April 21 - 27
- Sunday
- Monday
- Tuesday
- Wednesday
- Thursday
- Friday
- Saturday
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THEATRE
April 28 - May 4
- Sunday
- Monday
- Tuesday
- Wednesday
- Thursday
- Friday
- Saturday
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CINEMA - CINEMA
- THEATRE
ALL UPCOMING EVENTS
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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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THEATRE
Dancing Once Upon A Time
Saturday April 27, 3:00p–4:30p
Presented by Tir na nOg Dance Academy
▶ Show DetailsCost: $10 advance
$15 doorTickets: Box of Delights Bookshop, Main Street, Wolfville
A captivating performance of fairy tales like you've never seen before!
Brought to life to celebrate Tir na nOg Irish Dance Academy's 20th Year!
Watch as stories like; 'The Three Billy Goats Gruff' and 'Little Red Riding Hood' unfold through Irish Dance.
Your family will be amazed and inspired as dancers of many ages and levels showcase their talents through characters with; strength, innocents, fright, confidence, cleverness, and more.Contact: info@valleyirish.com | 902.691.0719
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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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Cost: $10
Once again defying a filmmaking ban set by his home nation of Iran, Jafar Panahi (Taxi, This Is Not a Film) directs and stars in Three Faces, a thoughtful exploration of three Iranian women at different points in their acting careers.
Marziyeh Rezaie (appearing as herself) is an aspiring actor whose parents have refused to let her attend a prestigious acting conservatory in Tehran, where she has recently been accepted. After famous actor Behnaz Jafari (also appearing as herself) receives a video from Rezaie pleading for help, Jafari and Panahi set off on a road trip to a small village outside Tehran to look for her. On their journey together, the two learn about Shahrazade, a former dancer and actor who, after experiencing years of harsh treatment by film directors, has taken to living as a recluse and encouraging young girls to seek independence.
As in his previous films, Panahi creates an undercurrent of dark humour as he approaches difficult and sometimes harsh realities from a humanistic perspective. Throughout the film, the central theme of challenging traditional gender roles—especially those involving female independence—is at the forefront of the journey of each of the three subjects. Despite their differences in age, circumstance and aspirations, the women we encounter in Three Faces hold a common ground in their determination to be heard and their resourcefulness in fighting for their own liberation.
"Three Faces is typical of the canny director's output in the way it's modest but profound, leisurely but urgent, a portrait of a country disguised as a meandering road movie." (Steve Pond, TheWrap)
"3 Faces may be modest and low-key on the surface, but its surprises are worth preserving, its insights casually profound." (Justin Chang, Los Angeles Times)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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Cost: $10
Adolescents face enormous pressure to make life-defining decisions every day and they want to lock in their identities sooner rather than later. All of this pressure is exacerbated by physical and social changes.
Franky (Josh Wiggins), the hero of Keith Behrman's exquisite and generous Giant Little Ones, is under more pressure than most. His life was altered when his father (Kyle MacLachlan, Mao's Last Dancer) left his mother (Maria Bello, The Jane Austen Book Club) for a man. Franky is left embarrassed, confused, and feeling like he has to decide his sexuality right away to avoid the disruption he blames his father for.
Determined to hide his uncertainty from his best friend and his girlfriend, Franky does not realize he is not the only one who does not know where he stands. When a wild party ends up in a way none of them could or would have dreamed Franky and his friends are forced to decide what kind of people they want to be.
Giant Little Ones is a sensitive and touching look at that point in adolescence when freedom is both intoxicating and terrifying—and feelings are both elegiac and erotic. It is driven by extraordinary young talents as well as great work by veterans MacLachlan, Bello and Peter Outerbridge and the subtle, evocative directorial touch of Behrman, whose Flower & Garnet won the 2002 Canadian Screen Award for Best First Feature.
"Writer/director Keith Behrman knows exactly what he’s doing when introducing a variety of people along the sexuality spectrum in his latest film Giant Little Ones. He’s intentionally flooding his canvas so that we have no choice but to accept them all rather than turn our focus onto just one." (Jared Mobarak, The Film Stage)
"The film belongs to Wiggins, who brings an openness and sincerity to Franky's struggles that help suggest to what extent his character's specific story has elements that everybody will be able to relate to." (Boyd van Hoeij, The Hollywood Reporter)
"Sensitive performances, mature and self-assured direction, and understated writing make Keith Behrman’s Giant Little Ones an emotionally involving, above-average coming-of-age story with a profound impact and mercifully few clichés." (Rex Reed, Observer)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
Invisible Essence: The Little Prince
Wednesday May 8, 7:00p–8:30p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
"First published in 1943 the novella The Little Prince by Antoine de Saint-Exupéry is one of the bestselling books of all time. The short tale of a child—the little prince—who travels the universe gaining wisdom still sells almost 200 millions copies a year. Invisible Essence: The Little Prince, a new film from director Charles Officer, attempts to dissect the books popularity from an academic, artistic and global perspective.
Invisible Essence: The Little Prince mixes talking heads, including The New Yorker’s Adam Gopnik, poet Rupi Kaur, filmmaker Mark Osborne, St-Exupéry biographer Stacy Schiff and the author’s great nephew and nephew Olivier and François d’Agay, with the touching story of a seven year-old blind Pakistani-Canadian boy who learns about the fable’s famous line, 'what is essential is invisible to the eye' to grasp the book’s fundamental message of respect for humanity.
The new documentary footage is underscored by excerpts from a 1974 audio adaptation of the story starring Richard Burton and Jonathan Winters, clips from Osborne’s animated feature, a live action feature from director Stanley Donen and scenes from Guillaume Côté’s 2016 production at the National Ballet of Canada.
The result is a deep dive not only into the book but, just as importantly, the influence the book has had on several generations of artists and readers. It essays how imagination and inspiration are inextricably linked, and how both, plus a love of aviation fuelled Saint-Exupéry’s creation of The Little Prince." (Richard Crouse)
"Charles Officer’s Invisible Essence: The Little Prince is a gentle, loving consideration of the legacy of Antoine de Saint-Exupéry’s beloved book." (Norman Wilner, NOW Magazine)Contact: info@fundycinema.ca | (902) 542-1050
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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 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.
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 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.
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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OTHER
Should Have Pushed Harder: Red Carpet Gala Premiere
Saturday May 11, 7:00p–8:00p
Presented by Emily Ellis
▶ Show DetailsCost: Donation
Red Carpet Gala Screening:
Visionary director Emily Ellis will present her latest short film "Should Have Pushed Harder" [Truly a masterpiece] [absolutely breathtaking]
May 11th, 7:00pm
Al Whittle Theatre
Q&A and refreshments to follow.
Suggested Donation $3.00-$5.00Contact: emily.ellis1797@gmail.com | +1 3065773144
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CINEMA
Den skyldige (The Guilty)
Sunday May 12, 7:00p–8:25p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
"Only a few minutes into The Guilty, hints are dropped that strong, sharp-jawed Asger (Jakob Cedergren, The Journals of Knud Rasmussen) isn’t the sympathetic ear you’d typically find on the other end of a 911 call. 'It's your own fault, isn't it?' he chides one inebriated caller. A police officer who has been removed from the beat for reasons only gradually implied, Asger’s psychological fuse is evidently on the short side—only one of several contributing sources of tension in this tightly wound thriller.
Asger snaps to attention, however, when he takes an initially cryptic call from Iben (Jessica Dinnage, never seen but a shivery, affecting vocal prescence), a young mother of two, insinuating that she's been kidnapped by her volatile ex-husband. Her call, made from the van in which he's driving her to an unknown destination, triggers some fast-on-his-fingers detective work from Asger, as he simultaneously attempts to pinpoint her moving location and backtrack to the possible circumstances of her abduction.
The Guilty—the loaded title of which can be applied to multiple characters—deftly braids its storylines, gradually cluing us into Asger’s personal and professional crises, even as the situation at hand spirals out of his deskbound control. The film operates as both a procedural thriller and a slower-burning character study, with Cedergren carrying the whole with tight-nerved physical and vocal intensity." (Guy Lodge, Variety)
"Thanks to Möller’s staging, a script full of twists, and a compelling performance from lead actor Jakob Cedergren, it’s a riveting, nerve-racking surprise—and it has a few things to say about how even the best intentions can lead to disturbing abuses of power." (Bryan Bishop, The Verge)
"Despite focusing entirely on a single individual speaking into a headset in a Danish emergency call center, The Guilty nevertheless emerges as a twisty crime thriller that’s every bit as pulse-pounding and involving as its action-oriented, adrenaline-soaked counterparts." (Michael Rechtshaffen, The Hollywood Reporter)
"The Guilty beautifully demonstrates how people can act with absolute conviction even when they don’t have the full picture of a situation, and the monstrousness this can in turn lead to. And if that doesn’t speak to our time, then I don’t know what does." (Bilge Ebiri, Village Voice)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
From director Todd Douglas Miller comes a cinematic event fifty years in the making. Crafted from a newly discovered trove of 65mm footage and more than 11,000 hours of uncatalogued audio recordings, Apollo 11 takes us straight to the heart of NASA's most celebrated mission—the one that first put men on the moon, and forever made Neil Armstrong and Buzz Aldrin into household names. Immersed in the perspectives of the astronauts, the team in Mission Control, and the millions of spectators on the ground, we vividly experience those momentous days and hours in 1969 when humankind took a giant leap into the future.
Miller and team were working closely with NASA and the National Archives (NARA) to locate all existing Apollo 11 footage when NARA staff members made a startling discovery that changed the course of the project: an unprocessed collection of 65mm large format footage, never before seen by the public, containing stunning shots of the launch, the inside of Mission Control, and recovery and post-mission activities. The footage was so pristine and the find so significant that the project evolved beyond filmmaking into one of film curation and historic preservation.
The other unexpected find was a massive cache of audio recordings—more than 11,000 hours—made by two custom recorders which captured individual tracks from 60 key mission personnel throughout every moment of the mission. Apollo 11 film team members created code to restore the audio and make it searchable, then began the multi-year process of listening to and documenting the recordings, an effort that yielded remarkable new insights into key events of the mission as well as surprising moments of humour and camaraderie.
Constructed entirely from archival materials and eschewing talking heads, Apollo 11 captures the enormity of the event by giving audiences of all ages the direct experience of being there. When John F. Kennedy pledged in 1962 to put Americans on the moon by the end of the decade, he described it as a bold act of faith and vision. Apollo 11 bears witness to the culmination of that pledge, when America and the world came together in an extraordinary act of unity and resolve, to achieve one of the greatest and most complex feats in human history.
"Subtly, the film draws you into the science. You’ll be nervously eyeballing ticking velocity numbers in the corner of the screen. But always, Apollo 11 is about people working together in a single-minded spirit of peaceful ambition." (Joshua Rothkopf, Time Out)
"The result is a stunning project of historical preservation—no narration, no cutaway interviews, no recreations, just original material synced with some music and the occasional diagram." (Adrian Horton, The Guardian)
"This meticulously conceived documentary is both a definitive account of the voyage as well as a creative, cinematic you-are-there unfolding of the events that transpired." (Anthony Kaufman, Screen International)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
"In Madeleine Olnek’s Wild Nights With Emily, the life and work of Emily Dickinson are subject to a delightfully droll—even gay—reinterpretation. For believers in the legend of the hermetic poet who never left her bedroom, it may come as a surprise that the Emily (Molly Shannon, Me and Earl and the Dying Girl) of Olnek’s film is not a melancholic recluse, but the heroine of a romantic comedy.
Olnek’s version of events is supported by studies of Dickinson's poems which revealed that references to possible lovers were covered up. Historians debate the meaning of such findings, but Olnek’s film is free of equivocation. Her Emily is a woman who loves women, and her film details one version of how her life might have differed from her legacy.
The film is largely narrated by Mabel Todd (Amy Seimetz), who assembled and edited the first posthumous collection of Dickinson’s poetry. A faithless reader—and, notably, the mistress of Emily’s brother—Mabel erases Emily’s dashes and scrubs out the poet’s loving dedications to her sister-in-law, Susan Gilbert (Susan Ziegler). As Mabel presents a sanitized version of Emily, Olnek undercuts her account with scenes of Emily and Susan in love, in bed and in correspondence.
The tension between what we see and what we hear of Emily’s life provides the film with much of its levity. As the gaudy, pink-clad and ill-tailored Mabel delivers her chaste accounts of the Dickinson household, Olnek gleefully cuts to scenes of petticoats and hoop skirts akimbo. This is an irreverent film, but its lightness is meaningful. With each silly flourish, Olnek offers joy and companionship to a figure whose history was more conveniently presented to generations of readers as solitary." (Teo Bugbee, The New York Times)
"Molly Shannon is brilliant and warm as the literary icon." (Jude Dry, IndieWire)
"This is a great example of Olnek's style. It's respectful, but it's also alive. It's serious, but it's also tongue-in-cheek. Olnek's approach gives Emily room to breathe. At last." (Sheila O'Malley, RogerEbert.com)
"The film’s playful tone is a corrective to a century of scholarship that insisted on projecting the image of a moody spinster onto Emily Dickinson." (Pat Brown, Slant Magazine)Contact: info@fundycinema.ca | (902) 542-1050
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THEATRE
The Tempest by William Shakespeare
Friday May 31, 7:00p–9:45p
Presented by Just Us! Coffee Roasters Co-op
▶ Show DetailsCost: $15 available at the door from 6pm
In Shakespeare’s great drama of loss and reconciliation, a long-deposed ruler uses magical arts to bring within her power the enemies who robbed her of her throne and marooned her on a remote island. But what revenge does she mean to take?
Prof. Anthony Harding of Acadia Lifelong LearningContact: ntlive@justuscoffee.com
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CINEMA
Unga Astrid (Becoming Astrid)
Sunday June 23, 7:00p–9:03p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
"Long before she found fame with the 'Pippi Longstocking' series, the Swedish children's author Astrid Lindgren had an unplanned pregnancy that changed her life. In Becoming Astrid, the Danish director Pernille Fischer Christensen uses that formative event as a fulcrum, building a lightly fictionalized portrait of the young Lindgren (played by Alba August) from its emotional and practical fallout.
We meet her in the 1920s, a strong-willed, spirited teenager whose quirky personality demands an escape from the small village in rural Sweden where her religious family farms on church land. The shame of the pregnancy means banishment—and liberation—to secretarial school in Stockholm, where her choice seems to be between an unwise marriage or a life without her child. It will take all her resolve to choose neither.
In many respects, Becoming Astrid is your standard biographical drama, its familiar beats untroubled by narrative daring or stylistic surprises. But Erik Molberg Hansen’s relaxed camera movements and fuzzy-soft compositions are quite beautiful, and the performances—including the superb Trine Dyrholm (Love is All You Need, A Royal Affair) as the baby’s Danish foster mother—are pitch-perfect. Best of all is the magnetic August, whose open, mobile features can slide from plain to lovely with just a shift in the light and whose embrace of the character is a joy to watch.
Bracketed by scenes filled with the voices of children as the aging Lindgren reads her fan mail, Becoming Astrid transforms teenage trauma into the wellspring of a lifelong gift." (Jeannette Catsoulis, The New York Times)
"Throughout Becoming Astrid, August acquits herself brilliantly; the woman we come to know is a tangle of impulses and qualities, and feels vibrantly alive." (Michael Phillips, Chicago Tribune)
"This film about an exemplary woman, made by women, is as much a pleasure as it is a lesson." (Glenn Kenny, RogerEbert.com)Contact: info@fundycinema.ca | (902) 542-1050
