Monday Night Film Series

MONDAY NIGHT FILM SERIES: JANUARY - APRIL, 2019

The Monday Night Film Series takes place at Tilley Hall, Room 102, UNB Campus
Tel: 455-1632 or email info@nbfilmcoop.com

The NB Film Co-op presents the Fredericton Monday Night Film Series. The series partners are the Film Circuit, a division of the Toronto International Film Festival and the UNB Faculty of Arts. The series presents limited release, independent foreign and Canadian films for one-night screenings, with the goal of diversifying local access to cinema. These films are new or recent releases, which would not otherwise be available to Fredericton audiences on the big screen.

Tickets and Membership

The film series is open to everyone.
Regular admission is $8.00
Member's admission: $5.00

Full-Year Memberships
Regular: $30.00
Students/Seniors (65 years and up)/NBFC Members: $18.00

Half-Year Memberships
Regular: $20.00
Students/Seniors (65 years and up)/NBFC Members: $12.00

Tickets and Memberships are Available at

Tilley Hall, Room 102, UNB on Monday Nights. Memberships are also available at the NB Film Co-op: 732 Charlotte Street (Charlotte Street Arts Centre) in early September annually

Lead sponsor: Bell. Major sponsors: RBC Rpyal Bank, L'Oreal Paris, VISA.

SERIES SCHEDULE

JANUARY-APRIL, 2019

NOTE: All films screen at 7:30pm

January 21, 2019 - 7:30pm at Tilley Hall, UNB Campus

BEAUTIFUL BOY

Felix van Groeningen
USA, 2018
English
111 minutes
Principal Cast: Steve Carell, Timothée Chalamet, Maura Tierney, Amy Ryan

Fresh from his breakout role in Call Me By Your Name, Academy Award nominee Timothée Chalamet (Lady Bird) turns in another dazzling performance in Beautiful Boy. Playing a young man raging and suffering through drug addiction, he confirms his status as one of the very best actors of his generation. He is matched every step of the way in this moving drama by Steve Carell (Battle of the Sexes, Little Miss Sunshine), who continues to build on his comic achievements.

David Sheff (Carell) is a kind, loving, middle- class dad. He and his wife, Vicki (Amy Ryan, Louder Than Bombs, Birdman), seem to have done everything right for their family. So when son Nic (Chalamet) gets addicted to methamphetamine, David can’t believe it, can’t stop it, and can’t help but risk everything to try to get his son back. As David grapples with Nic’s lies, betrayals, and constant flirtations with death, the film reminds us of who Nic used to be — a sweet, thoughtful, beautiful boy.

Adapting the bestselling books that David Sheff and Nic Sheff wrote about their experiences, Belgian director Felix van Groeningen brings both realism and poetry to a tragically timely story. As the Sheffs confront the intractable, unpredictable beast of addiction, they must at the same time confront the fact that Nic’s pain might also be his choice. Beautiful Boy doesn’t shy away from the harsh reality of this family’s struggle, but frames it with a surprising amount of life, love, and hope.

Beautiful Boy ... is scrupulous and tenderly wounding — a drama that seizes and holds you. It’s a compelling movie whether or not it happens to speak to you personally, yet you can bet that a lot of people who have stood by and watched members of their families succumb to drug addiction are going to want to see it. —Owen Gleiberman, Variety

January 28, 2019 - 7:30pm at Tilley Hall, UNB Campus

STAN & OLLIE - JAN 27 AND JAN 28 SCREENINGS!

Jon S. Baird
UK / Canada / USA
English
97 minutes
Principal cast: John C. Reilly, Steve Coogan, Shirley Henderson, Danny Huston

Laurel and Hardy, the world's most famous comedy duo, attempt to reignite their film careers as they embark on what becomes their swan song - a grueling theatre tour of post-war Britain.

Already legends by 1953, beloved comedy duo Stan Laurel and Oliver Hardy set out to perform live shows for their adoring fans. The tour becomes a hit, but long-buried tension and Hardy's failing health start to threaten their new act and friendship

Stan Laurel, the slimmer British half of Hollywood double act Laurel and Hardy, was not one to wax lyrical about the art or mystique of comedy: “You have to learn what people will laugh at, then proceed accordingly,” he said, making vaudeville performance sound altogether as methodical and prosaic as shopping for groceries. No matter how ebullient their joint mugging, Laurel and Hardy’s slapstick routines were work, not play. In Stan & Ollie, a gently elegiac portrayal of the pair’s final comic collaboration — a low-rent music hall tour of the U.K. and Ireland in 1953 — the physical and emotional toll of that labor finally shows through their threadbare antics. Well-rehearsed performance chemistry is merely a veneer behind which the two veterans, as tenderly played by Steve Coogan and John C. Reilly, find themselves struggling to click.

This is mellow, twilight-mood material that would have one direction to shuffle in even if it weren’t bound to biographical fact, but it’s a moving wind-down, teased by mortal concerns as well as an existential fear more unique to the thespian life: What can an actor do without an act? Lest things get too morose, however, the quick, verbally limber script by Jeff Pope (Coogan’s co-writer on “Philomena”) lends some welcome itch-and-scratch to proceedings, as does the spry, spritzy friction worked up by the ensemble. Reilly and Coogan may obviously hog the spotlight here, but a secondary, more peppery personality duel between Shirley Henderson and Nina Arianda, both ideally cast as the comedians’ contrastingly skeptical wives Lucille and Ida, more surprisingly lands many of the film’s loudest laughs.

A beautifully styled film with a treasure trove of jokes and skits. But above all a witty, moving study of a longterm relationship rising and falling on the waves of showbusiness, sometimes on the verge of splintering but always coming together again. -
Sarah Cartland, Caution Spoilers

February 4, 2019 - 7:30pm at Tilley Hall, UNB Campus

ANTHROPOCENE: THE HUMAN EPOCH

Jennifer Baichwal, Nicholas de Pencier, Edward Burtynsky
CANADA, 2018
English, Russian, Mandarin, Cantonese, Italian, German w/ English subtitles
87 minutes
With: Alicia Vikander

ANTHROPOCENE: The Human Epoch is the third collaboration between award-winning photographer Edward Burtynsky and acclaimed filmmakers Jennifer Baichwal and Nicholas de Pencier following Manufactured Landscapes and Watermark. In breathtaking tableaus, their latest documentary continues their exploration of industrialization and extraction in astonishing scale and perspective.

In recent years, some scientists have argued that the Holocene Epoch — the nearly 12,000-year period since the last Ice Age — has ended, and we have now entered into the Anthropocene Epoch. The new label reflects the dominance of humans on the planet, causing mass extinction and climate change and altering the Earth more than all-natural processes combined.

Spanning numerous countries, the film reveals in stunning images how our mania for conquest defines our relationship to the Earth — and how we have created a global epidemic. In Kenya, mounds of elephant tusks burn in a devastating display of the impact of poaching (chillingly reminiscent of the bison skulls that were piled high in the clearing of the Canadian plains for settlement). In Russia and Germany, mining operations transform terrains into otherworldly industrial waste- lands as hypnotic, colossal, lifelike machines endlessly extract on an unfathomable scale.

ANTHROPOCENE: The Human Epoch is a mesmerizing and disturbing rumination on what drives us as a species, and a call to wake up to the destruction caused by our dominance. These startling dystopian visions are not future projections; they reflect a reality that is already here, and if we are to change course, the first step will be a revolutionary shift in consciousness.

To say that there are no easy answers to planetary woes is to state the obvious. But the film seeks to reveal rather than lecture, in the hope that our eyes will convince our brains to act before it’s too late. —Peter Howell, Toronto Star

February 11, 2019 - 7:30pm at Tilley Hall, UNB Campus

THE MISEDUCATION OF CAMERON POST

Desiree Akhavan
USA, 2018
English
90 minutes
Principal cast: Chloë Grace Moretz, Jennifer Ehle, Sasha Lane, Forrest Goodluck

Part of Pink Lobster Film Festival week.

Despite dealing with the tragedy of losing her parents in a car crash, Cameron Post (Chloë Grace Moritz, Brain on Fire, Clouds of Sils Maria) seemingly fits in well with her conservative Montana community; she performs well at school, holds a place on the track team, participates in her local youth group, and has a picture-perfect boyfriend on her arm. However, when she and her best friend Coley are caught embracing after a high school dance, Cameron’s life quickly comes crashing down around her.

Cameron is immediately sent to pray away her “same-sex attraction” at God’s Promise, an evangelical conversion therapy camp, where she’s forced to wrestle with her identity and sexual orientation among a group of similarly stranded youths. After making a real connection with fellow campers Jane Fonda (Sasha Lane, American Honey, Hearts Beat Loud) and Adam Red Eagle (Forrest Goodluck, Indian Horse, The Revenant) and seeing some of the devastating effects of the camp’s program on others, Cameron is forced to question the legitimacy of the camp’s dogmatic teachings and decide for herself who she really is.

Winner of the Grand Jury Prize for dramatic feature at Sundance, The Miseducation of Cameron Post deftly explores how identities, families, and communities are intertwined through its stellar cast of up-and-coming actors and Desiree Akhavan’s skilled and thoughtful direction.

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

February 18, 2019 - 7:30pm at Tilley Hall, UNB Campus

SHOPLIFTERS

Hirokazu Kore-eda
JAPAN, 2018
Japanese w/ English subtitles
121 minutes
Principal Cast: Lily Franky, Sakura Andô, Kirin Kiki, Miyu Sasaki, Jyo Kairi

Hirokazu Kore-eda (Our Little Sister, The Third Murder) continues to tell stories of complicated familial relationships in his latest feature. Winner of the 2018 Palme d’Or at the Cannes Film Festival and Japan’s official submission for Best Foreign Language Film at the 2019 Academy Awards, Shoplifters explores the ways in which the security of a loving family — as well as the need to survive — can sometimes overshadow morally questionable behaviour.

Osamu (Lily Franky, Like Father, Like Son) and his wife, Nobuyo (Sakura Andô), are struggling on low incomes to support their Tokyo family, and turn to shoplifting to get by. One day, while stealing food from a local grocery store, Osamu and his son Shota (Jyo Kairi) meet Yuri (Miyu Sasaki), a young girl who appears to be homeless. They bring her home for dinner and, noticing signs of abuse, decide to take her in as one of their own, eventually training her in the “family business.” Upon learning that Yuri’s abusive parents are looking for her, they cut her hair and rename her Rin to keep her safe.

While it’s clear the family will go to almost any lengths to achieve basic financial stability, they provide Rin with a loving, supportive, and nurturing environment. Shoplifters asks the audience to consider which life is more desirable: one full of love and support but dependent on unethical or illegal actions, or one that is socially accepted but ultimately empty.

Who better than Kore-eda, a director who whispers instead of shouts, is able to capture contradictions and issues though such a subtle, unforced style of storytelling? —Deborah Young, The Hollywood Reporter

February 25, 2019 - 7:30pm at Tilley Hall, UNB Campus

IF BEALE STREET COULD TALK

Barry Jenkins
USA, 2018
English
117 minutes
Principal cast: KiKi Layne, Stephan James, Regina King

Director Barry Jenkins’ ambitious follow-up to his Oscar-winning Film Circuit favourite Moonlight adapts James Baldwin’s poignant novel about a woman fighting to free her falsely accused husband from prison before the birth of their child.

In his third feature, Jenkins draws deeply and faithfully from Baldwin, whose profound insight into African Americans’ unique place in society serves as inspiration for this gorgeous tone poem on love and justice. Tish (newcomer KiKi Layne) is only 19 but she’s been forced to grow up fast. She’s pregnant by Fonny (Stephan James, Race, Selma), the man she loves. But Fonny is going to prison for a crime he didn’t commit. As the film begins, Tish must break the news to her family, and his.

Tish’s mother, played with heartbreaking depth by Regina King (television’s American Crime, Ray), soon must decide how far she will go to secure her daughter’s future. As Fonny, James gives a career-best performance of both grit and grace as a young man deeply in love but furious at what has befallen him. Jenkins reveals the layers of conflicting motivations in a filmmaking style that approaches music— dipping into Baldwin’s elevated language and following his characters with unabashed devotion, fully capturing the texture of ’70s New York.

If Beale Street Could Talk is without doubt a romance, but it’s stronger than that because it refuses to indulge fantasy. Infused with Moonlight’s deep lyricism and Medicine for Melancholy’s flirtatious spark, Jenkins’ latest shows him to be our most clear-eyed chronicler of love.

You've never seen romantic love depicted on screen with such lyrical and gorgeous intensity, or systemic injustice brought to such vivid and enraging life. Film classes will be taught about Jenkins’ use of color. —Glen Weldon, NPR

March 4, 2019 - 7:30pm at Tilley Hall, UNB Campus

COLD WAR

Paweł Pawlikowski
POLAND, 2018
Polish, French w/ English subtitles
90 minutes
Principal Cast: Joanna Kulig, Tomasz Kot, Borys Szyc, Agata Kulesza

Three years after winning the Oscar for Best Foreign Language Film with his beautifully composed Ida, Paweł Pawlikowski returns with an equally haunting, distinctive, and moving work. Cold War – a nominee for Best Foreign Language film at the 2019 Academy Awards. The film shares many characteristics with its predecessor: stunning use of black-and-white photography and 4:3 aspect ratio, careful attention to mood and tone, and an exquisite narrative set in mid-20th century Poland.

Rooted in the personal, Cold War is also infused with the broader social and political realities of postwar Eastern Europe. Based loosely on the story of the director’s own parents, the film covers the entirety of a couple’s love affair, from their enchanted first meeting in 1949 to the aching denouement of their relationship in the 1960s. Wiktor (Tomasz Kot, Gods, The Photographer) is a jazz-loving pianist and musical director tasked with auditioning folk musicians as part of a state-sponsored project to champion culture from rural Poland. Young Zula (Joanna Kulig, Ida, The Woman in the Fifth), who turns out to be more torch singer than folk singer, captivates Wiktor at first sight with her beauty and insouciance. Their fates joined, Zula and Wiktor are soon struggling both with personal demons and historical forces that threaten to tear them apart.

Cold War is a superbly realized visual poem that resonates all the more thanks to its striking use of choral, classical, and jazz music. It is also a bittersweet reflection on a relationship and an era.

The Polish filmmaker has conjured a dazzling, painful, universal odyssey through the human heart and all its strange compulsions. It could be the most achingly romantic film you’ll see this year, or just a really painful reminder of the one that got away. Phil de Semlyen, Time Out

March 11, 2019 - 7:30pm at Tilley Hall, UNB Campus

CAN YOU EVER FORGIVE ME?

USA, 2018
English
106 mins
Principal Cast: Melissa McCarthy, Richard E. Grant, Dory Wells

Lee Israel (Melissa McCarthy) made her living in the 1970’s and 80’s profiling the likes of Katharine Hepburn, Tallulah Bankhead, Estee Lauder and journalist Dorthy Kilgallen. When Lee is no longer able to get published because she has fallen out of step with current tastes, she turns her art form to deception, abetted by her loyal friend Jack (Richard E. Grant). An adaptation of the memoir "Can You Ever Forgive Me?" relays the true story of the best-selling celebrity biographer (and friend to cats). 

Can You Ever Forgive Me?" is that rare movie you never want to end, a film about broken people, loners who hover on the fringes, who scavenge what's left of the important stuff that more socially competent humans leave behind. Sarah Stone, The Wrap

March 18, 2019 - 7:30pm at Tilley Hall, UNB Campus

VICE

USA, 2018
English
132 mins
Principal cast: Christian Bale, Steve Carell, Amy Adams, Alison Pill

The story of Dick Cheney (Christian Bale), an unassuming bureaucratic Washington insider, who quietly wielded immense power as Vice President to George W. Bush, reshaping the country and the globe in ways that we still feel today.

Gov. George W. Bush of Texas picks Dick Cheney, the CEO of Halliburton Co., to be his Republican running mate in the 2000 presidential election. When Bush becomes victorious, Cheney uses his newfound power to help reshape the country and the world.

After the success of The Big Short, Adam McKay – director of Anchorman, Step Brothers and other recent classic comedies – is continuing his venture into more mature drama territory with a Dick Cheney biopic. The film will chart Cheney's rise to becoming, as the official synopsis has it, "the most powerful Vice President in history". Vice is set for a US release in mid-December this year, and could be a dark horse in the Oscar race – while the likes of First Man and Roma are currently dominating the conversation, the subject matter here is likely to be a major Oscar draw, and if McKay can work in the same entertainment value here as he did with the financial crisis story in The Big Short (which won Best Adapted Screenplay and was up for Best Picture and Best Director, among other awards) this should be one for critics and mainstream audiences alike.

Brainy, audacious, opinionated and fun, "Vice" is a tonic for troubled times. Kenneth Turan, Los Angeles Time

March 25, 2019 - 7:30pm at Tilley Hall, UNB Campus

THE SILENT REVOLUTION

Germany, 2018
German, Russian w/English subtitles
111 minutes
Principal cast: Tom Gramenz, Leonard Scheicher, Florian Lukas, Joans Dassler

In 1956 East Germany, a group of senior high schoolers demonstrate solidarity with recent victims of the Hungarian Revolution. Their brief, silent protest ignites underlying tensions and leads to grave consequences.

Lars Kraume (The People vs. Fritz Bauer) examines a fascinating moment in German history — just a few years before the construction of the Berlin Wall begins — with this film based on the true story of a high-school classroom that becomes the site of a political battle of wills. When Kurt (Tom Gramenz) and Theo (Leonard Scheicher) sneak into a West German cinema and catch the pre-feature newsreel, they see a very different depiction of the uprising in Budapest than what they’ve heard at home, in the East German town of Stalinstadt. The young men return home inspired at the thought of an idealistic revolution.

After debating with their classmates about the virtues of the Hungarian uprising, Kurt and Theo persuade a majority of their peers to join them in a two-minute observation of silence during class, in solidarity with those killed in the struggle. Their teacher is shocked and confused, and reports the incident to the principal, Direktor Schwarz (Florian Lukas, The Grand Budapest Hotel, Goodbye Lenin!). Despite trying to contain the situation, Schwarz can’t keep his bosses from hearing of the political protest. As the story spreads through the upper levels of the administration, the students slowly realize the growing gravity of their situation.

Deftly weaving together threads of political tension, adolescent rebellion, and institutional menace, Kraume asks us to consider the connection between a nation’s identity and its influence on the identities of its young people, who are just beginning to question their place in society.

[A] solid, good-looking piece of filmmaking which is elevated by a clutch of strong performances from the young cast.” Wendy Ide, Screen Daily

April 1, 2019 - 7:30pm at Tilley Hall, UNB Campus

THE FAVOURITE

Ireland / UK / USA
English
119 mins
Principal cast: Olivia Colman, Rachel Weisz, Emma Stone

In early 18th century England, a frail Queen Anne (Colman) occupies the throne and her close friend Lady Sarah (Weisz) governs the country in her stead. When a new servant Abigail (Stone) arrives, her charm endears her to Sarah.

In the early 18th century, England is at war with the French. Nevertheless, duck racing and pineapple eating are thriving. A frail Queen Anne occupies the throne, and her close friend Lady Sarah governs the country in her stead while tending to Anne's ill health and mercurial temper. When a new servant, Abigail, arrives, her charm endears her to Sarah. Sarah takes Abigail under her wing, and Abigail sees a chance to return to her aristocratic roots.

The Favourite sees Yorgos Lanthimos balancing a period setting against rich, timely subtext - and getting roundly stellar performances from his well-chosen stars.

Early 18th century. England is at war with the French. Nevertheless, duck racing and pineapple eating are thriving. A frail Queen Anne (Olivia Colman) occupies the throne and her close friend Lady Sarah Churchill (Rachel Weisz) governs the country in her stead while tending to Anne's ill health and mercurial temper. When a new servant Abigail Masham (Emma Stone) arrives, her charm endears her to Sarah. Sarah takes Abigail under her wing and Abigail sees a chance at a return to her aristocratic roots. As the politics of war become quite time consuming for Sarah, Abigail steps into the breach to fill in as the Queen's companion. Their burgeoning friendship gives her a chance to fulfill her ambitions and she will not let woman, man, politics or rabbit stand in her way.

Period authenticity clashes happily with occasional creative anachronisms to present audiences with a portrait of power as sobering as it is scabrously conniving. Ann Hornaday Washington Post

Lanthimos' renegade deviltry turns a period piece into a bawdy, brilliant triumph. Expect Oscar to bow down to Emma Stone, Rachel Weisz and the mighty Olivia Colman as Queen Anne for bringing a #MeToo punch to 18th-century British politics. Peter Travers, Rolling Stone

April 8, 2019 - 7:30pm at Tilley Hall, UNB Campus

WOMAN AT WAR

ICELAND/FRANCE/UKRAINE, 2018
Icelandic w/ English subtitles
100 minutes
Principal Cast: Halldóra Geirharðsdóttir, Jóhann Sigurðarson, Juan Camilo Roman Estrada

As a follow-up to his 2013 film Of Horses and Men, director Benedikt Erlingsson delivers Iceland’s nominee submission for Best Foreign Language Film at the 91st Academy Awards: Woman at War, a timely film that speaks to social issues with wit and warmth. Halla (Halldóra Geirharðsdóttir in a bravura performance) is a choirmaster who loves her job. And, she’s just learned she’s been approved to adopt a child from a war-torn area in Ukraine, a longtime dream of hers.

The only hitch is that Halla is also a terrorist - an eco-terrorist to be exact. The proliferation of heavy industry, urged on by unscrupulous politicians, has been ruining Iceland’s rugged landscape and she’s taken action. Dubbed the Mountain Woman, Halla soon becomes the scourge of the aluminum industry. She is determined to see things through… but she can’t help wondering, would it be more fulfilling to save hypothetical future lives or one actual life: the daughter she has yet to meet and may never if she’s apprehended. Erlingsson’s second feature drills deep into the inevitable dilemmas plaguing almost everyone committed to the greater good. And the political satire here is precise and rich.

It’s evident in the sleazy Fox News–style way the government demonizes Halla. At the same time, there’s a puckish, postmodernist sense of humour percolating though the film that suggests vintage Makavejev and Godard, or even Alain Tanner’s classic Jonah Who will be 25 in the Year 2000.

A tiny jazz band follows Halla everywhere she goes — on rooftops, in remote fields, in the middle of a flood — sometimes joined by a cadre of singers in traditional Ukrainian dress. It’s a reminder that the revolution should be hopeful, not just gloom and doom. And it should come with cool music.

Is there anything rarer than an intelligent feel-good film that knows how to tackle urgent global issues with humor as well as a satisfying sense of justice? Look no further than Woman at War. Jay Weissberg, Variety

April 15, 2019 - 7:30pm at Tilley Hall, UNB Campus

WILD ROSE

UK, 2018
English
101 minutes
Principal Cast: Jessie Buckley, Sophie Okonedo, Julie Walters

Rose-Lynn Harlan (TIFF 2017 Rising Star Jessie Buckley, Beast) has dreamt of becoming a country music star for as long as anyone can remember. But Glasgow isn’t exactly Nashville, and, as a convicted criminal and single mother of two young children, Rose-Lynn is more country song than country starlet.

Just released from prison, forced to wear an ankle monitor and keep curfew, she can’t return to her job as the house-band singer at Glasgow’s Grand Ole Opry. Sporting her white cowboy hat and white leather cowboy boots, Rose-Lynn lands a new job as a housekeeper for the lovely, and very posh, Susannah (Sophie Okonedo, television’s Chimerica, Hotel Rwanda). After catching her singing on the job, Susannah’s kids quickly become Rose-Lynn’s biggest fans and Susannah her enthusiastic patron, determined to help her get to Nashville. But Rose-Lynn’s dreams come at a cost. Her mother (Julie Walters, Film Stars Don’t Die in Liverpool, Brooklyn), who knows all about abandoning dreams, has always done what she can to help her daughter realize hers, but she also wants her to take responsibility and act like the grown-up that her kids need her to be.

Buckley delivers a vivacious and unforgettable performance as Rose-Lynn, her voice a star of its own. With a confident hand, director Tom Harper brings Nicole Taylor’s beautiful, textured script, full of authentic characters and unexpected turns, to life in Glasgow, a city that, like his protagonist, might appear gritty on the surface, but is bursting with spirit and personality.

Rose-Lynn’s story reminds us that taking responsibility doesn’t have to mean giving up hope. And sometimes when we’re chasing our dreams, we realize we were living them all along.

A happy-sad drama of starstruck fever that lifts you up and sweeps you along, touching you down in a puddle of well-earned tears. Owen Gleiberman, Variety