabot’s favourite pieces by Saint-Saëns, Schubert, Schumann, Bach and Mendelssohn, shows the harmonious relationship between people and nature and offers a compelling call for preservation.

    The Gardener is a documentary reflecting on the meaning of gardening and its impact on our lives.

    "Cabot’s garden is a wonder to behold. Through the lens of Chabot’s beautifully shot film, one gets a sense of the understated opulence, attention to detail, natural aesthetic instincts and cool dramatic flair which combined to make a visit to the premises a life-changing experience." (T’Cha Dunlevy, The Montreal Gazette)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    The Wedding Plan
    Sunday September 24, 4:00p–5:50p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    At 32, Michal (Noa Koler), an orthodox Jewish Israeli woman, is finally looking forward to the comfort and security of marriage, when she is blindsided by her fiancé’s decision to call off the wedding with only a month’s notice. Unwilling to return to lonely single life, Michal decides to put her trust in fate and continue with her wedding plans, believing Mr. Right will appear by her chosen date. Confident she will find a match made in heaven, she books a venue, sends out invitations and buys a wedding dress, as her skeptical mother (Irit Sheleg) and sister look on with trepidation.

    During Michal’s month-long search for a spouse, she enlists the help of two different matchmakers, goes on a series of disastrous blind dates and finds an unexpected connection with a charming but utterly unsuitable pop starall while dismissing pleas by concerned friends and family members that she reconsider her risky plan. As the day of the ceremony grows closer and no suitor appears, Michal puts everything on the line to find happiness.

    The second film from American-Israeli writer and director Rama Burshtein, The Wedding Plan is a poignant and funny romantic comedy about love, marriage and faith in life’s infinite possibilities.

    "At its heart, the film is a kind of mystical fairy tale whose messages of belief, endurance, family and belonging transcend its memorably specific people and setting." (Gary Goldstein, Los Angeles Times)

    "In a complicated role, the excellent Ms. Koler exudes a kind of flighty confidence: For all her nuptial-related anxieties, Michal is completely comfortable with who she is." (Ben Kenigsberg, The New York Times)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    The Wedding Plan
    Sunday September 24, 7:00p–8:50p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    At 32, Michal (Noa Koler), an orthodox Jewish Israeli woman, is finally looking forward to the comfort and security of marriage, when she is blindsided by her fiancé’s decision to call off the wedding with only a month’s notice. Unwilling to return to lonely single life, Michal decides to put her trust in fate and continue with her wedding plans, believing Mr. Right will appear by her chosen date. Confident she will find a match made in heaven, she books a venue, sends out invitations and buys a wedding dress, as her skeptical mother (Irit Sheleg) and sister look on with trepidation.

    During Michal’s month-long search for a spouse, she enlists the help of two different matchmakers, goes on a series of disastrous blind dates and finds an unexpected connection with a charming but utterly unsuitable pop starall while dismissing pleas by concerned friends and family members that she reconsider her risky plan. As the day of the ceremony grows closer and no suitor appears, Michal puts everything on the line to find happiness.

    The second film from American-Israeli writer and director Rama Burshtein, The Wedding Plan is a poignant and funny romantic comedy about love, marriage and faith in life’s infinite possibilities.

    "At its heart, the film is a kind of mystical fairy tale whose messages of belief, endurance, family and belonging transcend its memorably specific people and setting." (Gary Goldstein, Los Angeles Times)

    "In a complicated role, the excellent Ms. Koler exudes a kind of flighty confidence: For all her nuptial-related anxieties, Michal is completely comfortable with who she is." (Ben Kenigsberg, The New York Times)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    A Ghost Story
    Sunday October 1, 4:00p–5:27p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    "A small, simple story told with exquisite precision and control, A Ghost Story tracks the progress of a recently deceased man who can’t let go of his mortal life, resulting in a drama which overflows with feeling and grace. Sporting an experimental, off-the cuff spirit, writer-director David Lowery’s beautifully conceived riff on the haunted-house movie emits an extra glow thanks to challenging but resonant performances from Casey Affleck (Manchester by the Sea) and Rooney Mara (Carol, Her)—which is even more impressive considering Affleck wears a sheet over his head for most of the film.

    In a few skeletal scenes, Lowery gives us a snapshot of the contented marriage between a man (Affleck) and woman (Mara) living in small-town Texas. (Neither character is identified—the end credits refer to them as C and M.) But after the man dies in a car crash, he returns to his old life simply as a mute figure under a white bed-sheet with eyeholes. With his wife unable to see or hear him, the silent ghost observes her as she grieves.

    A Ghost Story is a naturalistic treatment of an old dramatic trope—lovers separated by death—and Lowery tackles profound existential questions about the passage of time and the lack of meaning any one life has in the grand scheme of things. But at the same time, there’s playfulness to Lowery’s film—a low-budget, almost self-effacing humility—that lightens the writer-director’s ponderous themes.

    For much of A Ghost Story, Affleck is in the background of the frame dressed in that sheet, a visual that has potential for deadpan comedy. Remarkably, Lowery and cinematographer Andrew Droz Palermo manage to locate what is both haunting and woeful about Affleck’s intentionally cut-rate ghost costume. Consequently, the dead, voiceless husband is an uncommonly sweet, sad spectre, his meagre appearance playing into Lowery’s overall strategy of stripping away the spectacle and fantasy from his ghost story—which allows us to focus on the pain of loss which is at the heart of this tale.

    Reuniting with his Ain’t Them Bodies Saints stars, Lowery has again crafted a luminous love story, and the few scenes between the husband and wife when they’re both alive reveal the palpable affection and subtle signs of strain that are apparent in many marriages. If Affleck gives a mostly silent performance after his character’s death—we don’t see his face for much of A Ghost Story—so too does Mara. Yet the actress is exceptional in several silent sequences in which humdrum activities, like eating a pie, suggest the powerful emotional undercurrents threatening to consume her.

    Despite its low-key approach—very few camera moves, a subdued sound design save for Daniel Hart’s mournful score—A Ghost Story is actually quite ambitious in its design. Shooting in the boxy Academy ratio, Lowery rounds off the sides of the image so that each frame looks like an old photograph, which lends the film an antiquated quality." (Tim Grierson, Screendaily)

    "A Ghost Story is suspenseful, dourly funny and at times piercingly emotional." (A.O. Scott, The New York Times)

    "I rarely see a movie so original that I want to tell people to just see it without reading any reviews beforehand, including my own. David Lowery's A Ghost Story is one of those movies." (Matt Zoller Seitz, RogerEbert.com)

    "While at times bleak, A Ghost Story isn't devoid of hope. More essentially, the best film so far this year is a thought-provoking, singularly special masterpiece about love, mortality and how our heart keeps beating even after it stops." (Brian Triutt, USA Today)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    A Ghost Story
    Sunday October 1, 7:00p–8:27p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    "A small, simple story told with exquisite precision and control, A Ghost Story tracks the progress of a recently deceased man who can’t let go of his mortal life, resulting in a drama which overflows with feeling and grace. Sporting an experimental, off-the cuff spirit, writer-director David Lowery’s beautifully conceived riff on the haunted-house movie emits an extra glow thanks to challenging but resonant performances from Casey Affleck (Manchester by the Sea) and Rooney Mara (Carol, Her)—which is even more impressive considering Affleck wears a sheet over his head for most of the film.

    In a few skeletal scenes, Lowery gives us a snapshot of the contented marriage between a man (Affleck) and woman (Mara) living in small-town Texas. (Neither character is identified—the end credits refer to them as C and M.) But after the man dies in a car crash, he returns to his old life simply as a mute figure under a white bed-sheet with eyeholes. With his wife unable to see or hear him, the silent ghost observes her as she grieves.

    A Ghost Story is a naturalistic treatment of an old dramatic trope—lovers separated by death—and Lowery tackles profound existential questions about the passage of time and the lack of meaning any one life has in the grand scheme of things. But at the same time, there’s playfulness to Lowery’s film—a low-budget, almost self-effacing humility—that lightens the writer-director’s ponderous themes.

    For much of A Ghost Story, Affleck is in the background of the frame dressed in that sheet, a visual that has potential for deadpan comedy. Remarkably, Lowery and cinematographer Andrew Droz Palermo manage to locate what is both haunting and woeful about Affleck’s intentionally cut-rate ghost costume. Consequently, the dead, voiceless husband is an uncommonly sweet, sad spectre, his meagre appearance playing into Lowery’s overall strategy of stripping away the spectacle and fantasy from his ghost story—which allows us to focus on the pain of loss which is at the heart of this tale.

    Reuniting with his Ain’t Them Bodies Saints stars, Lowery has again crafted a luminous love story, and the few scenes between the husband and wife when they’re both alive reveal the palpable affection and subtle signs of strain that are apparent in many marriages. If Affleck gives a mostly silent performance after his character’s death—we don’t see his face for much of A Ghost Story—so too does Mara. Yet the actress is exceptional in several silent sequences in which humdrum activities, like eating a pie, suggest the powerful emotional undercurrents threatening to consume her.

    Despite its low-key approach—very few camera moves, a subdued sound design save for Daniel Hart’s mournful score—A Ghost Story is actually quite ambitious in its design. Shooting in the boxy Academy ratio, Lowery rounds off the sides of the image so that each frame looks like an old photograph, which lends the film an antiquated quality." (Tim Grierson, Screendaily)

    "A Ghost Story is suspenseful, dourly funny and at times piercingly emotional." (A.O. Scott, The New York Times)

    "I rarely see a movie so original that I want to tell people to just see it without reading any reviews beforehand, including my own. David Lowery's A Ghost Story is one of those movies." (Matt Zoller Seitz, RogerEbert.com)

    "While at times bleak, A Ghost Story isn't devoid of hope. More essentially, the best film so far this year is a thought-provoking, singularly special masterpiece about love, mortality and how our heart keeps beating even after it stops." (Brian Triutt, USA Today)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    Window Horses (The Poetic Persian Epiphany of Rosie Ming)
    Wednesday October 4, 7:00p–8:28p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    One of Canada’s most beloved animators, Ann Marie Fleming (The Magical Life of Long Tack Sam, Stories Sarah Tells, I was a Child of Holocaust Survivors) returns with an extraordinary tale of art, history and family, in this warm, witty animated feature about a young Canadian poet who undergoes a life-changing experience when she attends a poetry festival in Iran.

    Rosie is a young Canadian poet of Chinese and Persian descent who lives in Vancouver with her protective, but loving Chinese grandparents, and dreams of an artistic and glamorous Parisian life. When she receives an invitation to a poetry festival in Shiraz, Iran, she decides to embark on the trip that will change her life. Though Rosie has never travelled alone, she ends up meeting fellow artists from around the world and locals who open her eyes to the nature of art; they become guides to her own personal narrative, offering new perspectives on the story of a father she thought had abandoned her. Rosie’s time in Shiraz proves to be a transformative experience as she learns to ground herself by connecting with her own roots, both far and near.

    Voiced by an all-star cast that includes Canadian icons Sandra Oh, Ellen Page (The Tracy Fragments) and Don McKellar (Cooking with Stella), the characters display the intelligence and humour typical of Fleming’s work. The film seamlessly integrates different animation styles to express Rosie’s diverse experiences, and audiences marvel at the richness of this world with the same wide-eyed wonder as Rosie. One of the most magical things about Window Horses is the way that each sentence, idea, or scrap of history comes to life in colourful and graceful ways, flowering into a poetic universe all its own.

    "An entertaining, educational, and poignant tale about identify and imagination that is filled with stories and poetry." (Alissa Simon, Variety)

    "This is not just a visual treat, it's a rewarding and unexpectedly engrossing piece of female-led storytelling." (Wendy Ide, Screen International)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    Afterimage
    Wednesday October 11, 7:00p–8:38p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    The late Andrzej Wajda's Afterimage is a masterpiece in a career marked by many illustrious films.

    The 90-year-old director's work had lost none of its force of outrage over the years, but this film carries extra resonance in light of the contemporary situation in Poland, even though the film is set in the dark days of Soviet communist rule. Based on the life of the avant-garde artist Wladyslaw Strzeminski (brilliantly played by Polish superstar Boguslaw Linda), it blazes with energy, passion, and controlled fury as it follows the life of a man who refuses to bend to official ideology, even when it threatens his very existence.

    Strzeminski was a compelling and charismatic artist and teacher. Wajda picks up his story in postwar Lodz, where he teaches at the Higher School of Plastic Arts. His ideas, set out in a revolutionary book he has written about art, run headlong into Stalin's dictates on what is good for the masses: social realism and superficial positivism. This is the dynamic that feeds Afterimage's utterly compelling narrative about a highly principled individual who confronts the indifference and, soon enough, anger of the authorities determined to stamp out anyone who questions the party line. A double amputee, Strzeminski is a restless force of nature idolized by the younger generation and the students he teaches.

    Boguslaw Linda brilliantly bulls his way through his role as the beleaguered artist who refuses to compromise, and he dominates the film, but Wajda gives him superb foils: his long-suffering young daughter whose life is equally affected by her father's decisions and an attractive young student whose emotions move from admiration to desire.

    This is a firecracker of a film—angry, committed, and deeply connected to the painful decisions that its brave subject is forced to make in order to retain his integrity.

    "Led by a powerful and quietly resilient performance by Linda, Afterimage may not contain everything Wajda has said or wish to have said, however it is a moving tribute to a career marred by personal and national trauma, and one of the year's best pictures." (John Fink, The Film Stage)

    "Afterimage is mounted in a classical, beautifully understated style that throughout conveys the relaxed assurance of a true master. It's one of those films that doesn't ask to be liked or admired, but only to be heard." (Godfrey Cheshire, RogerEbert.com)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    The Lovers
    Sunday October 15, 4:00p–5:34p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    "In The Lovers, an exquisitely funny-sad portrait of a marriage that’s fallen on hard times, it’s never entirely clear to whom the title refers. That’s only fitting, since Mary (Debra Winger, Boychoir, Rachel Getting Married) and Michael (Tracy Letts), the wife and husband at the center of Azazel Jacobs’ (Terri) lovely new movie, can scarcely figure out their own feelings on the matter.

    They spend their days sleepwalking through their jobs: Michael routinely shows up late at the office; Mary distractedly blows off lunches and meetings. At night they return home, invariably at odd hours, awkwardly occupying the same space but never sharing more than a few words. Their marriage is in a severe rut and has been for years, but Jacobs spares us the tedium of backstory and exposition, or worse, the movie-friendly spectacle of angry voices and shattered crockery. His characters’ silences speak genuine volumes.

    Besides, they have other people they can talk to. Michael is carrying on an affair with Lucy (Melora Walters), a ballet instructor, while Mary is seeing Robert (Aidan Gillen, Sing Street, Calvary), a novelist. Having a fling with a younger, hotter artiste type may be a midlife-crisis cliché, but it’s one that writer-director Jacobs invests with real flesh, blood and feeling: He takes these relationships as seriously as his characters do. Both Michael and Mary assure their demanding paramours that they will break things off with their spouses very shortly.

    But then something wondrous and sublimely simple happens. Perhaps encouraged by the ever-present caress of Mandy Hoffman’s score, Mary and Michael find themselves falling back into each other’s arms, shocked to realize that, after years of emotional numbness, they still have real, passionate feelings for each other. Soon they’re not just two-timing each other but their new partners as well, sneaking around and making up excuses so they can retreat to the privacy of the suburban home they’ve shared for years." (Justin Chang, Los Angeles Times)

    "The characters in The Lovers and the problems they face and struggle with feel entirely authentic, as does the magnetic chemistry between the leads." (Kimber Myers, The Playlist)

    "The Lovers is the rare film that acknowledges that romance isn't limited to people in their 20s and 30s. It's also a smart, quirky comedy that moviegoers of any age should find eminently appealing." (Calvin Wilson, St. Louis Post-Dispatch)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    The Lovers
    Sunday October 15, 7:00p–8:34p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    "In The Lovers, an exquisitely funny-sad portrait of a marriage that’s fallen on hard times, it’s never entirely clear to whom the title refers. That’s only fitting, since Mary (Debra Winger, Boychoir, Rachel Getting Married) and Michael (Tracy Letts), the wife and husband at the center of Azazel Jacobs’ (Terri) lovely new movie, can scarcely figure out their own feelings on the matter.

    They spend their days sleepwalking through their jobs: Michael routinely shows up late at the office; Mary distractedly blows off lunches and meetings. At night they return home, invariably at odd hours, awkwardly occupying the same space but never sharing more than a few words. Their marriage is in a severe rut and has been for years, but Jacobs spares us the tedium of backstory and exposition, or worse, the movie-friendly spectacle of angry voices and shattered crockery. His characters’ silences speak genuine volumes.

    Besides, they have other people they can talk to. Michael is carrying on an affair with Lucy (Melora Walters), a ballet instructor, while Mary is seeing Robert (Aidan Gillen, Sing Street, Calvary), a novelist. Having a fling with a younger, hotter artiste type may be a midlife-crisis cliché, but it’s one that writer-director Jacobs invests with real flesh, blood and feeling: He takes these relationships as seriously as his characters do. Both Michael and Mary assure their demanding paramours that they will break things off with their spouses very shortly.

    But then something wondrous and sublimely simple happens. Perhaps encouraged by the ever-present caress of Mandy Hoffman’s score, Mary and Michael find themselves falling back into each other’s arms, shocked to realize that, after years of emotional numbness, they still have real, passionate feelings for each other. Soon they’re not just two-timing each other but their new partners as well, sneaking around and making up excuses so they can retreat to the privacy of the suburban home they’ve shared for years." (Justin Chang, Los Angeles Times)

    "The characters in The Lovers and the problems they face and struggle with feel entirely authentic, as does the magnetic chemistry between the leads." (Kimber Myers, The Playlist)

    "The Lovers is the rare film that acknowledges that romance isn't limited to people in their 20s and 30s. It's also a smart, quirky comedy that moviegoers of any age should find eminently appealing." (Calvin Wilson, St. Louis Post-Dispatch)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    Whose Streets?
    Wednesday October 18, 7:00p–8:30p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    When unarmed teenager Michael Brown is killed by police and left lying in the street for hours, it marks a breaking point for the residents of Ferguson, a small suburb of St. Louis, Missouri. Grief, long-standing racial tensions and renewed anger bring residents together to hold vigil and protest this latest tragedy.

    In the days that follow, artists, musicians, teachers and parents turn into freedom fighters, demanding justice. When the National Guard descends on Ferguson with military grade weaponry, these community members become the torchbearers of a new resistance. For this generation, the battle is not for civil rights, but for the right to live.

    Filmmakers Sabaah Folayan and Damon Davis know this story because they are the story. Their documentary is and unflinching look at the Ferguson uprising and a vibrant firsthand portrait of the origins of the Black Lives Matter movement. Its images are not leaked by law enforcement or stage-managed for the media, but come directly from the people who lived through the violent events of 2014. "Return to your homes!" police shout from atop their tanks. "We are home!" a beyond frustrated civilian calls back. Whose Streets? depicts injustices that have always beleaguered the African-American community, but this is a film that could only have been made now.

    "Directors and activists Sabaah Folyan and Damon Davis’s outstanding and incendiary documentary about Ferguson does a tremendous end run around mainstream news outlets and the agenda-driven narratives that emerge, particularly on television." (Jordan Hoffman, The Guardian)

    "Raw and unadorned, Whose Streets? is a documentary in the truest sense of the word; an actual moving document of events fresh in the country's memory, but never before laid as bare as they are here." (Jude Dry, Indiewire)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    After the Storm
    Sunday October 22, 4:00p–5:57p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    In the latest film from celebrated Japanese auteur Hirokazu Kore-eda (Like Father, Like Son; Our Little Sister), a divorced man struggles to regain his estranged family’s trust while sheltering them during a typhoon. After the Storm recalls the beauty of scenery after a summer rain and the feeling that everything seems different, even though nothing has changed.

    Ryota (Hiroshi Abe) is a failed writer, third-rate detective and hardened gambler. As the film’s title seems to suggest, the salient moments of Ryota’s life have already passed him by: he won an important literary award when he was young but his career is no longer promising; his father has died and his wife has left him; and he adores his young son, yet seems resigned to his position on the sidelines of the boy’s life. One night, when a typhoon strikes, the broken family is forced to spend the night together at Ryota’s mother’s home. The ensuing interaction, free of melodrama and forced catharsis, is bittersweet and tender in true Kore-eda style.

    Followers of Kore-eda’s body of work will recognize many of the themes at play here, such as the attempt to find harmony in a community and the traumatic impact of divorce on a child’s life. Shot in a housing complex where the director lived as a child, the film is supported by an exceptional cast featuring an unusually irreverent Kirin Kiki (Our Little Sister; Like Father, Like Son) as Ryota’s mother. Gentle and melancholy, yet highly amusing, After the Storm shows the lighter side of Kore-eda’s cinema, and makes a welcome addition to his complex and fascinating filmography.

    "This is Kore-eda at his very best, facing up to the hardest truths with honesty and a nervous laugh—uncomfortable, invigorating, and ultimately cleansing, like the cinema’s equivalent of a cold shower. And I mean that in the best way possible." (Rory O'Connor, The Film Stage)

    "No director working today observes family life with such delicacy and care, or is so unstintingly generous with what they find." (Robbie Collin, The Telegraph)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    After the Storm
    Sunday October 22, 7:00p–8:57p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    In the latest film from celebrated Japanese auteur Hirokazu Kore-eda (Like Father, Like Son; Our Little Sister), a divorced man struggles to regain his estranged family’s trust while sheltering them during a typhoon. After the Storm recalls the beauty of scenery after a summer rain and the feeling that everything seems different, even though nothing has changed.

    Ryota (Hiroshi Abe) is a failed writer, third-rate detective and hardened gambler. As the film’s title seems to suggest, the salient moments of Ryota’s life have already passed him by: he won an important literary award when he was young but his career is no longer promising; his father has died and his wife has left him; and he adores his young son, yet seems resigned to his position on the sidelines of the boy’s life. One night, when a typhoon strikes, the broken family is forced to spend the night together at Ryota’s mother’s home. The ensuing interaction, free of melodrama and forced catharsis, is bittersweet and tender in true Kore-eda style.

    Followers of Kore-eda’s body of work will recognize many of the themes at play here, such as the attempt to find harmony in a community and the traumatic impact of divorce on a child’s life. Shot in a housing complex where the director lived as a child, the film is supported by an exceptional cast featuring an unusually irreverent Kirin Kiki (Our Little Sister; Like Father, Like Son) as Ryota’s mother. Gentle and melancholy, yet highly amusing, After the Storm shows the lighter side of Kore-eda’s cinema, and makes a welcome addition to his complex and fascinating filmography.

    "This is Kore-eda at his very best, facing up to the hardest truths with honesty and a nervous laugh—uncomfortable, invigorating, and ultimately cleansing, like the cinema’s equivalent of a cold shower. And I mean that in the best way possible." (Rory O'Connor, The Film Stage)

    "No director working today observes family life with such delicacy and care, or is so unstintingly generous with what they find." (Robbie Collin, The Telegraph)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    100 Short Stories
    Wednesday November 1, 7:00p–8:08p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    100 Short Stories is acclaimed Nova Scotian filmmaker Neal Livingston's first feature-length documentary.

    In an original, engaging and often humorous exploration of energy policy, governance and regional policy, Livingston interweaves tales of predatory capitalism, eco-activism and contemporary life in Atlantic Canada.

    The film presents a first-person account of a year-long struggle to develop Black River Wind, a renewable energy project, and to overcome an attempted hostile takeover. Meanwhile, the local citizens of Inverness County band together to defeat oil and gas drilling and fracking coming to Cape Breton Island.

    100 Short Stories won the 2017 Energy Award at the Cinema Verde Film Festival in Gainesville, Florida.

    The screening will be followed by a Q&A and Neal Livingston will be in attendance.

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    The Trip to Spain
    Sunday November 5, 4:00p–5:48p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    Following their culinary outings to England’s Lake District in The Trip and down the Italian coast in The Trip to Italy, Steve Coogan (Philomena) and Rob Brydon (Tristram Shandy: A Cock and Bull Story) team up once more to indulge in Iberian epicurean delights, trade barbs, and compete to perfect the ultimate Michael Caine impression, in Michael Winterbottom's much-anticipated Trip to Spain.

    After the success of Coogan’s travelogue and reviews of English and Italian restau­rants, The New York Times commissions a new piece; this time, he is sent to Spain with the ever-reliable Brydon in tow. Soaking in the culinary riches of the Basque region, which boasts several of the best reviewed restaurants in the world, and moving through the coun­try to the Mediterranean coast, Coogan and Brydon devour envy-inspiring meals, while reviving their iconic and devastatingly funny impressions of Michael Caine, Al Pacino, and Roger Moore (with a new and accomplished Mick Jagger joining the roster).

    Between the meals, jokes, and meandering drives throughout the Spanish countryside, cracks begin to show in Coogan and Brydon’s optimistic veneer. Despite their insistence that they are at "the sweet spot" of their lives, the pair spends substantial amounts of time reminiscing about their younger selves and earlier films (Philomena is mentioned repeat­edly), while negotiating the difficult task of coming to terms with their older selves, and more settled family lives. Still crackling with the improvisational energy and vibrancy of the first two installments, The Trip to Spain provides a reliable mix of breathtaking vistas, indulgent meals, and Coogan and Brydon’s hilarious odd-couple comedy.

    "Director Michael Winterbottom hasn't just delivered the funniest movie of the year, but also a comedy that casts its characters in a harsh new light." (David Ehrlich, Indiewire)

    "For fans of the series, The Trip to Spain gives one a wholehearted meal of all they could possibly desire." (Jordan Raup, The Film Stage)

    "… brilliant, hilarious, the funniest thing since The Trip to Italy." (Sam Wollaston, The Guardian)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    The Trip to Spain
    Sunday November 5, 7:00p–8:48p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    Following their culinary outings to England’s Lake District in The Trip and down the Italian coast in The Trip to Italy, Steve Coogan (Philomena) and Rob Brydon (Tristram Shandy: A Cock and Bull Story) team up once more to indulge in Iberian epicurean delights, trade barbs, and compete to perfect the ultimate Michael Caine impression, in Michael Winterbottom's much-anticipated Trip to Spain.

    After the success of Coogan’s travelogue and reviews of English and Italian restau­rants, The New York Times commissions a new piece; this time, he is sent to Spain with the ever-reliable Brydon in tow. Soaking in the culinary riches of the Basque region, which boasts several of the best reviewed restaurants in the world, and moving through the coun­try to the Mediterranean coast, Coogan and Brydon devour envy-inspiring meals, while reviving their iconic and devastatingly funny impressions of Michael Caine, Al Pacino, and Roger Moore (with a new and accomplished Mick Jagger joining the roster).

    Between the meals, jokes, and meandering drives throughout the Spanish countryside, cracks begin to show in Coogan and Brydon’s optimistic veneer. Despite their insistence that they are at "the sweet spot" of their lives, the pair spends substantial amounts of time reminiscing about their younger selves and earlier films (Philomena is mentioned repeat­edly), while negotiating the difficult task of coming to terms with their older selves, and more settled family lives. Still crackling with the improvisational energy and vibrancy of the first two installments, The Trip to Spain provides a reliable mix of breathtaking vistas, indulgent meals, and Coogan and Brydon’s hilarious odd-couple comedy.

    "Director Michael Winterbottom hasn't just delivered the funniest movie of the year, but also a comedy that casts its characters in a harsh new light." (David Ehrlich, Indiewire)

    "For fans of the series, The Trip to Spain gives one a wholehearted meal of all they could possibly desire." (Jordan Raup, The Film Stage)

    "… brilliant, hilarious, the funniest thing since The Trip to Italy." (Sam Wollaston, The Guardian)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    Frantz
    Sunday November 12, 4:00p–5:53p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    In the aftermath of World War I, a young German woman mourning the death of her fiancé Frantz, forms a bond with a mysterious Frenchman visiting her beloved’s grave.

    The war has just ended and Anna (Paula Beer) is still living with Frantz’s parents, who are shattered over their son’s death. Meanwhile, the citizens of Anna’s small German town are just beginning to emerge from the shadow of the war. Spying a stranger laying a bouquet of roses on Frantz’s grave one day, the quietly grieving Anna is both surprised and intrigued. Hesitantly, the visitor reveals he is a French soldier, but with the horrors of the war still so raw in everyone’s minds, the small community makes it clear he is not welcome among them.

    Adrien (Pierre Niney, The Snows of Kilimanjaro) soon reveals he knew Frantz prior to the war, as the two became fast friends over their shared love of art and music. Anna and Frantz’s parents eventually warm to the sensitive Frenchman, grateful for the chance to relive a connection to Frantz. But despite Adrien’s initial charms, his past slowly reveals itself to be more mysterious and murky than it seems.

    Telling a familiar tale of love, remembrance, grief, and mourning in new and surprising ways, Frantz is a brilliant addition to the filmography of François Ozon (Potiche). Shot equally in Germany and France, and in both languages, it is an elegant, beautifully rendered, mostly black-and-white elegy to a lost generation and the legacy it left.

    "This new film is exceptional and one of Ozon's best." (Mick LaSalle, San Francisco Chronicle)

    [Frantz] continues the filmmaker’s long line of complex female heroines and explores many themes dear to Ozon, including mourning and the refuge fiction and/or art can offer in times of crisis. And as usual, the actors are all in fine form.” (Boyd van Hoeij, The Hollywood Reporter)

    "It is a cunningly crafted fiction, full of visual artifice and narrative sleight-of-hand, that by the end could hardly feel more sincere." (Justin Chang, Los Angeles Times)

     

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    Frantz
    Sunday November 12, 7:00p–8:53p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    In the aftermath of World War I, a young German woman mourning the death of her fiancé Frantz, forms a bond with a mysterious Frenchman visiting her beloved’s grave.

    The war has just ended and Anna (Paula Beer) is still living with Frantz’s parents, who are shattered over their son’s death. Meanwhile, the citizens of Anna’s small German town are just beginning to emerge from the shadow of the war. Spying a stranger laying a bouquet of roses on Frantz’s grave one day, the quietly grieving Anna is both surprised and intrigued. Hesitantly, the visitor reveals he is a French soldier, but with the horrors of the war still so raw in everyone’s minds, the small community makes it clear he is not welcome among them.

    Adrien (Pierre Niney, The Snows of Kilimanjaro) soon reveals he knew Frantz prior to the war, as the two became fast friends over their shared love of art and music. Anna and Frantz’s parents eventually warm to the sensitive Frenchman, grateful for the chance to relive a connection to Frantz. But despite Adrien’s initial charms, his past slowly reveals itself to be more mysterious and murky than it seems.

    Telling a familiar tale of love, remembrance, grief, and mourning in new and surprising ways, Frantz is a brilliant addition to the filmography of François Ozon (Potiche). Shot equally in Germany and France, and in both languages, it is an elegant, beautifully rendered, mostly black-and-white elegy to a lost generation and the legacy it left.

    "This new film is exceptional and one of Ozon's best." (Mick LaSalle, San Francisco Chronicle)

    [Frantz] continues the filmmaker’s long line of complex female heroines and explores many themes dear to Ozon, including mourning and the refuge fiction and/or art can offer in times of crisis. And as usual, the actors are all in fine form.” (Boyd van Hoeij, The Hollywood Reporter)

    "It is a cunningly crafted fiction, full of visual artifice and narrative sleight-of-hand, that by the end could hardly feel more sincere." (Justin Chang, Los Angeles Times)

     

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    Citizen Jane: Battle for the City
    Wednesday November 15, 7:00p–8:32p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    Jane Jacobs, author of The Death and Life of Great American Cities, helped change the way we look at urban living. Her writing and activism had a direct impact on neighbourhoods in Manhattan and Toronto, and influenced city planners all over the world.

    Now, in the centenary of her birth, Citizen Jane focuses on Jacobs' most dramatic battles in the 1960s: when she went up against New York City's most ruthless power broker, Robert Moses. At stake was whether the city's historic neighbourhoods of Greenwich Village, Soho, and Little Italy would stay intact or be split apart by expressways.

    Filmmaker Matt Tyrnauer takes us into the heyday of magazine journalism, a male-dominated world where Jacobs excelled while raising a family. Despite her lack of a college degree, she immersed herself into the world of urban planning and became an outspoken critic of its leading trends. While developers like Moses focused on automobiles and expressways, Jacobs championed sidewalks and foot traffic.

    Moses amassed immense political power in the innocuous-sounding position of New York City Parks Commissioner. By personal fiat, he leveled neighbourhoods to build the Cross Bronx Expressway and other massive projects.

    Tyrnauer chronicles how Jacobs marshaled a movement against Moses, when he sought to push through the Lower Manhattan Expressway that would demolish blocks and displace thousands. Afterwards, Jacobs moved to Toronto where she joined the effort to stop the Spadina Expressway and lived for almost four decades.

    This inspirational documentary delivers a timely lesson in the power of the people to push back against bullying developers.

    "As a history of this war of ideas and as an introduction to Jacobs, the film is essential. But it also pivots toward a great challenge: today's global urbanization. [A] gorgeous, tightly written and entertaining film." (Alex Bozilovic, The Globe and Mail)

    "Jacobs argued that what looks to officialdom like disorder is actually what makes a crowded human landscape function—it's just a more complex order. This compelling documentary lets you see the beauty she found in that complexity." (Bob Mondello, NPR)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    Menashe
    Wednesday November 22, 7:00p–8:22p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    "Filmed on the sly, Menashe is a fascinating, poignant and rare glimpse into the world of ultra-Orthodox Jews in Brooklyn, starring members of the Hasidic community.

    Menashe is thoroughly absorbing and offers a fresh and probing look at a cloistered community living in plain sight on busy New York streets. The story centers on Menashe (Menashe Lustig) a widower trying to win back the custody of his tween son Rieven (Ruben Niborski). The boy was not taken away by the courts, but by rabbinical dictate. Because Menashe’s wife died, the religious leader deemed it appropriate for Rieven to live with his aunt and uncle. If Rieven does not live in a two-parent family, he will be expelled from his yeshiva, the Hasidic school he attends.

    But Menashe is heartsick being without his son. He labors at a dead-end job at a local market with an overbearing boss and goes home to a drab and tiny apartment. His judgmental brother-in-law Eizik (Yoel Weisshaus) takes in Riesen to live with his wife and children. He is substantially more successful financially than Menashe and lords it over him. 'My son is my only consolation,' Menashe explains simply, entreating his brother-in-law to let him raise his own son.

    Complicating matters, poor Menashe messes up a lot, whether on the job, when making kugel or in caring for a pet. His son loves him, but Menashe is regarded by most who know him as a rather bumbling schlemiel.

    To add insult to injury, Menashe feels dismissed and diminished simply for being a single man.
    If he re-marries, the rabbi dictates, then his son can return to live with him. But the boy cannot live alone with his blue-collar, hardworking dad. Menashe doesn’t want to marry merely for the sake of propriety. But he desperately wants to be more than a part-time dad.

    The film winds up compelling both from a cultural and sociological angle and as a universal story of a parent yearning to be with his son. Menashe, the film and the character, share a sweet spirit. And while the arcane world that it re-creates is one that will be unfamiliar to most viewers, the sentiments within it are highly recognizable.

    Menashe is a warm, relatable and tender tale about parental love, religion and belonging, told humanely and with vivid authenticity." (Claudia Puig, The Wrap)

    "Here is a film dedicated to recognizing our most common obstacles, its quiet storytelling largely accompanied by those feelings at the bottom of anyone's gut: guilt, shame, defeat. Menashe is a gorgeous ode to everyone's inner screw-up." (Nick Allen, RogerEbert.com)

    "Menashe works as both a rare introduction to a way of life largely unseen (or exaggerated by those outside of it) as well as a touching depiction of fighting for what's most important in life." (Jordan Raup, The Film Stage)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    The Glass Castle
    Sunday November 26, 4:00p–6:07p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    Based on Jeannette Walls’ highly acclaimed and best-selling memoir, The Glass Castle follows the successful writer’s life as she reflects on the unconventional and frequently impoverished upbringing she and her siblings experienced while growing up with their chaotic and dysfunctional, but ultimately lov­ing parents.

    Along with her siblings Lori (Sarah Snook, The Dressmaker), Brian (Iain Armitage, Captain Fantastic's Charlie Shotwell, and Josh Caras), and Maureen (Eden Grace Redfield, Captain Fantastic’s Shree Crooks, and Brigette Lundy-Paine), Jeannette (Chandler Head, Ella Anderson, and Room's Brie Larson) leads a non-traditional but tight-knit family life with her parents Rex (Woody Harrelson, The Edge of Seventeen, No Country for Old Men) and Rose Mary (Naomi Watts, While We're Young, Birdman). Embracing a life of adventure and self-directed learning, Rex and Rose Mary move their family frequently around to differ­ent cities in Arizona and California. However, as their children grow older and more aware of the debt and broken relationships chasing their parents from place to place, the won­der of their nomadic lifestyle begins to fade.

    With their family life growing increasingly unstable, due in large part to Rex’s alcoholism and inability to maintain meaningful work, Jeannette and her siblings begin to imagine a more traditional and independent life of their own, away from their parents’ chaotic influence.

    At once adventurous and heartfelt, The Glass Castle tests the strength of family bonds against individual ambitions and identities, and explores the complexities of negotiating parent-child relationships as children mature into adults. Deftly adapted and directed by Destin Daniel Cretton, the emotional resonance of Jeannette Walls’ widely loved memoir is unmistakably present in its long-awaited film adaptation.

    "Reflective and cumulatively poignant, Destin Cretton's The Glass Castle lays bare the utmost truth about families: You will eventually morph into your parents." (Tomris Laffly, Time Out)

    "Even while gesturing toward a redemptive sacred altar, a default mode for parenthood in many mainstream movies, the director lets the messy realities stand. And his fine cast makes them ring true—the selfishness and neglect, the confrontations brutal and tender, the pained silences and, not least, the gusts of pure, jagged joy." (Sheri Linden, The Hollywood Reporter)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    The Glass Castle
    Sunday November 26, 7:00p–9:07p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    Based on Jeannette Walls’ highly acclaimed and best-selling memoir, The Glass Castle follows the successful writer’s life as she reflects on the unconventional and frequently impoverished upbringing she and her siblings experienced while growing up with their chaotic and dysfunctional, but ultimately lov­ing parents.

    Along with her siblings Lori (Sarah Snook, The Dressmaker), Brian (Iain Armitage, Captain Fantastic's Charlie Shotwell, and Josh Caras), and Maureen (Eden Grace Redfield, Captain Fantastic’s Shree Crooks, and Brigette Lundy-Paine), Jeannette (Chandler Head, Ella Anderson, and Room's Brie Larson) leads a non-traditional but tight-knit family life with her parents Rex (Woody Harrelson, The Edge of Seventeen, No Country for Old Men) and Rose Mary (Naomi Watts, While We're Young, Birdman). Embracing a life of adventure and self-directed learning, Rex and Rose Mary move their family frequently around to differ­ent cities in Arizona and California. However, as their children grow older and more aware of the debt and broken relationships chasing their parents from place to place, the won­der of their nomadic lifestyle begins to fade.

    With their family life growing increasingly unstable, due in large part to Rex’s alcoholism and inability to maintain meaningful work, Jeannette and her siblings begin to imagine a more traditional and independent life of their own, away from their parents’ chaotic influence.

    At once adventurous and heartfelt, The Glass Castle tests the strength of family bonds against individual ambitions and identities, and explores the complexities of negotiating parent-child relationships as children mature into adults. Deftly adapted and directed by Destin Daniel Cretton, the emotional resonance of Jeannette Walls’ widely loved memoir is unmistakably present in its long-awaited film adaptation.

    "Reflective and cumulatively poignant, Destin Cretton's The Glass Castle lays bare the utmost truth about families: You will eventually morph into your parents." (Tomris Laffly, Time Out)

    "Even while gesturing toward a redemptive sacred altar, a default mode for parenthood in many mainstream movies, the director lets the messy realities stand. And his fine cast makes them ring true—the selfishness and neglect, the confrontations brutal and tender, the pained silences and, not least, the gusts of pure, jagged joy." (Sheri Linden, The Hollywood Reporter)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    An Inconvenient Sequel: Truth to Power
    Wednesday November 29, 7:00p–8:38p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    It has been a decade since the Oscar-winning An Inconvenient Truth brought climate change to light and championed it as a global concern. Ten years later, Al Gore presents new research demonstrating that 14 of Earth’s 15 hottest years in recorded history have been since 2001. In light of America’s recent with­drawal from the 2016 Paris Agreements, An Inconvenient Sequel: Truth to Power is urgent and essential viewing.

    Bonni Cohen and Jon Shenk take the directorial reigns to recap the successes and setbacks since the first film. At the centre of it all is the slightly grayer, mellower, but no less impassioned, Al Gore. He continues touring his PowerPoint lectures, updated with not only new grim facts, but also encouraging examples of successful green energy projects. He trains the next generation of eco-leaders with his Climate Leadership initiatives and uses his considerable connections to negotiate deals with the world’s leaders. However, the most powerful sections are the visually startling check-ins he does with scientific researchers regarding our planet’s health. While many naysayers mocked his 2006 scientific, ani­mated projections of rising waters flooding the World Trade Center area in Manhattan, no one was laughing when 2012’s Hurricane Sandy did just that.

    The former Vice President is a modern-day superhero decked out in his button-up shirts and cowboy boots. It is surprising and fascinating how lonely the fight has been, and the fact that he has been doing it now for nearly a quarter century with no signs of slowing down is admirable. With the health and future of the planet at stake, Gore and those training with him are certainly the heroes we need.

    "An Inconvenient Sequel: Truth to Power is an important and relevant worldwide look at the environmental crisis." (Jordan Ruimy, We Got This Covered)

    "It's less an attack on big business (though such sentiments are certainly present) than a call for a rational assessment of proven facts. If it does occasionally dabble in hero worship of its subject, it also makes the effective case that somebody has to keep showing up when nobody else can be bothered." (Dominick Suzanne-Mayer, Consequence of Sound)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    Die göttliche Ordnung (The Divine Order)
    Sunday December 3, 4:00p–5:36p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    Swiss women were not granted the vote until 1971. Petra Volpe's The Divine Order revisits their fight for equality through the fictional lens of a young housewife living in a small, tranquil village.

    "Nora (Marie Leuenberger) spends her days doing laundry, making beds and vacuuming around her domineering father-in-law, and her nights cooking and caring for husband Hans (Max Simonischek) and their two sons. At first, she seems agreeably submissive to this life of routine servitude. But unfamiliar stirrings of outrage over her place in society—and that of her female compatriots—soon begin to percolate, triggered by two concurrent incidents: Hans’ refusal to allow her to get a job (a privilege granted to him by law); and her free-spirited teenage niece Hanna (Ella Rumpf) being sent to prison for wanting to be with her older, long-haired boyfriend.

    These twin injustices speak to the larger problem of women’s subjugation in Swiss society, the wrongheadedness of which is thrown into sharp relief by the momentous counterculture sweeping the rest of the globe. It’s not long before Nora is standing up to the close-minded leader of her social club, Mrs. Wipf (Therese Affolter)—who claims equality between the sexes is 'a sin against nature'—and forming a makeshift suffrage organization ahead of a 1971 ballot vote on the issue. From the start, she’s joined in her campaign by elderly firebrand Vroni (Sibylle Brunner), who resents losing her restaurant because she wasn’t allowed to handle its finances, and Graziella (Marta Zoffoli), a single Italian woman whose curly hair and fashionable threads are signs of her enlightened attitude.

    The Divine Order eventually sees the town’s ladies go on strike ahead of the vote, shacking up together in an act of solidarity that further underscores women’s inherent power as the glue that holds families together. Volpe dramatizes her action with a light touch that allows for flashes of pointed comedy even as she maintains a firm focus on the way threats of slander, humiliation, abuse and ostracism are used by the ruling class to maintain privilege.

    No prior knowledge of Switzerland’s political evolution is necessary to guess the conclusion of The Divine Order, as its feel-good narrative telegraphs much of what’s to come. Yet thanks to its director’s sturdy guidance and Leuenberger’s fine lead performance as Nora, whose resolve is colored by doubt and trepidation, the film never feels stilted or preachy; rather, it radiates an infectious admiration for the courage shown by its heroines in the face of immense obstacles."

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    Die göttliche Ordnung (The Divine Order)
    Sunday December 3, 7:00p–8:36p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    Swiss women were not granted the vote until 1971. Petra Volpe's The Divine Order revisits their fight for equality through the fictional lens of a young housewife living in a small, tranquil village.

    "Nora (Marie Leuenberger) spends her days doing laundry, making beds and vacuuming around her domineering father-in-law, and her nights cooking and caring for husband Hans (Max Simonischek) and their two sons. At first, she seems agreeably submissive to this life of routine servitude. But unfamiliar stirrings of outrage over her place in society—and that of her female compatriots—soon begin to percolate, triggered by two concurrent incidents: Hans’ refusal to allow her to get a job (a privilege granted to him by law); and her free-spirited teenage niece Hanna (Ella Rumpf) being sent to prison for wanting to be with her older, long-haired boyfriend.

    These twin injustices speak to the larger problem of women’s subjugation in Swiss society, the wrongheadedness of which is thrown into sharp relief by the momentous counterculture sweeping the rest of the globe. It’s not long before Nora is standing up to the close-minded leader of her social club, Mrs. Wipf (Therese Affolter)—who claims equality between the sexes is 'a sin against nature'—and forming a makeshift suffrage organization ahead of a 1971 ballot vote on the issue. From the start, she’s joined in her campaign by elderly firebrand Vroni (Sibylle Brunner), who resents losing her restaurant because she wasn’t allowed to handle its finances, and Graziella (Marta Zoffoli), a single Italian woman whose curly hair and fashionable threads are signs of her enlightened attitude.

    The Divine Order eventually sees the town’s ladies go on strike ahead of the vote, shacking up together in an act of solidarity that further underscores women’s inherent power as the glue that holds families together. Volpe dramatizes her action with a light touch that allows for flashes of pointed comedy even as she maintains a firm focus on the way threats of slander, humiliation, abuse and ostracism are used by the ruling class to maintain privilege.

    No prior knowledge of Switzerland’s political evolution is necessary to guess the conclusion of The Divine Order, as its feel-good narrative telegraphs much of what’s to come. Yet thanks to its director’s sturdy guidance and Leuenberger’s fine lead performance as Nora, whose resolve is colored by doubt and trepidation, the film never feels stilted or preachy; rather, it radiates an infectious admiration for the courage shown by its heroines in the face of immense obstacles."

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    Bombshell: The Hedy Lamarr Story
    Wednesday December 6, 7:00p–8:26p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    Known for her iconic look, wild-child antics, and scandalous private life, Hedy Lamarr was revered as "the most beautiful woman in the world" in 1940s tabloids. Yet, few know her true story; an undiscovered genius, she pioneered a secret communication system intended to guide US torpedoes during WWII, which became the basis for contemporary technologies like GPS, Bluetooth, and WiFi.

    The directorial debut from Emmy Award–winning journalist and producer Alexandra Dean, Bombshell: The Hedy Lamarr Story looks deeper into the life of the screen legend, whose military and communication contri­butions went unrecognized for decades. As a child, the Austrian-born Lamarr would disassemble music boxes and put them back together, just to understand how they worked. After her breakout role in the Czech film Ecstasy, the young Hedy escaped her ammunition-manufacturing husband and fled the country, later signing a contract with MGM studios and starring in notable hits such as Algiers, Boom Town and Comrade X with Clark Gable. Her most impressive achievement, however, was the one she was never acknowledged for: a revolutionary radio guidance system called “frequency hopping” that she co-invented with composer George Antheil in her spare time to defeat the Nazis in naval battle. Though she would attempt to patent the idea, the US Navy thought she was better suited to selling war bonds and entertaining troops instead. Sadly, the name Hedy Lamarr would later only be known for the inventor’s infamous six marriages, affairs, drug use, and obsession with plastic surgery. Throughout her life, Lamarr’s face proved to be a blessing and a curse, often opening one door, but halting the possibility of opening another.

    Produced by Susan Sarandon (The Meddler) and featuring appearances by film legends such as Mel Brooks (The Producers, Blazing Saddles), Peter Bogdanovich (Hitchcock/Truffaut, While We’re Young) and Diane Kruger (Farewell My Queen, Inglourious Basterds), the Tribeca hit finally tells Lamarr’s story the way she intended to tell it. A woman ahead of her time, Lamarr not only paved the way for communication technology, but she was also one of the first women to produce her own films during a time when women were restricted to positions in front of the camera. Dispelling Lamarr’s public image as a flighty celebrity, Bombshell: The Hedy Lamarr Story is a trailblazing tribute to women whose contributions have gone unrecognized and an inspiration for future generations of female inventors to come.

    "A thoroughly engaging, eye-opening showbiz doc." (John DeFore, The Hollywood Reporter)

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    Breathe
    Sunday December 10, 4:00p–5:57p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    After years of critical success as an actor, Andy Serkis makes his directorial debut with Breathe, the inspiring biopic portrait of Robin Cavendish. After being diagnosed with polio at age 28, Cavendish served as a global advocate for people living with disabilities and assisted in the development of medical technologies that transformed the lives of paralyzed individuals everywhere.

    Andrew Garfield stars as Cavendish alongside Claire Foy (The Lady in the Van, Rosewater) as devoted wife Diana Blacker in this heartwarm­ing chronicle of a couple determined to break barriers for families facing physical chal­lenges. Completely paralyzed from the neck down, Cavendish was put on a medical respi­rator but refused to be confined by his hospital bed. Against his doctors’ advice, he and Diana bravely set off on a worldwide quest with their son, Jonathan (Dean-Charles Chapman), to share their story. Not only was Cavendish a miracle of science for being one of the longest living polio survivors, but he was also a pioneer in the medical community for his innovating efforts to enhance mobility for the physically impaired. With the help of his friend, professor, and inventor Teddy Hall (Hugh Bonneville, TV's Downton Abbey), Cavendish used himself as a guinea pig to test the first wheelchair with a built-in respirator. While he and Diana faced unique pressures in their relationship, their unwavering strength and spirit lies at the heart of this story.

    Known for his performance capture roles in films like the The Hobbit and The Dawn of the Planet of the Apes, Serkis daringly steps into a new genre in this brilliant, life-affirming love story about perseverance, courage, and human connection. Garfield master­fully pulls off a challenging performance, transforming physically and psychologically to capture Cavendish’s optimistic and resil­ient spirit. Written by two-time Academy Award nominee William Nicholson (Mandela: Long Walk to Freedom) and pro­duced by Cavendish’s son, Breathe shares one of the most hopeful and awe-inspiring tales of the season.

    Contact: info@fundycinema.ca  |  (902) 542-1050

  • CINEMA
    Breathe
    Sunday December 10, 7:00p–8:57p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $9


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    After years of critical success as an actor, Andy Serkis makes his directorial debut with Breathe, the inspiring biopic portrait of Robin Cavendish. After being diagnosed with polio at age 28, Cavendish served as a global advocate for people living with disabilities and assisted in the development of medical technologies that transformed the lives of paralyzed individuals everywhere.

    Andrew Garfield stars as Cavendish alongside Claire Foy (The Lady in the Van, Rosewater) as devoted wife Diana Blacker in this heartwarm­ing chronicle of a couple determined to break barriers for families facing physical chal­lenges. Completely paralyzed from the neck down, Cavendish was put on a medical respi­rator but refused to be confined by his hospital bed. Against his doctors’ advice, he and Diana bravely set off on a worldwide quest with their son, Jonathan (Dean-Charles Chapman), to share their story. Not only was Cavendish a miracle of science for being one of the longest living polio survivors, but he was also a pioneer in the medical community for his innovating efforts to enhance mobility for the physically impaired. With the help of his friend, professor, and inventor Teddy Hall (Hugh Bonneville, TV's Downton Abbey), Cavendish used himself as a guinea pig to test the first wheelchair with a built-in respirator. While he and Diana faced unique pressures in their relationship, their unwavering strength and spirit lies at the heart of this story.

    Known for his performance capture roles in films like the The Hobbit and The Dawn of the Planet of the Apes, Serkis daringly steps into a new genre in this brilliant, life-affirming love story about perseverance, courage, and human connection. Garfield master­fully pulls off a challenging performance, transforming physically and psychologically to capture Cavendish’s optimistic and resil­ient spirit. Written by two-time Academy Award nominee William Nicholson (Mandela: Long Walk to Freedom) and pro­duced by Cavendish’s son, Breathe shares one of the most hopeful and awe-inspiring tales of the season.

    Contact: info@fundycinema.ca  |  (902) 542-1050