Charles Wilkinson (Haida Gwaii: On the Edge of the World) brings his trademark inquisitiveness and craftsmanship to this revealing portrait of an unassuming living legend. Weaving together engaging interviews with the artist’s offspring and a host of admirers from all walks of life, Haida Modern leaves you inclined to believe Davidson when he surmises that art may just possess the power to save us from ourselves.
“HAIDA MODERN CAPTURES BEAUTY IN WORK AND LIFE OF A GREAT ARTIST”
- Dana Gee, Vancouver Sun
“HIGHLIGHTS THE STUNNING ARTWORK AND ACTIVISM OF INDIGENOUS TRAILBLAZER ROBERT DAVIDSON”
- Jennifer Van Evra, CBC Radio
A ski-obsessed Austrian, with a vision no one else believed in, translates a lifetime of innovation into a legendary reputation as one of the most influential figures in snowsports.
Call Me Crazy tells the story of how a young Austrian with little more than a dream and a love for skiing, became one of the most influential ski pioneers in Canada and the founder of North American’s preeminent heli-skiing operation. Mike’s commitment to his vision has enabled ski enthusiasts and die-hard powder-hounds to access some of the most sought-after snow in the world. His contributions don’t end there; Wiegele has set the standard for avalanche safety in the mechanized ski industry, influenced ground-breaking changes in ski technology, and continues to inspire future generations of skiers, snowboarders, and guides.
“THE MAKING OF THIS FILM MADE ME REALIZE HOW FAR WE HAVE COME. THERE’S NO BETTER RECOGNITION THAN TO HAVE YOUR LIFE CAPTURED ON FILM”
- Mike Wiegele
“HE WAS ALWAYS SORT OF A DREAMER. HE WANTED TO GO ON THE MOUNTAIN AND SKI, AND THAT WAS HIS DREAM.”
- Bonnie Wiegele
DOUBLE FEATURE WITH CALL ME CRAZY (6pm)
A non-narrative documentary (City-Poem) that presents a striking portrait of the city of Kamloops, for six days in December of 2019.
Kamloops is a city in south-central British Columbia that exists on the confluence of the two branches of the Thompson River.
For six days in December of 2019, a small group of filmmakers explored this vibrant and multi-faceted city and present their findings in this documentary film.
In Fabric is a haunting ghost story set against the backdrop of a busy winter sales period in a department store and follows the life of a cursed dress as it passes from person to person, with devastating consequences.
A lonely woman (Marianne Jean-Baptiste), recently separated from her husband, visits a bewitching London department store in search of a dress that will transform her life. She’s fitted with a perfectly flattering, artery-red gown—which, in time, will come to unleash a malevolent curse and unstoppable evil, threatening everyone who comes into its path.
“FEW PEOPLE COULD GET AWAY WITH MAKING A HAUNTED COSTUME SEEM CHILLING WITHOUT BEING KITSCH, OR TURN RIDICULOUSLY VERBOSE RETAIL-SPEAK INTO SOMETHING BOTH SIDESPLITTING AND UNNERVING”
- David Fear, Rolling Stone
“STRICKLAND SUFFUSES IN FABRIC WITH INTENSE WHISPERS AND A CELEBRATION OF THE BEAUTIFULLY TWISTED.”
- Elizabeth Metzger, NPR
“A TALE OF A KILLER DRESS, IN FABRIC IS A DAZZINGLY STYLISH AFFAIR THAT’S A CUT ABOVE THE REST. SAY YES
Anna, Elsa, Kristoff, Olaf and Sven leave Arendelle to find the origin of Elsa's powers in order to save their kingdom.
Having harnessed her ever-growing power after lifting the dreadful curse of the eternal winter, the beautiful conjurer of snow and ice, Queen Elsa, now rules the peaceful kingdom of Arendelle, enjoying a happy life with her sister, Princess Anna. However, a melodious voice that only Elsa can hear keeps her awake, inviting her to the mystical enchanted forest that the sisters' father told them of a long time ago. Now, unable to block the thrilling call of the secret siren, Elsa--along with Anna, Kristoff, Olaf, and Sven--summons up the courage to follow the voice into the unknown, intent on finding answers in the perpetually misty realm in the woods.
“FROZEN II IS A WORTHY FOLLOW-UP WITH ENOUGH HEART, ACTION, AND MUSIC TO ENTERTAIN YOUNGER AND OLDER VIEWERS ALIKE.”
- James Berardinelli, ReelViews
“…ONE OF THE MOST BEAUTIFULLY ANIMATED FILMS OF THE DECADE, FILLED WITH STUNNING VISUAL PYROTECHNICS AND INCREDIBLE ATTENTION TO DETAIL”
- Richard Roeper, Chicago Sun-Times
“[A] SATISFYING STORY OF MORE MATURE THEMES FOR AN AUDIENCE THAT’S GROWN OUT OF THE DRESS-UP STAGE.”
- Valerie Kalfrin, Their Own League
When a murder on main street bursts the bubble of Nelson’s utopian image, citizens of this mountain oasis head into a raucous city election struggling with their emerging exposure to the right wing wave of populism spreading across North America.
Only in Nelson nods to the character study of Errol Morris's Vernon, Florida, the tone of a Christopher Guest mockumentary and the scope and spontaneity of Robert Altman's ensemble cast of Nashville.
Nelson's bohemian bubble bursts when one man kills another on the main street over a panhandling spot. This tragedy prompts Bubbles the Clown, who has twisted balloon animals downtown for 20 years, to run for Mayor as she stumps for the marginalized citizens of Nelson.
On the other side of Nelson's political spectrum, the death downtown ignites a call from the frustrated business community to oust the current Mayor and the six sitting Councilors. This populist flavored uprising forms 'CORE - Coalition of Responsible Electors', the city's first-ever political party with a platform to clean up the streets and make Nelson great again.
Stakes are high as the town heads into the municipal election, otherwise known by locals as 'Silly Season.' We follow a colorful group of candidates and a handful of concerned citizens along the campaign trail, including the pot shop owner, mountain bike champion, trans gendered activist, small town reporter, punk rock musician, street elder, and a used car salesman.
"THE ONE THING THAT ALL THE DIFFERENT GROUPS HAVE IN COMMON IS A KIND OF LIBERTARIAN SPIRIT. PEOPLE REALLY WANT TO BE LEFT ALONE TO LIVE THEIR OWN UTOPIA."
- Anna Purcell, City Councillor
"I OFTEN REFER TO NELSON AS THE BUBBLE. IT WAS KIND OF THE LAST BASTION OF HUMAN KINDNESS WHERE THINGS OUTSIDE OF COMMERCE SEEMED TO BE AT THE PARAMOUNT OF WHY PEOPLE LIVED HERE."
- Mike Hodsall, musician
"PEOPLE TALK ABOUT HOW WE, IN NELSON, LIVE IN A BUBBLE. WE’RE KIND OF SAFE FROM THE REST OF THE WORLD, BUT THE REST OF THE WORLD IS HERE AND ALL OF THOSE THINGS ARE COMING IN ON US NOW AND WE’RE HAVING TO DEAL WITH THEM."
- Deb Kozak, Mayor of Nelson
The filmed account of The Beatles' attempt to recapture their old group spirit by making a back to basics album, which instead drove them further apart.
The dissolution of the Fab Four is captured on camera in Michael Lindsay-Hogg's documentary, a filmed record of the sessions for what would become the Beatles' final release, Let It Be. (Abbey Road, cut shortly after these sessions, was in fact the group's final recording, but it was released a year before these often-delayed songs.) Included is footage shot at the famous rooftop concert that was the Fabs' final live appearance. The Beatles are shown rehearsing, performing, arguing, and recording, and they allow the cameras to record their every word and note in the recording studio.
“THIS SURVIVES AS A FASCINATING RECORD OF BOTH THE BEATLES’ COLLAPSE AND THEIR UNENDING POWER OVER THEIR AUDIENCE.”
- Time Out
“IN MANY WAYS, IT IS THE BEST BEATLES FILM.”
- Phil Hall, Film Threat
“THE ONLY GLIMPSE WE WILL HAVE OF THE WORLD’S MOST SUCCESSFUL AND INFLUENTIAL MUSICAL GROUP AT WORK.”
- Shane Burridge, rec.arts.movies.reviews
The story of the killing of Colten Boushie and his family's pursuit of justice.
On August 9, 2016, a young Cree man named Colten Boushie died from a gunshot to the back of his head after entering Gerald Stanley's rural property with his 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. Sensitively directed by Tasha Hubbard, nîpawistamâsowin: We Will Stand Up weaves a profound narrative encompassing the filmmaker's own adoption, the stark history of colonialism on the Prairies, and a transformative vision of a future where Indigenous children can live safely on their homelands.
“A POWERFUL WORK OF ACTIVIST CINEMA”
- Peter Howell, Toronto Star
“BY WEAVING IN A PERSONAL STORY, HUBBARD ELEVATES THIS DOCUMENTARY FROM A SUMMARY OF THE CASE TO A POIGNANT EXPLORATION OF HOW TO MAINTAIN INDIGENOUS IDENTITY IN A SETTLER SOCIETY.”
- Brett Pardy, Seventh Row
“THIS HEARTBREAKING TALE HITS A NERVE THAT WON’T BE UNSTRUCK ANYTIME SOON.”
- Ken Eisner, Georgia Straight
Explores a young actor's stormy childhood and early adult years as he struggles to reconcile with his father and deal with his mental health.
From a screenplay by Shia LaBeouf, based on his own experiences, award-winning filmmaker Alma Har'el brings to life a young actor's stormy childhood and early adult years as he struggles to reconcile with his father through cinema and dreams. Fictionalizing his childhood’s ascent to stardom, and subsequent adult crash-landing into rehab and recovery, Har'el casts Noah Jupe and Lucas Hedges as Otis Lort, navigating different stages in a frenetic career. LaBeouf takes on the daring and therapeutic challenge of playing a version of his own father, an ex-rodeo clown and a felon. Artist and musician FKA Twigs makes her feature-film debut, playing neighbor and kindred spirit to the younger Otis in their garden-court motel home. Har'el's feature narrative debut is a one-of-a-kind collaboration between filmmaker and subject, exploring art as medicine and imagination as hope.
“THE FILM DELICATELY BEARS ITS SCARS AND FINDS PEACE BY ACKNOWLEDGING HOW CHILDHOOD PAINS CAN MAKE AND BREAK US.”
- Clarisse Loughrey, Independent (UK)
“THE ICING ON THE CAKE OF [LABEOUF’S] INDIE REDEMPTION PHASE.”
- Tim Robey, Daily Telegraph (UK)
“AS ACTOR, SCRIPTWRITER AND SELF-PORTRAITIST, LABEOUF SETS HIS DUCKS IN A ROW AND TAKES PERFECT AIM.”
- Nigel Andrews, Financial Times
The quiet Rose works in women's fashion clothing, hoping to be a designer. A traffic accident damages her face. She gets experimental stem cell treatment, leaving her stronger and prettier than ever - but there's a side effect.
What happens when you realize that to achieve your dreams you have to live a nightmare? Rose is a quiet, demure, unassuming woman in her looks and actions. Her dream is to become a famous designer in the fashion world, but a terrible accident leaves Rose scarred beyond recognition. She seeks out a radical untested stem cell treatment. The treatment is nothing short of a miracle and wallflower Rose turns into the belle of the ball. It all seems too good to be true. She is now everything she wanted to be. But everything in life comes at a price and this newfound perfect life is no exception.
“[THE SOSKAS] HAVE A WICKEDLY FUNNY SENSE OF HUMOR, AND A FEW WINNINGLY NASTY IDEAS.”
- Simon Abrams, RogerEbert.com
“[A]N… ENERGIZING REMAKE OF DAVID CRONENBERG’S 1977 CULT CLASSIC”
- Noel Murray, Los Angeles Times
“[RABID] PROVIDES A NEW TWIST ENDING, A GREATER FEMALE SENSIBILITY, AND THE BEST SPECIAL EFFECTS THE 21ST CENTURY CAN PROVIDE”
- Chris Knight, National Post
Suburban soccer moms find themselves constantly competing against each other in their personal lives as their kids settle their differences on the field.
In a day-glo-colored, bizarro version of suburbia where adults wear braces on their already-straight teeth, everyone drives golf carts, and children magically turn into golden retrievers, soccer moms and best friends Jill (Jocelyn DeBoer) and Lisa (Dawn Luebbe) are locked in a passive aggressive battle-of-the-wills that takes a turn into the sinister when Lisa begins systematically taking over every aspect of Jill’s life—starting with her newborn daughter. Meanwhile, a psycho yoga teacher killer is on the loose, Jill’s husband (Beck Bennett) has developed a curious taste for pool water, and Lisa is pregnant with a soccer ball. That’s just the tip of the gloriously weird iceberg that is the feature debut from writers-directors Jocelyn DeBoer and Dawn Luebbe, a hilariously demented, Stepford Wives-on-acid satire destined to be an instant cult classic.
“A HYPNOTIC WATCH”
- Sophie Monks Kaufman, Little White Lies
“GREENER GRASS IS A MOVIE NOT ONLY IMMEDIATELY DESTINED FOR CULT STATUS – IT’S THE RARE MOVIE THAT TRULY EARNS IT” - Geoff Berskhire, Los Angeles Times
“IT’S GLORIOUSLY NONSENSICAL – AND YET, IT REVERBERATES WITH EERIE TRUTH”
- Andee Tagle, NPR
On an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman.
France, 1760. Marianne is commissioned to paint the wedding portrait of Héloïse, a young woman who has just left the convent. Because she is a reluctant bride-to-be, Marianne arrives under the guise of companionship, observing Héloïse by day and secretly painting her by firelight at night. As the two women orbit one another, intimacy and attraction grow as they share Héloïse’s first moments of freedom. Héloïse's portrait soon becomes a collaborative act of and testament to their love.
“THE FILM HAS AN EPIC QUALITY, AS WELL AS A ROMANTIC INTENSITY THAT MARKS A MAJOR LEAP FORWARD”
- Jake Wilson, The Age (Australia)
“IT’S A VISUAL MASTERPIECE… THE CINEMATOGRAPHY BY CLAIRE MATHON IS STUNNING AND THE ACTING IS WONDERFUL”
- Claudia Puig, FilmWeek (KPCC – NPR Los Angeles)
“HER TRANSFIXING FILM, ABOUT THE HEADY EXPERIENCE OF AN IMPOSSIBLE FIRST LOVE, IS A TIMELESS WORK OF ART.”
- Peter Travers, Rolling Stone
After a chance encounter on the street, a woman tries to encourage a pregnant domestic abuse victim to seek help.
When Áila encounters a young Indigenous woman, barefoot and crying in the rain on the side of a busy street, she soon discovers that this young woman, Rosie, has just escaped a violent assault at the hands of her boyfriend. Áila decides to bring Rosie home with her and over the course of the evening, the two navigate the aftermath of this traumatic event.
“SUBTLE AND INVOLVING”
- Sheri Linden, Hollywood Reporter
“QUIETLY ILLUSTRATES THE ETERNAL CONUNDRUM OF TRYING TO BE GOOD WITHOUT BEING A DO-GOODER, AND TRYING TO BE INDEPENDENT WHILE ALSO RECOGNIZING THE NEED FOR A HELPING HAND.”
- Peter Howell, Toronto Star
“IT’S RARE TO FIND A FILM OF SUCH BOTTOMLESS DEPTHS.”
- Sophie Monks Kaufman, Little White Lies
In this school-set re-working of Cyrano de Bergerac, an awkward but imaginative pupil helps the handsome but spectacularly dim school-hero pursue the fiery daughter of a visiting French teacher.
At an English all-boys boarding school, the life of nerdy Amberson is turned upside down when the daughter of the new French teacher arrives. As he ends up playing matchmaker to the school's popular sporting hero in dire need of romantic assistance, he realises he's falling for the girl himself. A fresh and vibrant comedy, OLD BOYS is a modern twist on the timeless story of Cyrano de Bergerac.
“THIS CHARMINGLY ODDBALL ROM-COM EXISTS SOMEWHERE BETWEEN ‘IF…’ AND ‘RUSHMORE’ IN THE CANON OF SCHOOLBOY ECCENTRICITY”
- Philip De Semlyen, Time Out
“MACDONALD WRINGS PLENTY OF FUN OUT OF HIS SETTING”
- Francesca Angelini, Sunday Times (UK)
“A LIKEABLE DEBUT FROM TOBY MACDONALD, OLD BOYS ADDS A NEW LICK TO OLD TROPES AND DELIVERS A MOSTLY QUIRKY APPEALING TAKE ON YOUNG LOVE AND THE NEED TO SPEAK IN YOUR OWN VOICE.”
- Ian Freer, Empire Magazine
The Austrian Franz Jägerstätter, a conscientious objector, refuses to fight for the Nazis in World War II.
Based on real events, A HIDDEN LIFE is the story of an unsung hero, Bl. Franz Jägerstätter, who refused to fight for the Nazis in World War II. When the Austrian peasant farmer is faced with the threat of execution for treason, it is his unwavering faith and his love for his wife, Fani, and children that keeps his spirit alive.
“AN EXQUISITELY EMOTIONAL AND THOROUGH ACCOUNT OF AN INDIVIDUAL RESISTING STATE FASCISM.”
- Sophie Monks Kaufman, Little White Lies
“THE FILM DOES INDEED SUCCEED IN BEING A SPECIES OF RELIGIOUS EXPERIENCE. IT HAS A POWERFUL SENSE OF THE IMMANENCE OF LIFE.”
- Peter Rainer, Christian Science Monitor
“’A HIDDEN LIFE’ IS INDISPUTABLY THE FINEST WORK MALICK HAS PRODUCED IN EIGHT YEARS, AS AN EXAMINATION OF FAITH, CONVICTION AND SACRIFICE, BUT ALSO AS PROOF OF CONCEPT FOR HIS OWN IDIOSYNCRATIC STYLE”
- Ann Hornaday, Washington Post
After a Gwich'in-Canadian soldier is captured by the Taliban, he finds himself reflecting on the death of his cousin.
Red Snow is a dramatic adventure that begins when Dylan, a Gwich'in soldier from the Canadian Arctic, is caught in an ambush in Panjwayi, Afghanistan. His capture and interrogation by a Taliban Commander releases a cache of memories connected to the love and death of his Inuit cousin, Asana, and binds him closer to a Pashtun family as they escape across treacherous landscapes and through a blizzard that becomes their key to survival.
“LOVED THIS FILM. ORIGINAL. SAVVY. REAL.”
- Tonya Makletzoff, Facebook
“RED SNOW DAZZLES WITH ITS PERSPECTIVE BEAUTIFUL STORYTELLING. THE SCRIPT IS SO FINELY DETAILED AND FILLED WITH POIGNANT TRAGEDY AND WITTY PLAY… TERRIFIC DIRECTION AND ACTING AND SUCH A MAGICAL JOURNEY THROUGH TIME AND SPACE. THANK YOU FOR GIVING US A CANADIAN FILM THAT SPEAKS TO US IN MANY TONGUES GIVING LIFE TO THE POWER AND BEAUTY OF INDIGENOUS LIVES AND THE LIVES OF WOMEN IN AFGHANISTAN WHO KNOW WHAT IT MEANS TO BE FREE.”
- Janice Williamson, Facebook
After years abroad in Paris, Selma returns to Tunis with the dream of opening up her own psychotherapy practice.
After 10 years of living in Paris, Selma (Golshifteh Farahani) has returned to Tunis. Back home, her younger cousin can't figure out why she'd leave the French capital, her aunt is overbearing, and her uncle is only giving her a matter of weeks to crash in the apartment above their house. Selma, nonetheless, is steadfast in her resolve: she wants to open up a psychotherapy practice. So begins an incisive comedy about coming home, breaking taboos, and building community. As Selma tries to settle in, she's faced with increasing complications that she couldn't have predicted. There isn't just the matter of finding interested psychotherapy patients in a locale that's not keen on the talking cure, but she also needs to navigate a confusing bureaucratic circus in order to get the right papers to run her practice. On top of all that, a strapping cop, Naim (Majd Mastoura), is keeping a close eye on her every move.
“ARAB BLUES IS AN ENTERTAINING TUNISIAN CULTURE CLASH COMEDY”
- Sara Clements, Exclaim!
“COASTS ON THE OFFHANDED CHARM AND SINCERITY OF ITS STAR GOLSHIFTEH FARAHANI”
- Vikram Murthi, RogerEbert.com
“VIA A COLOURFUL ARRAY OF CHARACTERS STILL GETTING THEIR BEARINGS POST-ARAB SPRING, FIRST-TIME WRITER-DIRECTOR MANELE LABIDI PACKS A LOT OF AFFECTIONATE OBSERVATIONS INTO COMPACT RUNNING TIME.”
- Lisa Nesselson, Screen International
Hoping that self-employment through gig economy can solve their financial woes, a hard-up UK delivery driver and his wife struggling to raise a family, end up trapped in the vicious circle of this modern-day form of labour exploitation.
Ricky and his family have been fighting an uphill struggle against debt since the 2008 financial crash. An opportunity to wrestle back some independence appears with a shiny new van and the chance to run a franchise as a self-employed delivery driver. It's hard work, and his wife's job as a carer is no easier. The family unit is strong but when both are pulled in different directions everything comes to a breaking point.
“DON’T MISS THIS. YOU’LL BE SORRY IF YOU DO.”
- Charlotte O’Sullivan, London Evening Standard
“RYAN GIVES A GLOW, TEXTURE AND DEPTH TO PEOPLE’S FACES THAT ARE ALMOST BEGMANESQUE. HIS WORK IS COMPASSIONATE EVEN WHEN UNSPARING.”
- Nigel Andrews, Financial Times
“SORRY WE MISSED YOU IS ENGROSSING AND BLUNTLY PERSUASIVE.”
- Justin Chang, Los Angeles Times
A couple's first date takes an unexpected turn when a police officer pulls them over.
Slim and Queen's first date takes an unexpected turn when a policeman pulls them over for a minor traffic violation. When the situation escalates, Slim takes the officer's gun and shoots him in self-defence. Now labelled cop killers in the media, Slim and Queen feel that they have no choice but to go on the run and evade the law. When a video of the incident goes viral, the unwitting outlaws soon become a symbol of trauma, terror, grief and pain for people all across the country.
“A POTENT LOVE STORY FOR OUR TIMES.”
- Adam Graham, Detroit News
“THERE’S NO GETTING AROUND THE APPEAL OF THESE TWO CHARACTERS, AS KALUUYA AND TURNER-SMITH PLAY THEM…”
- Stephanie Zacharek, TIME Magazine
“THE ‘RHETORIC’ OF QUEEN & SLIM REVERBERATES WITH ANGER AND LOVE AND MOURNING.”
- Sheila O’Malley, RoberEbert.com
Three elderly hermits live in the woods. While wildfires threaten the region, their quiet life is about to be shaken by the arrival of two women.
As acclaimed director Louise Archambault's elegiac and charming And the Birds Rained Down opens, we meet three hermits living in cabins in the Quebec countryside, miles from civilization. Tom (Rémy Girard), Charlie (Gilbert Sicotte), and Ted (Kenneth Welsh) fled society years ago, and have eked out a back-to-the-land existence, selling pot to the closest locals with help from local hotelier Stephen (Éric Robidoux). While wildfires threaten the region, their quiet life is about to be shaken by the arrival of two women.
“LOUISE ARCHAMBAULT’S GENTLY PACED AND UNEXPECTEDLY DEEP NEW FILM HAS A KIND OF TENDERNESS YOU DON’T OFTEN EXPERIENCE IN THE MOVIES.”
- Janet Smith, Georgia Straight
“THIS ECO-FRIENDLY, ELEGANTLY DELIVERED TALE ABOUT THE SUNSET CHANGES IN THE LIVES OF A TRIO OF GRAYBEARDS LIVING IN THE WOODS IS ENGAGING, THOUGHT-PROVOKING AND ULTIMATELY MOVING”
- Jonathon Holland, Hollywood Reporter
“TOUCHING, HEARTBREAKING, AND DANGEROUSLY THOUGHT-PROVOKING, AND THE BIRDS RAINED DOWN WILL FORCE YOU TO RE-EXAMINE YOUR RELATIONSHIP WITH YOURSELF, THE WORLD AROUND YOU, AND THE PEOPLE YOU LOVE.”
- Anne T. Donahue, Globe and Mail
A cop from the provinces moves to Paris to join the Anti-Crime Brigade of Montfermeil, discovering an underworld where the tensions between the different groups mark the rhythm.
Inspired by the 2005 riots in Paris, LES MISÉRABLES – directed by Ladj Ly – follows Stéphane (Damien Bonnard), a recent transplant to the impoverished suburb of Montfermeil, as he joins the local anti-crime squad. Working alongside his unscrupulous colleagues Chris (Alexis Manenti) and Gwada (Djebril Zonga), Stéphane struggles to maintain order amidst the mounting tensions between local gangs. When an arrest turns unexpectedly violent, the three officers must reckon with the aftermath and keep the neighborhood from spiraling out of control.
“IT’S AN URGENT PORTRAIT THAT CAPTURES A MUCH DIFFERENT PARIS THAN THE ORIGINAL 1862 NOVEL, BUT ITS THEMES REMAIN. VICTOR HUGO WOULD BE PROUD.”
- Adam Graham, Detroit News
“THIS GRITTY, NON-MUSICAL CRIME DRAMA SEEMS LIKE A FRENCH GRANDSON OF DENNIS HOPPER’S ‘COLORS’ (1988)”
- Jeff Mitchell, Phoenix Film Festival
“LES MISÉRABLES IS A CREDIBLE FRENCH PROCEDURAL THAT MANAGES TO SURPRISE WITH BOTH SCALE AND FEELING, WORTHY OF HUGO’S TITLE”
- Ryan Silberstein, Cinema76
A popular undergrad faking cancer struggles to maintain her secret.
Directed with an assurance that suffuses every frame, the latest feature from Calvin Thomas and Yonah Lewis (Amy George, The Oxbow Cure, Spice It Up) centres on Katie (Kacey Rohl), a young woman who has become a literal poster child on her university campus: recently diagnosed with cancer, she's the focal point of an online funding campaign for both herself and other cancer-related causes. The only problem is, it's all built on a lie: Katie isn't sick, and never has been. And as her story slowly begins to unravel, she disastrously decides to double down, unable to give up the real-life fantasy world she's constructed for herself.
“NERVY AND KINETIC, IT SUCCEEDS AS A SMALL-SCALE PSYCHOLOGICAL THRILLER.”
- Stephen Dalton, Hollywood Reporter
“IT’S CHILLING FILMMAKING”
- B. P. Flanagan, Seventh Row
“CRISPLY PHOTOGRAPHED AND TAUTLY CONVEYED, WHITE LIE IS ANOTHER STRONG EXAMPLE OF CANADIAN FILMMAKING AT ITS VERY FINEST”
- Tomas Trussow, The Lonely Film Critic
An innocent college student is tossed into a jungle hellhole where she must fight for her life against an evil wardress, psycho inmates, voodoo experiments and the incredible torture machine.
An American college student named Penny is erroneously apprehended during a dissident round-up in the banana republic of Rattica. She is incarcerated into the island penal system overseen by Wardress Von Krupp who is constructing the world's greatest information extractor. Crocodiles, religious zealots, psycho inmates and voodoo-based experiments block her every escape. Life is cheap and the jungle explodes in Amazon Hot Box.
“FAST PACED AND INSANELY CRAZY INDIE FILM THAT MIGHT BE THE BEST WOMEN IN PRISON FILM EVER MADE”
- TuranFan-222, Imdb
“LOVE IT. A NEW POST-GRINDHOUSE CLASSIC MASTERPIECE.”
- BigRed-714666, Imdb
“A REALLY ENJOYABLE SEVENTIES WOMEN-IN-PRISON CLONE WITH STRONG WOMEN.”
- coldcream, Imdb
A psychological thriller that follows Detective Reeves' investigation after Laura Bennett's death and the disappearance of her brother Jack. The suspect at hand is the mysterious Andrew Bennett.
Beyond the Woods is a psychological thriller that follows Detective Reeves' investigation after Laura Bennett's death and the disappearance of her brother Jack. The suspect at hand is Laura's husband Andrew, who seems to be the only one to know where Jack really is. Detective Reeves must solve this never-ending puzzle, as Jack's odds of survival are against him.
QUOTES:"Good scenery... Good Story"- Denise Campbell-Purdy, Facebook
A shy and insecure delivery truck driver accidentally arrives at the scene of a major crime, picks up two bags of cash, and hides them.
Pierre-Paul Daoust, 36, an intellectual with a PhD in philosophy is forced to work as a deliveryman to afford a decent living. One day, while delivering a parcel, he gets caught in a hold up gone terribly wrong: two dead and millions in money bags laying on the ground. Pierre-Paul is confronted with a dilemma: leave empty handed or take the money and run?
This new Denys Arcand film takes a witty yet touching look at, as only Arcand knows how, the predominance of money in a society where all other values seem to have crumbled.
“I LOVE THE WAY ARCAND BLENDS DIFFERENT GENRES. THIS IS SATIRE, A ROMANCE AND ALSO A THRILLER”
- Lael Lowenstein, FilmWeek (KPCC – NPR Los Angeles)
“…A THOUGHTFUL, GOOD-HEARTED FILM FULL OF UNEXPECTED TURNS, THAT HAS SOMETHING IN PARTICULAR TO SAY AND IT SAYS IT IN A GENTLER, SUBLTER WAY THAN MOST SOCIAL SATIRES MIGHT.”
- Cate Marquis, We Are Movie Geeks
“LIKED EVERYTHING ABOUT THIS MOVIE FROM ITS CRAFTY ACTORS TO ITS CRAZY PLOT. MARIPIER MORIN AND ALEXANDRE LANDRY ARE STARS OF TOMORROW.”
- Jackie K. Cooper, jackiekcooper.com
Ajatashatru Lavash Patel has lived all his life in a small Mumbai neighborhood tricking people with street magic and fakir stunts. He sets out on a journey to find his estranged father, but instead gets dragged on a never-ending adventure.
Ajatashatru "Aja" Lavash Patel (Dhanush), who has lived all his life in a small Mumbai neighborhood, is a street magician and prankster who tricks people into believing that he possesses magical powers. After his mother's untimely death, he sets off on a journey to find his estranged father in Paris. There, he meets a woman named Marie (Erin Moriarty) in a furniture store and is soon smitten. Aja then experiences a series of adventures around the world, all while being pursued by Parisian taxi-driver Gustave, whom he swindled out of a cab fare.
“ITS RELENTLESS EARNESTNESS IS TOUGH TO RESIST”
- Ben Kenigsberg, New York Times
“SHOT AND EDITED WITH LOTS OF COLOUR AND PEP, THE FILM OFFERS A TRAVELOGUE-Y TAKE ON THE STREETS OF MUMBAI, PARIS, AND ROME.”
- Alison Gillmore, Winnipeg Free Press
“WITH HIS EASY CHARM, SMILE AND PERFECT COMIC TIMING, [DHANUSH] GIVES A WINNING PERFORMANCE.”
- Sreeparna Sengupta, The Times of India