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

THE GUILTY

Gustav Möller
Denmark
Danish with English subtitles
85 minutes
Principal cast: Jakob Cedergren, Jessica Dinnage, Omar Shargawi

Sleek, well-acted, and intelligently crafted, The Guilty is a high-concept thriller that wrings maximum impact out of a handful of basic - and effective - ingredients.

When police officer Asger Holm (Jakob Cedergren) is demoted to desk work, he expects a sleepy beat as an emergency dispatcher. That all changes when he answers a panicked phone call from a kidnapped woman who then disconnects abruptly. Asger, confined to the police station, is forced to use others as his eyes and ears as the severity of the crime slowly becomes more clear. The search to find the missing woman and her assailant will take every bit of his intuition and skill, as a ticking clock and his own personal demons conspire against him. This innovative and unrelenting Danish thriller uses a single location to great effect, ratcheting up the tension as twists pile up and secrets are revealed. Director Gustav Möller expertly frames the increasingly messy proceedings against the clean Scandinavian sterility of the police department, while Cedergren's strong performance anchors the film and places the audience squarely in Holm's tragically flawed yet well-intentioned mindspace.

The film is an impressive tonal balancing act that gives equal attention to both its rapid, frantic thriller and its intimate, opaque character study. - Brian Thompson Film Threat

January 14, 2019 - 7:30pm at Tilley Hall, UNB Campus

AT ETERNITY'S GATE

Julian Schnabel
Switzerland/ UK / France / USA
French/English with English subtitles
110 minutes
Principal Cast: Willem Dafoe, Rupert Friend, Oscar Isaac, Mads Mikkelsen

Julian Schnabel’s ravishingly tactile and luminous new film takes a fresh look at the last days of Vincent van Gogh, and in the process revivifies our sense of the artist as a living, feeling human being.

Schnabel; his co-writers Jean-Claude Carrière and Louise Kugelberg, also the film’s editor; and cinematographer Benoît Delhomme strip everything down to essentials, fusing the sensual, the emotional, and the spiritual. And the pulsing heart of At Eternity’s Gate is Willem Dafoe’s shattering performance: his Vincent is at once lucid, mad, brilliant, helpless, defeated, and, finally, triumphant. With Oscar Isaac as Gauguin, Rupert Friend as Theo, Mathieu Amalric as Dr. Gachet, Emmanuelle Seigner as Madame Ginoux, and Mads Mikkelsen as The Priest.

This man, much like the real one, is acutely aware of his fragilities. Yet by adamantly focusing above all else on van Gogh's work - and its transporting ecstasies - Schnabel has made not just an exquisite film but an argument for art. - Manohla Dargis, New York Times

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

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