2-Week Calendar

Printable Version

January 19 - 25

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

January 26 - February 1

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

It’s share sale time again!

Until the end of February, taxpayers in Nova Scotia can receive a 35% Equity Tax Credit on share purchases. Your share makes you a voting member of the Acadia Cinema Co-op, the non-profit organization which oversees the operations of the Whittle Theatre. Become a shareholder today and help support the future of the Theatre!

CLICK HERE TO OPEN AND DOWNLOAD THE SHARE SALE FORM

ALL UPCOMING EVENTS

  • MUSIC
    Rumours, a Musical
    Thursday January 23, 7:30p–10:00p
    Presented by Edalene Theatre
    ▶ Show Details

    Cost: Children under 16 and Seniors - $14
    Adults - $17
    Group of 4 - $60

    Rumours is about the pervasive nature of rumours in a digital world of oversharing within a small town, specifically at a high school. It follows the lives of several high school students and illustrates the emotional, humorous, and life altering impact of rumours in their lives. The story is woven together with the music of Fleetwood Mac, arranged by Zoe Strutt and brought to life by a talented local cast and band. The show is a remount of the 2017 sell out, but re-imagined with new musical arrangements, choreography and interpretations. Co-Directed by Keigan Richard (Stage Whispers) and Kerri Leier, with stage management by Brianna Schwarz-Rumours will leave you singing in the audience and spellbound by the choreography by Zoe Strutt, Jillie Richard and Charlotte Crouch.

    Contact: kerri@edalenetheatre.ca  |  9027999009

  • MUSIC
    Rumours, a Musical
    Friday January 24, 7:30p–10:00p
    Presented by Edalene Theatre
    ▶ Show Details

    Cost: Children under 16 and Seniors - $14
    Adults - $17
    Group of 4 - $60

    Rumours is about the pervasive nature of rumours in a digital world of oversharing within a small town, specifically at a high school. It follows the lives of several high school students and illustrates the emotional, humorous, and life altering impact of rumours in their lives. The story is woven together with the music of Fleetwood Mac, arranged by Zoe Strutt and brought to life by a talented local cast and band. The show is a remount of the 2017 sell out, but re-imagined with new musical arrangements, choreography and interpretations. Co-Directed by Keigan Richard (Stage Whispers) and Kerri Leier, with stage management by Brianna Schwarz-Rumours will leave you singing in the audience and spellbound by the choreography by Zoe Strutt, Jillie Richard and Charlotte Crouch.

    Contact: kerri@edalenetheatre.ca  |  9027999009

  • MUSIC
    Rumours, a Musical
    Saturday January 25, 2:00p–4:30p
    Presented by Edalene Theatre
    ▶ Show Details

    Cost: Children under 16 and Seniors - $14
    Adults - $17
    Group of 4 - $60

    Rumours is about the pervasive nature of rumours in a digital world of oversharing within a small town, specifically at a high school. It follows the lives of several high school students and illustrates the emotional, humorous, and life altering impact of rumours in their lives. The story is woven together with the music of Fleetwood Mac, arranged by Zoe Strutt and brought to life by a talented local cast and band. The show is a remount of the 2017 sell out, but re-imagined with new musical arrangements, choreography and interpretations. Co-Directed by Keigan Richard (Stage Whispers) and Kerri Leier, with stage management by Brianna Schwarz-Rumours will leave you singing in the audience and spellbound by the choreography by Zoe Strutt, Jillie Richard and Charlotte Crouch.

    Contact: kerri@edalenetheatre.ca  |  9027999009

  • MUSIC
    Rumours, a Musical
    Saturday January 25, 7:30p–10:00p
    Presented by Edalene Theatre
    ▶ Show Details

    Cost: Children under 16 and Seniors - $14
    Adults - $17
    Group of 4 - $60

    Rumours is about the pervasive nature of rumours in a digital world of oversharing within a small town, specifically at a high school. It follows the lives of several high school students and illustrates the emotional, humorous, and life altering impact of rumours in their lives. The story is woven together with the music of Fleetwood Mac, arranged by Zoe Strutt and brought to life by a talented local cast and band. The show is a remount of the 2017 sell out, but re-imagined with new musical arrangements, choreography and interpretations. Co-Directed by Keigan Richard (Stage Whispers) and Kerri Leier, with stage management by Brianna Schwarz-Rumours will leave you singing in the audience and spellbound by the choreography by Zoe Strutt, Jillie Richard and Charlotte Crouch.

    Contact: kerri@edalenetheatre.ca  |  9027999009

  • CINEMA
    Il pleuvait des oiseaux (And the Birds Rained Down)
    Sunday January 26, 4:00p–6:07p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    The latest from acclaimed director Louise Archambault (Gabrielle), adapted from the acclaimed novel by Jocelyne Saucier, follows a group of octogenarians who have decided to live on their own terms in the wilderness of northern Quebec.

    Tom (Gilbert Sicotte, The Salesman) and Charlie (Rémy Girard; The Barbarian Invasions, Incendies), who have been living in isolation for years in a small compound along the water, experience a death in their community of three when their painter friend Ted suddenly passes away, leaving behind a locked shed full of beautiful canvases. Steve (Éric Robidoux, Love in the Time of Civil War), a young manager at an almost-always vacant motel not too far away from the compound, starts working with Tom and Charlie, helping them maintain a low-key marijuana operation.

    After Steve takes his aunt (Andrée Lachapelle) to her brother's funeral, she asks that she not be taken back to the psychiatric hospital where she has spent the greater part of her life—and Steve knows just the place to take her to keep her safe and under the radar. Around the same time, a young photographer (Eve Landry) finds her way to the secluded compound as she investigates survivors of the area's greatest forest fire that happened decades ago.

    These two women shake up the men's tranquil routine, challenging each of them to look at the world in ways they may have previously been avoiding. And the Birds Rained Down presents a story of intertwined destinies, compassion and love. A poignant meditation on the possibilities of living outside modernity, it is a tribute to the need to live independently and on one's own terms—and to those courageous enough to pursue this.

    "This melancholic charmer is a choral character study whose slow pacing matches the unhurried lifestyle of its protagonists and the diurnal and seasonal rhythms of the nature they inhabit." (Lee Marshall, Screen International)

    "Touching, heartbreaking, and dangerously thought-provoking, And the Birds Rained Down will force you to re-examine your relationship with yourself, the world around you, and the people you love." (Anne T. Donahue, Globe and Mail)

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

  • CINEMA
    Il pleuvait des oiseaux (And the Birds Rained Down)
    Sunday January 26, 7:00p–9:07p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    The latest from acclaimed director Louise Archambault (Gabrielle), adapted from the acclaimed novel by Jocelyne Saucier, follows a group of octogenarians who have decided to live on their own terms in the wilderness of northern Quebec.

    Tom (Gilbert Sicotte, The Salesman) and Charlie (Rémy Girard; The Barbarian Invasions, Incendies), who have been living in isolation for years in a small compound along the water, experience a death in their community of three when their painter friend Ted suddenly passes away, leaving behind a locked shed full of beautiful canvases. Steve (Éric Robidoux, Love in the Time of Civil War), a young manager at an almost-always vacant motel not too far away from the compound, starts working with Tom and Charlie, helping them maintain a low-key marijuana operation.

    After Steve takes his aunt (Andrée Lachapelle) to her brother's funeral, she asks that she not be taken back to the psychiatric hospital where she has spent the greater part of her life—and Steve knows just the place to take her to keep her safe and under the radar. Around the same time, a young photographer (Eve Landry) finds her way to the secluded compound as she investigates survivors of the area's greatest forest fire that happened decades ago.

    These two women shake up the men's tranquil routine, challenging each of them to look at the world in ways they may have previously been avoiding. And the Birds Rained Down presents a story of intertwined destinies, compassion and love. A poignant meditation on the possibilities of living outside modernity, it is a tribute to the need to live independently and on one's own terms—and to those courageous enough to pursue this.

    "This melancholic charmer is a choral character study whose slow pacing matches the unhurried lifestyle of its protagonists and the diurnal and seasonal rhythms of the nature they inhabit." (Lee Marshall, Screen International)

    "Touching, heartbreaking, and dangerously thought-provoking, And the Birds Rained Down will force you to re-examine your relationship with yourself, the world around you, and the people you love." (Anne T. Donahue, Globe and Mail)

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

  • CINEMA
    The Majestic
    Tuesday January 28, 7:00p
    Presented by Acadia Cinema Cooperative
    ▶ Show Details

    Cost: Free

    WE SUNK THE MORTGAGE, COME CELEBRATE
    The last payment on the mortgage of our building was made in December!
    To mark this occasion, we are inviting our shareholders to a party! There will be remarks, there will be goodies and we will be screening The Majestic from 2001, starring Jim Carrey. Wait til you see them light up that marquee!!

    This "Thank You" event is for shareholders only, and to get a sense of the numbers, we would appreciate it if you could let us know whether you plan to come So please RSVP before Saturday January 25 to secretary@alwhittletheatre.ca
    If you are not a shareholder yet...you can buy a share for this year and still come to the event!

    Contact: manager@alwhittletheatre.ca  |  9025423344

  • CINEMA
    The Lighthouse
    Wednesday January 29, 7:00p–8:49p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    After having spooked audiences into a delicious frenzy with his much-lauded feature debut The Witch (2015), director Robert Eggers returns with this chillingly intimate tale of two men sequestered on a tiny—and perhaps enchanted—Atlantic isle.

    Charged with tending to a lighthouse for a four-week term, the taciturn Ephraim Winslow (Robert Pattinson) spends his days toiling away with backbreaking upkeep, while during the nights it is only his elder cohort Thomas Wake (Willem Dafoe; At Eternity's Gate, The Florida Project) who is allowed to keep the beacon in operation. Growing weary of menial tasks, Ephraim's curiosity regarding Thomas' hours alone with the big light burgeons. But is it just fatigue and envy that cause Ephraim to become increasingly paranoid about the loitering seagulls, to the point where he is visited by strange apparitions?

    Set in the 19th century and photographed by Jarin Blaschke in starkly beautiful black and white at the Cape Forchu lighthouse in Yarmouth County, The Lighthouse harkens back to the literature of Melville while accruing a hallucinatory ambiance that feels entirely fresh. The film's crude humour, hypnotic sounds, and spectral imagery lure us in, but it is Pattinson and Dafoe holding our attention, even as the men begin to slide off the deep end with truly unhinged performances that feature Pattinson, spellbinding with his bushy beard, piercing eyes, and salty accent, and Dafoe, captivating as he goads his young mate to reveal his shadowy past. As The Lighthouse—winner of a FIPRESCI award at Cannes—veers into ever-darker waters, this brilliant pair enters a dangerous dance that will leave you staggering out of the cinema on sea legs.

    "It's bonkers and a hell of a film. And even better, with The Lighthouse, Eggers establishes that he's more than a one trick pony. He's a true original, auteur and clever filmmaker who isn't interested in pandering." (Karen Gordon, Original Cin)

    "That's all there is, the two men and the lighthouse—plus a matched pair of brilliant performances, torrents of astonishing language, a slow crescendo of fateful sounds and a succession of hypnotic images, in black and white on an almost square screen, that lend a rock-solid sense of reality to a growing struggle for dominance." (Joe Morgenstern, The Wall Street Journal)

    "By turns funny, sinister, haunting, historically fascinating and mythical, The Lighthouse is one of the best films of the year." (Sara Stewart, New York Post)

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

  • CINEMA
    Jay & Silent Bob Strike Back
    Friday January 31, 7:00p–9:00p
    Presented by Be Like Chong Foundation
    ▶ Show Details

    Cost: $10

    Buy Tickets Online

    The Classic Movie Series presents a BIG screen showing of Jay & Silent Bob Strike Back!

    Fundraiser supports the Be Like Chong Foundation, a non-profit social enterprise founded in the Annapolis Valley.

    Tickets available 6:30pm at the door or online at belikechong.com

    Jay & Silent Bob Strike Back on YouTube

    Contact: belikechong@outlook.com

  • CINEMA
    Judy
    Sunday February 2, 4:00p–5:58p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    Anchored by a note-perfect performance from Oscar winner Renée Zellweger, this heart-rending adaptation of Peter Quilter's stage play End of the Rainbow presents an intimate portrait of the great Judy Garland in the final year of her life.

    Judy was raised on film sets and nearly every aspect of her life—from what she could eat to who she could date to what drugs she should take—was dictated by MGM studio head Louis B. Mayer. She became a wondrously gifted movie star who never learned to take care of herself.

    As Judy begins, the child star of The Wizard of Oz and ingenue of A Star is Born is now middle-aged, homeless, broke, embroiled in a custody battle and all but blacklisted in Hollywood. In a bid to regain some control of her career, she accepts a residency at a London theatre. She refuses to rehearse and, crippled by anxiety, insomnia, and alcoholism, can barely make it to the stage opening night. But once there, in the spotlight, before an eager audience, microphone in hand and a crackerjack band at the ready, she is suddenly at home. And it is magic.

    Directed by Rupert Goold, Judy tracks those rollercoaster months in England, the onstage triumphs and catastrophes, the whirlwind marriage to the opportunistic Mickey Deans (Finn Wittrock) and the touching friendship with a gay couple who adore her.

    Featuring a career-defining turn for Zellweger (herself no stranger to the cruelties of Hollywood scrutiny), Judy showcases some of the star’s most iconic songs like you have never experienced them before: the cheery, bright show tunes that she performed until the end reveal a pensiveness and melancholy here, asking you to consider the life lived behind the smile.

    "Zellweger knocks it out of the park, lighting up this punchy and moving late-life biopic with big-hearted, big-voiced panache." (Kate Stables, Total Film)

    "Although Judy doesn't adhere rigorously to the chronology of the main character's last months, it provides a compelling portrait of the tragic decline of one of America's 20th century icons." (James Berardinelli, Reel Views)

    "What's most appealing about Zellweger's portrayal is the brightness that peeps out from the clouds: her deep love for her children, her sly wit." (Moira Macdonald, The Seattle Times)

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

  • CINEMA
    Judy
    Sunday February 2, 7:00p–8:58p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    Anchored by a note-perfect performance from Oscar winner Renée Zellweger, this heart-rending adaptation of Peter Quilter's stage play End of the Rainbow presents an intimate portrait of the great Judy Garland in the final year of her life.

    Judy was raised on film sets and nearly every aspect of her life—from what she could eat to who she could date to what drugs she should take—was dictated by MGM studio head Louis B. Mayer. She became a wondrously gifted movie star who never learned to take care of herself.

    As Judy begins, the child star of The Wizard of Oz and ingenue of A Star is Born is now middle-aged, homeless, broke, embroiled in a custody battle and all but blacklisted in Hollywood. In a bid to regain some control of her career, she accepts a residency at a London theatre. She refuses to rehearse and, crippled by anxiety, insomnia, and alcoholism, can barely make it to the stage opening night. But once there, in the spotlight, before an eager audience, microphone in hand and a crackerjack band at the ready, she is suddenly at home. And it is magic.

    Directed by Rupert Goold, Judy tracks those rollercoaster months in England, the onstage triumphs and catastrophes, the whirlwind marriage to the opportunistic Mickey Deans (Finn Wittrock) and the touching friendship with a gay couple who adore her.

    Featuring a career-defining turn for Zellweger (herself no stranger to the cruelties of Hollywood scrutiny), Judy showcases some of the star’s most iconic songs like you have never experienced them before: the cheery, bright show tunes that she performed until the end reveal a pensiveness and melancholy here, asking you to consider the life lived behind the smile.

    "Zellweger knocks it out of the park, lighting up this punchy and moving late-life biopic with big-hearted, big-voiced panache." (Kate Stables, Total Film)

    "Although Judy doesn't adhere rigorously to the chronology of the main character's last months, it provides a compelling portrait of the tragic decline of one of America's 20th century icons." (James Berardinelli, Reel Views)

    "What's most appealing about Zellweger's portrayal is the brightness that peeps out from the clouds: her deep love for her children, her sly wit." (Moira Macdonald, The Seattle Times)

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

  • CINEMA
    Varda par Agnès (Varda by Agnès)
    Wednesday February 5, 7:00p–8:55p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    The last film from the late French New Wave filmmaker Agnès Varda (Faces Places, The Gleaners and I, The Beaches of Agnès) traces her legendary career and life with characteristic humour and vibrant energy, presenting a portrait of an artist who lived through her films and revealed the extraordinary in the ordinary.

    "There are three words that are important to me: inspiration, creation and sharing." So begins the late Agnès Varda in what would be the final film in her oeuvre of over 50 documentaries, fictions, and shorts, made over the course of 64 years. Varda by Agnès—a title that riffs on her 1988 cine-portrait of Jane Birkin, Jane B. par Agnès V.—forms its core out of lectures the iconic French New Wave director gave in her later years. But, in pure Varda fashion, the film is punctuated by humour as she dives into unexpected realms, tracing her career and life, and the ways they intertwined.

    Though 90 at the time of filming, Varda still emanates her characteristic vibrant energy. She offers a wide-ranging journey through her world: her filming process, her feminism, her fine-art photography and her long-time relationship with director Jacques Demy. There are signature flourishes of animation and formal detours into the dreams that form the integral basis of her reality.

    Varda died only a month after Varda by Agnès premiered at Berlin this year, and with this in mind, it is hard not to see it as a eulogy. Yet, like all of Varda's work, it brims with life. And its takeaway is not a past-tense legacy but a sense of how Varda lived through her films, of what she brought to the art form, and—the greatest gift—of finding the extraordinary in the ordinary. "Nothing is banal if you film people with empathy and love," Varda once said. This is the inspiration she has left us with.

    "Rendering the passage of time as a painful yet serene experience, Varda by Agnès comprehends what it means to be a human with a natural flair for creative output." (Alasdair Bayman, CineVue)

    "Like much of her digital work in the twentieth century, Varda’s approach here is a kind of expansive introspection; it’s a film which looks both inwards and outwards at the same time. And like Varda herself, it pulls off the combination of a trundling, amiable pace with a biting intellectual acuity." (Wendy Ide, Screen International)

    "Two hours in this director’s company is a pleasure." (Peter Bradshaw, The Guardian)

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

  • CINEMA
    Marriage Story
    Sunday February 9, 4:00p–6:16p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    Revisiting some of the themes that made his Oscar-nominated 2005 drama The Squid and the Whale so resonant, writer-director Noah Baumbach (Frances Ha) digs deep into divorce with Marriage Story. Adam Driver (Paterson, Tracks, Inside Llewyn Davis) and Scarlett Johansson (Vicky Christina Barcelona) deliver some of their richest work as a couple whose once enviable union crumbles under the weight of mounting resentments and divergent needs.

    Charlie (Driver) is a playwright who wants to stay in New York. Nicole (Johansson) is an actor who has landed a coveted television role that requires her to relocate to Los Angeles. Their geographical dispute tests an already strained relationship. As Marriage Story begins, the couple's divorce is already underway, with each enlisting legal squads deploying various tactics.

    Yet Baumbach's elegant narrative goes back and forth through time, showing how Charlie and Nicole fell in love and built a life together alongside a detailed, blow-by-blow chronicle of their marital dismantling.

    Baumbach's wise script goes from Bergmanesque drama, to dark comedy, to surges of suspense and is complemented by the intimate 35mm camerawork of Robbie Ryan (who also shot Baumbach's The Meyerowitz Stories (New and Selected)), and by the precise, lived-in performances not only of Driver and Johansson, but also of Laura Dern (Wild), Alan Alda, and Ray Liotta.

    Marriage Story may have an ironic title, but its divorce proceedings double as a moving post-mortem. Sometimes our most profound life choices begin to cohere only in retrospect.

    "Marriage Story manages to be one of this year's best thrillers, comedies and romcoms all at once. A tender, taut gem of a film that will make you reconsider love and loss." (Teri White, Empire)

    "Marriage Story is an emotionally lacerating experience, a nearly flawless elegy for a beautifully flawed couple, a broken-family classic to set beside Kramer vs. Kramer and Fanny and Alexander, to name two films that Baumbach references visually here." (Justin Chang, Los Angeles Times)

    "A highlight reel for everyone involved: career-defining work from Scarlett Johansson and Adam Driver, astounding supporting turns courtesy of Laura Dern and Alan Alda, and a masterclass from Baumbach." (Brian Truitt, USA Today)

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

  • CINEMA
    Marriage Story
    Sunday February 9, 7:00p–9:16p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    Revisiting some of the themes that made his Oscar-nominated 2005 drama The Squid and the Whale so resonant, writer-director Noah Baumbach (Frances Ha) digs deep into divorce with Marriage Story. Adam Driver (Paterson, Tracks, Inside Llewyn Davis) and Scarlett Johansson (Vicky Christina Barcelona) deliver some of their richest work as a couple whose once enviable union crumbles under the weight of mounting resentments and divergent needs.

    Charlie (Driver) is a playwright who wants to stay in New York. Nicole (Johansson) is an actor who has landed a coveted television role that requires her to relocate to Los Angeles. Their geographical dispute tests an already strained relationship. As Marriage Story begins, the couple's divorce is already underway, with each enlisting legal squads deploying various tactics.

    Yet Baumbach's elegant narrative goes back and forth through time, showing how Charlie and Nicole fell in love and built a life together alongside a detailed, blow-by-blow chronicle of their marital dismantling.

    Baumbach's wise script goes from Bergmanesque drama, to dark comedy, to surges of suspense and is complemented by the intimate 35mm camerawork of Robbie Ryan (who also shot Baumbach's The Meyerowitz Stories (New and Selected)), and by the precise, lived-in performances not only of Driver and Johansson, but also of Laura Dern (Wild), Alan Alda, and Ray Liotta.

    Marriage Story may have an ironic title, but its divorce proceedings double as a moving post-mortem. Sometimes our most profound life choices begin to cohere only in retrospect.

    "Marriage Story manages to be one of this year's best thrillers, comedies and romcoms all at once. A tender, taut gem of a film that will make you reconsider love and loss." (Teri White, Empire)

    "Marriage Story is an emotionally lacerating experience, a nearly flawless elegy for a beautifully flawed couple, a broken-family classic to set beside Kramer vs. Kramer and Fanny and Alexander, to name two films that Baumbach references visually here." (Justin Chang, Los Angeles Times)

    "A highlight reel for everyone involved: career-defining work from Scarlett Johansson and Adam Driver, astounding supporting turns courtesy of Laura Dern and Alan Alda, and a masterclass from Baumbach." (Brian Truitt, USA Today)

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

  • CINEMA
    Gisaengchung (Parasite)
    Wednesday February 12, 7:00p–9:12p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    From the director whose films rank amongst the highest grossing in South Korea—includ­ing The Host and Snowpiercer—comes a tragic family comedy (of sorts) unlike any film you have ever seen; there is no one genre to accu­rately describe it.

    Bong Joon-ho’s 2019 Palme d'Or winner tells the story of two families: the Kims and the Parks. The Kims are an impoverished fam­ily living in squalor, but they are resourceful. When opportunity strikes, they seize it—and never let go.

    After a family friend decides to move to the United States, he encourages Ki-woo (Choi Woo-shik) to replace him as a tutor to the daughter of the wealthy Park family. Ki-woo is unqualified for the job, but forges the cre­dentials he needs with the help of his sister Ki-jung (Park So-dam).

    One by one, each member of the Kim family finds their way into servitude to the Parks—without the Parks discovering who they really are. "Rich people are naive," remarks the patriarch of the Kim family (Song Kang-ho, The Host). The Parks are the source of survival for the Kims now. There is only one family member left to get on board: Kim matriarch Chung-Sook (Chang Hyae-jin).

    Nothing can prepare you for what happens next. The film travels through genres seam­lessly to tell a story about greed and social disparity that is tragic (or maybe comedic) on a Shakespearean scale. Bong Joon-ho is giv­ing film lovers a reason to step inside a cinema and see this award-winning opus unfold on the big screen.

    "A masterful dissection of social inequality and the psychology of money." (John Bleasdale, CineVue)

    "Parasite is a malign delight from start to finish, with a Machiavellian sense of mischief and a cinematic brio that shows Bong revelling in his Hitchcockian control of somewhat Buñuelian material." (Jonathan Romney, Screen International)

    "Bong delivers a stunning return to form with this newest venture, which takes bold leaps between tenors and tone, but holds together beautifully thanks to the director’s unparalleled visual/spatial sophistication, and his unsparing social indictment." (Ben Croll, TheWrap)

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

  • THEATRE
    All My Sons by Arthur Miller
    Friday February 14, 7:00p–9:45p
    Presented by Just Us! Coffee Roasters Co-op
    ▶ Show Details

    Cost: $15 - available at the door beginning at 6pm

    America, 1947. Despite hard choices and even harder knocks, Joe and Kate Keller are a success story. They have built a home, raised two sons and established a thriving business.
    But nothing lasts forever and their contented lives, already shadowed by the loss of their eldest boy to war, are about to shatter. With the return of a figure from the past, long buried truths are forced to the surface and the price of their American dream is laid bare.

    Contact: ntlive@justuscoffee.com

  • CINEMA
    Knives Out
    Sunday February 16, 4:00p–6:10p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    On the morning after his 85th birthday party, wealthy crime novelist Harlan Thrombrey (Christopher Plummer, The Last Station) is found dead on his estate. Famed Southern detective Benoit Blanc (Daniel Craig) is enlisted on the case and suspects foul play. Everyone is a suspect and, as the reading of the will draws closer and the investigation heats up, Harlan's money-grubbing family begins to be revealed as far more conniving and competitive than they first appear. When Marta (Ana de Armas), Thrombrey's South American caregiver, finds herself entangled in the mystery, it becomes clear that no secrets are safe within the household—not even her own.

    Director Rian Johnson (The Brothers Bloom) returns with a propulsive mystery, mixing elements of Alfred Hitchcock and Agatha Christie. Exercising his sharp-witted ear for dialogue, Johnson is in top form as a writer here, serving up hilarious and eloquent material for an impeccable cast that includes Chris Evans, Jamie Lee Curtis, Michael Shannon (What They Had, The Shape of Water), Toni Collette (Little Miss Sunshine), LaKeith Stanfield (Selma), and Christopher Plummer—just to name a few. A master in blending genres, and with a keen eye for detail, Johnson employs unexpected cinematic tropes to keep the audience on their toes as the story weasels its way through twists and turns to a shocking conclusion. Irreverent, intelligent, and, most importantly, pure fun from beginning to end, Knives Out is a modern popcorn whodunit of the highest order.

    "Beyond its waspish wit, a dastardly roll-call of suspects and Daniel Craig's dapper efforts as our presiding sleuth, the film gives nothing away until the bitter end, thanks to a head-spinning tricksiness of plotting that even Agatha Christie might have conceded was rather ingenious." (Tim Robey, The Telegraph)

    "Knives Out isn't just deviously intelligent but also consistently gut-busting, and an impeccably crafted blast of Hollywood entertainment, built around several exceptional (and juicily venomous) performances." (A.A. Dowd, AV Club)

    "A delicious throwback to the all-star whodunit, this juicy comedy thriller is a treat from start to finish." (David Rooney, The Hollywood Reporter)

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

  • CINEMA
    Knives Out
    Sunday February 16, 7:00p–9:10p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    On the morning after his 85th birthday party, wealthy crime novelist Harlan Thrombrey (Christopher Plummer, The Last Station) is found dead on his estate. Famed Southern detective Benoit Blanc (Daniel Craig) is enlisted on the case and suspects foul play. Everyone is a suspect and, as the reading of the will draws closer and the investigation heats up, Harlan's money-grubbing family begins to be revealed as far more conniving and competitive than they first appear. When Marta (Ana de Armas), Thrombrey's South American caregiver, finds herself entangled in the mystery, it becomes clear that no secrets are safe within the household—not even her own.

    Director Rian Johnson (The Brothers Bloom) returns with a propulsive mystery, mixing elements of Alfred Hitchcock and Agatha Christie. Exercising his sharp-witted ear for dialogue, Johnson is in top form as a writer here, serving up hilarious and eloquent material for an impeccable cast that includes Chris Evans, Jamie Lee Curtis, Michael Shannon (What They Had, The Shape of Water), Toni Collette (Little Miss Sunshine), LaKeith Stanfield (Selma), and Christopher Plummer—just to name a few. A master in blending genres, and with a keen eye for detail, Johnson employs unexpected cinematic tropes to keep the audience on their toes as the story weasels its way through twists and turns to a shocking conclusion. Irreverent, intelligent, and, most importantly, pure fun from beginning to end, Knives Out is a modern popcorn whodunit of the highest order.

    "Beyond its waspish wit, a dastardly roll-call of suspects and Daniel Craig's dapper efforts as our presiding sleuth, the film gives nothing away until the bitter end, thanks to a head-spinning tricksiness of plotting that even Agatha Christie might have conceded was rather ingenious." (Tim Robey, The Telegraph)

    "Knives Out isn't just deviously intelligent but also consistently gut-busting, and an impeccably crafted blast of Hollywood entertainment, built around several exceptional (and juicily venomous) performances." (A.A. Dowd, AV Club)

    "A delicious throwback to the all-star whodunit, this juicy comedy thriller is a treat from start to finish." (David Rooney, The Hollywood Reporter)

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

  • Cost: $10

    Master filmmaker Zacharias Kunuk (Maliglutit (Searchers), The Journals of Knud Rasmussen, Atanarjuat: The Fast Runner) returns with One Day in the Life of Noah Piugattuk, in which a single day in an Inuk man's life represents an aspect of Canadian history that has affected generations.

    One morning in the spring of 1961, Noah Piugattuk (Apayata Kotierk, Atanarjuat: The Fast Runner, The Journals of Knud Rasmussen) begins his day like any other in Kapuivik, on Baffin Island. Slowly preparing himself for a trip to get supplies, Piugattuk sips coffee, packs supplies, and readies his dogs for the journey. Along the way, when his party stops for a rest, a lookout spots an incoming team. Piugattuk wonders who they might be and what provisions they might need.

    Once the other team arrives, Piugattuk is immediately introduced to "Boss" (Kim Bodnia; Rosewater, In a Better World), a government agent who has come to tell Piugattuk and his entire community that they must move to a settlement and put their children in school.

    The ensuing conversation—and negotiation—between Piugattuk, the government agent and members of both teams serves as the centrepiece of the film, providing a snapshot of the relationship between Canada's First Peoples and the country's colonizers. When Boss insists that Piugattuk must relocate, or else he will not receive his allowance from the government, the elder responds with incredulity. What would he or his family ever need money for?

    The fundamental disconnect between Boss and Piugattuk provides moments both poignant and humorous; the language barrier alone provides several wry asides from Piugattuk. However, the feeling of watching a moment suspended in time, knowing the weight his interaction will carry for Piugattuk—a real-life Innuk elder who lived 1900-96 and who saw firsthand the erosion of his people's language and lifestyle—imbues the film with an incredible vitality and urgency.

    "The real-time effect... is compelling as its languor and its repetitions gradually reveal the deep cultural misunderstanding that is going on." (Kate Taylor, Globe and Mail)

    "One Day in the Life of Noah Piugattuk returns its hero to his land and reasserts the values that Noah articulated so eloquently and patiently, but fell on deaf ears." (Pat Mullen, POV Magazine)

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

  • CINEMA
    The Song of Names
    Sunday February 23, 4:00p–5:53p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    With The Song of Names, acclaimed filmmaker François Girard (Boychoir) returns to the classical music milieu of his seminal The Red Violin. And like that film, The Song of Names sets personal, professional and family tragedies against sweeping historical events.

    Adapted from music critic Norman Lebrecht's acclaimed novel, The Song of Names centres on 9-year-old violin prodigy and Polish Jewish refugee Dovidl (or David, portrayed at various ages by Luke Doyle; Jonah Hauer-King; and Clive Owen, Children of Men), whose parents leave him in the care of a wealthy British benefactor at the beginning of World War II.

    David’s benefactor already has a son, Martin (portrayed at various ages by Misha Handley; Gerran Howell; and Tim Roth, Luce, Selma) who resents the special attention his new adopted brother receives, as well as his apparently limitless gift with the violin. After a rocky start to their relationship, the boys grow closer and friendship turns into brotherhood. Martin sees David’s dismay and pain grow with each day that passes without news of his family, and stories from the war grow ever more gruesome. David tries to seek solace in his Jewish faith and tradition, clinging to the bond he shares with his family from afar.

    As the boys grow into young men, David suddenly vanishes before his debut concert performance at 21, sending Martin’s father into financial ruin and splitting their family apart. Martin loses all trace of David, but he always keeps one ear to the ground for his long-lost brother. When he picks up David’s trail again, he throws caution to the wind in his search for what really tore his family apart that night.

    Featuring a luminous original score from Canadian composer Howard Shore (the man behind the iconic scores of the Lord of the Rings trilogy), The Song of Names asks us to consider how memory can be used as a tool of resistance and how community and family can bridge continents and generations.

    "Though Roth and Owen give fine performances, as do the two pairs of children who play their characters at different ages, the soundtrack is the biggest star of The Song of Names, starting with a delicate original score by Howard Shore, the Oscar-winning composer of The Lord of the Rings and much of fellow Canadian David Cronenberg’s work." (Scott Tobias, Variety)

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

  • CINEMA
    The Song of Names
    Sunday February 23, 7:00p–8:53p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    With The Song of Names, acclaimed filmmaker François Girard (Boychoir) returns to the classical music milieu of his seminal The Red Violin. And like that film, The Song of Names sets personal, professional and family tragedies against sweeping historical events.

    Adapted from music critic Norman Lebrecht's acclaimed novel, The Song of Names centres on 9-year-old violin prodigy and Polish Jewish refugee Dovidl (or David, portrayed at various ages by Luke Doyle; Jonah Hauer-King; and Clive Owen, Children of Men), whose parents leave him in the care of a wealthy British benefactor at the beginning of World War II.

    David’s benefactor already has a son, Martin (portrayed at various ages by Misha Handley; Gerran Howell; and Tim Roth, Luce, Selma) who resents the special attention his new adopted brother receives, as well as his apparently limitless gift with the violin. After a rocky start to their relationship, the boys grow closer and friendship turns into brotherhood. Martin sees David’s dismay and pain grow with each day that passes without news of his family, and stories from the war grow ever more gruesome. David tries to seek solace in his Jewish faith and tradition, clinging to the bond he shares with his family from afar.

    As the boys grow into young men, David suddenly vanishes before his debut concert performance at 21, sending Martin’s father into financial ruin and splitting their family apart. Martin loses all trace of David, but he always keeps one ear to the ground for his long-lost brother. When he picks up David’s trail again, he throws caution to the wind in his search for what really tore his family apart that night.

    Featuring a luminous original score from Canadian composer Howard Shore (the man behind the iconic scores of the Lord of the Rings trilogy), The Song of Names asks us to consider how memory can be used as a tool of resistance and how community and family can bridge continents and generations.

    "Though Roth and Owen give fine performances, as do the two pairs of children who play their characters at different ages, the soundtrack is the biggest star of The Song of Names, starting with a delicate original score by Howard Shore, the Oscar-winning composer of The Lord of the Rings and much of fellow Canadian David Cronenberg’s work." (Scott Tobias, Variety)

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

  • THEATRE
    Broken Leg Theatre - Rat-a-Tat
    Saturday February 29, 7:00p–9:00p
    Presented by Donna Holmes
    ▶ Show Details

    Cost: $10

    Tickets: At the Door or by contacting Donna at donnaholmes712@gmail.com

    On leap day come enjoy our amazing local artists performing comedy sketches, TAP dance routines, monologues, drum performances, ghost stories, and more!!!

    Broken Leg Theatre is a variety show that often features The Dead Sheep Scrolls, DanceConXion, Djugdjug Ensemble, Valley Ghost Walks, and so many other incredible performance artists, three times a year. Every show is simply amazing!! Don't miss it!

    If you'd like to be involved in Broken Leg theatre (on the stage or behind the scenes), or if you would like to reserve a $10 ticket, please contact Donna Holmes at donnaholmes712@gmail.com or check out our Facebook page at https://facebook.com/brokenlegtheatre. :O)

    Contact: donnaholmes712@gmail.com

  • CINEMA
    Tel Aviv on Fire
    Sunday March 1, 4:00p–5:40p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    One of the most irreverent cinematic spins on the Israeli–Palestinian conflict, the lat­est from writer-director Sameh Zoabi, who wrote the screenplay for The Idol, follows a fledgling soap-opera scenarist charged with concocting plot twists to suit viewers on both sides.

    A slacker sliding into middle age with little to show for it, Salam (Kais Nashif, Paradise Now) lands a production-assistant gig on Tel Aviv on Fire, a popular Palestinian evening soap for which his uncle is show-runner. A banal, offhand remark made during a shoot puts Salam in hot water with the show’s head writer but curries favour with its star (Lubna Azabal; Incendies, Paradise Now), a French diva who barely speaks Arabic. It is only Salam’s first day and he already gets promoted.

    Yet just as Salam’s prospects rise, he has a fateful encounter with Assi (Yaniv Biton), an Israeli military officer at the Ramallah checkpoint. During his interrogation of Salam—who must cross daily to get between home and his place of work—Assi sees an opportunity to influence Tel Aviv on Fire, which, in his mind, is far too unflattering to its Israeli characters. Salam has just begun life as a writer, and he is already forced to compromise his integrity—while the entire country watches flabbergasted.

    Zoabi’s ingenious satire exudes a deadpan audacity that is hard to resist, while Nashef’s outwardly unflappable middleman grounds this battle of ideologies in comic pragmatism. Films like this might not bring peace to the Middle East but making everyone laugh at the same thing feels like a step in the right direction.

    "Genial mirth and the nightmarish gloom of the Middle East do not sound like natural companions, but the droll and delightful Tel Aviv on Fire has made the impossible possible." (Kenneth Turan, Los Angeles Times)

    "This saga, for all its twists and turns, comes to a relatively neat end. Those living in the real world aren't so lucky. In the meantime, Zoabi seems to say, we can at least laugh about it." (Nora McGreevy, The Boston Globe)

    "Director Sameh Zoabi relies on the old adage that we have more in common than not, but it's a lesson that bears repeating—particularly when laughs come into it." (David Lewis, San Francisco Chronicle)

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

  • CINEMA
    Tel Aviv on Fire
    Sunday March 1, 7:00p–8:40p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    One of the most irreverent cinematic spins on the Israeli–Palestinian conflict, the lat­est from writer-director Sameh Zoabi, who wrote the screenplay for The Idol, follows a fledgling soap-opera scenarist charged with concocting plot twists to suit viewers on both sides.

    A slacker sliding into middle age with little to show for it, Salam (Kais Nashif, Paradise Now) lands a production-assistant gig on Tel Aviv on Fire, a popular Palestinian evening soap for which his uncle is show-runner. A banal, offhand remark made during a shoot puts Salam in hot water with the show’s head writer but curries favour with its star (Lubna Azabal; Incendies, Paradise Now), a French diva who barely speaks Arabic. It is only Salam’s first day and he already gets promoted.

    Yet just as Salam’s prospects rise, he has a fateful encounter with Assi (Yaniv Biton), an Israeli military officer at the Ramallah checkpoint. During his interrogation of Salam—who must cross daily to get between home and his place of work—Assi sees an opportunity to influence Tel Aviv on Fire, which, in his mind, is far too unflattering to its Israeli characters. Salam has just begun life as a writer, and he is already forced to compromise his integrity—while the entire country watches flabbergasted.

    Zoabi’s ingenious satire exudes a deadpan audacity that is hard to resist, while Nashef’s outwardly unflappable middleman grounds this battle of ideologies in comic pragmatism. Films like this might not bring peace to the Middle East but making everyone laugh at the same thing feels like a step in the right direction.

    "Genial mirth and the nightmarish gloom of the Middle East do not sound like natural companions, but the droll and delightful Tel Aviv on Fire has made the impossible possible." (Kenneth Turan, Los Angeles Times)

    "This saga, for all its twists and turns, comes to a relatively neat end. Those living in the real world aren't so lucky. In the meantime, Zoabi seems to say, we can at least laugh about it." (Nora McGreevy, The Boston Globe)

    "Director Sameh Zoabi relies on the old adage that we have more in common than not, but it's a lesson that bears repeating—particularly when laughs come into it." (David Lewis, San Francisco Chronicle)

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

  • CINEMA
    Cunningham
    Wednesday March 4, 7:00p–8:33p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    The iconic Merce Cunningham and the last generation of his dance company is stunningly profiled in Alla Kovgan's documentary, through recreations of his landmark works and archival footage of Cunningham, John Cage, Robert Rauschenberg, and more.

    Even for those who know little about dance, Merce Cunningham is a recognizable name—an iconic figure in his field. His mid–20th century collaborations with composer John Cage (his lifelong partner) and visual artist Robert Rauschenberg were central to an era of transformation. Cunningham resisted "avant-garde" or any other label. "I don't describe it. I do it," he once said.

    Now, with Cunningham, we have a chance to experience what he did. Filmmaker Alla Kovgan assembles the last generation of Cunningham dancers (led by Merce Cunningham Dance Company assistant director of choreography Jennifer Goggans) to present landmark works from the Cunningham repertoire. The film concentrates on the three decades from 1942 to 1972 when Cunningham was making his reputation. Gorgeously shot in 3D, Cunningham brings us closer to these works than any audience has ever been before. Taking an inventive approach with locations, the film places dancers in evocative backdrops such as a tunnel, a high-rise rooftop and a forest.

    These current-day performances are interlaced with archival footage of Cunningham speaking and moving. We also hear illuminating interviews with Cage, Rauschenberg and members of the original Merce Cunningham Dance Company, who endured years of rejection and outrage before they slowly won over audiences.

    "I never believed that idea that dancing was the greatest of the arts," said Cunningham. "But when it clicks, there's the rub. It becomes memorable. And one can be seduced all over again." Whether you come to Cunningham as a neophyte or an aficionado, you will leave with a rich experience of his art.

    "Here's a dance documentary that splendidly flaunts its artistic point of view, and fittingly so." (Tomris Laffly, Variety)

    "What Kovgan's utterly transporting film does, through a thoughtful and dynamic combination of curated material and new performances, is radiate the rapturous power of dance." (Sheri Linden, Hollywood Reporter)

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

  • CINEMA
    Bombshell
    Sunday March 8, 4:00p–5:48p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    "Charlize Theron comes out blazing in Bombshell. But the first thing you notice about her deep-dive performance as former Fox News host Megyn Kelly is that you don’t see Theron at all. Through voice, posture, wardrobe, and the genius prosthetic makeup of Kazu Hiro, Theron is Kelly. It’s a marvel of transformation. And it would be little more than a dazzling distraction if Theron didn’t also bring complexity to this conservative-media star who found the guts to call out her boss, Fox News CEO Roger Ailes (a superb John Lithgow; Late Night, Beatriz at Dinner, Love is Strange), for sexually harassing female journalists.

    Kelly didn’t get there first. That honor goes to her Fox colleague Gretchen Carlson—Nicole Kidman (Lion), showing righteous anger simmering beneath Carlson’s pristine blonde bob and so-called 'News Barbie' makeup. It was Carlson who sued Ailes, thereby helping to end the reign of the sleaze prophet of his time, a man who liked to bring female employees into his private office and ask them to twirl. 'Television is a visual medium,' he’d say with a leer.

    Cheers, too, for Margot Robbie (I, Tonya; Suite Française) as Fox newbie Kayla Pospisil, a composite character who represents many of the women Ailes promised to 'help' as they navigated their careers. The scene in which he demands that this evangelical Fox fan-girl raise her skirt higher and higher is more shocking than a horror movie. And Robbie, standing in for so many people who felt that taking the abuse was the only way to keep a job, cuts to the core of why women are mad as hell and not going to take it anymore.

    Bombshell portrays some women at the network as being (justifiably) afraid to rock the boat. Jess Carr (a sly Kate McKinnon), a lesbian producer, swallows her pride and her sense of identity in order to stay employed. And even Kelly is a touch slow to find her courage. In 2016, when the film begins, her star power is cemented during a presidential debate in which she throws shade at candidate Donald Trump for his debasement of women. It would take much longer for her to read the riot act to Ailes or to join the fight with Carlson, who’d been demoted at Fox for not playing Ailes’ game. Theron makes us feel the fear running through Kelly when she later throws softballs at Trump during a one-on-interview, a decision that doesn’t sit well with her husband, Doug (Mark Duplass, Safety Not Guaranteed), or her own sense of journalistic duty.

    This headline-making story continues to be told from numerous vantage points. But Bombshell rightly gives women pride of place in the gladiatorial arena. After all, it wasn’t men who finally slayed the beast. Three extraordinary actors, directed with artful purpose by Jay Roach (Trumbo) from a slashing script by Charles Randolph (The Big Short), make Bombshell an explosive piece of entertainment that also means to make a difference." (Peter Travers, Rolling Stone)

    "A superb drama about sexual harassment at Fox News." (Mick LaSalle, San Francisco Chronicle)

    "Bombshell is a scalding and powerful movie about what selling, in America, has become. The film is about selling sex, selling a candidate, selling yourself, selling the truth. And about how at Fox News all those things come together." (Owen Gleiberman, Variety)

    "Bombshell belongs to its three main female stars. It's their fierce, finely shaded performances that transcend the film's drab visual style and drier episodic moments—not just by speaking truth to power, but by confronting the audience's own ideas of who the right to do that belongs to." (Leah Greenblatt, Entertainment Weekly)

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

  • CINEMA
    Bombshell
    Sunday March 8, 7:00p–8:48p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    "Charlize Theron comes out blazing in Bombshell. But the first thing you notice about her deep-dive performance as former Fox News host Megyn Kelly is that you don’t see Theron at all. Through voice, posture, wardrobe, and the genius prosthetic makeup of Kazu Hiro, Theron is Kelly. It’s a marvel of transformation. And it would be little more than a dazzling distraction if Theron didn’t also bring complexity to this conservative-media star who found the guts to call out her boss, Fox News CEO Roger Ailes (a superb John Lithgow; Late Night, Beatriz at Dinner, Love is Strange), for sexually harassing female journalists.

    Kelly didn’t get there first. That honor goes to her Fox colleague Gretchen Carlson—Nicole Kidman (Lion), showing righteous anger simmering beneath Carlson’s pristine blonde bob and so-called 'News Barbie' makeup. It was Carlson who sued Ailes, thereby helping to end the reign of the sleaze prophet of his time, a man who liked to bring female employees into his private office and ask them to twirl. 'Television is a visual medium,' he’d say with a leer.

    Cheers, too, for Margot Robbie (I, Tonya; Suite Française) as Fox newbie Kayla Pospisil, a composite character who represents many of the women Ailes promised to 'help' as they navigated their careers. The scene in which he demands that this evangelical Fox fan-girl raise her skirt higher and higher is more shocking than a horror movie. And Robbie, standing in for so many people who felt that taking the abuse was the only way to keep a job, cuts to the core of why women are mad as hell and not going to take it anymore.

    Bombshell portrays some women at the network as being (justifiably) afraid to rock the boat. Jess Carr (a sly Kate McKinnon), a lesbian producer, swallows her pride and her sense of identity in order to stay employed. And even Kelly is a touch slow to find her courage. In 2016, when the film begins, her star power is cemented during a presidential debate in which she throws shade at candidate Donald Trump for his debasement of women. It would take much longer for her to read the riot act to Ailes or to join the fight with Carlson, who’d been demoted at Fox for not playing Ailes’ game. Theron makes us feel the fear running through Kelly when she later throws softballs at Trump during a one-on-interview, a decision that doesn’t sit well with her husband, Doug (Mark Duplass, Safety Not Guaranteed), or her own sense of journalistic duty.

    This headline-making story continues to be told from numerous vantage points. But Bombshell rightly gives women pride of place in the gladiatorial arena. After all, it wasn’t men who finally slayed the beast. Three extraordinary actors, directed with artful purpose by Jay Roach (Trumbo) from a slashing script by Charles Randolph (The Big Short), make Bombshell an explosive piece of entertainment that also means to make a difference." (Peter Travers, Rolling Stone)

    "A superb drama about sexual harassment at Fox News." (Mick LaSalle, San Francisco Chronicle)

    "Bombshell is a scalding and powerful movie about what selling, in America, has become. The film is about selling sex, selling a candidate, selling yourself, selling the truth. And about how at Fox News all those things come together." (Owen Gleiberman, Variety)

    "Bombshell belongs to its three main female stars. It's their fierce, finely shaded performances that transcend the film's drab visual style and drier episodic moments—not just by speaking truth to power, but by confronting the audience's own ideas of who the right to do that belongs to." (Leah Greenblatt, Entertainment Weekly)

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

  • CINEMA
    Dolor y gloria (Pain and Glory)
    Wednesday March 11, 7:00p–8:53p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    Pedro Almodóvar (Julieta, Broken Embraces, Volver) returns with this emotional and visually engaging story of an acclaimed filmmaker whose reflections on the past bring him closer to the truth of the present.

    Salvador Mallo (Antonio Banderas) is a veteran Spanish filmmaker who suffers from both physical and mental ailments, as well as a creative drought. When the Madrid cinematheque invites Salvador to participate in a Q&A for a retrospective of his earlier work, he decides to reconnect with the film’s drug-addled star, Alberto Crespo (Asier Etxeandia), whom he has not spoken to in 30 years.

    Upon their reunion, Salvador learns that Alberto is still abusing drugs in order to keep the creative juices flowing. On a whim, Salvador decides to try heroin for the first time. As he continues to chase the high, he sinks deeper into the past, reflecting on a series of firsts: his first taste of cinema, his first desire for men, his first partner, Alberto, and his first love—his mother, Jacinta (Penélope Cruz, Everybody Knows, Broken Embraces). Almodóvar seamlessly uses flashbacks to move us through past and present, boyhood and manhood, memories and visions, cinema and reality, as Salvador comes closer to his sense of identity. In keeping with his aes­thetic, Almodóvar uses rich colours and slow, drawn-out sequences to pull us in and explore themes of intimacy, dysfunctional families, and sexual complexity.

    The director’s most personal work to date, Pain and Glory competed for the Palme d’Or at the 2019 Cannes Film Festival, where Banderas took home the award for Best Actor and Alberto Iglesias won for Best Soundtrack. This film is a must-see for this year’s awards season.

    "A beautiful, full-hearted celebration of the craft of filmmaking." (Bradley Warren, The Playlist)

    "This is an especially personal work, anchored by the director’s on-off muse Antonio Banderas in perhaps his greatest performance and sweeps through the Spanish maestro’s recurrent themes: high melodrama and kitsch comedy, piety and carnal lust, sex and death, human pain and transcendent glory." (Ed Frankl, The Film Stage)

    "As ever, Almodóvar has made a film about pleasure, which is itself a pleasure: witty, intelligent and sensuous." (Peter Bradshaw, The Guardian)

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

  • CINEMA
    Ordinary Love
    Sunday March 22, 4:00p–5:32p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    Liam Neeson and Lesley Manville star as a long-standing couple facing a potentially life-changing cancer diagnosis, in this drama scripted by Northern Irish playwright Owen McCafferty.

    Although his electrifying action roles made him a global icon, Liam Neeson (Kinsey) never stopped making the potent dramas that first brought him to notice. And though Lesley Manville (Mr. Turner, Another Year) won a whole new audience with her scissor-sharp performance in Phantom Thread, her work with Mike Leigh long ago proved the depth of her abilities on screen. Ordinary Love brings these two master actors together for the first time as their characters navigate one of the most high-stakes gambits imaginable: marriage. Joan (Manville) and Tom (Neeson) are a long-married couple, with their set habits, cozy bickering and assumption of a long walk together into the sunset. But when Joan discovers a lump in her breast, it soon becomes clear that cancer will radically change each of them and their relationship. As she enters the cold, uncertain process of medical treatment, their habits are ruptured and that cozy bickering explodes to reveal the long-buried truths of their marriage.

    Working from Owen McCafferty's wise, observant screenplay, directors Lisa Barros D'Sa and Glenn Leyburn show the heartbreak that comes with what Joan and Tom must go through and they do so with clarity and tenderness. Manville's Joan is a mature woman who has made her accommodations with life but is unprepared to face this potentially terminal illness. Neeson plays Tom as a man more comfortable showing rather than speaking his love. Their big date during her treatment and one simple scene where Tom cuts Joan's hair, illuminate the depth of love that unites this couple, even as they face the ultimate test.

    "As quiet and thoughtfully composed as a Dutch master's painting, Ordinary Love uses clean lines and well observed tiny details to build up a deeply moving, nuanced portrait of a marriage under strain after a cancer diagnosis." (Leslie Felperin, The Hollywood Reporter)

    "An achingly intimate portrait of a marriage weathering a storm ... what shines is the combination of Owen McCafferty’s stingingly honest screenplay and the two lovely, emotionally textured central performances." (Wendy Ide, Screen International)

    "Anchored by great performances from Liam Neeson and especially Lesley Manville, Ordinary Love is alive to the feelings and moments other hospital dramas overlook. Its accumulation of details forms a shattering whole." (Ian Freer, Empire)

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

  • CINEMA
    Ordinary Love
    Sunday March 22, 7:00p–8:32p
    Presented by Fundy Cinema
    ▶ Show Details

    Cost: $10

    Liam Neeson and Lesley Manville star as a long-standing couple facing a potentially life-changing cancer diagnosis, in this drama scripted by Northern Irish playwright Owen McCafferty.

    Although his electrifying action roles made him a global icon, Liam Neeson (Kinsey) never stopped making the potent dramas that first brought him to notice. And though Lesley Manville (Mr. Turner, Another Year) won a whole new audience with her scissor-sharp performance in Phantom Thread, her work with Mike Leigh long ago proved the depth of her abilities on screen. Ordinary Love brings these two master actors together for the first time as their characters navigate one of the most high-stakes gambits imaginable: marriage. Joan (Manville) and Tom (Neeson) are a long-married couple, with their set habits, cozy bickering and assumption of a long walk together into the sunset. But when Joan discovers a lump in her breast, it soon becomes clear that cancer will radically change each of them and their relationship. As she enters the cold, uncertain process of medical treatment, their habits are ruptured and that cozy bickering explodes to reveal the long-buried truths of their marriage.

    Working from Owen McCafferty's wise, observant screenplay, directors Lisa Barros D'Sa and Glenn Leyburn show the heartbreak that comes with what Joan and Tom must go through and they do so with clarity and tenderness. Manville's Joan is a mature woman who has made her accommodations with life but is unprepared to face this potentially terminal illness. Neeson plays Tom as a man more comfortable showing rather than speaking his love. Their big date during her treatment and one simple scene where Tom cuts Joan's hair, illuminate the depth of love that unites this couple, even as they face the ultimate test.

    "As quiet and thoughtfully composed as a Dutch master's painting, Ordinary Love uses clean lines and well observed tiny details to build up a deeply moving, nuanced portrait of a marriage under strain after a cancer diagnosis." (Leslie Felperin, The Hollywood Reporter)

    "An achingly intimate portrait of a marriage weathering a storm ... what shines is the combination of Owen McCafferty’s stingingly honest screenplay and the two lovely, emotionally textured central performances." (Wendy Ide, Screen International)

    "Anchored by great performances from Liam Neeson and especially Lesley Manville, Ordinary Love is alive to the feelings and moments other hospital dramas overlook. Its accumulation of details forms a shattering whole." (Ian Freer, Empire)

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