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 $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.



NOTE: All films screen at 7:30pm

January 6, 2020 - 7:30pm at Tilley Hall, UNB Campus


Fernando Meirelles
125 mins
UK, Italy, Argentina, USA, 2019

English, Spanish, Italian, French, Portuguese, German, Latin w/subtitles
Principal Cast: Jonathan Pryce, Anthony Hopkins, Juan Minujín 

The Monday Night Film Series returns Monday January 6th with THE TWO POPES screening at 7:30pm in Tilley 102, UNB.

The Catholic Church's papacy is a singular institution, with unique demands placed on the men who would see themselves elevated to it. This decade saw one of the Church's most important moments of transition, but news reports can fail in the face of such enormous, complex change. The Two Popes takes us beyond TV images of smoke rising from the Vatican chimney into the hearts, minds, and actions of those charged with leading over a billion faithful.

Frustrated with the direction of the church, Cardinal Bergoglio (Jonathan Pryce) requests permission to retire in 2012 from Pope Benedict (Anthony Hopkins). Instead, facing scandal and self-doubt, the introspective Pope Benedict summons his harshest critic and future successor to Rome to reveal a secret that would shake the foundations of the Catholic Church. Behind Vatican walls, a struggle commences between both tradition and progress, guilt and forgiveness, as these two very different men confront their pasts in order to find common ground and forge a future for a billion followers around the world. Inspired by true events.

Directed by Brazil's Oscar-nominated Fernando Meirelles (City of God) and starring two acting legends in Sir Anthony Hopkins and Jonathan Pryce, this insightful story ushers us behind gilded doors to watch the once and future Popes grapple with faith and religious leadership in a rapidly changing world.

As an extraordinary piece of writing - and an even more impressive showcase for its actors - it eloquently communicates the importance of giving people something to believe in. - Peter Debruge, Variety

January 13, 2020 - 7:30pm at Tilley Hall, UNB Campus


Noah Baumbach
136 mins
USA, 2019
Principal Cast: Scarlett Johansson, Merritt Wever, Adam Driver 

Revisiting some of the themes that made his Oscar-nominated TIFF 2005 selection The Squid and the Whale so resonant, writer-director Noah Baumbach digs deep into divorce with Marriage Story. Adam Driver and Scarlett Johansson deliver some of their richest work as a couple whose once enviable union crumbles under the weight of mounting resentments and divergent needs.

Charlie (Driver) is a playwright who wants to stay in New York. Nicole (Johansson) is an actor who's landed a coveted television role that requires her to relocate to Los Angeles. Their geographical dispute tests an already strained relationship. As Marriage Story begins, the couple's divorce is already underway, with each enlisting legal squads deploying various tactics.

Yet Baumbach's elegant narrative goes back and forth through time, showing how Charlie and Nicole fell in love and built a life together alongside a detailed, blow-by-blow chronicle of their marital dismantling.

It's the work of a major film artist, one who shows that he can capture life in all its emotional detail and complexity - and, in the process, make a piercing statement about how our society now works. - Owen Gleiberman, Variety

January 20, 2020 - 7:30pm at Tilley Hall, UNB Campus


Gavin Hood
UK/USA, 2019
112 minutes
Principal Cast: Keira Knightley, Matthew Goode, Matt Smith, Rhys Ifans, Ralph Fiennes

Official Secrets recalls the prosecution of real-life whistle-blower Katharine Gun (Keira Knightley, Colette, The Imitation Game), a story that might otherwise be a footnote in the campaign that led to the March 2003 invasion of Iraq by British and American troops. The film offers a behind-the-scenes account of events from the perspectives of Gun and the journalists and lawyers that warn of the perilous state of democracy at times of war.

Gun was a young translator at the United Kingdom’s Government Communications Headquarters (GCHQ). George W. Bush, President of the United States, and Tony Blair, UK Prime Minister, were doing everything in their power to secure a United Nations resolution to sanction war. As part of that effort, the US’s National Security Agency sent a memo to GCHQ with an order to gather information on diplomats from certain nations so they could fix the UN vote and protect themselves from being charged with any unlawful acts.

Gun is reluctant to follow the order, knowing that the case for war has yet to be proven. Weighed down by her conscience, she risks everything and leaks the memo in the hopes of stopping the war — but no one can stand in its way.

Did Katharine break the law? Did she violate the UK’s Official Secrets Act? Is she a traitor? These are the motivating questions from here on out. Directed by Gavin Hood (Tsotsi, winner of the 2006 Academy Award for Best Foreign Language Film) and stacked with a who’s who of British acting heavyweights, Official Secrets is an examination of the meaning, value, and act of loyalty.

A sturdy, entertaining political thriller that pushes all the right buttons and triggers all the right out- raged reactions.
—Tim Grierson, Screen Daily

January 27, 2020 - 7:30pm at Tilley Hall, UNB Campus


Pedro Almodóvar
SPAIN, 2019
Spanish w/ English subtitles
113 minutes
Principal Cast: Antonio Banderas, Penélope Cruz

A deeply personal work from one of the world’s foremost filmmakers, Pain and Glory is pure Almodóvar: inventive and irreverent, poignant and exhilarating. Chronicling the existential odyssey of a filmmaker confronting the autumn of his life, the Spanish auteur’s 21st feature immerses us in the thrall of memory (and the fleeting bliss of narcotics) while celebrating art as a balm for the burdens of mortality.

Afflicted with creative stagnancy and a cluster of physical ailments, Salvador (Antonio Banderas, who won the Best Actor prize at Cannes for his performance) finds himself drifting into uncharted waters when a revival screening of his controversial classic Sabor reunites him with that film’s star, Alberto (Asier Etxeandia).

A longtime junkie, Alberto lures Salvador into seeking solace in opiates, and also reminds him of a script that Salvador wrote and abandoned long ago. Along with this forgotten text comes a flood of old acquaintances and vivid memories — some involving Salvador’s beloved mother (Penélope Cruz, Everybody Knows, The Queen of Spain), others to do with an old flame ravaged by addiction.

Infused with dazzling colour and emotional dynamism, Pain and Glory marks another inspired collaboration between Almodóvar and his core creative team of cinematographer José Luis Alcaine, production designer Antxón Gómez, and composer Alberto Iglesias. It’s the cast, however, who render this memoir-fiction hybrid so achingly resonant. Cruz, who was nominated for an Oscar for her work in Almodóvar’s Volver, imbues her role with her trademark vivacity, while Banderas has never been more charismatic and moving in a role at once grounded in authentic experience and elevated by flights of wild imagination.

Antonio Banderas gives his best, most committed performance in years as a film director looking back over his life in Pain and Glory, a typically rich, layered film from director Pedro Almodóvar. —Adam Graham, The Detroit News

February 3, 2020 - 7:30pm at Tilley Hall, UNB Campus


Bong Joon-ho
Korean w/ English subtitles
131 mins
Principal Cast: Song Kang-ho, Lee Sun-kyun, Cho Yeo-jeong 

A glorious success and smashing box-office hit for Korean auteur Bong Joon-ho - who returns home after his foreign adventures in Snowpiercer and Okja - the Palme d’Or- winning Parasite is a politically charged cinematic wonder.

Described by Bong himself as “a comedy without clowns and a tragedy without villains,” the film moves quickly from one tone to another, mixing pathos and satire with thrills and drama in a perfectly controlled blend of many different genres.

A vertical story of class struggle — punctuated by staircase scenes going from mouldy basements to top floors, from darkness to breezy spaces designed by star architects - Parasite observes and dissects with surgical precision the life of two families of different social backgrounds.

Ki-taek (Song Kang-ho, Snowpiercer) is an unemployed patriarch of a family of grifters - his wife Chung-sook (Chang Hyae-jin), his clever twenty-something daughter Ki-jung (Park So-dam), and his son Ki-woo (Choi Woo-shik) - who live in an overcrowded, sordid basement. The Parks, on the other hand, live in a fabulous house with their teenage daughter Da-hye and pampered son Da-song, who has suffered a childhood trauma that occasionally causes him seizures and strange behaviour. When, due to an unexpected stroke of luck, Ki-woo is hired by the Parks to be the private English tutor of Da-hye, the destinies of the two families cross. Their explosive meeting exposes the merciless evils of class inequalities, culminating in a powerful and utterly original outcome.

An exhilarating and furious indictment of class struggle, Parasite might be the masterpiece South Korea's Bong Joon-ho has been working toward his entire career. - Barry Hertz, Globe and Mail

February 10, 2020 - 7:30pm at Tilley Hall, UNB Campus


Céline Sciamma
France, 2019

French w/ English subtitles
119 mins
Principal Cast: Noémie Merlant, Adèle Haenel, Luàna Bajrami

Winner of both the Queer Palm and Best Screenplay Awards at this year’s Cannes Film Festival, the fourth feature from French writer-director Céline Sciamma (Girlhood) is an exquisite portrait of hidden love, art, eros, and the gaze.

Set in 18th-century Brittany, Portrait of a Lady on Fire follows Marianne (Noémie Merlant), an artist commissioned by an Italian noblewoman (Valeria Golino) to paint a portrait of her reclusive daughter, Héloïse (Adèle Haenel, The Unknown Girl, The Forbidden Room), who is soon to be married. However, there are peculiar conditions of this assignment; Marianne must never announce to Héloïse the objective of her visit. Instead, Marianne is to act as a companion to Héloïse, escorting her on walks while closely observing her subject so as to render her likeness on canvas in secret.

Dissatisfied with her initial portrait, Marianne petitions her patroness for a second chance. In frustration and growing kinship, Marianne confesses the ruse to Héloïse, procuring her cooperation and allowing the women to forge a much closer bond - one that will lead to a passionate intimacy.

It’s a great example of how a well-told story, with vivid characters, can seep right into your bones and keep you thinking for days afterward — and the pleasure felt while watching it isn’t negligible either. Stephanie Zacharek, Time Magazine

February 17, 2020 - 7:30pm at Tilley Hall, UNB Campus


Hannah Pearl Utt
USA, 2018
98 mins
Principal Cast: Hannah Pearl Utt, Jen Tullock, Judith Light, Mandy Patinkin 

Stage manager Rachel Gurner still lives in her childhood apartment - along with her off-kilter actress sister, Jackie; eccentric playwright father Mel; and deadpan preteen niece Dodge—above the tiny theatre they own and operate. Level-headed and turtleneck-wearing Rachel is the only thing standing between her family and utter chaos. Then, in the wake of a sudden family tragedy, Rachel and Jackie learn their presumed-deceased mother is actually alive and thriving as a soap-opera star. Now the sisters’ already-precarious balance turns upside down, and Rachel must figure out how to liberate herself from this surreal imbroglio.

A noteworthy work from an upcoming dynamic duo, co-writers Hannah Pearl Utt and Jen Tullock, who have a chemistry that you want to see in more films, especially if they're like Before You Know It. - Nick Allen,

February 24, 2020 - 7:30pm at Tilley Hall, UNB Campus


Louise Archambault
CANADA, 2019
French w/English subtitles
127 minutes
Principal Cast: Andrée Lachapelle, Gilbert Sicotte, Rémy Girard, Ève Landry, Éric Robidoux, Louise Portal

The latest from Louise Archambault (Film Circuit favourite Gabrielle), adapted from the acclaimed novel by Jocelyne Saucier, is an elegiac and charming meditation on the possibilities of living outside modernity.

As the film opens, we meet three hermits living in cabins in the Quebec countryside, miles from civilization. Tom (Rémy Girard, The Barbarian Invasions, Incendies), Charlie (Gilbert Sicotte, The Salesman), and Ted (Kenneth Welsh, Wet Bum, Adoration) fled society years ago, and have eked out a back-to-the-land existence, selling pot to the closest locals with help from local hotelier Stephen (Éric Robidoux, Love in the Time of Civil War).

But their lifestyle is increasingly endangered by nature, infirmity, and age. Ted collapses from a heart attack. Photographer and researcher Ange-Aimee (Eve Landry) threatens to disrupt their lives when she starts looking for survivors of a catastrophic blaze that happened decades ago, most notably Ted, whose actions during the fire have assumed heroic stature.

And the Birds Rained Down is a tribute to the need to live independently and on one’s own terms - and to those courageous enough to pursue this. (It’s also a cry for respect for people and their choices, regardless of age.) Driven by an astonishing cast boasting some of Quebec’s most esteemed performers - including Andrée Lachapelle, whose career stretches back to 1954 - the film features one of the most beautiful musical moments of the year, when Girard’s ailing musician Tom, coaxed into performing at a nearby club, delivers a soulful and heartbreaking rendition of one of Tom Waits’ best tunes.

Touching, heartbreaking, and dangerously thought-provoking, And the Birds Rained Down will force you to re-examine your relationship with yourself, the world around you, and the people you love. Anne T. Donahue, The Globe and Mail

March 2, 2020 - 7:30pm at Tilley Hall, UNB Campus


Tyler Nilson, Michael Schwartz
USA, 2019
93 minutes 
Principal Cast: Shia LaBeouf, Dakota Johnson, Zack Gottsagen 

A modern Mark Twain style adventure story, THE PEANUT BUTTER FALCON tells the story of Zak (Zack Gottsagen), a young man with Down syndrome, who runs away from a residential nursing home to follow his dream of attending the professional wrestling school of his idol, The Salt Water Redneck (Thomas Haden Church).

A strange turn of events pairs him on the road with Tyler (Shia LaBeouf), a small-time outlaw on the run, who becomes Zak's unlikely coach and ally. Together they wind through deltas, elude capture, drink whisky, find God, catch fish, and convince Eleanor (Dakota Johnson), a kind nursing home employee charged with Zak's return, to join them on their journey.

A feel-good niche indie with its priorities in the right place. - Peter Debruge, Variety

March 9, 2020 - 7:30pm at Tilley Hall, UNB Campus


Nicolas Bedos
FRANCE, 2019
French w/ English subtitles
115 minutes
Principal Cast: Daniel Auteuil, Guillaume Canet, Doria Tillier, Fanny Ardant

In this high-concept comedy from Nicolas Bedos (Mr. & Mrs. Adelman), a luddite cartoonist suffering an existential crisis hires a VR company to recreate a happier time in his marriage, as he tries to reconcile the golden-hued past with an inescapable digital present. Starring Daniel Auteuil, Fanny Ardant, and Guillaume Canet (Cézanne et moi), La Belle Époque blurs historical eras while tracking a charismatic curmudgeon’s existential reckoning.

Victor (Auteuil) is a sexagenarian cartoonist whose long-time publisher has eliminated their print edition and, with it, his gig. No fan of AI or VR, Victor likes turning pages, touching flesh, and seeing what’s actually before him. Alas, what’s before him is a resentful wife, Marianne (Ardant), who can no longer stand him. “I think you’ve been alive too long,” Marianne confesses during one of her rages.

Longing to escape the present, Victor opts to return to the past - or a simulacrum of it. Enter Time Travellers, a service that immerses clients in a painstaking re-enactment of whatever historical moment its actors, designers, and builders can conjure. Victor hires Time Travellers to return him to May 16, 1974, the day he first met Marianne in a Lyon café. He finds himself beguiled by every detail, from the vintage editions of Libération to the punchy plastic egg holders to Margo (Doria Tillier), the actress he accepts as the Marianne he fell for 45 years ago. It feels like a beautiful dream. But what happens when it’s time to wake up?

Recalling the films of Charlie Kaufman - and Olivier Assayas’ Non-Fiction, which also starred Canet - La Belle Époque invites us to peer into the past, consider how it made us who we are, and to muse on who we might still aspire to be.

Where so many high-concept romantic comedies squander their one big idea, La Belle Époque leverages its own to remind how and why we fall in love in the first place. Peter Debruge, Variety

March 16, 2020 - 7:30pm at Tilley Hall, UNB Campus


Chinonye Chukwu
USA, 2019
113 minutes
Principal Cast: Alfre Woodard, Richard Schiff, Aldis Hodge, Wendell Pierce, Richard Gunn, Danielle Brooks

Under the skilled guidance of writer-director Chinonye Chukwu, Alfre Woodard (Mississippi Grind, 12 Years a Slave) provides a layered, nuanced portrait of a beleaguered prison warden - a performance that was a key part of why the film won a Grand Jury Prize at the 2019 Sundance Film Festival.

Warden Bernadine Williams (Woodard) is a professional. She arrives at work every day to watch over death-row prisoners until they face execution or receive a rare, last-minute clemency. She takes her job seriously, doing her best to offer dignity to the men left isolated in her prison to contemplate what they did - or didn’t do. Even when a lethal injection procedure goes wrong and throws the inmate’s family into grief-stricken chaos, Bernadine never loses her cool. But when she goes home at night, she feels it.

Her husband Jonathan, played by Wendell Pierce (television’s The Wire, Treme), is a schoolteacher still deeply in love with a wife who is growing harder and more distant. Anthony Woods (Aldis Hodge) is the next prisoner in line, and a complex man to reach. As his lawyer (Richard Schiff) fights to prove Woods’ innocence before time runs out, Bernadine struggles to maintain the neutral calm that defines her job but threatens to destroy her marriage.

From roles in John Sayles’s Passion Fish to Steve McQueen’s 12 Years a Slave to the occasional turn in Hollywood action fantasies (Captain America: Civil War), Woodard has always shown both gravitas and soul. Given the combination of a powerful leading role, Chukwu’s probing camera, and her own remarkable skill, this American treasure delivers one of the finest performances of the year.

There’s little room to breathe in writer-director Chinonye Chukwu’s constricting, devastating drama Clemency, an intentionally airless film processing a tough subject through an unusual viewpoint. - Benjamin Lee, The Guardian

March 23, 2020 - 7:30pm at Tilley Hall, UNB Campus


Rob Epstein, Jeffrey Friedman
USA, 2019
95 minutes 
Principal Cast: Linda Ronstadt, Bonnie Raitt, Dolly Parton 

Linda Ronstadt: The Sound of My Voice is a musical biography of one of the most successful and versatile female singers of the 20th century - and one of the most successful recording artists of all time. At the height of unprecedented success, Ronstadt, a restless and adventurous artist, turned away from pop music to explore an astonishing variety of musical styles, from American standards to country to classical operetta before circling back to her family roots with traditional Mexican canciones.

Withstanding constant pressure from a risk-averse industry, Linda insisted on following her musical instincts. Today Ronstadt has Parkinson's disease and her magnificent singing voice has been silenced. But rather than letting that voice be lost to history, Linda Ronstadt: The Sound of My Voice tells Linda's story through her own words and music, and by such professional colleagues as Dolly Parton, Emmylou Harris, Bonnie Raitt, Jackson Browne, Aaron Neville among many others.

She shows herself to be one of its indispensable interpreters, as a vocalist and also as a thinker - covering a sprawling landscape with elegance, passion and insight. - A.O. Scott, New York Times

March 30, 2020 - 7:30pm at Tilley Hall, UNB Campus


Émile Gaudreault
CANADA, 2019

French with English subtitles

111 minute 

Principal Cast: Louis-José Houde, Antoine Bertrand, Véronique Le Flaguais 

Simon lies as he breathes. His relatives are so overwhelmed by all his lies that they decide to organize an intervention so that their son, brother, friend and colleague realizes that he has a problem. But, Simon refuses to see the truth ... until one morning, he wakes up and realizes that all his lies have become realities. His boss is now an inveterate drunkard, he has scars from a so-called stay in Afghanistan and his twin brother has become the most-unlucky man in the world. With the help of the latter and a new colleague, Simon will try to find ways to repair his lies and return to a normal life.

April 6, 2020 - 7:30pm at Tilley Hall, UNB Campus


Ken Loach
102 minutes
Principal Cast: Kris Hitchen, Debbie Honeywood, Rhys Stone, Katie Proctor, Ross Brewster

From socially conscious director Ken Loach and long-time collaborator Paul Laverty (I, Daniel Blake) comes a wrenching portrait of a hardworking English couple sliding deeper into debt and despair, despite toiling in all-consuming jobs.

Now in his sixth decade of filmmaking, Loach (I, Daniel Blake; Jimmy’s Hall) has become something of a cinematic institution even as his films continue to boldly criticize institutions, often depicting how working-class people can be caught in the gears of systemic exploitation.

His latest is a captivating and compassionate portrait of a family who sacrifices nearly all they have for the uncertain promise of independence. Ricky (Kris Hitchen) is a former construction worker who lost his job and home in the 2008 financial crash. Eager to make a go at being his own boss, he takes a quasi-freelance delivery gig, though it means punishing hours, working under a ruthless manager, and making a substantial investment up front.

Ricky convinces his wife, Abbie (Debbie Honeywood), a home-care nurse, to sell her car in order to buy the van he needs for the job. Complications mount as Ricky starts to discover the harsh realities of supposedly autonomous labour, his son Seb (Rhys Stone) courts trouble in his new-found, semi-politicized vocation as a graffiti artist, and the family’s hopes of getting ahead seem only to drag them further behind.

Working from a rigorously researched script from Laverty, Loach once again dissects larger social issues by focusing on the plight of a handful of precisely drawn characters. Even as the film’s social critique becomes more overt, Loach and Laverty never let us forget that the victims of corporate avarice are not statistics, but individuals fighting for what everyone deserves: dignity and fairness.

A drama of such searing human empathy and quotidian heartbreak that its powerful climactic scenes actually impede your breathing. - David Rooney, The Hollywood Reporter