March 17 - 23
- Sunday
- Monday
- Tuesday
- Wednesday
- Thursday
- Friday
- Saturday
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CINEMA -
THEATRE
March 24 - 30
- Sunday
- Monday
- Tuesday
- Wednesday
- Thursday
- Friday
- Saturday
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LECTURE CINEMA - THEATRE
- THEATRE
ALL UPCOMING EVENTS
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CINEMA
The Woman Who Loves Giraffes
Wednesday March 20, 7:00p–8:23p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
In 1956, four years before Jane Goodall ventured into the world of chimpanzees and seven years before Dian Fossey left to work with mountain gorillas, in fact, before anyone, man or woman had made such a trip, 23-year-old Canadian biologist, Anne Innis Dagg, made an unprecedented solo journey to South Africa to become the first person in the world to study animal behaviour in the wild on that continent. When she returned home a year later armed with ground-breaking research, the insurmountable barriers she faced as a female scientist proved much harder to overcome. In 1972, having published 20 research papers as an assistant professor of zoology at University of Guelph, the Dean of the university, denied her tenure. She could not apply to the University of Waterloo because the Dean there told Anne that he would never give tenure to a married woman. This was the catalyst that transformed Anne into a feminist activist. For three decades, Anne Innis Dagg was absent from the giraffe world until 2010 when she was sought out by giraffologists and not just brought back to into the fold, but finally celebrated for her work.
In Alison Reid's The Woman Who Loves Giraffes, an older (now 85), wiser Anne takes us on her first expedition back to Africa to retrace where her trail-blazing journey began more than half a century ago. By retracing her original steps, and with letters and stunning, original 16mm film footage, Anne offers an intimate window into her life as a young woman, juxtaposed with a first hand look at the devastating reality that giraffes are facing today. Both the world’s first "giraffologist," whose research findings ultimately became the foundation for many scientists following in her footsteps, and the species she loves have each experienced triumphs as well as nasty battle scars. The Woman Who Loves Giraffes gives us a moving perspective on both.
"Alison Reid deserves high praise for fine storytelling, combining ecology and social-justice issues while focusing on a woman ahead of her times, whose ambitions were thwarted by institutional sexism." (Bruce DeMara, Toronto Star)Contact: info@fundycinema.ca | (902) 542-1050
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THEATRE
I'm Not Running by David Hare
Friday March 22, 7:00p–9:40p
Presented by Just Us! Coffee Roasters Co-op
▶ Show DetailsCost: $15 - tickets available at the door from 6pm
Pauline Gibson is a junior doctor, who becomes the face of a campaign to save her local hospital. This leads to her becoming an independent MP, but in Parliament, she crosses paths with her university boyfriend, Jack Gould, a stalwart Labour loyalist.
As pressure mounts on her to compromise her integrity and run for leadership of the Labour party, Pauline faces an agonising decision...Contact: ntlive@justuscoffee.com
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Cost: Free
A new era for Humanity
A Free Multimedia Presentation
Never has the need for change been so critical for the future of humanity and the planet.
People everywhere experience the collapse of the old order. As we transit into the new energetic Age of Aquarius, our most advanced planetary teachers are returning among us to offer their energy and insight in our task of restoring our Planet and building a new civilization based on justice, cooperation and unityContact: ns.transmission.meditation@gmail.com
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CINEMA
Doubles vies (Non-Fiction)
Sunday March 24, 4:00p–5:48p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
Digital disruption is all around us these days, and Olivier Assayas (Clouds of Sils Maria, Summer Hours), who structured much of his recent film Personal Shopper around cellphones and texting, returns to this theme in his highly intelligent new examination of what this technology means to our lives. Doubles vies is both a delicious comedy of manners and an enquiry focused on a group of middle-aged, middle-class French men and women, and how they are affected by the hyper-connectivity of today.
Alain (Guillaume Canet) is a self-assured and successful book publisher struggling with the ins and outs of both his professional and private life. His relationship with his wife, Serena (Juliette Binoche, Clouds of Sils Maria; Summer Hours), has gone slightly stale, and he has to deal delicately with one of his long-time authors (Vincent Macaigne), who has written a new manuscript and is pushing for its publication. Complicating this is Alain's enthusiastic embrace of digital and social media, which has led him to hire an impressively ambitious young woman as the "head of digital transition" in his company. As Alain pushes his new-media agenda forward, he encounters, variously, support and resistance from friends and colleagues.
Assayas's often-hilarious social critique is powered by a series of conversations about what this technological transition has meant for all of us—what is gained and what is lost. Doubles vies offers a subtle probing of what lies behind those conversations themselves, as well as behind the actions and behaviour of its ensemble of characters, all of whom are undergoing crises of values and beliefs.
"Assayas has often shown great wit in his screenplays (most recently in Clouds of Sils Maria), but there is a rhythm to his writing here that is surprisingly good." (Gregory Ellwood, The Playlist)
"There are chuckles and even guffaws throughout, though the comedy is streaked with despair, and also great tenderness. It’s the latest evidence of the director’s gift for tackling grave subjects with the lightest of touches; the film flows airily along, then knocks you off-balance with the weight of its insights and implications." (Jon Frosch, The Hollywood Reporter)
"This story of two couples dealing with change in their personal and professional lives, so packed with intellectual sparring, gets progressively lighter as it moves along, acknowledging the primacy of human interaction (foibles and all) over doctrine." (Jay Weissberg, Variety)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
Doubles vies (Non-Fiction)
Sunday March 24, 7:00p–8:48p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
Digital disruption is all around us these days, and Olivier Assayas (Clouds of Sils Maria, Summer Hours), who structured much of his recent film Personal Shopper around cellphones and texting, returns to this theme in his highly intelligent new examination of what this technology means to our lives. Doubles vies is both a delicious comedy of manners and an enquiry focused on a group of middle-aged, middle-class French men and women, and how they are affected by the hyper-connectivity of today.
Alain (Guillaume Canet) is a self-assured and successful book publisher struggling with the ins and outs of both his professional and private life. His relationship with his wife, Serena (Juliette Binoche, Clouds of Sils Maria; Summer Hours), has gone slightly stale, and he has to deal delicately with one of his long-time authors (Vincent Macaigne), who has written a new manuscript and is pushing for its publication. Complicating this is Alain's enthusiastic embrace of digital and social media, which has led him to hire an impressively ambitious young woman as the "head of digital transition" in his company. As Alain pushes his new-media agenda forward, he encounters, variously, support and resistance from friends and colleagues.
Assayas's often-hilarious social critique is powered by a series of conversations about what this technological transition has meant for all of us—what is gained and what is lost. Doubles vies offers a subtle probing of what lies behind those conversations themselves, as well as behind the actions and behaviour of its ensemble of characters, all of whom are undergoing crises of values and beliefs.
"Assayas has often shown great wit in his screenplays (most recently in Clouds of Sils Maria), but there is a rhythm to his writing here that is surprisingly good." (Gregory Ellwood, The Playlist)
"There are chuckles and even guffaws throughout, though the comedy is streaked with despair, and also great tenderness. It’s the latest evidence of the director’s gift for tackling grave subjects with the lightest of touches; the film flows airily along, then knocks you off-balance with the weight of its insights and implications." (Jon Frosch, The Hollywood Reporter)
"This story of two couples dealing with change in their personal and professional lives, so packed with intellectual sparring, gets progressively lighter as it moves along, acknowledging the primacy of human interaction (foibles and all) over doctrine." (Jay Weissberg, Variety)Contact: info@fundycinema.ca | (902) 542-1050
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THEATRE
Got Happiness!!
Friday March 29, 7:30p–9:30p
Presented by The Women of Wolfville
▶ Show DetailsCost: $15 - regular; $12 - students and seniors over 65
Tickets: Box of Delights Bookshop, Main Street, Wolfville
Girls, teens, millennials, women in their prime - new faces and familiar ones - the Women of Wolfville have decided this year to put their voices and energies into a celebration of happiness. The world would be a better place if everyone broke into song and dance on a regular basis.
Contact: pat@daysend.ca
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THEATRE
Got Happiness!!
Saturday March 30, 2:00p–4:30p
Presented by The Women of Wolfville
▶ Show DetailsCost: $15 - regular; $12 - students and seniors over 65
Tickets: Box of Delights Bookshop, Main Street, Wolfville
Girls, teens, millennials, women in their prime - new faces and familiar ones - the Women of Wolfville have decided this year to put their voices and energies into a celebration of happiness. The world would be a better place if everyone broke into song and dance on a regular basis.
Contact: pat@daysend.ca
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THEATRE
Got Happiness!!
Saturday March 30, 7:30p–9:30p
Presented by The Women of Wolfville
▶ Show DetailsCost: $15 - regular; $12 - students and seniors over 65
Tickets: Box of Delights Bookshop, Main Street, Wolfville
Girls, teens, millennials, women in their prime - new faces and familiar ones - the Women of Wolfville have decided this year to put their voices and energies into a celebration of happiness. The world would be a better place if everyone broke into song and dance on a regular basis.
Contact: pat@daysend.ca
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Cost: $10
Early 18th century England is at war with the French. Nevertheless, duck racing and pineapple eating are thriving. A frail Queen Anne (Olivia Colman, The Lobster; Hyde Park on Hudson) occupies the throne and her close friend Lady Sarah (Rachel Weisz, Youth; The Lobster) governs the country in her stead while tending to Anne’s ill health and mercurial temper.
When a new servant Abigail (Emma Stone, La La Land; Magic in the Moonlight) arrives, her charm endears her to Sarah. Sarah takes Abigail under her wing and Abigail sees a chance at return to her aristocratic roots.
As the politics of war become quite time consuming for Sarah, Abigail steps into the breach to fill in as the Queen’s companion. Their burgeoning friendship gives her a chance to fulfill her ambitions and she will not let woman, man, politics or rabbit stand in her way.
Yorgos Lanthimos's (The Lobster) unconventional and wickedly irreverent period piece received ten Oscar nominations, including best film and best director.
"The Favourite has ribaldry and intelligence to burn, a deliciously entertaining period piece that feels liberated by its period, rather than restrained and invigorates like a glass of wine thrown violently in your face." (John Bleasdale, CineVue)
"[Yorgos Lanthimos'] fabulously entertaining tragicomedy, The Favourite, is a juicy power tangle connecting three women in the royal court of early 18th-century England, played by a divine trio who bounce off one another with obvious relish." (David Rooney, The Hollywood Reporter)
"The Favourite is one of those rare films where the energy generated by three talents at the top of their game and the energy generated by their characters swirl and merge in a perfect storm." (Lee Marshall, Screen International)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
Early 18th century England is at war with the French. Nevertheless, duck racing and pineapple eating are thriving. A frail Queen Anne (Olivia Colman, The Lobster; Hyde Park on Hudson) occupies the throne and her close friend Lady Sarah (Rachel Weisz, Youth; The Lobster) governs the country in her stead while tending to Anne’s ill health and mercurial temper.
When a new servant Abigail (Emma Stone, La La Land; Magic in the Moonlight) arrives, her charm endears her to Sarah. Sarah takes Abigail under her wing and Abigail sees a chance at return to her aristocratic roots.
As the politics of war become quite time consuming for Sarah, Abigail steps into the breach to fill in as the Queen’s companion. Their burgeoning friendship gives her a chance to fulfill her ambitions and she will not let woman, man, politics or rabbit stand in her way.
Yorgos Lanthimos's (The Lobster) unconventional and wickedly irreverent period piece received ten Oscar nominations, including best film and best director.
"The Favourite has ribaldry and intelligence to burn, a deliciously entertaining period piece that feels liberated by its period, rather than restrained and invigorates like a glass of wine thrown violently in your face." (John Bleasdale, CineVue)
"[Yorgos Lanthimos'] fabulously entertaining tragicomedy, The Favourite, is a juicy power tangle connecting three women in the royal court of early 18th-century England, played by a divine trio who bounce off one another with obvious relish." (David Rooney, The Hollywood Reporter)
"The Favourite is one of those rare films where the energy generated by three talents at the top of their game and the energy generated by their characters swirl and merge in a perfect storm." (Lee Marshall, Screen International)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
Ruben Brandt, Collector
Wednesday April 3, 7:00p–8:36p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
Haunted by the death of his father and tormented by violent hallucinations involving some of the world’s greatest paintings, psychiatrist Ruben Brandt (voiced by Iván Kamarás) finds himself in need of assistance. Luckily, his roster of criminal patients are happy to oblige: from Mimi (Gabriella Hámori), a lithe kleptomaniac; to Bye-Bye Joe (Matt Devere), a stocky celebrity bodyguard; to Fernando (Christian Niels Buckholdt), a not-so-discreet computer whiz. Soon the colourful coterie begins to burglarize famous museums across the globe, stealing 13 of the world’s most famous paintings in the process.
Inspired and inventive, Milorad Krstić’s animated standout is chock-full of sly art-history references and delirious twists on modern psychological ideas. Fuelled by a propulsive orchestral score, the film gracefully alternates between the atmosphere of an early Louis Feuillade crime serial and the breathless, high-octane action of a Mission: Impossible entry. (The lengthy opening chase through the streets and canals of Paris will set pulses pounding from the get-go.) With its heady mix 2D and 3D animation styles, Krstić’s ravishingly drawn genre romp will thrill to no end.
"What’s so grand about Ruben Brandt isn’t its story or the characters, which are both abstractions. It’s the animation—the detailed artwork, so dense that it warrants repeat viewings." (April Wolfe, The A.V. Club)
"An acrobatic, larkish globetrotting adventure about paintings and psychotherapy that defies easy categorization save inclusion on any adult animation fan’s must-see list, its slinky, colorful pleasures and wittily referential joie de vivre are like a lifeline in a season when the art house is typically beholden to severe, award-seeking bids to depress you." (Robert Abele, Los Angeles Times)
"This is a film which fizzes with originality, one which works both as a pacey thriller and a playfully surreal intellectual exercise." (Wendy Ide, Screen International)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
Love, Scott Community Premier
Thursday April 4, 6:30p–8:30p
Presented by Annapolis Valley Honour Choir
▶ Show DetailsCost: Advance tickets are $15 for adults and $12 for students. Tickets are $20 at the door.
Tickets: Online at Ticketpro or ticketpro retailers.
Love, Scott, an internationally award winning documentary about Nova Scotia musician Scott Jones, who was paralyzed in a homophobic attack, will have its community screening premiere. Proceeds from the event will go to the Annapolis Valley Honour Choir (AVHC).
After each screening of the film, there will be a Q&A session with the audience and Scott Jones live over Skype from Toronto where he is currently pursuing doctoral studies in choral music and social justice.
While walking on the street one night in a small town in New Glasgow, Scott Jones, a gay musician, is attacked and paralyzed from the waist down; what follows is a brave and fragile journey of healing and the transformation of a young man’s life. From the first raw moments in the hospital to a disquieting trip back to the place he was attacked, Scott is constantly faced with the choice of losing himself in waves of grief or embracing love over fear. Filmed over three years by Scott’s close friend, Love, Scott is an intimate and visually evocative window into queer experience, set against a stunning score by Sigur Rós.
The film has toured the international film circuit and has won numerous awards, including Best Feature Documentary at North Carolina Gay & Lesbian Film Festival (2018) and Official Selection at Hot Docs, BFI Flare and the Atlantic International Film Festival (2018).
Jones has strong ties to the choral community of Nova Scotia. In 2015, Jones’ choir VOX and the AVHC partnered in a day of workshops and concert that raised $8000 for Scott’s organization Don’t BE Afraid, and the Valley Youth Project. In 2016, Scott was the interim director of the AVHC.
This screening is a fundraiser for the AVHC Senior Choir as they embark on a cultural and performance tour to Portugal and Spain this July, where they will be sharing their voices and messages of youth empowerment, acceptance and peace at festivals and in exchanges with other youth choirs.
Limited seating is available. Homemade popcorn, water and Just Us drinks will also be available for purchase.Contact: lisa.speigel@gmail.com | 902-698-1735
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CINEMA
Love, Scott Community Premier
Thursday April 4, 9:00p–11:00p
Presented by Annapolis Valley Honour Choir
▶ Show DetailsCost: Advance tickets are $15 for adults and $12 for students. Tickets are $20 at the door.
Tickets: Online at Ticketpro or ticketpro retailers.
Love, Scott, an internationally award winning documentary about Nova Scotia musician Scott Jones, who was paralyzed in a homophobic attack, will have its community screening premiere. Proceeds from the event will go to the Annapolis Valley Honour Choir (AVHC).
After each screening of the film, there will be a Q&A session with the audience and Scott Jones live over Skype from Toronto where he is currently pursuing doctoral studies in choral music and social justice.
While walking on the street one night in a small town in New Glasgow, Scott Jones, a gay musician, is attacked and paralyzed from the waist down; what follows is a brave and fragile journey of healing and the transformation of a young man’s life. From the first raw moments in the hospital to a disquieting trip back to the place he was attacked, Scott is constantly faced with the choice of losing himself in waves of grief or embracing love over fear. Filmed over three years by Scott’s close friend, Love, Scott is an intimate and visually evocative window into queer experience, set against a stunning score by Sigur Rós.
The film has toured the international film circuit and has won numerous awards, including Best Feature Documentary at North Carolina Gay & Lesbian Film Festival (2018) and Official Selection at Hot Docs, BFI Flare and the Atlantic International Film Festival (2018).
Jones has strong ties to the choral community of Nova Scotia. In 2015, Jones’ choir VOX and the AVHC partnered in a day of workshops and concert that raised $8000 for Scott’s organization Don’t BE Afraid, and the Valley Youth Project. In 2016, Scott was the interim director of the AVHC.
This screening is a fundraiser for the AVHC Senior Choir as they embark on a cultural and performance tour to Portugal and Spain this July, where they will be sharing their voices and messages of youth empowerment, acceptance and peace at festivals and in exchanges with other youth choirs.
Limited seating is available. Homemade popcorn, water and Just Us drinks will also be available for purchase.Contact: lisa.speigel@gmail.com | 902-698-1735
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MUSIC
An Intimate Evening of Jazz Fusion
Saturday April 6, 7:30p–9:30p
Presented by Uptown Jazz
▶ Show DetailsCost: $15
Tickets: Box of Delights Bookshop Wolfville
*THE TICKET DRAW IS FOR A GROUP OF 6 TICKETS!!!
Spring is coming! Warm weather is around the corner!
New Brunswick's cutting edge Jazz Fusion trio, McKinley Morrison & Williams are hitting the road in April for a string of Maritime performances!
We would like to invite you to an intimate evening with us at Acadia Cinema's Al Whittle Theatre. We are very excited to come to Wolfville for the third stop on our tour! Saturday April 6th, prepare for 2 sets of music, bass solos, guitar wizardry, and a borderline drum clinic performance!Contact: joshmckinley.jkm@gmail.com
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Cost: $10
"It doesn’t take long for Arctic to establish itself as one of the best movies ever made about a man stranded in the wilderness.
As the film opens, days after a pilot named Overgård (Danish star Mads Mikkelsen; At Eternity's Gate, The Hunt, A Royal Affair) has crashed his plane in the middle of nowhere, we see that our protagonist has had time to convert the busted fuselage into a homey little shelter, dig out a massive S.O.S. in the snow, and fill a freezer with the bony fish he’s snagged from beneath the ice. And then—as Overgård is trying to stab a trout in a snowstorm—he spots a rescue helicopter cutting its way towards him. It promptly crashes, the winds driving the chopper headfirst into the ground.
This is when Arctic starts to thaw into something unexpectedly rich and humane. You expect Overgård to sprint over the nearest ridge so he can get a clear view of the wreckage, but… he doesn’t. On the contrary, he just stands in place, as though his feet were stuck to the snow. The disappointment in his eyes is obvious, but we also note the lack of disbelief—how surprising can a disaster really be after so many days spent waiting for death?
As it turns out, one of the two helicopter pilots (Maria Thelma Smáradóttir) is still alive, if only just, with an infected wound on her abdomen. Assessing the pilot’s condition as critical, Overgård sets off overland, tobogganing his new friend across the Arctic like some kind of frozen Fitzcarraldo.
Arctic works because it’s so believable. Penna has packed the film with incident and excitement, with even the most Hollywood moments obeying a certain logic. More than that, Penna finds ways to infuse real drama into mundane details. We always know where the characters are and what’s at stake with each step, so that watching Mikkelsen turn a sled into a makeshift shelter achieves the excitement of a major setpiece.
The brunt of Arctic’s power exists between Mikkelsen and the man he’s playing. Overgård needs someone to live for, even if he’s not the person who ultimately needs to live for them. Movies like this are typically only exciting because the hero might die. Arctic is compelling because Overgård might not." (David Ehrlich, Indiewire)
"Mikkelsen hurls himself into proceedings. It’s a performance of intense commitment, one where every grunt and yowl feels agonisingly authentic." (Gwilym Mumford, The Guardian)
"There’s plenty to admire in this trim, nearly dialogue-free 97-minute drama, not least Mads Mikkelsen’s raw performance as a downed airman waiting for rescue in the Arctic wastes, and the widescreen majesty of the Icelandic landscapes that stand in for the film’s polar setting." (Lee Marshall, Screen International)
"Arctic doesn’t employ too many fancy tricks or frills: It’s just a simple, straight-ahead survival drama that lets Mikkelsen showcase his considerable acting chops, leaving viewers as impressed with his stamina as we are with his character’s." (Alissa Wilkinson, Vox)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
"It doesn’t take long for Arctic to establish itself as one of the best movies ever made about a man stranded in the wilderness.
As the film opens, days after a pilot named Overgård (Danish star Mads Mikkelsen; At Eternity's Gate, The Hunt, A Royal Affair) has crashed his plane in the middle of nowhere, we see that our protagonist has had time to convert the busted fuselage into a homey little shelter, dig out a massive S.O.S. in the snow, and fill a freezer with the bony fish he’s snagged from beneath the ice. And then—as Overgård is trying to stab a trout in a snowstorm—he spots a rescue helicopter cutting its way towards him. It promptly crashes, the winds driving the chopper headfirst into the ground.
This is when Arctic starts to thaw into something unexpectedly rich and humane. You expect Overgård to sprint over the nearest ridge so he can get a clear view of the wreckage, but… he doesn’t. On the contrary, he just stands in place, as though his feet were stuck to the snow. The disappointment in his eyes is obvious, but we also note the lack of disbelief—how surprising can a disaster really be after so many days spent waiting for death?
As it turns out, one of the two helicopter pilots (Maria Thelma Smáradóttir) is still alive, if only just, with an infected wound on her abdomen. Assessing the pilot’s condition as critical, Overgård sets off overland, tobogganing his new friend across the Arctic like some kind of frozen Fitzcarraldo.
Arctic works because it’s so believable. Penna has packed the film with incident and excitement, with even the most Hollywood moments obeying a certain logic. More than that, Penna finds ways to infuse real drama into mundane details. We always know where the characters are and what’s at stake with each step, so that watching Mikkelsen turn a sled into a makeshift shelter achieves the excitement of a major setpiece.
The brunt of Arctic’s power exists between Mikkelsen and the man he’s playing. Overgård needs someone to live for, even if he’s not the person who ultimately needs to live for them. Movies like this are typically only exciting because the hero might die. Arctic is compelling because Overgård might not." (David Ehrlich, Indiewire)
"Mikkelsen hurls himself into proceedings. It’s a performance of intense commitment, one where every grunt and yowl feels agonisingly authentic." (Gwilym Mumford, The Guardian)
"There’s plenty to admire in this trim, nearly dialogue-free 97-minute drama, not least Mads Mikkelsen’s raw performance as a downed airman waiting for rescue in the Arctic wastes, and the widescreen majesty of the Icelandic landscapes that stand in for the film’s polar setting." (Lee Marshall, Screen International)
"Arctic doesn’t employ too many fancy tricks or frills: It’s just a simple, straight-ahead survival drama that lets Mikkelsen showcase his considerable acting chops, leaving viewers as impressed with his stamina as we are with his character’s." (Alissa Wilkinson, Vox)Contact: info@fundycinema.ca | (902) 542-1050
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MUSIC
Newsies (The Musical)
Thursday April 11, 7:30p–10:30p
Presented by Edalene Theatre
▶ Show DetailsCost: Adult:$17
Children and Seniors: $15
Group of 4: $60.Tickets: http://www.edalenetheatre.ca/store.php
Based on the movie of the same name, Newsies centres around the actual Newsie strike of 1899, when a ragged army of kids took on the most powerful men in New York. Filled with the incredible music of Allan Menken, and show stopping dances-this show will inspire, uplift and entertain!
Contact: kerri@edalenetheatre.ca | 9027999009
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MUSIC
Newsies (The Musical)
Friday April 12, 7:30p–10:30p
Presented by Edalene Theatre
▶ Show DetailsCost: Adult: $17
Children and Seniors: $15
Group of 4: $60Tickets: http://www.edalenetheatre.ca/store.php
Based on the movie of the same name, Newsies centres around the actual Newsie strike of 1899, when a ragged army of kids took on the most powerful men in New York. Filled with the incredible music of Allan Menken, and show stopping dances-this show will inspire, uplift and entertain!
Contact: kerri@edalenetheatre.ca | 9027999009
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MUSIC
Newsies (The Musical)
Saturday April 13, 2:00p–4:30p
Presented by Edalene Theatre
▶ Show DetailsCost: Adult: $17
Children and Seniors: $15
Group of 4: $60Tickets: Call or email to reserve, or book online!
Based on the movie of the same name, Newsies centres around the actual Newsie strike of 1899, when a ragged army of kids took on the most powerful men in New York. Filled with the incredible music of Allan Menken, and show stopping dances-this show will inspire, uplift and entertain!
Contact: kerri@edalenetheatre.ca | 9027999009
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MUSIC
Newsies (The Musical)
Saturday April 13, 7:30p–10:30p
Presented by Edalene Theatre
▶ Show DetailsCost: Adult: $17
Children and Seniors: $15
Group of 4: $60Tickets: Call or email to reserve, or book online!
Based on the movie of the same name, Newsies centres around the actual Newsie strike of 1899, when a ragged army of kids took on the most powerful men in New York. Filled with the incredible music of Allan Menken, and show stopping dances-this show will inspire, uplift and entertain!
Contact: kerri@edalenetheatre.ca | 9027999009
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CINEMA
Kona der í stríð (Woman at War)
Sunday April 14, 4:00p–5:41p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
As a follow-up to his 2013 film Of Horses and Men, director Benedikt Erlingsson delivers the Cannes 2018 selection and Iceland’s nominee submission for Best Foreign Language Film at the 91st Academy Awards Woman at War, a timely film that speaks to social awareness with wit and warmth.
Halla (Halldóra Geirharðsdóttir) is a middle-aged choir director in a small town, popular amongst her neighbors and respected in the community. Unbeknownst to her fellow citizens, she is also an environmentalist vigilante who destroys power lines in an effort to preserve the beautiful local countryside. Deep in the trenches of her anonymous battle against industrialist destruction, Halla depends on the few solitary sources of support in her life: her identical twin sister Asa (also played by Geirharðsdóttir), a co-conspirator (Jorundur Ragnarsson, Rams) who keeps her updated on the movements of the government and a mysterious local farmer (Jóhann Sigurðarson). Just as Halla begins to ramp up her anti-industrial campaign efforts, she receives entirely unexpected news: an application she made years ago to adopt a child from Ukraine has finally been approved and she is about to become a mother.
Anchored by Geirharðsdóttir’s standout performance, Woman at War provides a breathtaking showcase for Iceland’s natural beauty; the surrounding landscapes are stunningly shot and provide a quick answer to the question of why one woman would take on an entire industrial complex to preserve them. Enveloped in spectacular camerawork, inventive sound design and genuinely moving performances, Woman at War reminds us that some things are worth fighting for.
"Is there anything rarer than an intelligent feel-good film that knows how to tackle urgent global issues with humor as well as a satisfying sense of justice? Erlingsson’s genius lies in how he puts it all together with such witty intelligence, arranging beautifully shot picaresque episodes around a central figure who lives the ideals of the heroes she has hanging on her wall, Mahatma Gandhi and Nelson Mandela." (Jay Weissberg, Variety)
"Woman at War is a beautiful hoot." (Steve Pond, The Wrap)
"Carried by a magnetic performance from Halldóra Geirharðsdóttir in a dual role, Benedikt Erlingsson’s enjoyable [film] is elevated by wryly idiosyncratic flourishes in its execution." (Wendy Ide, Screen International)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
Kona der í stríð (Woman at War)
Sunday April 14, 7:00p–8:41p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
As a follow-up to his 2013 film Of Horses and Men, director Benedikt Erlingsson delivers the Cannes 2018 selection and Iceland’s nominee submission for Best Foreign Language Film at the 91st Academy Awards Woman at War, a timely film that speaks to social awareness with wit and warmth.
Halla (Halldóra Geirharðsdóttir) is a middle-aged choir director in a small town, popular amongst her neighbors and respected in the community. Unbeknownst to her fellow citizens, she is also an environmentalist vigilante who destroys power lines in an effort to preserve the beautiful local countryside. Deep in the trenches of her anonymous battle against industrialist destruction, Halla depends on the few solitary sources of support in her life: her identical twin sister Asa (also played by Geirharðsdóttir), a co-conspirator (Jorundur Ragnarsson, Rams) who keeps her updated on the movements of the government and a mysterious local farmer (Jóhann Sigurðarson). Just as Halla begins to ramp up her anti-industrial campaign efforts, she receives entirely unexpected news: an application she made years ago to adopt a child from Ukraine has finally been approved and she is about to become a mother.
Anchored by Geirharðsdóttir’s standout performance, Woman at War provides a breathtaking showcase for Iceland’s natural beauty; the surrounding landscapes are stunningly shot and provide a quick answer to the question of why one woman would take on an entire industrial complex to preserve them. Enveloped in spectacular camerawork, inventive sound design and genuinely moving performances, Woman at War reminds us that some things are worth fighting for.
"Is there anything rarer than an intelligent feel-good film that knows how to tackle urgent global issues with humor as well as a satisfying sense of justice? Erlingsson’s genius lies in how he puts it all together with such witty intelligence, arranging beautifully shot picaresque episodes around a central figure who lives the ideals of the heroes she has hanging on her wall, Mahatma Gandhi and Nelson Mandela." (Jay Weissberg, Variety)
"Woman at War is a beautiful hoot." (Steve Pond, The Wrap)
"Carried by a magnetic performance from Halldóra Geirharðsdóttir in a dual role, Benedikt Erlingsson’s enjoyable [film] is elevated by wryly idiosyncratic flourishes in its execution." (Wendy Ide, Screen International)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
Sgaawaay K’uuna (Edge of the Knife)
Wednesday April 17, 7:00p–8:40p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
The first feature film made entirely in the Haida language—a critically endangered language spoken fluently by fewer than 20 people—Edge of the Knife is a stunning cinematic achievement and a spellbinding tale of pride, tragedy, and remorse set in Haida Gwaii in the 1800s.
Two extended families meet at their annual fishing camp one summer on the shores of Haida Gwaii, in Canada's Pacific Northwest. Charming Adiits'ii (Tyler York) is close to the family of his best friend Kwa (Willy Russ) and an ardent teacher to Kwa's young son. The boy looks up to him, but Kwa's wife, Hlaaya (Adeana Young), is concerned that Adiits'ii's appetite for challenges may lead to reckless choices. Tragedy strikes when a storm hits the small encampment and Adiits'ii becomes estranged from the group. Presuming him dead, they return to their winter home without him. Adiits'ii creeps deep into the forest and begins his ominous transformation into a Gaagiid/Gaagiixiid—the legendary Haida Wildman.
In this spectacular rendering of a classic Haida story, life on the land is shaped by the power of the elements, where natural and supernatural forces co-exist. Co-directed by Haida filmmaker Gwaai Edenshaw and Tsilhqot'in filmmaker Helen Haig-Brown, this ambitious project was a collaboration with Isuma, the team behind the landmark film Atanarjuat: The Fast Runner. Made with a Haida cast and in collaboration with the Haida Council, Edge of the Knife proves that cinema can be at once a powerful vessel for riveting storytelling and a vital act of Indigenous language and culture revitalization.
Content Advisory: This film contains a scene with explicit violent content.
"The movie is gorgeously shot and features several breathtaking compositions. The acting, eerily sparse musical score, and costume design are also impressive. But most importantly of all, Edge of the Knife succeeds as a triumph of Indigenous creativity and talent." (Teresa Nieman, Screen Anarchy)
"Actor Tyler York shines in first feature film to be told entirely in Haida dialects." (Radhevan Simonpillai, NOW Magazine)Contact: info@fundycinema.ca | (902) 542-1050
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THEATRE
Everybody's Talking About Jamie
Friday April 19, 7:00p–9:40p
Presented by Just Us! Coffee Roasters Co-op
▶ Show DetailsCost: $15 at the door
Created by Dan Gillespie Sells and Tom MacRae, Everybody’s Talking About Jamie is based on a true story. It follows 16-year-old Jamie, who doesn't quite fit in at school in Sheffield. Dreaming of fame and fortune on the drag circuit, Jamie enlists the help of his incredibly supportive friends and family to defy expectations and take his first shaky high-heeled steps into the limelight. A heart-warming story about defeating the bullies and staying true to who you are, this glittering musical received wide acclaim from audiences and critics alike.
Contact: ntlive@justuscoffee.com
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Cost: $10
Rose-Lynn Harlan (Jessie Buckley) has dreamt of becoming a country music star for as long as anyone can remember. But Glasgow is not exactly Nashville and, as a convicted criminal and single mother of two young children, Rose-Lynn is more country song than country starlet.
Just released from prison, forced to wear an ankle monitor and keep curfew, she cannot return to her job as the house-band singer at Glasgow's Grand Ole Opry. Sporting her white cowboy hat and white leather cowboy boots, Rose-Lynn lands a new job as a housekeeper for the lovely, and very posh, Susannah (Sophie Okonedo, The Secret Life of Bees; Hotel Rwanda). After catching her singing on the job, Susannah's kids quickly become Rose-Lynn's biggest fans and Susannah her enthusiastic patron, determined to help her get to Nashville. But Rose-Lynn's dreams come at a cost. Her mother (Julie Walters, Film Stars Don't Die in Liverpool; Brooklyn), who knows all about abandoning dreams, has always done what she can to help her daughter realize hers, but she also wants her to take responsibility and act like the grownup that her kids need her to be.
Buckley delivers a vivacious and unforgettable performance as Rose-Lynn, her voice a star of its own. With a confident hand, director Tom Harper brings Nicole Taylor's beautiful, textured script, full of authentic characters and unexpected turns, to life in Glasgow, a city that, like his protagonist, might appear gritty on the surface, but is bursting with spirit and personality.
Rose-Lynn's story reminds us that taking responsibility does not have to mean giving up hope. And sometimes when we are chasing our dreams, we realize we were living them all along.
"A happy-sad drama of starstruck fever that lifts you up and sweeps you along, touching you down in a puddle of well-earned tears." (Owen Gleiberman, Variety)
"Entirely delightful, fresh as a Scottish summer evening." (Leslie Felperin, The Hollywood Reporter)
"Much will be made of former musical reality show contestant Buckley's phenomenal performances. But it's as an actor that her RADA-trained register impresses the most." (Fionnuala Halligan, Screen International)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
Rose-Lynn Harlan (Jessie Buckley) has dreamt of becoming a country music star for as long as anyone can remember. But Glasgow is not exactly Nashville and, as a convicted criminal and single mother of two young children, Rose-Lynn is more country song than country starlet.
Just released from prison, forced to wear an ankle monitor and keep curfew, she cannot return to her job as the house-band singer at Glasgow's Grand Ole Opry. Sporting her white cowboy hat and white leather cowboy boots, Rose-Lynn lands a new job as a housekeeper for the lovely, and very posh, Susannah (Sophie Okonedo, The Secret Life of Bees; Hotel Rwanda). After catching her singing on the job, Susannah's kids quickly become Rose-Lynn's biggest fans and Susannah her enthusiastic patron, determined to help her get to Nashville. But Rose-Lynn's dreams come at a cost. Her mother (Julie Walters, Film Stars Don't Die in Liverpool; Brooklyn), who knows all about abandoning dreams, has always done what she can to help her daughter realize hers, but she also wants her to take responsibility and act like the grownup that her kids need her to be.
Buckley delivers a vivacious and unforgettable performance as Rose-Lynn, her voice a star of its own. With a confident hand, director Tom Harper brings Nicole Taylor's beautiful, textured script, full of authentic characters and unexpected turns, to life in Glasgow, a city that, like his protagonist, might appear gritty on the surface, but is bursting with spirit and personality.
Rose-Lynn's story reminds us that taking responsibility does not have to mean giving up hope. And sometimes when we are chasing our dreams, we realize we were living them all along.
"A happy-sad drama of starstruck fever that lifts you up and sweeps you along, touching you down in a puddle of well-earned tears." (Owen Gleiberman, Variety)
"Entirely delightful, fresh as a Scottish summer evening." (Leslie Felperin, The Hollywood Reporter)
"Much will be made of former musical reality show contestant Buckley's phenomenal performances. But it's as an actor that her RADA-trained register impresses the most." (Fionnuala Halligan, Screen International)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
Garry Winogrand: All Things are Photographable
Wednesday April 24, 7:00p–8:30p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
Decades before digital technology transformed how we make and see pictures, Garry Winogrand made hundreds of thousands of them with his 35mm Leica, creating an encyclopedic portrait of America from the late 1950s to the early 1980s in the process. When he died suddenly at age 56 in 1984, Winogrand left behind more than 10,000 rolls of film—more than a quarter of a million pictures! These images capture a bygone era: the New York of Mad Men and the early years of the Women’s Movement, the birth of American suburbs, and the glamour and alienation of Hollywood. He produced so many unseen images that it has taken until now for the full measure of his artistic legacy to emerge. Endorsed by his gallery and estate, director Sasha Waters Freyer's Garry Winogrand: All Things are Photographable is the first cinematic survey of that legacy. The film tells the story of an artist whose rise and fall was—like America’s in the late decades of the 20th century—larger-than-life, full of contradictions and totally unresolved.
In addition to hundreds of iconic photographs, the film makes ample use of Winogrand’s 8mm color home movie of his parents, three wives and children, plus the wealth of footage created as he roamed city streets and 1960s protests. The film also uses newly discovered audio cassette tapes of Winogrand which are the only un-staged media of the artist in existence. These cassette tapes capture conversations with an old friend recorded in a forgotten Texas diner—about ex-wives and parents and children and sex, about quitting smoking and students and the meaning and making of art. Forged by his own words and images, Garry Winogrand: All Things are Photographable is a stunningly intimate portrait of a man who both personified his era and transformed it.
"Alert not just to shifts in the critical zeitgeist but to accompanying changes in social mores, the fascinating film speaks to the most sophisticated students of fine-art photography without alienating casual buffs." (John DeFore, The Hollywood Reporter)
"Garry Winogrand hated being called 'a street photographer,' even if he was regarded as the most essential of them all. The great success of Sasha Waters Freyer’s straightforward but evocative documentary, is how well it explains why someone could have such a strong aversion to a term that was practically invented to describe them." (David Ehrlich, IndieWire)
"A balanced and deeply satisfying documentary assessment of his work, which is lavishly on display in hundreds of the artist’s images." (Michael O'Sullivan, Washington Post)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
After winning an Academy Award in 2018 for A Fantastic Woman, Chilean director Sebastián Lelio, returns with a revitalized remake of his award-winning breakthrough 2013 film Gloria about the ups and downs of a fifty-something divorcée as she searches for love and self-realization in Chile's capital, transporting the eponymous Gloria to Los Angeles and casting the inimitable Julianne Moore (Wonderstruck, Maggie's Plan, Still Alice) to play her.
Gloria adores her adult children (Michael Cera, Molly's Game; and Caren Pistorius), but she is interested in being more than a grandmother. She loves to spend her evenings dancing in singles clubs, hoping to meet Mr. Right. It all seems to be falling into place when she meets the recently divorced Arnold (John Turturro, Mia Madre), who falls for her bright smile and sees the beauty behind her oversized glasses. But Arnold's ex-wife and grown-up daughters have an unhealthy hold on him, and it seems he does not know how to let go of the past—or his incessantly ringing mobile phone.
Drawing dazzling energy from his new cast and locations, Lelio follows Gloria as she navigates midlife romance and figures out what she truly wants. While we can all sympathize with Arnold—and Turturro has never been more comically vulnerable—it is Gloria we are always rooting for. Moore's take on the character is a fresh revelation: while maintaining Gloria's feisty spirit and eagerness to connect, she discovers just how satisfying it can be to dance alone.
"Moore’s compassionate performance confirms the strength of the original and its beloved heroine’s universal appeal. More than that, Gloria Bell proves that the best stories can be told endlessly, so long as they’re told well." (Eric Kohn, IndieWire)
"Moore’s performance means that we are with Gloria every step of the way, sharing in the little victories and the jolting setbacks." (Allan Hunter, Screen International)
"Moore plays Gloria with a twinkle in her eye that makes her lovable and a yearning for connection that makes her relatable." (Victor Stiff, The Playlist)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
After winning an Academy Award in 2018 for A Fantastic Woman, Chilean director Sebastián Lelio, returns with a revitalized remake of his award-winning breakthrough 2013 film Gloria about the ups and downs of a fifty-something divorcée as she searches for love and self-realization in Chile's capital, transporting the eponymous Gloria to Los Angeles and casting the inimitable Julianne Moore (Wonderstruck, Maggie's Plan, Still Alice) to play her.
Gloria adores her adult children (Michael Cera, Molly's Game; and Caren Pistorius), but she is interested in being more than a grandmother. She loves to spend her evenings dancing in singles clubs, hoping to meet Mr. Right. It all seems to be falling into place when she meets the recently divorced Arnold (John Turturro, Mia Madre), who falls for her bright smile and sees the beauty behind her oversized glasses. But Arnold's ex-wife and grown-up daughters have an unhealthy hold on him, and it seems he does not know how to let go of the past—or his incessantly ringing mobile phone.
Drawing dazzling energy from his new cast and locations, Lelio follows Gloria as she navigates midlife romance and figures out what she truly wants. While we can all sympathize with Arnold—and Turturro has never been more comically vulnerable—it is Gloria we are always rooting for. Moore's take on the character is a fresh revelation: while maintaining Gloria's feisty spirit and eagerness to connect, she discovers just how satisfying it can be to dance alone.
"Moore’s compassionate performance confirms the strength of the original and its beloved heroine’s universal appeal. More than that, Gloria Bell proves that the best stories can be told endlessly, so long as they’re told well." (Eric Kohn, IndieWire)
"Moore’s performance means that we are with Gloria every step of the way, sharing in the little victories and the jolting setbacks." (Allan Hunter, Screen International)
"Moore plays Gloria with a twinkle in her eye that makes her lovable and a yearning for connection that makes her relatable." (Victor Stiff, The Playlist)Contact: info@fundycinema.ca | (902) 542-1050
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THEATRE
Shakespeare's King Richard II
Friday May 3, 7:00p–9:00p
Presented by Just Us! Coffee Roasters Co-op
▶ Show DetailsCost: $15 - tickets available at the door
Richard II, King of England, is irresponsible, foolish and vain. His weak leadership sends his kingdom into disarray and his court into uproar. Seeing no other option but to seize power, the ambitious Bolingbroke challenges the throne and the king’s divine right to rule.
Contact: ntlive@justuscoffee.com
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CINEMA
Mayworks - Movie Night
Thursday May 9, 7:00p
Presented by Mayworks Annapolis Valley
▶ Show DetailsCost: Donation
Our first Mayworks Annapolis Valley Festival of Working People and the Arts includes two evenings of fun that will engage diverse artists and workers at the intersection of culture, economics, & social justice.
Join us for the 1st annual Mayworks Annapolis Valley Festival, hosted by the Annapolis Valley Labour Council, on May 9 & 10 at the Al Whittle Theatre in Wolfville, NS.
On May 9 we're featuring the movie "Pride", a 2014 British LGBT-related historical comedy-drama film written by Stephen Beresford and directed by Matthew Warchus. Based on a true story, the film depicts a group of lesbian and gay activists who raised money to help families affected by the British miners' strike in 1984. Movie Night Tickets are FREE with a Food Bank Donation.
On May 10 we're presenting a variety show themed "Who Cares - Celebrating Those Who Do". Join our amazing local performance artists in honouring our teachers, care-workers, and first responders. The variety show will feature Music, Drama, Comedy, and Dance. Variety Show Tickets are $10 each
May 1st is marked throughout the world as International Workers’ Day, or May Day. One of the ways various labour councils and unions mark May Day is through the Mayworks Festival. Mayworks was originally conceived in 1986 by the Toronto and York District Labour Council and the idea has since spread to many cities across Canada. The goal behind Mayworks is to bring workers and artists together and to use art to explore themes of justice, solidarity, and liberation.Contact: donnaholmes712@gmail.com
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MUSIC
Mayworks - Variety Show
Friday May 10, 7:00p
Presented by Mayworks Annapolis Valley
▶ Show DetailsCost: Tickets are $10 each and available at the Door
Our first Mayworks Annapolis Valley Festival of Working People and the Arts includes two evenings of fun that will engage diverse artists and workers at the intersection of culture, economics, & social justice.
Join us for the 1st annual Mayworks Annapolis Valley Festival, hosted by the Annapolis Valley Labour Council, on May 9 & 10 at the Al Whittle Theatre in Wolfville, NS.
On May 9 we're featuring the movie "Pride", a 2014 British LGBT-related historical comedy-drama film written by Stephen Beresford and directed by Matthew Warchus. Based on a true story, the film depicts a group of lesbian and gay activists who raised money to help families affected by the British miners' strike in 1984. Movie Night Tickets are FREE with a Food Bank Donation.
On May 10 we're presenting a variety show themed "Who Cares - Celebrating Those Who Do". Join our amazing local performance artists in honouring our teachers, care-workers, and first responders. The variety show will feature Music, Drama, Comedy, and Dance. Variety Show Tickets are $10 each
May 1st is marked throughout the world as International Workers’ Day, or May Day. One of the ways various labour councils and unions mark May Day is through the Mayworks Festival. Mayworks was originally conceived in 1986 by the Toronto and York District Labour Council and the idea has since spread to many cities across Canada. The goal behind Mayworks is to bring workers and artists together and to use art to explore themes of justice, solidarity, and liberation.Contact: donnaholmes712@gmail.com
