January 13 - 19
- Sunday
- Monday
- Tuesday
- Wednesday
- Thursday
- Friday
- Saturday
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CINEMA
January 20 - 26
- Sunday
- Monday
- Tuesday
- Wednesday
- Thursday
- Friday
- Saturday
- CINEMA
- CINEMA CINEMA
ALL UPCOMING EVENTS
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CINEMA
The Madness of George III
Friday January 18, 7:00p–10:00p
Presented by Just Us! Coffee Roasters Co-op
▶ Show DetailsCost: $15 at the door.
It’s 1786 and King George III is the most powerful man in the world. But his behaviour is becoming increasingly erratic as he succumbs to fits of lunacy. With the King’s mind unravelling at a dramatic pace, ambitious politicians and the scheming Prince of Wales threaten to undermine the power of the Crown, and expose the fine line between a King and a man.
Written by one of Britain’s best-loved playwrights Alan Bennett, this epic play was also adapted into a BAFTA Award-winning film following its premiere on stage in 1991.
The cast of this new production includes Olivier Award-winners Mark Gatiss (Sherlock, Wolf Hall) in the title role.Contact: ntlive@justuscoffee.com
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Cost: $10
"At Eternity’s Gate, a transporting drama about Vincent van Gogh’s tumultuous, fervid, and artistically possessed last days, is a movie that channels the evanescent glow of Van Gogh’s being as if it were lightning in a bottle. Set during the time that Van Gogh spent in Arles, where he at one point completed 75 paintings in 80 days, it’s a flowingly intuitive and celebratory biopic, a bursting sunflower of a movie.
The film’s vision of van Gogh is honest and incisive and, at the same time, unabashedly romantic. Director (and painter) Julian Schnabel (The Diving Bell And The Butterfly) pays tribute to the founding visionary of modern art, a painter who inflected 19th-century landscapes and people and objects with 20th-century delirium, and weaves a complicated vision of Van Gogh’s joy into the tapestry of his fabled unhappiness.
Vincent, portrayed with luminous intensity and power by Willem Dafoe (The Florida Project, The Grand Budapest Hotel), is a man literally in love with the world—with the transcendence of nature. When he arrives in the country town of Arles, he knows he’s home. He has found the source of the light. Schnabel’s camera follows Van Gogh as he wanders through the rippling wheat fields, a wooden easel on his back, or sprinkles earth on his face, or stands in tall stalks, arms outstretched, wearing a smile of heaven as he lets nature’s bliss flow through him.
Vincent’s inner pain is that he knows he’s an artist of the future. He has glimpsed the world that’s coming—the world of the senses, of the here and now, made divine and tactile and flushed with the madness of colour—and the movie suggests that one of the reasons he leaves this earth too early is that he can hardly wait to see the future." (Owen Gleiberman, Variety)
"Schnabel fuses form and content in a way that’s rarely attempted and even more rarely achieved; in risking the same derision with which Van Gogh was sometimes met, he transcends the limitations of the conventional biopic and creates something that feels genuinely new." (Michael Nordine, IndieWire)
"Schnabel creates a natural, immersive motion picture that conveys the experience of being, living with, and painting like Vincent van Gogh." (William Bibbiani, TheWrap)
"Schnabel’s dream portrait of Van Gogh is made whole by its star, Willem Dafoe, whose radiant intensity fills every corner of the film." (Stephanie Zacharek, Time)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
"At Eternity’s Gate, a transporting drama about Vincent van Gogh’s tumultuous, fervid, and artistically possessed last days, is a movie that channels the evanescent glow of Van Gogh’s being as if it were lightning in a bottle. Set during the time that Van Gogh spent in Arles, where he at one point completed 75 paintings in 80 days, it’s a flowingly intuitive and celebratory biopic, a bursting sunflower of a movie.
The film’s vision of van Gogh is honest and incisive and, at the same time, unabashedly romantic. Director (and painter) Julian Schnabel (The Diving Bell And The Butterfly) pays tribute to the founding visionary of modern art, a painter who inflected 19th-century landscapes and people and objects with 20th-century delirium, and weaves a complicated vision of Van Gogh’s joy into the tapestry of his fabled unhappiness.
Vincent, portrayed with luminous intensity and power by Willem Dafoe (The Florida Project, The Grand Budapest Hotel), is a man literally in love with the world—with the transcendence of nature. When he arrives in the country town of Arles, he knows he’s home. He has found the source of the light. Schnabel’s camera follows Van Gogh as he wanders through the rippling wheat fields, a wooden easel on his back, or sprinkles earth on his face, or stands in tall stalks, arms outstretched, wearing a smile of heaven as he lets nature’s bliss flow through him.
Vincent’s inner pain is that he knows he’s an artist of the future. He has glimpsed the world that’s coming—the world of the senses, of the here and now, made divine and tactile and flushed with the madness of colour—and the movie suggests that one of the reasons he leaves this earth too early is that he can hardly wait to see the future." (Owen Gleiberman, Variety)
"Schnabel fuses form and content in a way that’s rarely attempted and even more rarely achieved; in risking the same derision with which Van Gogh was sometimes met, he transcends the limitations of the conventional biopic and creates something that feels genuinely new." (Michael Nordine, IndieWire)
"Schnabel creates a natural, immersive motion picture that conveys the experience of being, living with, and painting like Vincent van Gogh." (William Bibbiani, TheWrap)
"Schnabel’s dream portrait of Van Gogh is made whole by its star, Willem Dafoe, whose radiant intensity fills every corner of the film." (Stephanie Zacharek, Time)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
"In his deeply personal black-and-white marvel Roma, Alfonso Cuarón (Children of Men) unhurriedly observes the smallest parts first, before expanding to gradually reveal the social and political canvas of 1970s Mexico City. A sober and autobiographical elegy about his childhood and the women who raised him (one hardworking live-in maid in particular), Roma coalesces around episodic recollections, filmed with visual conviction.
The domestic helper at the heart of the story is the gentle-natured Cleo (talented newcomer Yalitza Aparicio), who works for the affectionate but occasionally livid Sofia (Marina de Tavira, terrific and understated) and the rest of her family. Through transfixing long takes, Cuarón honours Cleo’s unsung rituals: cleaning, looking after Sofia’s four children whom she loves like her own, interacting with her best friend and co-worker Adela, going on movie dates with her self-absorbed boyfriend, and so on.
At first, the lives of Cleo and Sofia run on parallel yet detached lines, save for regular household interactions and cozy evenings spent in front of the tv, where Cleo is treated as part of the family. But when a marital separation and an unwanted pregnancy upset the lives of the two women, their fates cross paths in a real sense for the first time. And, as the world around their newfound female solidarity slowly crumbles—with earthquakes, wildfires, violent political demonstrations and one especially traumatic episode of unimaginable grief, filmed with unwavering empathy—Roma’s physical and emotional scope grows and deepens.
Cuarón demands that you savour each of his frames, scanning the corners of the screen for small but significant details, intensified by a surround sound that further enhances the film’s immersive nature. In his personal journey down memory lane, Cuarón examines Cleo’s life in respectful tribute. A richly textured masterpiece, Roma is cinema at its purest and most human." (Tomriss Laffly, Time Out)
"Roma is by far the most experimental storytelling in a career filled with audacious (and frequently excessive) gimmicks. Here, he tables the showiness of Children of Men and Gravity in favor of ongoing restraint, creating a fresh kind of intimacy. Like a grand showman working overtime to tone things down, he lures viewers into an apparently straightforward scene, only to catch them off guard with new information." (Eric Kohn, IndieWire)
"At times it feels novelistic, a densely realised, intimate drama giving us access to domestic lives developing in what feels like real time. In its engagingly episodic way, it is also at times like a soap opera or telenovela. And at other times it feels resoundingly like an epic." (Peter Bradshaw, The Guardian)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
Night of Adventure 6.3
Wednesday January 23, 8:00p
Presented by Brad Farquhar
Studio-Z
▶ Show DetailsCost: Free
Contact: greeneradventures@gmail.com | 9026989364
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CINEMA
An Audience of Chairs
Sunday January 27, 4:00p–5:33p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
Maura Mackenzie (Carolina Bartczak) believes the world is hers to conquer. With her career as a concert pianist gaining momentum, it seems her beauty and talent will be strong enough to mask the demons that threaten to engulf her. But with an absent husband (Christopher Jacot) and two young daughters at home, her precarious sanity begins to unravel until one summer day, burning with manic energy, she makes a terrible mistake—a mistake that will change her life forever.
The consequences for Maura are catastrophic: her ambitious husband runs for his life, taking the children with him, leaving Maura to lapse into a full-scale breakdown. Life as she knew it is over. With the help of her father, Ian (Peter MacNeill, The Stone Angel), Maura works to reclaim her life and waits for a miracle to bring her daughters home. But when the fates align, can the past be forgiven?
Directed by Deanne Foley, this universal story of the redemptive power of a mother's love is adapted from the popular, award-winning novel, An Audience of Chairs by Joan Clark. The film picked up four awards at the Atlantic International Film Festival (2018) including Best Atlantic Feature and Best Atlantic Director.Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
An Audience of Chairs
Sunday January 27, 7:00p–8:33p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
Maura Mackenzie (Carolina Bartczak) believes the world is hers to conquer. With her career as a concert pianist gaining momentum, it seems her beauty and talent will be strong enough to mask the demons that threaten to engulf her. But with an absent husband (Christopher Jacot) and two young daughters at home, her precarious sanity begins to unravel until one summer day, burning with manic energy, she makes a terrible mistake—a mistake that will change her life forever.
The consequences for Maura are catastrophic: her ambitious husband runs for his life, taking the children with him, leaving Maura to lapse into a full-scale breakdown. Life as she knew it is over. With the help of her father, Ian (Peter MacNeill, The Stone Angel), Maura works to reclaim her life and waits for a miracle to bring her daughters home. But when the fates align, can the past be forgiven?
Directed by Deanne Foley, this universal story of the redemptive power of a mother's love is adapted from the popular, award-winning novel, An Audience of Chairs by Joan Clark. The film picked up four awards at the Atlantic International Film Festival (2018) including Best Atlantic Feature and Best Atlantic Director.Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
The Great Buster celebrates the life and career of Buster Keaton, one of America’s most influential and celebrated filmmakers and comedians whose singular style and fertile output during the silent era created his legacy as a true cinematic visionary. Filled with stunningly restored archival material from the Cohen Film Classics library, The Great Buster is directed by actor, filmmaker and cinema historian Peter Bogdanovich.
The Great Buster chronicles Buster Keaton’s beginnings on the vaudeville circuit—as part of his parents' act—and the development of his trademark physical comedy and deadpan expression that earned him the lifelong moniker of "The Great Stone Face," which culminated in his career-high years as the director, writer, producer and star of his own short films and features. Interspersed throughout are interviews with nearly two-dozen collaborators, filmmakers, performers and friends, including Mel Brooks, Quentin Tarantino, Werner Herzog, Dick van Dyke and Johnny Knoxville, who discuss Keaton’s influence on modern comedy and cinema itself.
Bogdanovich's documentary also covers the loss of artistic independence and career decline that marked Buster Keaton's later years when he was reduced to popping up in '60s teen beach-blanket movies and TV commercials. But The Great Buster ends on a high note with an overview of Buster Keaton’s extraordinary output from 1923 to 1929, which yielded 10 remarkable feature films (including 1926's The General and 1928's Steamboat Bill, Jr.) that immortalized him as one of the greatest actor-filmmakers in the history of cinema.
"Any doubters are advised to see this movie, then treat themselves to a viewing of The General. Case closed." (Walter V. Addiego, San Francisco Chronicle)
"The Great Buster is a solid primer on what made Keaton not just one of the most important—and funniest—comedians in the history of the movies but also one of its most visionary directors." (Ty Burr, Boston Globe)
"Peter Bogdanovich brings his formidable knowledge of movies to bear in this incisive portrait of Buster Keaton." (Andrea Gronvall, Chicago Reader)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
"Brainy, audacious, opinionated and fun, Vice is a tonic for troubled times. As smart as it is partisan, and it is plenty partisan, this savage satire is scared of only one thing, and that is being dull. Written and directed by Adam McKay, who won a screenwriting Oscar for the dazzling The Big Short, Vice tackles a subject as unlikely to result in gleeful cinema as the 2008 financial meltdown. That would be a deep dive into the life and times of uncompromisingly uncharismatic former Vice President Dick Cheney, played by Christian Bale.
But, as McKay well knows, the word 'vice' is not only a governmental title, it’s the opposite of virtue, and his film doesn’t hesitate to depict the two-time veep as a conniving eminence grise whose eight years in office resulted in some of the most troubling aspects of American political life. Political scientists can argue about the truth of that. The fun of watching Vice is not in having your preconceptions appealed to or assaulted, but in enjoying the rousingly cinematic way the story has been told.
Parallel to his rise in Washington, D.C.’s corridors of influence (and his surviving of multiple heart attacks), Cheney becomes fascinated with something called the unitary executive theory, which posits that presidents have absolute authority. That might make being vice president to a genial George W. Bush (Rockwell’s feet-on-desk portrayal almost steals the picture) seem counterintuitive, but Vice posits that Cheney cannily found a way to effectively become co-president if not something more.
McKay is clearly not averse to taking swings at Cheney for a variety of matters, but what seems to upset him most is something distinctly nonpartisan. That would be the notion, that 'as the world becomes more and more confusing, we ignore facts that change and shape our lives. When we do have free time, the last thing we want is complicated analysis.' Unless Americans of all political stripes pay attention to what’s going on, Vice insists, the results will be dire. A very dark warning from a very funny film.
Making it all work as well as it does is committed acting from stars Bale and Amy Adams (Arrival, Big Eyes), as Dick’s spouse Lynne Cheney, as well as an expert supporting cast of some 150 speaking roles highlighted by Steve Carell as Donald Rumsfeld, Sam Rockwell (Three Billboards Outside Ebbing, Missouri) as President George W. Bush and a surprising Tyler Perry as Colin Powell." (Kenneth Turan, Los Angeles Times)
"Bale brilliantly captures the former vice-president’s bland magnificence." (Peter Bradshaw, The Guardian)
"An acting masterclass that neither pulls its punches nor sacrifices detail to pander to a mass audience, this is smart filmmaking from a director who gets better with every film—and a near career-best from Bale, which is saying something." (Andrew Lowry, Empire)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
"Brainy, audacious, opinionated and fun, Vice is a tonic for troubled times. As smart as it is partisan, and it is plenty partisan, this savage satire is scared of only one thing, and that is being dull. Written and directed by Adam McKay, who won a screenwriting Oscar for the dazzling The Big Short, Vice tackles a subject as unlikely to result in gleeful cinema as the 2008 financial meltdown. That would be a deep dive into the life and times of uncompromisingly uncharismatic former Vice President Dick Cheney, played by Christian Bale.
But, as McKay well knows, the word 'vice' is not only a governmental title, it’s the opposite of virtue, and his film doesn’t hesitate to depict the two-time veep as a conniving eminence grise whose eight years in office resulted in some of the most troubling aspects of American political life. Political scientists can argue about the truth of that. The fun of watching Vice is not in having your preconceptions appealed to or assaulted, but in enjoying the rousingly cinematic way the story has been told.
Parallel to his rise in Washington, D.C.’s corridors of influence (and his surviving of multiple heart attacks), Cheney becomes fascinated with something called the unitary executive theory, which posits that presidents have absolute authority. That might make being vice president to a genial George W. Bush (Rockwell’s feet-on-desk portrayal almost steals the picture) seem counterintuitive, but Vice posits that Cheney cannily found a way to effectively become co-president if not something more.
McKay is clearly not averse to taking swings at Cheney for a variety of matters, but what seems to upset him most is something distinctly nonpartisan. That would be the notion, that 'as the world becomes more and more confusing, we ignore facts that change and shape our lives. When we do have free time, the last thing we want is complicated analysis.' Unless Americans of all political stripes pay attention to what’s going on, Vice insists, the results will be dire. A very dark warning from a very funny film.
Making it all work as well as it does is committed acting from stars Bale and Amy Adams (Arrival, Big Eyes), as Dick’s spouse Lynne Cheney, as well as an expert supporting cast of some 150 speaking roles highlighted by Steve Carell as Donald Rumsfeld, Sam Rockwell (Three Billboards Outside Ebbing, Missouri) as President George W. Bush and a surprising Tyler Perry as Colin Powell." (Kenneth Turan, Los Angeles Times)
"Bale brilliantly captures the former vice-president’s bland magnificence." (Peter Bradshaw, The Guardian)
"An acting masterclass that neither pulls its punches nor sacrifices detail to pander to a mass audience, this is smart filmmaking from a director who gets better with every film—and a near career-best from Bale, which is saying something." (Andrew Lowry, Empire)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
Manbiki kazoku (Shoplifters)
Wednesday February 6, 7:00p–9:01p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
Hirokazu Kore-eda (After the Storm; Our Little Sister; Like Father, Like Son) continues to tell stories of complicated familial relationships in his latest feature, Shoplifters. Winner of the 2018 Palme d’Or at the Cannes Film Festival, the film explores the ways in which the comfort and security of a loving family can sometimes overshadow morally questionable behaviour.
Osamu (Lily Franky, Like Father, Like Son), his wife, Nobuyo (Sakura Andô), and their family are struggling to live in Tokyo off pension money and the income from their low-paying jobs. As a result, they turn to shoplifting as a means of survival. One day, when Osamu is shoplifting with his son Shota (Jyo Kairi), they come across Yuri (Miyu Sasaki), a young girl who appears to be homeless. They bring her home for dinner and, soon after discovering signs of abuse, decide to take her in as one of their own, eventually training her in the "family business." When the family hears that Yuri’s abusive parents are looking for her, they cut her hair and rename her Rin to keep her safe.
While it is clear the family will go to almost any lengths to gain financial stability, Rin’s new family provides her with a loving, supportive, and nurturing environment. Shoplifters asks the audience to consider which life is more desirable: one full of love and support but that is tied to unethical and illegal actions, or a life that is "approved" but ultimately empty.
"Shoplifters is compassionate, socially conscious filmmaking with a piercing intelligence that is pure Kore-eda. This is a film that steals in and snatches your heart." (Robbie Collin, The Telegraph)
"A tender ensemble piece whose skillful performances dovetail into a perfectly symphonic whole, Shoplifters is a work of such emotional delicacy and formal modesty that you're barely prepared when the full force of what it's doing suddenly knocks you sideways." (Justin Chang, Los Angeles Times)
"Kore-Eda is working up to something else, steering the story he's built so carefully toward an utterly unexpected detour. As much of what we think we know unravels, the film becomes not just an enjoyable, intermittently poignant portrait of imperfect people but a profound meditation on the meaning of family." (Leah Greenblatt, Entertainment Weekly)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
The Old Man and the Gun
Sunday February 10, 4:00p–5:33p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
Written and directed by David Lowery (A Ghost Story) and featuring magnetic performances from Academy Award winners Robert Redford and Sissy Spacek, The Old Man & The Gun breathes invigorating new life into an old genre.
Based on the true story of career criminal and prison-escape artist Forrest Tucker, the film revives a cinematic tradition of reflecting on America's outlaw fixation while delivering an exhilarating tale of felonious mischief.
Having first been put away at age 15, Forrest (Redford, All Is Lost) has spent much of his life in jail and much of his energy breaking out—he successfully escaped incarceration 18 times. Forrest is now in his seventies, free, and living in a retirement community, yet he cannot resist the lure of another bank heist. He assembles a gang who, though armed, rely mainly on creativity and charisma to claim their loot. They are pursued by Detective John Hunt (Casey Affleck, A Ghost Story, Manchester by the Sea), whose official duty is galvanized by the purity of his love for the chase. With Redford subtly invoking his own storied resumé as the embodiment of a certain masculine ideal, and a sublime supporting cast that includes Sissy Spacek, Danny Glover, Tom Waits (Seven Psychopaths), and Elisabeth Moss (The Seagull, The Square), The Old Man & The Gun is both entertaining and elegiac.
Infused with Hollywood's history of outlaw charm, this is the type of glorious bank-robber movie they just do not make anymore.
"The film makes plenty of mileage from trading on the charm of a good bad boy, and Redford’s long experience in playing such roles serves him beautifully here; he knows by now he doesn’t have to push his attractiveness to be ingratiating. His work here is natural, subtle, ingratiating and doesn’t miss a trick." (Todd McCarthy, The Hollywood Reporter)
"The Old Man & the Gun eschews pastiche for a sweet, affable character study that resurrects Redford’s original star power with a wet kiss. The entire picture amounts to a low-key cinematic resurrection." (Eric Kohn, IndieWire)
"The various marvels of the movie aren’t just the sparks between Redford and Spacek or Waits’ dry humor but often, Lowery’s inspired direction." (Gregory Ellwood, The Playlist)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
The Old Man and the Gun
Sunday February 10, 7:00p–8:33p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
Written and directed by David Lowery (A Ghost Story) and featuring magnetic performances from Academy Award winners Robert Redford and Sissy Spacek, The Old Man & The Gun breathes invigorating new life into an old genre.
Based on the true story of career criminal and prison-escape artist Forrest Tucker, the film revives a cinematic tradition of reflecting on America's outlaw fixation while delivering an exhilarating tale of felonious mischief.
Having first been put away at age 15, Forrest (Redford, All Is Lost) has spent much of his life in jail and much of his energy breaking out—he successfully escaped incarceration 18 times. Forrest is now in his seventies, free, and living in a retirement community, yet he cannot resist the lure of another bank heist. He assembles a gang who, though armed, rely mainly on creativity and charisma to claim their loot. They are pursued by Detective John Hunt (Casey Affleck, A Ghost Story, Manchester by the Sea), whose official duty is galvanized by the purity of his love for the chase. With Redford subtly invoking his own storied resumé as the embodiment of a certain masculine ideal, and a sublime supporting cast that includes Sissy Spacek, Danny Glover, Tom Waits (Seven Psychopaths), and Elisabeth Moss (The Seagull, The Square), The Old Man & The Gun is both entertaining and elegiac.
Infused with Hollywood's history of outlaw charm, this is the type of glorious bank-robber movie they just do not make anymore.
"The film makes plenty of mileage from trading on the charm of a good bad boy, and Redford’s long experience in playing such roles serves him beautifully here; he knows by now he doesn’t have to push his attractiveness to be ingratiating. His work here is natural, subtle, ingratiating and doesn’t miss a trick." (Todd McCarthy, The Hollywood Reporter)
"The Old Man & the Gun eschews pastiche for a sweet, affable character study that resurrects Redford’s original star power with a wet kiss. The entire picture amounts to a low-key cinematic resurrection." (Eric Kohn, IndieWire)
"The various marvels of the movie aren’t just the sparks between Redford and Spacek or Waits’ dry humor but often, Lowery’s inspired direction." (Gregory Ellwood, The Playlist)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
Before The Plate
Tuesday February 12, 7:00p–10:00p
Presented by Kings County Federation of Agriculture
▶ Show DetailsCost: Free
The film will follow food staples of the Canadian diet all the way from the farm to the harvesting and processing operations, and showcases the final product at Canoe, one of Toronto’s most prestigious restaurants. The project follows various types of agriculture, including both organic and conventional practices to answer some of the biggest questions related to farming in our society.
Contact: vanderheidefamily5@gmail.com | 902-670-3616
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THEATRE
Shakespeare's Antony and Cleopatra
Friday February 15, 7:00p–10:30p
Presented by Just Us! Coffee Roasters Co-op
▶ Show DetailsCost: $15 - tickets available at the door from 6pm
Caesar and his assassins are dead. General Mark Antony now rules alongside his fellow defenders of Rome. But, at the fringes of a war-torn empire, the Egyptian Queen Cleopatra and Mark Antony have fallen fiercely in love and he struggles between devotion and duty. Ralph Fiennes and Sophie Okonedo play Shakespeare’s famous couple in a tragedy of politics, passion and power.
In association with Acadia Lifetime Learning, Prof. Anthony Harding will offer a free 30 minute lecture on the play beginning at 6pm. No latecomers admitted.Contact: ntliive@justuscoffee.com
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CINEMA
Zimna wojna (Cold War)
Sunday February 17, 4:00p–5:28p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
Set during the eponymous state of geopolitical tension following World War II, Cold War is a portrait of the complex relationship between two doomed lovers and their country.
An epic, visually arresting love story spanning borders and decades by master filmmaker Paweł Pawlikowski, director of the Academy Award–winning Ida, Cold War employs a luminous black-and-white palette and is beautifully and deliberately composed, the fluidity of its roving camerawork washing over you like a dream.
Wiktor (Tomasz Kot) is a talent scout travelling through rural Poland to recruit artists for a music and dance ensemble. When Zula (Joanna Kulig), a determined woman with a streak of darkness, sings for him, he is instantly entranced. As it becomes clear that the ensemble is forming a Stalinist agenda, Wiktor and Zula defect to the west side of the Iron Curtain while on tour. The two then embark on a tempestuous love affair that is as syncopated and elliptical as the jazz that infuses the film. Both are hardened but damaged survivors of their circumstances, weighed down by a lifetime of compromises and the omnipresent necessity of self-interest. In times of peace, they take each other for granted, but in times of extreme hardship, they always reunite with a crystallized sense of perspective and purpose.
A melancholic but exquisitely beautiful film, Cold War is ultimately about finding your way back home—whether it is to a particular place or a particular love.
"This is the refined work of an artist at the peak of his powers, and, dare we say it, a masterpiece." (John Bleasdale, CineVue)
"It's visually stunning, passionate, wistful, and thoughtful in equal measure." (Emily Yoshida, Vulture)
"The crystalline black-and-white cinematography exalts its moments of intimate grimness and its dreamlike showpieces of theatrical display. It is an elliptical, episodic story of imprisonment and escape, epic in scope." (Peter Bradshaw, The Guardian)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
Zimna wojna (Cold War)
Sunday February 17, 7:00p–8:28p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
Set during the eponymous state of geopolitical tension following World War II, Cold War is a portrait of the complex relationship between two doomed lovers and their country.
An epic, visually arresting love story spanning borders and decades by master filmmaker Paweł Pawlikowski, director of the Academy Award–winning Ida, Cold War employs a luminous black-and-white palette and is beautifully and deliberately composed, the fluidity of its roving camerawork washing over you like a dream.
Wiktor (Tomasz Kot) is a talent scout travelling through rural Poland to recruit artists for a music and dance ensemble. When Zula (Joanna Kulig), a determined woman with a streak of darkness, sings for him, he is instantly entranced. As it becomes clear that the ensemble is forming a Stalinist agenda, Wiktor and Zula defect to the west side of the Iron Curtain while on tour. The two then embark on a tempestuous love affair that is as syncopated and elliptical as the jazz that infuses the film. Both are hardened but damaged survivors of their circumstances, weighed down by a lifetime of compromises and the omnipresent necessity of self-interest. In times of peace, they take each other for granted, but in times of extreme hardship, they always reunite with a crystallized sense of perspective and purpose.
A melancholic but exquisitely beautiful film, Cold War is ultimately about finding your way back home—whether it is to a particular place or a particular love.
"This is the refined work of an artist at the peak of his powers, and, dare we say it, a masterpiece." (John Bleasdale, CineVue)
"It's visually stunning, passionate, wistful, and thoughtful in equal measure." (Emily Yoshida, Vulture)
"The crystalline black-and-white cinematography exalts its moments of intimate grimness and its dreamlike showpieces of theatrical display. It is an elliptical, episodic story of imprisonment and escape, epic in scope." (Peter Bradshaw, The Guardian)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
You Are Here: A Come From Away Story
Wednesday February 20, 7:00p–8:24p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
When U.S. airspace was completely shut down in the hours following the terrorist attacks on 9/11, and all civilian airliners within reach of the U.S. were ordered to land at the nearest airport, 38 planes landed at the Gander airport. With no warning and with no time to prepare, a city of only 9,000 residents played host to more than 6,500 frightened, exhausted, and hungry passengers who “came from away” around the world.
The remarkable story of how Gander supported the "Come From Aways" was brought to life as the original Canadian musical Come From Away in 2013. The musical, which became one of the most talked-about openings on Broadway in 2017 and was nominated for seven Tony Awards, has generated discussion on the need for compassion and unity.
Moze Mossanen's documentary You Are Here: A Come From Away Story travels deep within this unique tale to shine a light on the actual Newfoundlanders and passengers whose lives have inspired the musical. This includes the mayors of Gander and Appleton, Newfoundland, community workers, police officers, TV reporters, and more—all real-life people who worked tirelessly alongside countless others to comfort and care for their unexpected guests.
The documentary also highlights the real-life passengers who were looked after during those five unforgettable days, including a couple who met, fell in love, and ultimately honeymooned in Gander, the pilot of an American Airlines jet whose life was turned upside down, and a U.S. businessman who was so touched by his hosts’ generosity that he went on to create Good Samaritan initiatives in cities such as Austin, Texas.Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
If Beale Street Could Talk
Sunday February 24, 4:00p–5:50p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
For the follow-up to his Oscar-winning hit and Film Circuit favourite Moonlight, Barry Jenkins returns with this moving period piece about a pregnant woman fighting to prove her fiancé’s innocence after he is wrongfully jailed for rape. Based on James Baldwin’s 1974 novel of the same name, If Beale Street Could Talk marks the first English-language film adaptation of the legendary US writer and activist’s work.
Set in the early 1970s in the predominantly Latin American community of East Harlem, the film follows Tish (newcomer Kiki Layne), a 19-year-old woman who falls in love with Fonny (Stephan James, Selma), a young sculptor. Their brief idyll is broken when Fonny is suddenly arrested, placed in a police lineup—in which he is the only Black man—and framed for the rape of a local woman. Tish, who has just discovered she is pregnant, and her family must fight to prove Fonny’s innocence. With this thought-provoking and still-timely story, Jenkins manages to preserve both the politics and the romantic spirit of Baldwin’s celebration of the power of love and hope in times of despair.
One of the most highly anticipated films of the year, If Beale Street Could Talk reunites writer-director Jenkins with Moonlight’s powerhouse production team for a stunning and honest story of an American couple determined to fight for love, freedom and justice in their own society.
"Jenkins captures the humor, verve, and considerable complexity of the prose." (Jason Bailey, The Playlist)
"In some ways Beale feels less like a movie than a well-staged, meticulously shot play; a period piece that floats beyond its specific time and place and into the realm of allegory." (Leah Greenblatt, Entertainment Weekly)
"It's a film with love at its root, both familial and romantic, and Jenkins fills so much of it with a radiating warmth." (Benjamin Lee, The Guardian)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
If Beale Street Could Talk
Sunday February 24, 7:00p–8:50p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
For the follow-up to his Oscar-winning hit and Film Circuit favourite Moonlight, Barry Jenkins returns with this moving period piece about a pregnant woman fighting to prove her fiancé’s innocence after he is wrongfully jailed for rape. Based on James Baldwin’s 1974 novel of the same name, If Beale Street Could Talk marks the first English-language film adaptation of the legendary US writer and activist’s work.
Set in the early 1970s in the predominantly Latin American community of East Harlem, the film follows Tish (newcomer Kiki Layne), a 19-year-old woman who falls in love with Fonny (Stephan James, Selma), a young sculptor. Their brief idyll is broken when Fonny is suddenly arrested, placed in a police lineup—in which he is the only Black man—and framed for the rape of a local woman. Tish, who has just discovered she is pregnant, and her family must fight to prove Fonny’s innocence. With this thought-provoking and still-timely story, Jenkins manages to preserve both the politics and the romantic spirit of Baldwin’s celebration of the power of love and hope in times of despair.
One of the most highly anticipated films of the year, If Beale Street Could Talk reunites writer-director Jenkins with Moonlight’s powerhouse production team for a stunning and honest story of an American couple determined to fight for love, freedom and justice in their own society.
"Jenkins captures the humor, verve, and considerable complexity of the prose." (Jason Bailey, The Playlist)
"In some ways Beale feels less like a movie than a well-staged, meticulously shot play; a period piece that floats beyond its specific time and place and into the realm of allegory." (Leah Greenblatt, Entertainment Weekly)
"It's a film with love at its root, both familial and romantic, and Jenkins fills so much of it with a radiating warmth." (Benjamin Lee, The Guardian)Contact: info@fundycinema.ca | (902) 542-1050
