Thursday, January 17, 2019 7 pm @ Galaxy Cinemas, Sault Ste. Marie, ON
Director: Wash Westmoreland United Kingdom; 2018 English; 112 minutes Rating: 14a for some sexuality and nudity
Sidonie-Gabrielle Colette (Keira Knightley) marries a successful writer known commonly as Willy (Dominic West). Willy relies on ghostwriters to produce his work – spending his time instead on self-indulgent activities, including numerous affairs – and enlists his wife as one of his ghostwriters. Although he initially dismisses her writing, Willy eventually publishes Colette’s work under his name and it proves to be wildly successful. In her fight over creative ownership, Colette defies gender roles and societal constraints, blazing a trail for other women who chooseto live their lives to the fullest.
Knightley… not only brings to life a woman discovering new desires and needs and finding the strength to act on them, but conveys the inner toil of the writer’s creative process. Peter Keough, Boston Globe
Westmoreland’s Paris is scrumptiously decadent – and seedy – as Colette navigates the city’s eclectic, gossipy social scene. Johnny Oleksinski, New York Post
Colette ranks as one of the great roles for which Keira Knightley will be remembered.Peter Debruge, Variety
Director: Christian Petzold
German/French/French Sign Language with English subtitles;
As Georg (Franz Rogowski) flees Paris for Marseille on the eve of the Germans’ occupation of the city, he carries another man’s
personal effects in his bag, including papers guaranteeing a Mexican visa and two love letters. In the throng of refugees seeking visas and passage out of Marseille, Georg meets and falls in love with Marie (Paula Beer). As the story launches into a tangled matrix that
crosses parallel worlds and multiple timelines, Petzold challenges viewers to question the landscape of past and present. One of the most daring pieces of filmmaking to date, Transit is an arthouse gem that rewards the attention it demands.
With Transit, director Christian Petzold creates a Second World War
adventure that is not a sentimental costume drama, and a contemporary political parable that is not a didactic sermon – and produces a highly
entertaining film into the bargain. Kate Taylor, Globe and Mail
Christian Petzold’s progressive drift away from realism gathers pace in Transit, another melodrama of impossibility and despair that unfolds in a hyper-constructed amalgam of past and present as unstable as it is seamless. James Lattimer, Cinema Scope
Transit … ought to make a star of superb leading man Franz Rogowski, whose planed, haunted face lingers in the mind as long as the film’s
surfeit of discussion points. Guy Lodge, Variety
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Director: Björn Runge
English; 100 minutes
Rating: 14A (for language and some sexual content)
Joe (Jonathan Pryce) and Joan (Glenn Close) Castleman appear to have a perfect marriage. They’re both delighted to hear that Joe is being given the Nobel Prize for Literature. But from the moment the couple arrives in Stockholm for the prize ceremony, tensions rise,
as the normally shy Joan is pushed uncomfortably into the spotlight where long-kept secrets are in danger of being illuminated. Focusing on unspoken agreements and long-simmering resentments, The Wife is an incisive study of celebrity, marriage, and the creative process.
[Close] is a marvel of twisty understatement here, delivering emotions that conceal as much as they reveal, and offering onion-like layers that invite repeat viewings in light of some of the film’s later revelations. Andrew Barker, Variety
The sort of detailed, A-level film that earns a viewer’s respect for its
intelligence in a marketplace of mind-numbing hoopla. Colin Covert, Minneapolis Star Tribune
Pryce and Close perform with and for each other, rather than the camers, in ways that go beyond mere chemistry between actors. It’s as if they are working together on a single, unified performance. Rob Thomas, Capital Times
Director: Tim Wardle
United Kingdom; 2018
English; 96 minutes
Robert Shafran arrives at college only to find that strangers
continually refer to him as “Eddy”. When Robert meets Eddy
Galland, their incredible story is picked up by the media, catching
the attention of David Kellman, their identical triplet. With the three brothers happily reunited, their parents start to investigate what
separated the young men in the first place, and uncover a conspiracy
with an unknown number of victims affected. A documentary of
triumph and tragedy, Three Identical Strangers leads its audience
through an emotional journey about how we understand our
families and ourselves.
A gripping, stranger-than-fiction account of a real-world medical
conspiracy, the film begins as a human-interest story and builds to an
impressive work of investigative journalism into how and why they were placed with the families who raised them. Peter Debruge, Variety
Tim Wardle’s documentary contains as many twists as a great thriller. Bill Goodykoontz, Arizona Republic
Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction. Colin Covert, Minneapolis Star Tribune
Tom (Thomasin Harcourt McKenzie), and her veteran father, Will (Ben Foster), have lived undetected for years in Forest Park, a vast woods on the edge of Portland, Oregon. A chance encounter leads to their discovery and removal from the park and into the care of a social services agency. There they must confront their conflicting desire to be part of a community and fierce need to live apart. A haunting film, Leave No Trace is a moody, mysterious, mesmerizing exploration of an unexpected existence on the edge.
Once again, Granik introduces us to a kind of family that cinema rarely captures believably, and she does so with a style that’s both lyrical and realistic at the same time, anchored by a pair of unforgettable
performances. Brian Tallerico, RogerEbert.com
It covers difficult ground, but to say it leaves no trace would be a lie. It definitely makes its mark. Adam Graham, Detroit News
Debra Granik made a stunning feature eight years ago: Winter’s Bone, … Here’s another stunner, and another revelation in the calmly radiant
person of Thomasin Harcourt McKenzie. Joe Morgenstern, Wall Street Journal
Director: Sadaf Foroughi
Farsi with English subtitles; 103 minutes
Coming of age in Iran, Ava (Mahour Jabbari) faces pressure to meet the expectations of her parents, teachers, and friends. After an act
of betrayal by her mother, Ava rebels. And when she learns that her
parents were once flagrant rule breakers themselves, her rebellious
behaviour escalates, leading to life-altering choices. Foroughi’s
masterful direction vividly renders Ava’s internal turmoil, creating
one of the strongest, most richly developed female leads seen this
year. An exquisitely composed and gripping drama.
It’s a gripping, steely performance, complex and smart in a way you don’t often seen teen girls portrayed – anywhere.Janet Smith, Georgia Straight
Foroughi’s shrewd filmmaking uses the frame to advantage: the
tightening of Ava’s constraints is matched by the mise en scène around her.Mallory Andrews, Cinema Scope
Ava is a layered, complex character, and one that anyone who was ever a teenager can identify with.Mick LaSalle, San Francisco Chronicle
High school student Cameron Post (Chloë Grace Moretz) seems to fit in perfectly with her conservative community, until she’s caught in the back seat of a car with another girl. Cameron is shipped off to a religious conversion therapy center where she’s subjected to
outlandish discipline and “de-gaying” methods. But the center also
unexpectedly provides a community she can connect with. Through
its stellar cast and thoughtful direction, The Miseducation of Cameron
Post tells its coming-of-age story with wit and compassion.
Chloë Grace Moretz puts in a career-best turn as a teen sent to ‘pray away the gay’ at a Christian camp in Desiree Akhavan’s compassionate LGBT story.Jordan Hoffman, The Guardian
This is a lovely, richly shaded portrait of adolescence in all its shifting moods, shot through with a melancholy sweetness and sly, intoxicating humour.Edward Lawrenson, The Big Issue
The sort of film that stays with you. Powerful in its restraint, and
unfailingly full of light.Hannah Woodhead, Little White Lies