August 18 - 24
- Sunday
- Monday
- Tuesday
- Wednesday
- Thursday
- Friday
- Saturday
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CINEMAChitty Chitty Bang Bang
CINEMAFootloose
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MUSIC - MUSIC
August 25 - 31
- Sunday
- Monday
- Tuesday
- Wednesday
- Thursday
- Friday
- Saturday
ALL UPCOMING EVENTS
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MUSIC
Camp Rock the Musical
Thursday August 22, 7:00p–9:30p
Presented by Edalene Theatre
▶ Show DetailsCost: Child and Seniors:$10
Adult:$12
Group of 4:$45Tickets: TICKETS: http://www.edalenetheatre.ca/store.php
Aspiring musician-Mickie-gets the opportunity of a lifetime to attend a legendary camp for future Rock Stars. Will she cave to the pressure of being cool-or learn to embrace being herself? Tickets are on sale now!!
Come support some amazing local teens as they sing and dance their way to being Rock Stars and bring Camp Rock to life!Contact: kerri@edalenetheatre.ca | 902-799-9009
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THEATRE
Camp Rock the Musical
Friday August 23, 2:00p–4:30p
Presented by Edalene Theatre
▶ Show DetailsCost: Child and Seniors:$10
Adult:$12
Group of 4:$45Tickets: TICKETS: http://www.edalenetheatre.ca/store.php
Aspiring musician-Mickie-gets the opportunity of a lifetime to attend a legendary camp for future Rock Stars. Will she cave to the pressure of being cool-or learn to embrace being herself? Tickets are on sale now!!
Come support some amazing local teens as they sing and dance their way to being Rock Stars and bring Camp Rock to life!
TICKETS: http://www.edalenetheatre.ca/store.phpContact: kerri@edalenetheatre.ca | 902-799-9009
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MUSIC
Camp Rock the Musical
Friday August 23, 7:00p–9:30p
Presented by Edalene Theatre
▶ Show DetailsCost: Child and Seniors:$10
Adult:$12
Group of 4:$45Tickets: TICKETS: http://www.edalenetheatre.ca/store.php
Aspiring musician-Mickie-gets the opportunity of a lifetime to attend a legendary camp for future Rock Stars. Will she cave to the pressure of being cool-or learn to embrace being herself? Tickets are on sale now!!
Come support some amazing local teens as they sing and dance their way to being Rock Stars and bring Camp Rock to life!Contact: kerri@edalenetheatre.ca | 902-799-9009
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Cost: $10
"Watching Emma Thompson (The Children Act) and Mindy Kaling mix it up in Late Night, a wickedly pointed workplace satire, will make you think you’ve died and gone to hilarity heaven.
Thompson plays Katherine Newbury, a late-night talk show host who, in an attempt to stop her slide in the ratings, hires Molly Patel (Kaling), the first female to penetrate Katherine’s writing staff of white dudes.
Molly is an Indian-American chemical-plant efficiency expert with no writing experience. What she does have, as a fan of the show, is the idea that Katherine can reignite her career simply by being herself, talking to her audience honestly about things like age, menopause, and the fear of being replaced.
Out of that simple premise, director Nisha Ganatra, Kaling (who wrote the script, with all its subversive wit) and the glorious Thompson (time for another Oscar?) spin comic gold." (Peter Travers, Rolling Stone)
"Late Night smartly sends up not just the cloistered world of late night television, but a current cultural climate struggling to evolve in a changing world." (Kate Erbland, IndieWire)
"Thompson delivers a memorable performance as the abrasive 'cold witch,' as someone describes her, perhaps even outdoing Meryl Streep’s Miranda Priestly in The Devil Wars Prada as a delightfully wicked woman of power." (Anthony Kaufman, Screen International)
"The combination of Thompson’s sharp delivery and Kaling’s commercially friendly script make the film’s charms hard to resist." (Gregory Ellwood, The Playlist)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
"Watching Emma Thompson (The Children Act) and Mindy Kaling mix it up in Late Night, a wickedly pointed workplace satire, will make you think you’ve died and gone to hilarity heaven.
Thompson plays Katherine Newbury, a late-night talk show host who, in an attempt to stop her slide in the ratings, hires Molly Patel (Kaling), the first female to penetrate Katherine’s writing staff of white dudes.
Molly is an Indian-American chemical-plant efficiency expert with no writing experience. What she does have, as a fan of the show, is the idea that Katherine can reignite her career simply by being herself, talking to her audience honestly about things like age, menopause, and the fear of being replaced.
Out of that simple premise, director Nisha Ganatra, Kaling (who wrote the script, with all its subversive wit) and the glorious Thompson (time for another Oscar?) spin comic gold." (Peter Travers, Rolling Stone)
"Late Night smartly sends up not just the cloistered world of late night television, but a current cultural climate struggling to evolve in a changing world." (Kate Erbland, IndieWire)
"Thompson delivers a memorable performance as the abrasive 'cold witch,' as someone describes her, perhaps even outdoing Meryl Streep’s Miranda Priestly in The Devil Wars Prada as a delightfully wicked woman of power." (Anthony Kaufman, Screen International)
"The combination of Thompson’s sharp delivery and Kaling’s commercially friendly script make the film’s charms hard to resist." (Gregory Ellwood, The Playlist)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
"A portrait of a man blessed with one of the 20th century’s most beloved voices, Pavarotti is, like many authorized biographical documentaries, informative, more than a little reverential, yet entertaining enough. Even for opera neophytes who couldn’t tell a soprano from a tenor, Ron Howard’s (Frost/Nixon) brisk, engaging film capably maps out an art form that Luciano Pavarotti ruled for decades, including enough technical insight to go along with an overview of the maestro’s personal and professional highlights.
The film’s initial stretches prove most satisfying because they delve into opera’s rarefied milieu, and recordings of Pavarotti’s early performances illustrate what a powerful, emotional voice he had, even at a young age.
Pavarotti was far from a perfect person, however, and the movie dutifully chronicles his infidelities, spending considerable time interviewing soprano Madelyn Renee and former personal assistant Nicoletta Mantovani, whom he married in 2003.
Regardless, the film succeeds in its primary task, which is to remind viewers of the man’s greatest musical accomplishments. Whether it’s the years as opera’s brightest star or his later participation in the Three Tenors, Pavarotti was a titanic force who was courted by world leaders and rock artists alike." (Tim Grierson, Screen Daily)
"A warm, emotional and completely involving film about the celebrated tenor." (Kenneth Turan, Los Angeles Times)
"Howard’s film is a love letter to the icon, but ultimately Pavarotti is a more of a celebration of the individual behind that façade and a reminder that it’s as much his humanity as his talent that made him a star." (Todd Gilchrist, TheWrap)
"Intelligent, vastly appreciative of its subject and conventional in approach, Pavarotti can scarcely go wrong due to the charisma of its subject, the gorgeous music that wallpapers the entire film and an arc of success arguably unmatched in the opera world." (Todd McCarthy, The Hollywood Reporter)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
Academy Award winner Judi Dench (All Is True, Philomena) and Sophie Cookson take on the complex persona and legacy of Joan Stanley, the seemingly demure physicist who was also a long-serving British spy for the KGB. Loosely inspired by the biography of British KGB agent Melita Norwood, Red Joan reminds us that spies are not always shadowy, nefarious figures. Sometimes, they are the old lady next door.
The year is 2000. Stanley (Dench) is a retired scientist living in a London suburb when she is arrested for crimes committed many years ago. We flash back to 1938 when young Joan (Cookson) is a new student at Cambridge, where a chance encounter with Sonya (Tereza Srbova, Eastern Promises), an alluring fellow student, draws her into a circle of politicized youths supporting the Republicans in Spain and the Soviet dream of a classless society. Joan falls for Sonya's brother Leo (Tom Hughes), a dashing idealist in search of adventure. When the Second World War begins, Joan goes to work for Max (Stephen Campbell Moore, The Lady in the Van) at a top-secret British intelligence project of great interest to Leo. Joan is soon facing several difficult choices: between national loyalties, between belief systems, between men. Somewhere in all this, she will also discover her tremendous potential.
Lindsay Shapero's crisply structured script darts between the elder Joan's interrogations and the younger Joan's life of secrets and jagged alliances. She is never certain whom to trust—and we might not be certain if we can trust her. But Joan's fascinating story validates Jean Renoir's timeless adage: "Everyone has their reasons."
"A taut old-school thriller with a modern heroine." (Deborah Young, The Hollywood Reporter)
"Lindsay Shapiro has captured an intriguing piece of hidden history, showcasing women’s strengths and the overlooked roles they played during the world’s most turbulent times of war." (Tiffany Tchobanian, Film Threat)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
Academy Award winner Judi Dench (All Is True, Philomena) and Sophie Cookson take on the complex persona and legacy of Joan Stanley, the seemingly demure physicist who was also a long-serving British spy for the KGB. Loosely inspired by the biography of British KGB agent Melita Norwood, Red Joan reminds us that spies are not always shadowy, nefarious figures. Sometimes, they are the old lady next door.
The year is 2000. Stanley (Dench) is a retired scientist living in a London suburb when she is arrested for crimes committed many years ago. We flash back to 1938 when young Joan (Cookson) is a new student at Cambridge, where a chance encounter with Sonya (Tereza Srbova, Eastern Promises), an alluring fellow student, draws her into a circle of politicized youths supporting the Republicans in Spain and the Soviet dream of a classless society. Joan falls for Sonya's brother Leo (Tom Hughes), a dashing idealist in search of adventure. When the Second World War begins, Joan goes to work for Max (Stephen Campbell Moore, The Lady in the Van) at a top-secret British intelligence project of great interest to Leo. Joan is soon facing several difficult choices: between national loyalties, between belief systems, between men. Somewhere in all this, she will also discover her tremendous potential.
Lindsay Shapero's crisply structured script darts between the elder Joan's interrogations and the younger Joan's life of secrets and jagged alliances. She is never certain whom to trust—and we might not be certain if we can trust her. But Joan's fascinating story validates Jean Renoir's timeless adage: "Everyone has their reasons."
"A taut old-school thriller with a modern heroine." (Deborah Young, The Hollywood Reporter)
"Lindsay Shapiro has captured an intriguing piece of hidden history, showcasing women’s strengths and the overlooked roles they played during the world’s most turbulent times of war." (Tiffany Tchobanian, Film Threat)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
La chute de l’empire américain (The Fall of the American Empire)
Sunday September 29, 4:00p–6:08p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
"The rich grow richer and the poor are just collateral damage in The Fall of the American Empire. This new film by writer/director Denys Arcand (The Barbarian Invasions), is a sardonic, solidly entertaining fusion of crime caper and state-of-the-nation rumination.
Money lies at the root of all the evils that Arcand observes. It is a haunting refrain in a film that mourns the growing number of homeless and the spread of food banks, while wagging a finger at corporate greed.
Thirty-something Pierre-Paul (Alexandre Landry, Gabrielle) appears to be the last apostle of decency in a rotten, callous world. He has a PhD in philosophy, is still burdened with student loans and earns a living as a courier. He has come to believe that intelligence is a handicap in a world that favours the corrupt and those who have abandoned any sense of morality or community.
Everything changes for Pierre-Paul when he is present at a botched robbery and makes an impulsive decision to pocket the multi-million dollar proceeds for himself. Trying to figure out what to do with the money and how much it might change him fuels a cleverly plotted ensemble piece that eventually draws in ex-con Sylvain Bigras (Rémy Girard; Incendies, The Barbarian Invasions) and escort Aspasie (Maripier Morin).
There are flaws in The Fall Of The American Empire, but it works thanks to the thought-provoking material in the screenplay, some sharp lines, and the quality of the performances. Alexandre Landry makes Pierre-Paul an endearingly naive, angst-ridden intellectual struggling to stay calm and survive an extraordinary situation. And Arcand regular Remy Girard is a scene-stealing delight as 'honest criminal' Bigras." (Allan Hunter, Screen International)
"With its galloping pace and strange criminal bedfellows, this funny and engrossing film sometimes feels like the droll capers of the Ealing studio (maker of The Lavender Hill Mob among other small classics). But Arcand packs in a lot of pointed social and political commentary." (Glenn Kenny, The New York Times)
"The film grows into a caustic comedy, rife with fidgety questions." (Anthony Lane, The New Yorker)
"If Arcand’s worldview hasn’t changed, his angle continues to grow more acute. Where The Decline of the American Empire focused on social ills, and The Barbarian Invasions was preoccupied with ideology, The Fall of the American Empire finds the 77-year-old Canadian legend turning his attention to the greatest moral catastrophe of our time: money." (David Ehrlich, IndieWire)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
La chute de l’empire américain (The Fall of the American Empire)
Sunday September 29, 7:00p–9:08p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
"The rich grow richer and the poor are just collateral damage in The Fall of the American Empire. This new film by writer/director Denys Arcand (The Barbarian Invasions), is a sardonic, solidly entertaining fusion of crime caper and state-of-the-nation rumination.
Money lies at the root of all the evils that Arcand observes. It is a haunting refrain in a film that mourns the growing number of homeless and the spread of food banks, while wagging a finger at corporate greed.
Thirty-something Pierre-Paul (Alexandre Landry, Gabrielle) appears to be the last apostle of decency in a rotten, callous world. He has a PhD in philosophy, is still burdened with student loans and earns a living as a courier. He has come to believe that intelligence is a handicap in a world that favours the corrupt and those who have abandoned any sense of morality or community.
Everything changes for Pierre-Paul when he is present at a botched robbery and makes an impulsive decision to pocket the multi-million dollar proceeds for himself. Trying to figure out what to do with the money and how much it might change him fuels a cleverly plotted ensemble piece that eventually draws in ex-con Sylvain Bigras (Rémy Girard; Incendies, The Barbarian Invasions) and escort Aspasie (Maripier Morin).
There are flaws in The Fall Of The American Empire, but it works thanks to the thought-provoking material in the screenplay, some sharp lines, and the quality of the performances. Alexandre Landry makes Pierre-Paul an endearingly naive, angst-ridden intellectual struggling to stay calm and survive an extraordinary situation. And Arcand regular Remy Girard is a scene-stealing delight as 'honest criminal' Bigras." (Allan Hunter, Screen International)
"With its galloping pace and strange criminal bedfellows, this funny and engrossing film sometimes feels like the droll capers of the Ealing studio (maker of The Lavender Hill Mob among other small classics). But Arcand packs in a lot of pointed social and political commentary." (Glenn Kenny, The New York Times)
"The film grows into a caustic comedy, rife with fidgety questions." (Anthony Lane, The New Yorker)
"If Arcand’s worldview hasn’t changed, his angle continues to grow more acute. Where The Decline of the American Empire focused on social ills, and The Barbarian Invasions was preoccupied with ideology, The Fall of the American Empire finds the 77-year-old Canadian legend turning his attention to the greatest moral catastrophe of our time: money." (David Ehrlich, IndieWire)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
Deeply personable and relatable, the acclaimed new drama from director Joanna Hogg (The Exhibition, Archipelago) is a semi-autobiographical account of a dysfunctional relationship between a young, ambitious film student and an older, smooth-talking man, set in 1980s west London. The film won the World Cinema Grand Jury Prize: Dramatic at Sundance in early 2019.
Julie (newcomer Honor Swinton Byrne) is finding her place as an artist, trying to shed her sheltered and privileged upbringing and immerse herself in the real world for the sake of her art. Her journey is derailed by Anthony (Tom Burke; The Invisible Woman, Chéri), whose charm is equal to his depravity but whom she cannot help but love—much to the dismay of her mother (played by Swinton Byrne’s real-life mother, Tilda Swinton; A Bigger Splash, The Grand Budapest Hotel, I Am Love) and her friends. The entanglement threatens to demolish Julie’s dream of becoming a filmmaker.
Hogg sincerely captures the intensity and naiveté of a first adult love. The Souvenir is at once a period piece depicting a modern relationship long before the era of smartphones and social media, and a time capsule of our collective bad decisions and tormented relationships. A sequel is in the works, promising that life after a bad romance can continue.
"If The Souvenir seems to move assuredly to its own unconventional rhythms, it’s because Hogg isn’t telling a straightforward story; she’s showing us, piecemeal, how an artist’s sensibility comes into being." (Justin Chang, Los Angeles Times)
"Achingly well-observed in its study of a young artist inspired, derailed and finally strengthened by a toxic relationship, it is at once the coming-of-age story of many women and a specific creative manifesto for one of modern British cinema’s most singular writer-directors." (Guy Lodge, Variety)
"This portrait of the artist as a young film-maker will certainly stand the test of time." (Fionnuala Halligan, Screen International)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
Deeply personable and relatable, the acclaimed new drama from director Joanna Hogg (The Exhibition, Archipelago) is a semi-autobiographical account of a dysfunctional relationship between a young, ambitious film student and an older, smooth-talking man, set in 1980s west London. The film won the World Cinema Grand Jury Prize: Dramatic at Sundance in early 2019.
Julie (newcomer Honor Swinton Byrne) is finding her place as an artist, trying to shed her sheltered and privileged upbringing and immerse herself in the real world for the sake of her art. Her journey is derailed by Anthony (Tom Burke; The Invisible Woman, Chéri), whose charm is equal to his depravity but whom she cannot help but love—much to the dismay of her mother (played by Swinton Byrne’s real-life mother, Tilda Swinton; A Bigger Splash, The Grand Budapest Hotel, I Am Love) and her friends. The entanglement threatens to demolish Julie’s dream of becoming a filmmaker.
Hogg sincerely captures the intensity and naiveté of a first adult love. The Souvenir is at once a period piece depicting a modern relationship long before the era of smartphones and social media, and a time capsule of our collective bad decisions and tormented relationships. A sequel is in the works, promising that life after a bad romance can continue.
"If The Souvenir seems to move assuredly to its own unconventional rhythms, it’s because Hogg isn’t telling a straightforward story; she’s showing us, piecemeal, how an artist’s sensibility comes into being." (Justin Chang, Los Angeles Times)
"Achingly well-observed in its study of a young artist inspired, derailed and finally strengthened by a toxic relationship, it is at once the coming-of-age story of many women and a specific creative manifesto for one of modern British cinema’s most singular writer-directors." (Guy Lodge, Variety)
"This portrait of the artist as a young film-maker will certainly stand the test of time." (Fionnuala Halligan, Screen International)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
Toni Morrison: The Pieces I Am
Wednesday October 9, 7:00p–8:59p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
Toni Morrison: The Pieces I Am offers an artful and intimate meditation on the life and works of the late legendary storyteller and Nobel prize-winner. From her childhood in the steel town of Lorain, Ohio to '70s-era book tours with Muhammad Ali, from the front lines with Angela Davis to her own riverfront writing room, Toni Morrison leads an assembly of her peers, critics and colleagues on an exploration of race, America, history and the human condition as seen through the prism of her own literature.
Inspired to write because no one took a "little black girl" seriously, Morrison reflects on her lifelong deconstruction of the master narrative. Woven together with a rich collection of art, history, literature and personality, the film includes discussions about her many critically acclaimed works, including novels The Bluest Eye, Sula and Song of Solomon, her role as an editor of iconic African-American literature and her time teaching at Princeton University.
In addition to Ms. Morrison, the film features interviews with Hilton Als, Angela Davis, Fran Lebowitz, Walter Mosley, Sonia Sanchez and Oprah Winfrey, who turned Morrison’s novel Beloved into a feature film. Using Timothy Greenfield-Sanders’ elegant portrait-style interviews, Toni Morrison: The Pieces I Am includes original music by Kathryn Bostic, a specially created opening sequence by artist Mickalene Thomas and evocative works by other contemporary African-American artists including Kara Walker, Rashid Johnson and Kerry James Marshall.
"To have the towering Morrison (...) willing to face your cameras—head on, in fact—and tell her story as candidly, heartily and humanely as she does here, is a singular gift that keeps on giving throughout the film’s two captivating hours." (Gary Goldstein, Los Angeles Times)
"Much of the film's pleasure is in hearing Morrison speak." (Moira Macdonald, The Seattle Times)
"Toni Morrison: The Pieces I Am goes deeper than mere celebrity profile (...) By touching upon the various ways in which Morrison’s tomes influenced American literature at large, all while repeatedly leaping backward to detail her own chronology, Greenfield-Sanders captures the spirit of her writing, career and life." (Nick Schager, Variety)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
nîpawistamâsowin: We Will Stand Up
Wednesday October 16, 7:00p–8:38p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
Director and educator Tasha Hubbard (Birth of a Family) returns with a personal reflection on the death of Colten Boushie, a young Cree man, and the subsequent trial and acquittal of the man who shot him.
On August 9, 2016, Boushie died from a gunshot wound to the back of his head that he sustained after entering Gerald Stanley's rural Saskatchewan property with friends. The jury's subsequent acquittal of Stanley captured international attention, raising questions about racism embedded within Canada's legal system and propelling Colten's family to national and international stages in their pursuit of justice.
nîpawistamâsowin: We Will Stand Up weaves a profound narrative, encompassing the filmmaker's own family life, the stark history of colonialism on the Prairies and a vision of a future where Indigenous children can live safely on their homelands.
Winner of the Best Canadian Feature Documentary Award at the 2019 Hot Docs Film Festival, nîpawistamâsowin: We Will Stand Up is an important look at the past and future. This film demands to be seen by all Canadians.
"[A] powerful work of activist cinema." (Peter Howell, Toronto Star)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
Lulu Wang’s Sundance hit The Farewell is an intergenerational family drama that is at once celebratory, heart-wrenching and life-affirming.
Based on true events, the film follows a young Chinese American woman named Billi (Awkwafina, Crazy Rich Asians) as she travels back to China to visit her dying grandmother. Billi’s family has decided to spare their beloved matriarch the news of her terminal diagnosis so as not to darken what time she has left. In order for everyone to have a chance to say goodbye without tipping her off that the end is near, they orchestrate an elaborate excuse to reunite in the form of a fake wedding. Though cultures clash and family conflict ensues, the story is told with universally relatable warmth and charm.
Awkwafina is dazzling as the quick-witted and empathetic Billi, supported by a remarkable cast that includes the charming Tzi Ma (Meditation Park, Arrival) as her father and Diana Lin as her mother.
Little by little, we realize that this story is not only about Billi saying goodbye to her grandmother, but also about her reconnecting with a country and extended family that she left behind at a young age. The Farewell is truly remarkable. It will make you laugh out loud, cry both sad and happy tears, and contemplate the meaning of home.
"The Farewell has a special feeling about it. It's full of truth and emotion, and lacking in sentimentality. It has an eye for absurdity and for the telling detail, and it marks Lulu Wang as a director with the rare but essential ability to make you care about what she cares about. It will go down as one of the standout movies of 2019." (Mick LaSalle, San Francisco Chronicle)
"The Farewell is so unexpectedly and deliciously funny that watching it feels like a tonic—an immersion in love and art." (Moira Macdonald, The Seattle Times)
"The Farewell pays delightful, insightful homage to the facades and pretenses nearly everyone adopts in the name of compassion." (Ann Hornaday, Washington Post)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
Lulu Wang’s Sundance hit The Farewell is an intergenerational family drama that is at once celebratory, heart-wrenching and life-affirming.
Based on true events, the film follows a young Chinese American woman named Billi (Awkwafina, Crazy Rich Asians) as she travels back to China to visit her dying grandmother. Billi’s family has decided to spare their beloved matriarch the news of her terminal diagnosis so as not to darken what time she has left. In order for everyone to have a chance to say goodbye without tipping her off that the end is near, they orchestrate an elaborate excuse to reunite in the form of a fake wedding. Though cultures clash and family conflict ensues, the story is told with universally relatable warmth and charm.
Awkwafina is dazzling as the quick-witted and empathetic Billi, supported by a remarkable cast that includes the charming Tzi Ma (Meditation Park, Arrival) as her father and Diana Lin as her mother.
Little by little, we realize that this story is not only about Billi saying goodbye to her grandmother, but also about her reconnecting with a country and extended family that she left behind at a young age. The Farewell is truly remarkable. It will make you laugh out loud, cry both sad and happy tears, and contemplate the meaning of home.
"The Farewell has a special feeling about it. It's full of truth and emotion, and lacking in sentimentality. It has an eye for absurdity and for the telling detail, and it marks Lulu Wang as a director with the rare but essential ability to make you care about what she cares about. It will go down as one of the standout movies of 2019." (Mick LaSalle, San Francisco Chronicle)
"The Farewell is so unexpectedly and deliciously funny that watching it feels like a tonic—an immersion in love and art." (Moira Macdonald, The Seattle Times)
"The Farewell pays delightful, insightful homage to the facades and pretenses nearly everyone adopts in the name of compassion." (Ann Hornaday, Washington Post)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
Exhilarating, suspenseful and emotionally charged, this documentary from director Alex Holmes chronicles Tracy Edwards’ 1989–90 precedent-setting sea voyage around the world with an all-female crew.
The Whitbread Round the World Race (rechristened the Volvo Ocean Race in 2001) was considered an exclusively masculine endeavour when Edwards came along and, in the face of much sexist condescension, proved that skill, perseverance and courage at sea know no gender.
Maiden traces Edwards’ formative experiences: the idyllic childhood that came to a devastating halt with her father’s death and the adolescent rebelliousness that resulted in her expulsion from school. At 16, she ran away to Greece, where she had her first taste of the seafaring life, rapidly graduating from cook to deckhand to first mate. She was still in her mid-twenties when she became determined to participate in the Whitbread with a crew of talented women from around the world.
With its fundraising challenges and heated rivalries, the journey to prepare the Maiden was already complicated. But it was just the beginning of an epic adventure.
Holmes crafts a captivating braid of archival materials and new interviews in which Edwards and her crew members—all of them rousing storytellers—collectively narrate their experience. It is a classic tale of people contending with the elements; though, in this case, some of those elements are other people. In a televised interview filmed before the Maiden set out, Edwards explains that she does not consider herself a feminist. She simply wants to be able to pursue her passion… and prove the all-male sailing establishment wrong.
"Maiden is simply magnificent storytelling and a must-see for all ages and genders." (Lindsey Bahr, The Associated Press)
"What we have from director Alex Holmes (...) is a documentary with all the nervous-making energy of a first-rate drama; a cast of sailors who are both endearing and intelligent; and a delicately wrought suspense story." (John Anderson, Wall Street Journal)
"A heck of a story splendidly told, Maiden succeeds by combining the athleticism of Free Solo withe the enriching, across-the-board emotional appeal of RBG." (Kenneth Turan, Los Angeles Times)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
"On the surface, Luce is a study of race and privilege in contemporary America. But it’s more broadly and more subtly about family relationships and the psychological deals we make with others and ourselves. Based on the 2013 play by J.C. Lee (who also did the screen adaptation) and directed by Julius Onah, it is a sometimes stage-like but effective dive into questions of trust and the nature of social responsibility.
Luce (outstandingly played by Kelvin Harrison Jr.), is a superstar in his school. Handsome, articulate, high achieving and popular with almost everyone, Luce is the only child of Amy (Naomi Watts; The Glass Castle, Birdman) and Peter (Tim Roth, Selma), a successful and seemingly happy couple who have created a warm and nurturing stable upper middle class family. He’s black, they’re white. Amy and Peter adopted Luce from a war zone in Africa when he was about 7 years old. And the question of how that might have affected him hovers over the movie.
Luce is a favourite of the principal, Mr. Towson. But one of the teachers isn’t so sure. Miss Wilson (Octavia Spencer; The Shape of Water, Fruitvale Station) is deeply suspicious of Luce. She calls Amy in for a private meeting and shows her an assignment he handed in that could indicate that he has a violent and anarchistic streak. And she’s secretly searched his locker and found evidence that might support her theory.
When confronted by his mother, Luce says Miss Wilson treats each of her students like stereotypes and violates their privacy to make points about social issues that reflect her personal viewpoint. And she’s especially hard on the black students, sometimes causing life altering problems.
Amy and Peter love their son, but Miss Wilson makes a strong enough case and provides enough evidence to rattle their perception. Is he the solid citizen, kind, loving child they believe? With his damaging war experiences, is he a sociopath who’s playing them, someone capable of making everyone believe what he wants them to believe? Or is he, with his early success and promising future, the object of a campaign by a teacher with her own issues?
Luce is a terrifically layered drama that aims high and deep, and achieves all of that." (Karen Gordon, Original-Cin)
"It’s one of the most relevant films about today’s poisoned America and, as it stands, is destined to become one of the very best movies of the year." (Jordan Ruimy, The Playlist)
"So much of Luce is about what's happening beneath the surface and between the lines. Everyone says they're searching for the truth—even as they lie and obfuscate and bend the facts to suit their particular agendas and world views." (Richard Roeper, Chicago Sun-Times)
"The film is sleek and shadowy, benefiting from the fact Onah chose to shoot on celluloid and driven by stellar performances across the board." (Peter Debruge, Variety)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
"On the surface, Luce is a study of race and privilege in contemporary America. But it’s more broadly and more subtly about family relationships and the psychological deals we make with others and ourselves. Based on the 2013 play by J.C. Lee (who also did the screen adaptation) and directed by Julius Onah, it is a sometimes stage-like but effective dive into questions of trust and the nature of social responsibility.
Luce (outstandingly played by Kelvin Harrison Jr.), is a superstar in his school. Handsome, articulate, high achieving and popular with almost everyone, Luce is the only child of Amy (Naomi Watts; The Glass Castle, Birdman) and Peter (Tim Roth, Selma), a successful and seemingly happy couple who have created a warm and nurturing stable upper middle class family. He’s black, they’re white. Amy and Peter adopted Luce from a war zone in Africa when he was about 7 years old. And the question of how that might have affected him hovers over the movie.
Luce is a favourite of the principal, Mr. Towson. But one of the teachers isn’t so sure. Miss Wilson (Octavia Spencer; The Shape of Water, Fruitvale Station) is deeply suspicious of Luce. She calls Amy in for a private meeting and shows her an assignment he handed in that could indicate that he has a violent and anarchistic streak. And she’s secretly searched his locker and found evidence that might support her theory.
When confronted by his mother, Luce says Miss Wilson treats each of her students like stereotypes and violates their privacy to make points about social issues that reflect her personal viewpoint. And she’s especially hard on the black students, sometimes causing life altering problems.
Amy and Peter love their son, but Miss Wilson makes a strong enough case and provides enough evidence to rattle their perception. Is he the solid citizen, kind, loving child they believe? With his damaging war experiences, is he a sociopath who’s playing them, someone capable of making everyone believe what he wants them to believe? Or is he, with his early success and promising future, the object of a campaign by a teacher with her own issues?
Luce is a terrifically layered drama that aims high and deep, and achieves all of that." (Karen Gordon, Original-Cin)
"It’s one of the most relevant films about today’s poisoned America and, as it stands, is destined to become one of the very best movies of the year." (Jordan Ruimy, The Playlist)
"So much of Luce is about what's happening beneath the surface and between the lines. Everyone says they're searching for the truth—even as they lie and obfuscate and bend the facts to suit their particular agendas and world views." (Richard Roeper, Chicago Sun-Times)
"The film is sleek and shadowy, benefiting from the fact Onah chose to shoot on celluloid and driven by stellar performances across the board." (Peter Debruge, Variety)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
Fiddler: A Miracle of Miracles
Wednesday November 13, 7:00p–8:32p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
"Fiddler: A Miracle of Miracles is the first in-depth documentary film that chronicles the life and themes of this iconic offering of American culture. The goal of our documentary is to understand why the story of Tevye the milkman is reborn again and again as beloved entertainment and cultural touchstone the world over.
Opening in 1964, Fiddler on the Roof held the record for the longest running musical for almost 10 years, won nine Tony Awards, and spawned five Broadway revivals. The show is still performed more than any other show, from middle schools in inner cities to high schools in rural America, around the world from grand state theaters in Japan and Vienna to Johannesburg and Mexico City.
And yet, on the face of it, Fiddler on The Roof is an unlikely work to have captured the imagination of so many people. It was the first major musical on the American stage to feature not one American character, and it tells of the trials and tribulations of a venerated Jewish milkman named Tevye, trying to eke out a living in a small Jewish shtetl in the Pale of Settlement in Czarist Russia.
The show appeared on the cultural landscape at a time when America was still mourning for JFK, when the Vietnam War was beginning to haunt the American psyche, and America and the rest of the world were on the verge of a massive counter-cultural revolution. Amidst all of this change, a new type of music—rock and roll—was gathering steam. And yet Fiddler on the Roof opened to massive audiences, with tickets as hard to obtain as Hamilton tickets are today. And it has remained beloved and relevant to this day. Why? How did this come to be?" (Directors Statement)
Director Max Lewkowicz's Fiddler: A Miracle of Miracles tries to answer these questions. His documentary explores a variety of international productions of the show and features archival footage of original director-choreographer Jerome Robbins and star Zero Mostel. It also includes interviews with Harold Prince, Jerry Bock, Chaim Topol, Harvey Fierstein, Fran Lebowitz, Calvin Trillin, Nathan Englander, Lin-Manuel Miranda, Joel Grey and more as they look at why the story of Tevye the milkman and his family resonates with audiences past and present.
"An exhaustive, emotional testament to the musical's staying power as popular entertainment and its extraordinary thematic reach." (David Rooney, The Hollywood Reporter)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
Where’d You Go, Bernadette
Sunday November 17, 4:00p–5:52p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
Critically acclaimed filmmaker Richard Linklater (Boyhood, Before Midnight) has recruited an impressive cast including Cate Blanchett, Judy Greer, Laurence Fishburne and Kristen Wiig for his adaptation of Maria Semple's beloved novel Where’d You Go, Bernadette?
Despite suffering from agoraphobia, gifted architect Bernadette Fox (Blanchett; Carol, Blue Jasmine) seems to have it all—a large, beautiful home in Seattle, a loving husband (Billy Crudup; 20th Century Women, Spotlight) and a brilliant teenage daughter, Bee (Emma Nelson).
After she gets a perfect report card, Bee is told she can have anything she wants, and she chooses a holiday to Antarctica. But before the family can depart, Bernadette suddenly disappears. Her concerned family sets off on a quest to solve the mystery of where she might have gone.
Based on the runaway bestseller, and co-scripted by Richard Linklater, Where'd You Go, Bernadette is an inspiring tale of a loving mom who yearns to reconnect with her creative passions after years of sacrificing herself for her family. Bernadette's leap of faith takes her on an epic voyage that jump-starts her life and leads to her triumphant rediscovery.
"Where'd You Go, Bernadette has to be seen, and demands to be believed, because of Cate Blanchett." (Anthony Lane, New Yorker)
"Richard Linklater's adaptation of Maria Semple's novel is a critical (if characteristically humane) assessment of American society in spiritual crisis." (Ben Sachs, Chicago Reader)
"One imagines how over-the-top zany this could have been made, had the adaptation been overtly faithful, yet Linklater is able to extract the heart of the story while injecting some of his own characteristic themes." (Jordan Raup, The Film Stage)
"The aspect of the book Linklater has chosen to focus on, and the one he infuses with playfulness and warmth, is the complex bond between a flawed but loving mother and her devoted if perhaps too-responsible child." (Dana Stevens, Slate)Contact: info@fundycinema.ca | (902) 542-1050
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CINEMA
Where’d You Go, Bernadette
Sunday November 17, 7:00p–8:52p
Presented by Fundy Cinema
▶ Show DetailsCost: $10
Critically acclaimed filmmaker Richard Linklater (Boyhood, Before Midnight) has recruited an impressive cast including Cate Blanchett, Judy Greer, Laurence Fishburne and Kristen Wiig for his adaptation of Maria Semple's beloved novel Where’d You Go, Bernadette?
Despite suffering from agoraphobia, gifted architect Bernadette Fox (Blanchett; Carol, Blue Jasmine) seems to have it all—a large, beautiful home in Seattle, a loving husband (Billy Crudup; 20th Century Women, Spotlight) and a brilliant teenage daughter, Bee (Emma Nelson).
After she gets a perfect report card, Bee is told she can have anything she wants, and she chooses a holiday to Antarctica. But before the family can depart, Bernadette suddenly disappears. Her concerned family sets off on a quest to solve the mystery of where she might have gone.
Based on the runaway bestseller, and co-scripted by Richard Linklater, Where'd You Go, Bernadette is an inspiring tale of a loving mom who yearns to reconnect with her creative passions after years of sacrificing herself for her family. Bernadette's leap of faith takes her on an epic voyage that jump-starts her life and leads to her triumphant rediscovery.
"Where'd You Go, Bernadette has to be seen, and demands to be believed, because of Cate Blanchett." (Anthony Lane, New Yorker)
"Richard Linklater's adaptation of Maria Semple's novel is a critical (if characteristically humane) assessment of American society in spiritual crisis." (Ben Sachs, Chicago Reader)
"One imagines how over-the-top zany this could have been made, had the adaptation been overtly faithful, yet Linklater is able to extract the heart of the story while injecting some of his own characteristic themes." (Jordan Raup, The Film Stage)
"The aspect of the book Linklater has chosen to focus on, and the one he infuses with playfulness and warmth, is the complex bond between a flawed but loving mother and her devoted if perhaps too-responsible child." (Dana Stevens, Slate)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
Official Secrets recalls the prosecution of real-life whistle-blower Katharine Gun (Keira Knightley, Colette, The Imitation Game, Anna Karenina), a story that might otherwise be a footnote in the campaign that led to the March 2003 invasion of Iraq by British and American troops. The film offers a behind-the-scenes account of events from the perspectives of Gun and the journalists and lawyers that warn of the perilous state of democracy at times of war.
Gun was a young translator at the United Kingdom’s Government Communications Headquarters (GCHQ). George W. Bush, President of the United States, and Tony Blair, Prime Minister of the United Kingdom, were doing everything in their power to secure a United Nations resolution to sanction war. As part of that effort, the United States’ National Security Agency sent a memo to GCHQ with an order to gather information on diplomats from certain nations so they could fix the UN vote and protect themselves from being charged with any unlawful acts.
Gun is reluctant to follow the order, knowing that the case for war has yet to be proven. Weighed down by her conscience, she risks everything and leaks the memo in the hopes of stopping the war—but no one can stand in its way.
Did Gun break the law? Did she violate the UK’s Official Secrets Act? Is she a traitor? These are the motivating questions from here on out. Directed by Gavin Hood (Eye in the Sky, Tsotsi) and stacked with a who’s who of British acting heavyweights, Official Secrets is an examination of the meaning, value and act of loyalty.
"A sturdy, entertaining political thriller that pushes all the right buttons and triggers all the right outraged reactions." (Tim Grierson, Screen International)
"Hood, his co-screenwriters Sara and Gregory Bernstein and a seasoned ensemble of Brit stage and screen pros deliver a straightforward, solidly old-fashioned slice of real-life espionage, journalistic and legal intrigue that gets the job done in engrossing, clear-eyed fashion." (David Rooney, The Hollywood Reporter)
"The film relies on its lead star and Knightley is more than equipped for the task of carrying it on her shoulders." (Benjamin Lee, The Guardian)Contact: info@fundycinema.ca | (902) 542-1050
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Cost: $10
Official Secrets recalls the prosecution of real-life whistle-blower Katharine Gun (Keira Knightley, Colette, The Imitation Game, Anna Karenina), a story that might otherwise be a footnote in the campaign that led to the March 2003 invasion of Iraq by British and American troops. The film offers a behind-the-scenes account of events from the perspectives of Gun and the journalists and lawyers that warn of the perilous state of democracy at times of war.
Gun was a young translator at the United Kingdom’s Government Communications Headquarters (GCHQ). George W. Bush, President of the United States, and Tony Blair, Prime Minister of the United Kingdom, were doing everything in their power to secure a United Nations resolution to sanction war. As part of that effort, the United States’ National Security Agency sent a memo to GCHQ with an order to gather information on diplomats from certain nations so they could fix the UN vote and protect themselves from being charged with any unlawful acts.
Gun is reluctant to follow the order, knowing that the case for war has yet to be proven. Weighed down by her conscience, she risks everything and leaks the memo in the hopes of stopping the war—but no one can stand in its way.
Did Gun break the law? Did she violate the UK’s Official Secrets Act? Is she a traitor? These are the motivating questions from here on out. Directed by Gavin Hood (Eye in the Sky, Tsotsi) and stacked with a who’s who of British acting heavyweights, Official Secrets is an examination of the meaning, value and act of loyalty.
"A sturdy, entertaining political thriller that pushes all the right buttons and triggers all the right outraged reactions." (Tim Grierson, Screen International)
"Hood, his co-screenwriters Sara and Gregory Bernstein and a seasoned ensemble of Brit stage and screen pros deliver a straightforward, solidly old-fashioned slice of real-life espionage, journalistic and legal intrigue that gets the job done in engrossing, clear-eyed fashion." (David Rooney, The Hollywood Reporter)
"The film relies on its lead star and Knightley is more than equipped for the task of carrying it on her shoulders." (Benjamin Lee, The Guardian)Contact: info@fundycinema.ca | (902) 542-1050
