Monday Night Film Series


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

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 $7.00
Member's admission: $4.00

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.



NOTE: All films screen at 7:30pm

January 23, 2017 - 7:30pm at Tilley Hall, UNB Campus


Anne Fontaine
France, Poland, 2016
French, Polish, Russian
115 minutes
With: Lou de Laâge, Agata Kulesza, Agata Buzek and Vincent Macaigne

Opening with peaceful, serene images set within a convent, director Anne Fontaine quickly establishes the illusion that will soon be broken in her new film The Innocents. A group of nuns sing in unison, before being interrupted by a harrowing scream. This cry in the dark later becomes a recurring motif, as the sobering drama recounts the traumatic experiences following a case of sexual violence in post-World War II Poland.

In December 1945, a young French Red Cross medical student, Mathilde Beaulieu (Lou de Laâge), is sent to Poland as part of a medical mission to find, treat and repatriate French survivors of the German camps. One day, a Polish nun arrives in the hospital. In very poor French, she begs Mathilde to come to her convent. Mathilde life and beliefs change when she discovers the advanced state of pregnancy that affects several of the Sisters of the convent just outside the hospital where she works.

Inspired by the exploits of Madeleine Pauliac, a Red Cross doctor who ministered to Polish rape victims while treating French patients at a post-war Warsaw hospital, this is a harrowing insight into the cruel realities of conflict that is bound to draw comparisons with Xavier Beauvois’ Of Gods And Men and Pawel Pawlikowski's Ida, especially as Agata Kulesza, Joanna Kulig and Dorota Kuduk appear in both films. But this also contains echoes of Max Färberböck's A Woman In Berlin and Wojciech Smarzowski's Rose, as it similarly explores the fate of women as Soviet forces turned liberation into a new form of oppression.

Played with restraint and individuality by a fine ensemble, this is a moving but provocative study of belief, duty, compassion and acceptance. Empire Online

January 30, 2017 - 7:30pm at Tilley Hall, UNB Campus


Otto Bell
Kazakh, English
87 minutes
With: Aisholpan Nurgaiv, Daisy Ridley, Nurgaiv Rys, Almagul Kuksyegyen, Dalaikhan

Otto Bell’s visually stunning documentary follows Aisholpan Nurgaiv, a 13-year-old girl who becomes the first female in twelve generations of her Kazakh family to become an eagle hunter, and rises to the pinnacle of a longstanding patrilineal tradition.

It seems impossible to conceive of training wild eagles, with their seven-foot wingspans and razor-sharp talons. Yet the Kazakh people have been doing so for centuries, and the practitioners in the Bayon-Ölgii province of Mongolia are the most faithful keepers of the sacred practice. Perched precariously on the side of a mountain, with a gigantic mother eagle circling overhead, the brave girl perseveres in the face of danger and manages to capture her own baby eagle. And this is only the beginning of her adventure: under her father’s tutelage, she remains tenaciously committed to the intense training necessary to her eaglet’s development.

Aisholpan’s natural gifts for understanding and communication allow her to form a lasting bond with the bird, and with her parents’ part in the Golden Eagle Festival, competing against 70 seasoned eagle hunters. But it is only after, when she goes on a hunt, that Aisholpan will seek her true rite of passage as an eagle huntress.

Narrated by executive producer Daisy Ridley (Star Wars: The Force Awakens), and featuring stunning cinematography by Simon Niblett, this riveting documentary is a rare look at one of the world’s last true wildernesses. It’s a larger-than-life story, but one that’s anchored by intimate moments. Our young heroine’s passion takes her on an incredible journey with an enriching and empowering lesson that will set hearts soaring.

Along with Aisholpan’s enduring spirit, The Eagle Huntress excels in portraying the beauty and respect the people here have for both the animals and environment. With Simon Niblett’s soaring cinematography, using a mix of eagle-mounted GoPro cameras and drone footage, there’s both an expansive and intimate sensory rush when we see Aisholpan in action. —Jordan Raup, The Film Stage

February 6, 2017 - 7:30pm at Tilley Hall, UNB Campus


Mia Hansen-Løve
French, German w/ English subtitles
100 minutes
With: Isabelle Huppert, André Marcon, Roman Kolinka, Edith Scob

Ascendant French writer-director Mia Hansen-Løve (Eden, Goodbye First Love) directs the great Isabelle Huppert in this delicate and affecting tale about a middle-aged professor, embracing the “radical” notion that women’s lives don’t end after 40.

Nathalie (Huppert) is a dedicated and demanding teacher, wife, and mother. She runs her relationships with the same rigour she brings to her study of philosophy. But when Nathalie’s husband announces that he’s leaving her for another woman, the meticulously crafted structures on which her existence is founded begin to crumble. Truly on her own for the first time, except for a less-than-grateful cat, Nathalie is daunted by this new world — until she finds an unlikely friend in a former student, the radical young communist Fabien (Roman Kolinka).

A softly meandering narrative filled with moments of lightness, loneliness, and hope, the film provides a winning marriage between Hansen-Løve’s graceful filmmaking and Huppert’s understated, but always impressive blend of vulnerability and strength. Things to Come is heartbreaking but never sentimental, wry but never ironic. It shows that, even though life may never get any easier, it nevertheless offers ceaseless opportunities for growth.

Mia Hansen-Løve and Isabelle Huppert prove [to be] a dream partnership in the director’s gorgeous, heart-cradling post-divorce drama. — Guy Lodge, Variety

February 20, 2017 - 7:30pm at Tilley Hall, UNB Campus


Barry Jenkins
USA, 2016
110 minutes
With: Mahershala Ali, Naomie Harris, Trevante Rhodes, André Holland, Janelle Monáe

The second feature from acclaimed writer-director Barry Jenkins (Medicine for Melancholy) is an impeccably crafted study of African-American masculinity that follows its young protagonist from childhood to adulthood as he navigates the dangers of homophobia, drugs, and violence.

Though his story begins in late-1980s Miami, Jenkins shuns the familiar neon-lit hot spots in favour of a neglected neighbourhood caught in the throes of a crack epidemic. Here we meet young Chiron. Bullied at school and beaten down by a harsh home life, Chiron finds solace and comfort in the love and pride promoted by his surrogate parents. Despite his small stature and taciturn nature, Chiron is a survivor, and, as he grows, it becomes clear that his real battle isn’t even on the streets. It’s an internal one: reckoning with his complex love for his best friend.

Presented in three acts, Moonlight takes Chiron from childhood to his teens to adulthood, but defies coming-of-age conventions. Instead, Jenkins immerses us in an atmospheric subjectivity, an impressionistic vision of Chiron’s psyche in which sensuality, pain, and unhealed wounds take centre stage with staggering power. Anchored by an unforgettable performance by emerging talent Trevante Rhodes (as the older Chiron), Moonlight explores the profoundly human need to feel connected, while remaining firmly grounded in a specific understanding of African-American experience.

Barry Jenkins’ vital portrait of a South Florida youth revisits the character at three stages in his life, offering rich insights into the contemporary African-American experience. —Peter Debruge, Variety

February 27, 2017 - 7:30pm at Tilley Hall, UNB Campus


USA, 2016
Mike Mills
118 minutes
With: Annette Benning, Elle Fanning, Greta Gerwig, Billy Crudup

Film Circuit favourite Mike Mills is back with the eagerly awaited follow-up to his acclaimed debut, Beginners. Following that film’s exploration of Mills' adult relationship with his father, 20th Century Women looks back to the director’s life growing up with his mother in Santa Barbara, California, telling a loosely autobiographical tale of the women who helped shape him.

Despite incessant renovations on her sprawling old house, Dorothea Fields (Annette Bening, Danny Collins, The Kids Are Alright) nonetheless maintains an open-door policy that provides a home base not just for her teenage son Jamie (Lucas Jade Zumann), but also for Jamie’s close-friend-next-door Julie (Elle Fanning, Trumbo, Ginger & Rosa), twentysomething lodger Abbie (Greta Gerwig, Maggie’s Plan, Frances Ha), and local mechanic William (Billy Crudup, Spotlight, The Stanford Prison Experiement). With no paternal presence for Jamie, Dorothea recruits Abbie as a role model for him. However, their makeshift family arrangement is complicated by Abbie’s own distracted self-searching and Jamie’s burgeoning feelings for Julie.

20th Century Women presents a subtly layered view of the turbulent final moments of 1970s America, enriched by Mills’ skilled infusion of era-appropriate music and fashion. Ultimately, however, the film’s performances shine brightest as Bening’s brilliant work is supported beautifully by Gerwig, Fanning, Crudup, and newcomer Zumann, all of whom contribute to making Mills’ sophomore effort a must-see.

The sheer likability of these lived-in characters is a powerful magnet, thanks to insightful writing and a note-perfect ensemble anchored by a never-better Annette Bening. —David Rooney, Hollywood Reporter

March 6, 2017 - 7:30pm at Tilley Hall, UNB Campus


USA, 2016
Kenneth Lonergan
136 minutes*
With: Casey Affleck, Michelle Williams, Lucas Hedges, Kyle Chandler

Casey Affleck (Gone Baby Gone, Good Will Hunting), Michelle Williams (My Week with Marilyn, Take This Waltz), and Kyle Chandler (Carol, Bloodline) star in this critically acclaimed drama from writer-director Kenneth Lonergan (You Can Count on Me, Margaret), about a reclusive handyman whose life is upended after the sudden death of his beloved older brother. With only his third feature in 16 years, Lonergan takes us through a familiar milieu in Manchester by the Sea, but does so in wholly unfamiliar ways.

Lee Chandler (Affleck) is the resident handyman for a small apartment complex in a Boston suburb. He spends his days shoveling snow, fixing leaks, and doing his best to ignore the tenants’ small talk. He spends his evenings either alone in his basement apartment or nursing a beer at his local pub, where he’ll pick a fight with anyone who throws a glance his way. Yet buried beneath this sadness and isolation is another life.

When he receives the news that his older brother Joe (Chandler) has died of a congenital heart condition and that, to his unpleasant surprise, he’s been appointed legal guardian of Joe’s teenage son, Patrick (Lucas Hedges), Lee returns to his nearby seaside hometown.

Despite the sudden loss of his father, and in stark contrast to his uncle, Patrick is full of life. A popular student, he juggles hockey, band practice, and two girlfriends. As this mismatched pair stumbles through the mundane details of estate planning and the awkward strain of adolescence, Lee is forced to confront his past, revealed seamlessly through flashbacks, and the realities of his present.

In Manchester by the Sea, Lonergan has created a world so messy that it can only be described as wonderfully human.

The persistence of grief and the hope of redemption are themes as timeless as dramaturgy itself, but rarely do they summon forth the kind of extraordinary swirl of love, anger, tenderness and brittle humor that is Manchester by the Sea, Kenneth Lonergan’s beautifully textured, richly enveloping drama about how a death in the family forces a small-town New Englander to confront a past tragedy anew. —Justin Chang, Variety

March 13, 2017 - 7:30pm at Tilley Hall, UNB Campus


Terence Davies
124 minutes
With: Cynthia Nixon, Jennifer Ehle, Keith Carradine, Emma Bell, Duncan Duff, Rose Williams

Emily Dickinson is an ideal subject for a filmmaker as unremittingly erudite as Terence Davies (Sunset Song, The Deep Blue Sea). Now recognized as a genius who committed to paper some of the most important verses in American literature, the 19th-century poet was virtually unknown in her lifetime, with fewer than a dozen of her nearly 1,800 poems published. A recluse who eventually boarded herself up in her bedroom, Dickinson explored her inner self in great detail. And while the internal lives of poets are hard to visualize, her story is as poetic as her work itself.

Dickinson (Cynthia Nixon, James White) led such a deeply introverted existence, and yet it is her encounters with her mother, father, and sister that structure the film. These moments — familiar to all who know the role that families play in Davies’ work — are sensitively rendered, but it is the seamless manner in which Dickinson’s luminous poetry is integrated that is the central joy of A Quiet Passion.

Stunning in its sumptuous photography, the film’s beauty is also evident in the respect and love that it brings to its subject. A magician when it comes to understanding the inner workings of the most sensitive of minds, Davies has created an extraordinarily moving account of Emily Dickinson’s particular genius.

Given its themes and the tragic circumstances of Dickinson’s life, Passion is a refreshingly humorous work. Its firecracker dialogue is invigorating; the assured, measured compositions are equally compelling. And in its sensitivity to intersecting conflicts related to womanhood and class, it is quietly masterful. —Michael Pattison, Indiewire

March 20, 2017 - 7:30pm at Tilley Hall, UNB Campus


Ken Loach
100 minutes
With: Dave Johns, Hayley Squires

For nearly 50 prolific years, British master Ken Loach (Jimmy’s Hall, The Angels’ Share) has addressed socio-economic issues in Britain and beyond through the working-class heroes who populate his films. His relatable characters, with all their naturalism and sharp edges, leap off the screen as if real people in real, and usually dire, situations. Most recently, Loach won his second Cannes Palme d’Or with I, Daniel Blake, a timely drama about an ailing handyman’s battle to survive after being denied his government health benefits.

Loach’s latest feature is indeed one of his finest explorations of social realism. The eponymous Daniel (Dave Johns, Inspector George Gently, Dogtown) is an affable 59-year-old carpenter in Newcastle, England, fighting to collect his Employment and Support Allowance after falling ill. (Government illogic stipulates that his benefits will be taken away unless he looks for work, yet doctor’s orders prevent him from working.) Waiting to sign on at the local Job Centre, Daniel befriends Katie (Hayley Squires, A Royal Night Out, Southcliffe), a young single mother who is also being shoved around by the vagaries of the system, having just been relocated with her two kids from a London homeless shelter to an affordable council flat up north. A mutually beneficial alliance, and makeshift extended family, is formed.

Loach and his frequent collaborator, screenwriter Paul Laverty (Jimmy’s Hall, The Angels’ Share), spin a tale that will leave no one unmoved. Working with some of most powerful set pieces he has ever filmed, the director effortlessly builds empathy for two downtrodden people — honest would-be workers navigating a cruel tangle of red tape while trying to steal a happy moment or two.

...I, Daniel Blake is at its best when it’s chronicling the impromptu, completely platonic friendship that develops between two people with nothing in common except decency... —Mike D’Angelo, A.V. Club

March 27, 2017 - 7:30pm at Tilley Hall, UNB Campus


Garth Davis
Australia, 2016
English, Bengali, Hindi
118 minutes
With: Dev Patel, Nicole Kidman, Rooney Mara, David Wenham, Priyanka Bose, Sunny Pawar

Lion is a 2016 Australian-American-British drama film directed by Garth Davis and written by Luke Davies, based on the non-fiction book A Long Way Home by Saroo Brierly.

Five-year old Saroo (Sunny Pawar) gets lost on a train, which takes him thousands of miles across India, away from home and family. Saroo must learn to survive alone in Kolkata, before ultimately being adopted by an Australian couple (David Wenham, Nicole Kidman). Twenty five years later, armed with only a handful of memories, his unwavering determination, and a revolutionary technology known as Google Earth, he sets out to find his lost family and finally return to his first home.

Comparisons no doubt will be made with the film that launched Patel's career, Slumdog Millionaire, and the early sections of this sprawling drama do in fact recall the Dickensian depiction of life for poor children in India in Danny Boyle's 2009 Oscar winner. But that movie was an exhilarating, high-energy fairy tale, while Lion is something quite different — a sober and yet profoundly stirring contemplation of family, roots, identity and home, which engrosses throughout the course of its two-hour running time.
Patel does arguably his most nuanced and heartfelt screen work to date as Saroo wrestles with conflicting loyalties — to Sue, saddened by his sudden withdrawal and by her troubles with Mantosh; to Lucy, keen to support him but increasingly shut out; and to his birth mother and brother, memories of them filling his head after being archived away in remote recesses for years.
One could quibble about the protracted stop-start depiction of his search process, which seems designed merely to delay an outcome made obvious by the film's very existence. But there's no denying the swelling emotions of the final act, or remaining dry-eyed during the characters' joyous reunion.

See it and I promise your own heart will skip a beat with happiness and joy. Rex Reed, New York Observer

April 3, 2017 - 7:30pm at Tilley Hall, UNB Campus



April 10, 2017 - 7:30pm at Tilley Hall, UNB Campus



April 17, 2017 - 7:30pm at Tilley Hall, UNB Campus


Ceyda Torun
TURKEY, 2017
80 minutes
Turkish with English subtitles

Kedi is not a documentary about house cats or the strays you occasionally see in your back yard. Kedi is a film about the hundreds of thousands of cats who have roamed the metropolis of Istanbul freely for thousands of years, wandering in and out of people's lives, impacting them in ways only an animal who lives between the worlds of the wild and the tamed can.

Cats and their kittens bring joy and purpose to those they choose, giving people an opportunity to reflect on life and their place in it. In Istanbul, cats are the mirrors to ourselves. "Cats - tabbies, calicos, angoras, Norwegian forest cats; ginger cats, grey cats, black cats, white cats, black and white cats - all kinds of cats, roam the city, free, without a human master. Some fend for themselves, scavenging from dumpsters, living in abandoned buildings, others are cared for by communities of people, pampered with the best cat food and given shelter for the cold months.

Cats have been a part of the city for thousands of years, and so, everyone who grows up in Istanbul or lives in Istanbul has a story about a cat. Stories that are memorable; sometimes scary, sometimes spiritual, but always very personal. Street cats are such a big part of the culture that when US president Barack Obama visited Istanbul, part of his tour included a stop at the Hagia Sophia to visit its famous cat, Gli. Cats are as integral to the identity of Istanbul as its monuments, the Bosporus, tea, raki and fish restaurants." Ceyda Torun

A cat's-eye view of the world that showcases both the warm-hearted people of this ancient Turkish city and the seamless integration of its felines into everyday life. - Kathryn Laskaris, Toronto Star

In Istanbul, cats don't meow. They miyav. The cat sounds the same; it's humans who hear and see things differently, as our species seems to do when we're halfway around the world. - Amy Nicholson, MTV

April 24, 2017 - 7:30pm at Tilley Hall, UNB Campus


Ritesh Batra
UK, 2017
108 minutes
With: Jim Broadbent, Charlotte Rampling, Harriet Walter, Emily Mortimer, Michelle Dockery

The Sense of an Ending is based on the 2011 Man Booker Prize-winning novel by Julian Barnes and directed by Ritesh Batra (The Lunchbox). Tony Webster (Jim Broadbent), divorced and retired, leads a reclusive and relatively quiet life. One day, he learns that the mother of his university girlfriend, Veronica (Charlotte Rampling), left in her will a diary kept by his best friend who dated Veronica after she and Tony parted ways.

Tony’s quest to recover the diary, now in Veronica’s possession, forces him to revisit his flawed recollections of his friends and of his younger self. As he digs deeper into his past, it all starts to come back; the first love, the broken heart, the deceit, the regrets, the guilt... Can Tony bear to face the truth and take responsibility for the devastating consequences of actions he took so long ago?

Julian Barnes' short, penetrating novel about how we self-protectively edit our memories receives an intelligent, low-key, necessarily diluted big-screen treatment in The Sense of an Ending. - Todd McCarthy, The Hollywood Reporter 

May 1, 2017 - 7:30pm at Tilley Hall, UNB Campus


Damien Chazelle
USA, 2016
128 minutes
With: Ryan Gosling, Emma Stone, John Legend and Rosemarie DeWitt

Set in modern day Los Angeles, this modern take on the Hollywood musical comes from Damien Chazelle, the Academy Award-nominated writer and director of Whiplash. LA LA LAND tells the story of Mia [Emma Stone], an aspiring actress, who serves lattes to movie stars as a barista at a local coffee shop, and Sebastian [Ryan Gosling], a dedicated jazz musician, who plays dingy bars in order to scrape by. Both characters are struggling to make ends meet in a city known for crushing hopes and breaking hearts in a film about everyday life that explores the joy and pain of pursuing your dreams. The two meet and fall in love, but, as success mounts, the dreams they worked so hard to maintain threaten to tear them apart.

All of Chazelle's key collaborators were clearly in total sync with the project's aims. Composer Justin Hurwitz, who worked on both the director's previous films, has delivered an LP's worth of buoyant, charming tunes, mostly in a jazzy vein, with Benj Pasek and Justin Paul supplying the lyrics. Production designer David Wasco and costume designer Mary Zophres adroitly supplied touches of the old and new in an elegant way, while choreographer Mandy Moore similarly danced a stylistic tightrope that greatly helped Chazelle achieve his aim of delivering a welcome gift of vintage goods in a dazzling new package.

La La Land does nothing less than jolt the movie musical to life for the 21st century. You leave exhilarated by Damien Chazelle’s nonstop inventiveness, dazzled by Emma Stone and Ryan Gosling, and thrilled how they made movies magic again. Peter Travers, Rolling Stone

May 8, 2017 - 7:30pm at Tilley Hall, UNB Campus


Pedro Almadóvar
SPAIN, 2015
Spanish w/English subtitles
99 minutes
With: Dario Grandinetti, Daniel Grao, Inma Cuesta, Adriana Ugarte, Michelle Jenner, Emma Suárez, Rossy de Palma

Spanish maestro Pedro Almodóvar (Talk to Her, All about My Mother, Volver) is renowned for his ability to move effortlessly from high drama to high farce, exploring the contradictions of human needs and desire through a range of styles and tones. As one of the cinema’s greatest makers of films about women, it is only fitting that for his latest and 20th feature he has chosen to adapt the work of Nobel Prize winner Alice Munro. Mining three stories from Munro’s exquisite collection Runaway and relocating them to Spain, Almodóvar creates a marvelously textured tale that examines the strained relationship between a mother and daughter.

When we first meet Julieta (Emma Suárez), she is a 55-year-old teacher about to move to Lisbon with her husband, Lorenzo (Dario Grandinetti, Wild Tales, Talk to Her), until an unexpected encounter brings an end to those plans and, for reasons unbeknownst to Lorenzo, Julieta insists she must remain in Madrid. Almodóvar then plunges us into the past, where Julieta (now played by Adriana Ugarte) is an effervescent and beautiful young woman who, on a train one late winter night, meets and is enchanted by a handsome young man, Xoan (Daniel Grao). In short order, Julieta becomes pregnant, moves to Xoan’s idyllic fishing village in Galicia, marries him and begins to raise their daughter, Anitá. In the full glow of her happiness, it seems that nothing could possibly go wrong.

And so the film moves forward and backward through time as it chronicles Julieta’s relationship and eventual rupture with her beloved daughter (played alternately by Priscilla Delgado and Blanca Pares), while in the present Lorenzo follows her around Madrid, intent on unraveling the mystery behind her sudden decision. Evoking such earlier Almodóvar films as High Heels and All about My Mother, Julieta reflects on the magic of chance encounters and the fragility of relationships in the face of long-buried secrets.

A slick, stylish melodrama with an involving story and a cracking cast. Star Adriana Ugarte is a real find. —Anna Smith, Empire