SCROLL DOWN ON THE PAGE TO SEE EACH FILM IN THE SCHEDULE

DANCING ON THE ELEPHANT

September 7, 2026, 7:00pm at Tilley Hall, UNB Campus

95 minutes, Julia Neill, Jacob Z. Smith, Canada, 2025, English, Sheila McCarthy, Mary Walsh, Amanda Brugel

Dancing on the Elephant is a heartwarming Canadian comedy-drama that effortlessly pairs laugh-out-loud humor with genuine emotional weight. Nora is a fiercely independent woman who believes her days of adventure are over after her children reluctantly place her in a retirement home. However, her spark is instantly reignited when she meets Edna, an unfiltered firecracker who constantly plots to escape what she hilariously dubs the "fox farm." The duo quickly bond over a shared hatred of tedious "Chair-xercise" and a love for local cookies, culminating in a wild, grand breakout mission when Edna is moved to a secure memory care wing.

The film's undeniable crowd-pleasing charm lies in its wholesome, slightly old-fashioned humor and its refreshing, deeply sensitive portrayal of aging. This comedic journey is brilliantly anchored by the stellar performances of its lead actresses. Mary Walsh delivers a powerhouse performance as Edna, capturing her cheeky, force-of-nature comedic energy alongside deeply moving, vulnerable layers. Sheila McCarthy perfectly balances her, infusing Nora with immense kindness and a sweet, accessible presence that makes this ultimate retirement home rebellion a joy to watch.

“… a particularly stellar performance from Mary Walsh. A Canadian legend in her own right, then you add in another legend in Sheila McCarthy, and you have a powerhouse duo that not just radiate the screen, they melt it.” — Joe Compton/FreshButteredPopcorn/Go Indie Now

TUNER

September 14, 2026, 7:00pm at Tilley Hall, UNB Campus

109 minutes, Daniel Roher, USA, 2025, English, Leo Woodall, Dustin Hoffman, Havana Rose Liu

Tuner is a riveting crime drama from Oscar-winning director Daniel Roher that effortlessly blends a quiet character study, a heist thriller, and a blossoming romance. Niki is a reserved piano tuner with an agonizingly acute sensitivity to sound that shattered his performance career but gifted him near-supernatural hearing. When his beloved mentor Harry racks up massive medical debts, Niki discovers his extraordinary auditory talents are just as effective at cracking secure safes as tuning Steinways. He is quickly pulled into a dangerous criminal underworld, escalating into a high-stakes thrill ride.

The film's undeniable crowd-pleasing charm lies in its rhythmic execution, moving with the precision of a musical while delivering the high-wire tension of a classic heist film. It captures an obsessive, misunderstood beauty in the craft of sound, drawing stylistic comparisons to hits like Whiplash and Baby Driver. 

This sensory experience is anchored by standout performances. Leo Woodall delivers a quietly assured breakout role as Niki, masterfully balancing stoicism with an underlying nervous energy. Dustin Hoffman brings great warmth as his genial mentor, while Havana Rose Liu shines as Ruthie, the composition student who sparks a tender romance with Niki. Tuner is an absolute must-see festival discovery because it proves that sound isn’t just a texture—it is the psychology, the identity, and the driving force of the story.

“... smart, and fun, and romantic, and a throwback to the kinds of movies we’re really missing these days.” Fletcher Powell, KMUW - Wichita Public Radio

MONTREAL, MY BEAUTIFUL

September 21, 2026, 7:00pm at Tilley Hall, UNB Campus

118 minutes, Xiaodan He, Canada, 2025, Chinese, French, Charlotte Aubin, Joan Chen

Montreal, My Beautiful is a bold, female-led drama written and directed by Chinese-Canadian filmmaker He Xiaodan. The plot follows Feng Xia (Joan Chen), a 53-year-old Chinese immigrant in Montreal trapped in a stagnant, patriarchal marriage to a domineering husband. During a vibrant Montreal summer, her world transforms when she meets Camille, a spirited young Québécoise. This encounter triggers a late-life sexual awakening and a journey of forbidden love, forcing Feng Xia to radically choose herself despite the steep cost of liberation.

The film's distinct style blends intimate, transnational drama with deep social commentary. He Xiaodan expertly captures the emotional weight of a crumbling nuclear family while exploring the broader disillusionment, isolation, and assimilation demands faced by first-generation immigrants.

Joan Chen anchors this adventurous story with a haunting, deeply layered return to the big screen, drawing expertly on her own immigrant experience and legendary screen presence. Audiences will thoroughly enjoy this film for its refreshing, unapologetic challenge to cultural constraints and its deeply authentic portrayal of self-realization. It delivers a visually joyful yet profoundly moving celebration of freedom that resonates on a universal scale.

"A stunningly gentle masterclass in late-life reclamation, anchored by Joan Chen’s beautiful, profoundly vulnerable performance that captures the rediscovery of one’s own desires with startling honesty." Sara Clements, Next Best Picture·

THE BLUE TRAIL

September 28, 2026, 7:00pm at Tilley Hall, UNB Campus

85 minutes, Gabriel Mascaro, Brazil, Mexico, Netherlands, Chile, 2025, Portuguese, Denise Weinberg, Rodrigo Santoro, Murilo Hauser

The Blue Trail is a sharp, mind-bending dystopian road movie from acclaimed Brazilian writer/director Gabriel Mascaro. In a near-future Brazil, an authoritarian government forcibly relocates citizens aged 77 and older to isolated senior housing colonies, prioritizing youth to maximize economic productivity. Refusing to accept this prison of nothingness, 77-year-old factory worker Tereza rejects her forced relocation. With mere days left before her exile, she escapes her settlement to embark on a transformative, self-seeking journey through the rivers and tributaries of the Amazon to fulfill one last wish: to fly in an airplane.

Mascaro brings a wry, witty, and distinctly personal perspective to the story. He seamlessly weaves near-future dystopian technology into recognizable everyday life, creating an enormously moving, texture-rich exploration of a woman's final chapter without letting it become a purely bleak political statement.

This journey is anchored by a stellar performance from Denise Weinberg, who brings profound depth, grit, and humanity to the role of Tereza. Audiences will get an incredibly poignant yet darkly comedic cinematic experience that fiercely celebrates individual freedom, identity, and the enduring human spirit against an unfeeling, hyper-productive society.

"An empowering narrative of one woman who refuses to see age as a ceiling, the film serves as a potent warning for viewers about the marginalization of the elderly." Marshall Shaffer, Slant Magazine

THE CHRISTOPHERS

October 5 2026, 7:00pm at Tilley Hall, UNB Campus

100 minutes, Steven Soderbergh, UK, 2025, English, Michaela Coel, Ian McKellen, Jessica Gunning, James Corden

The Christophers is a witty chamber comedy from acclaimed director Steven Soderbergh that explores the murky ethics of the art world. Lori, a struggling art restorer, is recruited by the estranged heirs of famed, fading painter Julian Sklar to secretly complete his unfinished portraits for profit after his death. Posing as Sklar’s personal assistant, Lori becomes deeply entangled in a high-stakes scheme of forgery, deception, and shifting loyalties as she works to gain the old master's trust.

Soderbergh brings his signature gamesmanship and assured storytelling verve to the feature, treating his characters like fascinating human subjects of observation. He and screenwriter Ed Solomon masterfully focus on deep behavioral perception without ever letting the movie's quick wit eclipse the emotional weight driving the plot.

This character-focused story is brilliantly anchored by its cast. Ian McKellen delivers a sharp, acerbic performance as the fading 1960s sensation, while Michaela Coel’s cool, conflicted energy perfectly grounds Lori. James Corden and Jessica Gunning add unexpected depth as the materialistic, yet deeply wounded siblings. Audiences will get a clever, highly entertaining examination of ambition, authenticity, and the messy pursuit of artistic legacy.

"Terrifically exhilarating and funny, as bracing as a large vodka and tonic before lunch: fast, literate and funny with a key plot progression elliptically and unsentimentally managed." Peter Bradshaw, Guardian

H IS FOR HAWK

October 12, 2026, 7:00pm at Tilley Hall, UNB Campus

119 minutes,Philippa Lowthorpe, UK, Singapore, USA, 2025, English, Claire Foy, Brendan Gleeson, Denise Gough

H Is for Hawk is a meditative and emotionally resonant film adapted from Helen Macdonald's critically acclaimed memoir. Following the sudden death of her father, Helen, a respected academic, withdraws from the familiar rhythms of life. In her profound grief, isolation, and loneliness, she turns to the ancient, exacting art of falconry, attempting to train a fierce and untamed goshawk named Mabel to distract herself from her overwhelming loss.

The director masterfully crafts the film as a quiet dialogue between human vulnerability and the natural world's indifference, using a patient and immersive filmmaking style. Visually, the picture is a handsomely photographed appreciation of the British landscape and its wildlife. Director of Photography Charlotte Bruus Christensen delivers reverent, textured close-ups of hawk feathers, beautifully contrasted by wildlife cameraman Mark Payne-Gill’s thrilling, dynamic footage of Mabel in flight across magnificent natural settings.

The core theme explores deep loss, solitude, and the intense discipline required to live alongside pain without being entirely consumed by it. Audiences watching this contemplative cinematic experience will feel deeply moved and reflective, finding themselves invited into a rare, healing space of stillness, hard-won grace, and quiet buoyancy.

"A profoundly moving and utterly engaging cinematic metaphoric meditation on mourning and the transitory nature of life and nature, itself." Jennifer Merin, AWFJ.org

FRANÇOIS.E

October 19, 2026, 7:00pm at Tilley Hall, UNB Campus

91 minutes, Jean-Francois Asselin, Canada, 2025, French, Louis Morissette, Pascale Drevillon, Genevieve Schmidt

Françoise follows François, a middle-aged, cisgender screenwriter whose career is on the wane. Out of pure cynicism and desperation after his latest TV project is rejected for lacking diversity, he checks the "transgender" box on a funding application form. When the project is surprisingly accepted, he is trapped by his own ruse and must pose as a transitioning woman named Françoise, hiring actual trans writer Sarah to help him navigate the deception.

This satirical setup mirrors the classic comical elements of iconic gender-bending comedies like Tootsie and Mrs. Doubtfire. The film relies heavily on "middle-aged uncle" style jokes and hyper-clichéd romantic comedy tropes, poking fun at political correctness while tracking François's absurd struggle to live a massive lie.

The crowd-pleasing charm of the story lies in how it successfully navigates potential pitfalls to deliver an entertaining, good-natured narrative. Against all odds, the main character's journey becomes both convincing and moving as he inadvertently reconnects with his inner woman, mends his relationship with his teenage daughter, and faces an eye-opening "mirror effect" regarding the genuine, everyday challenges experienced by the trans community.

“Louis Morissette avoids caricature, delivering a pitch-perfect performance while frequently stepping back to let his co-star, Pascale Drevillon—whose talent and beauty radiate on screen—take the spotlight.” Cinoche.com

ROMERIA

October 26, 2026, 7:00pm at Tilley Hall, UNB Campus

112 minutes, Carla Simón, Spain, Germany, 2025, Spanish, Catalan, French, Galacian, Llúcia Garcia, Mitch Martín, Tristán Ulloa

Romería is a deeply personal, auto-fictional drama from Spanish filmmaker Carla Simón set on the bracing Atlantic coast of Vigo, Galicia. Marina, an 18-year-old orphan, travels to meet her late biological father’s extended, wealthy family in 2004. Her mission is dual-purpose: to find official paperwork confirming her paternity for a cinema study grant, and to piece together the fragmented, often contradictory memories of parents she barely remembers.

Simón brings an instinctive, candid, and almost docu-realist perspective to the story. She captures the location's vibrant energy by immersing her unobtrusive camera within freewheeling family scenes, interspersed with stylized hallucinatory sequences and Super-8 flashback textures.

The protagonist’s character development is beautifully charted through her discovery of family. Armed with her digital video camera, Marina navigates a sea of aunts and uncles who enthusiastically welcome her yet stubbornly refuse to acknowledge her as their own. The central themes explore identity, resolution, and the deep emotional tension of uncovering hidden wounds. Rather than relying on simple anger toward her family’s past cruelty, Marina struggles to reconcile her need for closure with a desire to reclaim family membership.

"Skillfully blending a coming-of-age drama with a haunting family mystery, this evocative autobiographical saga is deliberately paced yet quietly powerful." Todd Jorgenson, Cinemalogue

THE MOTHER AND THE BEAR

November 2, 2026, 7:00pm at Tilley Hall, UNB Campus

100 minutes, Johnny Ma, Canada, 2024, English, Korean, Kim Ho-jung, Lee Won-jae, Jonathan Kim

The Mother and the Bear is a funny, emotionally honest Canadian dramedy from writer-director Johnny Ma. Set in a snow-swept Winnipeg, the plot follows Sumi, a schoolteacher who is left comatose after slipping on ice. Her anxious mother, Sara, arrives from Seoul to care for her but quickly realizes how little she actually knows her daughter. Out of desperation over Sumi’s single status, Sara hilariously begins catfishing an unsuspecting suitor online under her daughter's identity, accidentally entangling herself in a web of chaotic local misadventures.

The story centers on two main characters: the bedridden Sumi (Leere Park) and her overbearing yet deeply loving mother, Sara. Kim Ho-jung delivers a masterful performance as Sara, scraping away traditional Asian mother stereotypes to infuse her character with genuine charm, emotional intelligence, and a sharp wit.

Ma directs the film with remarkable clarity, bringing a refreshing, stylistic perspective to a narrative steeped in immigrant loneliness. Audiences will enjoy the movie for its endearing blend of snowy adventures and laugh-out-loud storyline shifts. It offers an immensely heartwarming, universally relatable look at family reconciliation, parental love, and the deep complexities of human connection.

"A frosty relationship between an overbearing mother and her daughter thaws in unexpected ways. This is a midlife coming-of-age story about a reluctant woman who comes to see her daughter in whole new light." Valerie Kalfrin, AWFJ.org

I SWEAR

November 9, 2026, 7:00pm at Tilley Hall, UNB Campus

120 minutes, Kirk Jones, UK, 2025, English, Robert Aramayo, Peter Mullan, Maxine Peake

I Swear is a poignant biographical drama about John Davidson, a Scottish man navigating the profound challenges of severe Tourette’s syndrome from adolescence into adulthood. Moving from the 1980s Scottish Borders to later Glasgow, the story follows John as his involuntary tics, compulsive behaviors, and explosive shouts clash violently with the rigid expectations of polite society, leading to systemic misunderstandings, hospitalizations, and wrongful arrests.

The film relies on a wry, compassionate, and deeply textured mood. It balances heartbreaking instances of social isolation and bullying with surreal, lighter-than-air comedic moments that pierce through typical biopic sentimentality. At its center stands a masterful performance by Robert Aramayo as the adult John, infusing the protagonist with immense intelligence, stoicism, and a warm, sweet-natured charm. Strong supporting performances from Shirley Henderson, Maxine Peake, and Peter Mullan further enrich John's turbulent world.

For the audience there is an overwhelming sense of catharsis, empathy, and admiration. Rather than viewing the story as a tragedy, viewers are left deeply moved by John’s defiant pride and powerful conviction that his condition is "not a disability," prompting a reflective, eye-opening understanding of human connection and solidarity.

"Robert Aramayo delivers a phenomenal performance, in this splendid true story about Tourette Syndrome. It's raw, informative, funny and heartwarming." Fico Cangiano, CineXpress

THE FURIES

November 16, 2026, 7:00pm at Tilley Hall, UNB Campus

105 minutes, Mélanie Charbonneau, Canada, 2025, French, Aurélia Arandi-Longpré, Antoine Bertrand, Sandrine Bisson

Les Furies is a raucous, irreverent sports comedy from Quebec that turns small-town athletics upside down. The plot kicks off in Waterloo when a semi-pro men’s hockey team displaces the local women's amateur leagues from the arena. Determined to avenge their lost ice time, an impulsive hockey player named Mélissa and a ruthless octogenarian team up to form an underground roller derby team made of town outcasts.

Writer-director Mélanie Charbonneau crafts a colorful, almost cartoon-like world with the distinct intent to send up traditional sports-movie tropes. Her vision blends fierce feminism with physical comedy, tracking the unruly women as they prepare to take on a big-city Montreal team.

The story thrives on its eccentric characters, led by the fired-up Mélissa (Gabrielle Côté) and Yvette (France Castel), a mobility-scooter-riding former roller derby legend who struggles with Alzheimer's disease. The central theme celebrates sisterhood as the ultimate act of resistance, proving women's sports can ignite passionate crowds. A unique aspect of the film is its status as the first female-driven sports comedy from Quebec, earning optimistic comparisons to the iconic Canadian hockey comedy classic Les Boys.

“Thanks to an irresistible cast, Les Furies turns roller derby into a radiant celebration of sisterhood. It is a joyful, funny, and fiercely feminist film that makes you want to join the gang. It’s impossible not to want to lace up your skates after watching it.” Marie-Hélène Raymond

THE ART OF ADVENTURE

November 23, 2026, 7:00pm at Tilley Hall, UNB Campus

86 minutes, Alison Reid, Canada, 2026, English, David Suzuki, Wade Davis, Guujaaw

The Art of Adventure is a captivating documentary directed by Alison Reid that chronicles a legendary 30,000-kilometre global road trip. The film follows principal subjects Robert Bateman, a renowned wildlife artist, and Bristol Foster, a spirited biologist, as they reunite in their 90s to reclaim "The Grizzly Torque"—the rugged Land Rover that carried them across four continents and nineteen countries in 1957.

Their historic journey was deeply significant because it beautifully synthesized art and science to pioneer a message of environmental activism. Traveling from the Congo to India, Bateman captured the world’s natural wonders in vibrant paintings and vehicle murals, while Foster documented their daunting, survival-focused expedition on 16mm Bolex film. Decades later, the restoration of their abandoned vehicle unearths a timeless history of conservation.

The film soars with its rich blend of nostalgia, adventure, and inspiration. By pairing lovingly restored historical archival footage with contemporary chats from the witty, lifelong friends, the documentary offers a moving perspective on life and environmental responsibility. It delivers a deeply heartwarming reminder of the importance of connecting with and protecting the natural world for generations to come.

“Filmmaker Alison Reid introduces nonagenarian environmentalists Robert Bateman and Bristol Foster, then rolls back the clock to 1957 when the pals drove around the world in a custom Land Rover. It’s a wild ride, with a lovely ending.” Chris Knight, Original Cin

MAIGRET AND THE DEAD LOVER

November 30, 2026, 7:00pm at Tilley Hall, UNB Campus

80 minutes, Pascal Bonitzer, France, Belgium, 2026, French, Denis Podalydès, Anne Alvaro, Manuel Guillot

Maigret and the Dead Lover is an atmospheric detective film directed by Pascal Bonitzer. Commissioner Maigret is urgently called to the Quai d’Orsay following the murder of Monsieur Berthier-Lagès, a renowned former ambassador. Maigret quickly uncovers a tangled, fifty-year-long secret love correspondence between the victim and Princess de Vuynes, steering the inspector through an intricate web of family secrets and suspicious silences.

The intrepid Inspector Maigret is a gruff yet deeply observant detective who unravels crimes by immersing himself in the world of his suspects and putting himself in their shoes. He is brilliantly brought to life here by Denis Podalydès, who captures Maigret’s signature dogged quality with a unique, energetic presence. Writer Georges Simenon penned 75 novels featuring the iconic detective between 1930 and 1972 that were praised by critics and audience alike for their psychological depth, understated atmosphere and treating genre fiction as high art.

Audiences, particularly devoted book fans, will enjoy the film as it faithfully transports them back to the classic, immersive atmosphere of the Quai des Orfèvres police headquarters, delivering a nostalgic and captivating mystery.

“Everything is restrained, elegant, measured, and classic. And the performances are brilliant.” Jordi Batile, Caminal

THE SUMMER BOOK

December 7, 2026, 7:00pm at Tilley Hall, UNB Campus

90 minutes, Charlie McDowell, USA, Finland, UK, 2024, English, Glenn Close, Emily Matthews, Anders Danielsen Lie

The Summer Book is a delicate, meditative cinematic adaptation of the beloved 1972 book by Finnish author Tove Jansson. Beautifully filmed on 16mm in majestic natural light, the plot follows nine-year-old Sophia and her family as they arrive for a seasonal retreat on an isolated, tranquil island in the Finnish archipelago. This particular summer is heavy with transition, marking their first season since the sudden death of Sophia's mother.

The emotional texture of the story is poetic, elliptical, and deeply poignant. It explores profound thoughts about time, memory, and grief through an exquisite cinematic language of sunrises, sunsets, and waves. While Sophia's father remains numb and distant with sorrow, the film's beating heart lies in the easy comfort and deep bond shared between Sophia and her grandmother.

Glenn Close delivers a masterful performance as the opinionated yet deeply affectionate grandmother. Moving heavily with a cane and sporting iron-colored hair, Close portrays a fiercely observant matriarch guiding her granddaughter along a giddy path toward young adulthood. Together, they explore the terrain, celebrate midsommar, and find a rare, timeless healing space amidst nature.

“It is a haiku of a movie, conveying profound thoughts about time, memory, loss, and nature through a simplified, meditative, cinematic language of exquisite images and gentle music.” Nell Minow, RogerEbert.com

ONCE UPON A TIME IN A CINEMA

December 14, 2026, 7:00pm at Tilley Hall, UNB Campus

93 minutes, David Gleeson, Ireland, Germany, Belgium, 2025, English, Colin Morgan, Calam Lynch, Clara Crichton

Once Upon a Time in a Cinema is a witty, heartfelt dramedy based on director David Gleeson’s own upbringing. Set in a down-at-heel Limerick cinema in 1984, the real-time plot follows Earl Clancy (Colin Morgan), a Scrooge-like, long-suffering manager consumed by fury as he battles a chaotic Friday night crowd. Tensions rise during a screening of Breathless when businessman Harry Conway (Stanley Townsend) offers a buyout that Earl’s younger brother Gerald (Salam Lynch) eagerly pushes him to accept.

Juggling a rebellious daughter, Kate (Clara Crichton), alongside a burst pipe, an inebriated projectionist, and a rat on the premises, Earl faces a massive personal and professional crisis. The film captures prominent themes of family legacy, cross-generational duty, and the shifting landscape of entertainment as the rise of the VCR threatens independent cinema.

Audiences will love this film for its intense comic energy and "shabby glamour" aesthetic. It serves as a beautifully nostalgic, sentimental love letter to the irreplaceable joy of watching movies in the company of strangers before the era of modern multiplexes.

“A heart-warming nostalgic recreation of a time gone by, Once Upon A Time In A Cinema is a story to be dived into. Embrace the popcorn - and the moment - and sit back and enjoy.” Peter Bodiw, Film Ireland Magazine