Cineplex has confirmed our 6 screening dates for the fall. We’ll be screening films on September 14 and 28, October 12 and 26, and November 8 (note this screening is on a Wednesday) and 23.
All films are shown at 7 pm at Galaxy Cinemas in Sault Ste. Marie, Ontario.
Check back here and our schedule page, which we’ll update as we decide on film titles.
Our final film of the season – the Red Turtle – screened on April 20.
Join us for another great season of films starting in September
Wednesday Apr. 19 @ 7:00 pm
GALAXY CINEMAS / Sault Ste. Marie
To celebrate National Canadian Film Day 150 admission is free
for this film, presented as part of Canada on Screen,
TIFF’s year-long programme celebrating Canada 150.
Director: Sarah Polley
Canada 2012
English / 108 minutes
Rating: PG-13 (for thematic elements involving sexuality,
brief strong language, and smoking)
Polley examines the elusive nature of truth and memory through the varying narratives of her family as they look back on decades-old events. The combination of “archival” footage, still photos, and
testimonials creates a captivating visual assemblage, and the
responses from the storytellers are heartfelt and revealing. The
result is a lively and richly textured documentary that seamlessly
blends past and present, the real and the imagined. Filled with
tender and powerful moments, the film is a personal essay on how
our narratives shape and define us as individuals and as families.
Stories We Tell is one of those movies you watch on a screen and replay in your head for days, moving between its many levels of inquiry and touched, always, by Polley’s compassion toward her relatives in
particular and people in general. Ty Burr, Boston Globe
What Polley unearths is a well of emotion and one of the most powerful new films I’ve seen in recent memory. Corey Atad, Movie Mezzanine
Simply the most enthralling, idiosyncratic and entertaining family
memoir around. Rima Sabina Aouf, Concrete Playground
Thursday Apr. 20 @ 7:00 pm / GALAXY CINEMAS / Sault Ste. Marie
Director: Michael Dudok de Wit
France/Belgium/Japan 2016
No dialogue / 80 minutes
Rating: PG
Shipwrecked on a deserted island, a man struggles to find his place in this new world. The basics for survival are abundant yet
frustratingly out of reach, and danger lurks in the smallest of
crevices. And every escape attempt is thwarted by an enormous sea turtle that seems intent on having him stay. A tale told with a classic simplicity that belies its emotional power, The Red Turtle luxuriates in the magic of life and the cycles of nature. Nominated for Best
Animated Feature Film at the 2017 Academy Awards.
Michael Dudok de Wit’s hypnotizing, entirely dialogue-free The Red
Turtle is a fable so simple, so pure, it feels as if it has existed for hundreds of years, like a brilliant shard of sea glass rendered smooth and elegant
through generations of retelling. Peter Debruge, Variety
Presented with short film Blind Vaysha
Blind Vaysha
Director: Theodore Ushev
Canada 2016
English / 8 minutes
The tale of a girl who could see the past with her left eye and
the future with her right eye, but who could not see the present.
Nominated for Best Animated Short Film at the 2017 Academy Awards.
Thursday Apr. 6 @ 7:00 pm / GALAXY CINEMAS / Sault Ste. Marie
Director: Paul Verhoeven
France/Germany/Belgium 2016
French with English subtitles / 131 minutes
Rating: R (for violence involving sexual assault, disturbing sexual content, some grisly images, brief graphic nudity, and language)
Perennial provocateur Paul Verhoeven’s latest offering is sure to have audiences squirming. A high-powered businesswoman, Michèle (Isabelle Huppert) seems indestructible. After being raped she returns to her normal routine, apparently unaffected. But the brutal sexual assault elicits both dreams of revenge and erotic
fantasies. Huppert’s ascetic approach to her portrayal of Michèle is
masterful as she navigates the hectic labyrinth of her life like a ship
cutting through thick fog. A film that is likely to stay with you long
after the credits roll.
High-risk material yields unexpected rewards in this remarkable rape-
revenge drama, a possible career high for Paul Verhoeven.
Guy Lodge, Variety
Elle is a mysterious puzzle, not mainly about whodunit plot points, but the far more titillating question of who people truly are and what they’re capable of. Colin Covert, Minneapolis Star Tribune
Huppert is phenomenal in her most unnerving performance since Michael Haneke’s The Piano Teacher. Ty Burr, Boston Globe
The last three movies for the season have been chosen:
April 6: Elle
April 19: The Stories We Tell – a free screening to celebrate
Canada’s Sesquicentennial
April 20: The Red Turtle
See the whole 2016/2017 schedule.
Thursday Mar. 30 @ 7:00 pm / GALAXY CINEMAS / Sault Ste. Marie
Director: Jim Jarmusch
USA 2016
English / 118 minutes
Rating: R (for some language)
Paterson (Adam Driver) works as a bus driver in Paterson, New
Jersey and his life is a repetitive routine. His wife Laura (Golshifteh Farahani), as even-tempered as her husband, is a perfect match. They’re just an ordinary couple in an ordinary small city. But there’s more beneath the surface of these two. Each morning Paterson scrawls a poem in his notebook, and each evening Laura welcomes him home with a new and quirky surprise. An offbeat meditation on the couple’s desire for creative self-expression, Paterson is a
rewarding slow burn of a film.
Paterson’s life sounds like it would be pretty dull to live through, let alone watch in a movie. But in writer-director Jim Jarmusch’s hands, Paterson becomes a fascinating and enthralling film that finds magic in the
mundane. Rob Thomas, Capital Times (Madison, WI)
The different Patersons combine into a terrific take on love’s abiding worth, the mechanics of creativity and the strength of community. The film has Jarmusch’s trademark deadpan deliberation, but it’s also
possessed of a great and genuine heart. Craig Mathieson, The Sunday Age
Poetry is about taking the realities of your life and the complexities of your mind and heart and transforming them into something beautiful and pure, and that’s exactly what Jarmusch does with Paterson. It’s
lovely stuff. Daniel Barnes, Sacramento News & Review
Thursday Mar. 9 @ 7:00 pm / GALAXY CINEMAS / Sault Ste. Marie
Director: Asghar Farhadi
Iran/France 2016
Persian with English subtitles / 125 minutes
Rating: PG-13 (for mature thematic elements and a brief bloody
image)
After an unfriendly visit leads to an eruption of violence, things turn strange and tense between a husband and wife. Feeling vengeful and confused, Emad (Shahab Hosseini) plays detective, while rattled Rana (Taraneh Alidoosti) gives him mysteriously mixed signals. Meanwhile, the two are performing in an amateur production of Death of a Salesman, and their onstage roles begin to resonate with their fractured lives in beguiling ways. Farhadi’s control is evident as he draws us in, turns the screws, and leaves us breathless in this work of slow-burning suspense.
Hosseini and Alidoosti are superb, with rich internal lives that give depth to their characters’ actions – and these characters are indeed active. Mick LaSalle, San Francisco Chronicle
Using handheld camera and a minimum of dialogue and music, Farhadi turns the mundane into the momentous. Peter Howell, Toronto Star
It’s clear by now the Iranian director is something of a master, from whom every narrative filmmaker should take a crash course in complex and resonant storytelling. Michael Atkinson, In These Times
Thursday Mar. 2 @ 7:00 pm / GALAXY CINEMAS / Sault Ste. Marie
Presented in partnership with Shadows of the Mind Film Festival
Feb. 27 – Mar. 5, 2017
http://www.shadowsfilmfest.com/
Director: Kenneth Lonergan
USA 2016
English / 136 minutes
Rating: R (for language throughout and some sexual content)
After the death of his older brother Joe (Kyle Chandler), Lee (Casey Affleck), a reclusive handyman in Boston, is shocked to learn he’s been appointed legal guardian of his nephew, Patrick (Lucas
Hedges). Lee reluctantly returns to his hometown where he is forced to confront his past while he deals with the realities of the present. In stark contrast to his uncle, Patrick is full of life and the two
struggle to adjust to a world without the man who held their family together. Filled with authenticity and honesty, Manchester by the Sea is a deeply empathetic story of loss and human connection.
It’s Affleck’s movie to quietly own as layer upon layer of Irish impassivity is stripped away from his visage until the unspeakable can be spoken. Matthew Lickona, San Diego Reader
The sadness of “Manchester by the Sea” is the kind of sadness that makes you feel more alive, rather than less, to the preciousness of things.
Ty Burr, Boston Globe
Miraculously, this lengthy, achingly sad story is very entertaining and leaves you wanting more. An undercurrent of dry humour makes its way into even the most tragic of sequences.
Nick Dent, Daily Telegraph, Australia
Thursday Feb. 23 @ 7:00 pm / GALAXY CINEMAS / Sault Ste. Marie
Director: Barry Jenkins
USA 2016
English / 110 minutes
Rating: R (some sexuality, drug use, brief violence, and language)
Despite a harsh home life and being bullied at school, Chiron is
a survivor. As he gets older, it becomes clear that his real battle
isn’t on the streets, it’s an internal one – reckoning with his complex
love for his best friend. We follow Chiron from childhood (Alex R.
Hibbert) to his teens (Ashton Sanders) to adulthood (Trevante
Rhodes) as he navigates the dangers of homophobia, drugs, and
violence. An impressionistic vision of Chiron’s psyche in which
sensuality, pain, and unhealed wounds take centre stage with
staggering power, Moonlight explores the profoundly human need
to feel connected.
Moonlight is both a disarmingly, at times almost unbearably, personal film and an urgent social document, a hard look at American reality and
a poem written in light, music and vivid human faces.
A.O. Scott, New York Times
Jenkins gives us a sensitive chronicle of growth, maturation and self-
acceptance. A remarkable film. Ernesto Diezmartinez, Cine Vértigo
The indie drama touches on themes of race, sexuality and isolation in ways that are rarely depicted in cinema. Mara Reinstein, US Weekly