Film BrockvilleFilm Brockville

The Films

2017 Winter Schedule

Jan 11 Little Men
Jan 25 Denial
Feb 08 Moonlight
Feb 22 The Salesman
Mar 08 I, Daniel Blake
Mar 22 Julieta
N.B. revised schedule
Apr 05 After The Storm
N.B. revised date
Apr 19 Water
Canada On Screen event - free admission
May 03 20th Century Women
May 17 Maudie
TBA Always much more coming!


Screening times twice monthly on Wednesdays on what has become a somewhat irregular schedule- check the listings, below; 7:30 p.m., Galaxy Cinema, 1000 Islands Mall, Brockville, Ontario.

The box office opens about 7:00 p.m. Seating is limited (200) and is on a first-come first-served basis, so come early. The ticket price is $9.00 (cash only; exact change is appreciated because that makes sales proceed quickly/smoothly). We are not equipped for debit/credit cards. Any change can be donated to the Brockville food bank.

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Film Circuit People's Choice

This year's Film Circuit People's Choice Voting Page is now officially live! Please cast a vote for your favourite Canadian and international film screened via Film Circuit in 2016. Voting takes place between now and June 30, 2016 on our website.

A draw will be held at the end of the voting period and one lucky voter will win a cash prize of $250! The winning films will be announced in July 2017.

The Films

Film Brockville - The Films

Little Men (85 minutes, PG tomatometer 98)

Wed. Jan. 11, 7:30 p.m.

Little MenWhen 13-year-old Jake's grandfather dies, his family moves from Manhattan back into his father's old Brooklyn home. There, Jake befriends the charismatic Tony, whose single mother Leonor, a dressmaker from Chile, runs the shop downstairs. Soon, Jake's parents -- one, a struggling actor, the other, a psychotherapist -- ask Leonor to sign a new, steeper lease on her store. For Leonor, the proposed new rent is untenable, and a feud ignites between the adults. At first, Jake and Tony don't seem to notice; the two boys, so different on the surface, begin to develop a formative kinship as they discover the pleasures of being young in Brooklyn. Jake aspires to be an artist, while Tony wants to be an actor, and they have dreams of going to the same prestigious arts high school together. But the children can't avoid the problems of their parents forever, and soon enough, the adult conflict intrudes upon the borders of their friendship.

Film Brockville - The Films

Denial (109 minutes PG-13 tomatometer 81)

Wed. Jan. 25, 7:30 p.m.

DenialDenial tells the true story of a legal battle that cut to the heart of the 20th century. Based on Deborah E. Lipstadt's book History on Trial: My Day in Court with a Holocaust Denier, this film is an absorbing account of a woman's fight for the truth.

David Irving, once a well-regarded military historian, courted controversy when he began citing the pseudoscientific Leuchter report as proof that the Holocaust was a hoax. Lipstadt (Academy Award winner Rachel Weisz) explicitly labelled him a denier in her 1993 book Denying the Holocaust, and he sued her for libel. But since the burden of proof in English libel law lies with the accused, it bizarrely fell to Lipstadt and her legal team to demonstrate that one of the defining events of the century did indeed transpire.

Denial zeroes in on the fascinating specifics of the court case while presenting a wider perspective on the dangers of revisionism. Weisz brings a ferocious tenacity to her portrayal of Lipstadt. And Spall, so often affable in the films of his long-time collaborator Mike Leigh, here epitomizes the banality of evil, playing an iconoclast goaded by newfound media attention. Denial is a gripping reminder that history should never be taken for granted.

Film Brockville - The Films

Moonlight (111 minutes R tomatometer 98)

Wed. Feb. 08, 7:30 p.m.

MoonlightWriter-director Barry Jenkins made waves with his 2008 feature debut Medicine for Melancholy. Not only did it give the hipster-romance-indie genre a much-needed shot of artistic vigour, but — unlike most of those films — it took place in an America where race and class are defining aspects of life. Now, Jenkins' sophomore feature Moonlight makes good on Melancholy's promise. This is an impeccably crafted study of African-American masculinity from a vital creative voice in contemporary cinema.

Though his story is set in Miami, Jenkins shuns the familiar neon-lit aesthetic that the likes of Michael Mann have associated with the Florida hot spot. Instead, he shows a different kind of life, miles away from South Beach, in an area hit by a crack epidemic. It's here that we meet young Chiron.

Bullied at school and beaten down by a harsh home life, Chiron risks becoming a statistic: another black man dominated and ultimately destroyed by the system. 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.

Moonlight takes Chiron from childhood to his teens to adulthood, but it absolutely defies coming-of-age conventions. Instead of offering a clear progression of time, Jenkins plunges us into an atmospheric subjectivity, an impressionistic vision of Chiron's psyche in which sensuality, pain, and unhealed wounds take centre stage with staggering power.

Anchored in an unforgettable performance by emerging talent Trevante Rhodes (as the older Chiron), Moonlight explores the human need to feel connected. But although its themes could be called "universal," they are firmly grounded in a specific understanding of African-American experience.

Film Brockville - The Films

The Salesman (125 minutes PG-13)

Wed. Feb. 22, 7:30 p.m.

The Salesman Asghar Farhadi rose to international prominence after his film A Separation won the Academy Award for Best Foreign Language Film — the first Iranian film to do so. At Cannes, The Salesman received prizes for Best Actor and Best Screenplay,

Their Tehran apartment block on the brink of collapse, a couple is obliged to move into a shabby nearby flat. Soon an unfriendly visitor comes calling and there is an eruption of violence. Before we can get our bearings, this work of slow-burning suspense has us unnerved and unable to look away. We are locked in a realm of simmering domestic tension elegantly rendered by Iran's modern master Asghar Farhadi.

Emad (Shahab Hosseini) and Rana (Taraneh Alidoosti) are the troubled couple at the centre of The Salesman. Following the story's initial traumatic events, things turn strange and tense between husband and wife. Feeling vengeful and confused, Emad plays detective, while rattled Rana gives him mysteriously mixed signals. Meanwhile, the two are performing as Willy and Linda Loman in an amateur production of Arthur Miller's Death of a Salesman, and their onstage roles begin to resonate with their fractured lives in beguiling ways.

Film Brockville - The Films

I, Daniel Blake (100 minutes PG-13 tomatometer 92)

Wed. Mar. 08, 7:30 p.m.

I, Daniel BlakeFor nearly 50 prolific years Ken Loach 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.

I, Daniel Blake won the Palme d'Or at Cannes this year, and it is indeed one of Loach's finest explorations of social realism. The eponymous Daniel is an affable, 59-year-old carpenter in Newcastle, 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 Jobcentre, Daniel befriends Katie, 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, 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.

Film Brockville - The Films

Julieta (Mongrel - 99 minutes 18A tomatometer 78)
N.B. revised schedule

Wed. Mar. 22, 7:30 p.m.

Julieta Spanish maestro Pedro Almodóvar 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. And, 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, Canada's answer to Chekhov. Mining three stories from Munro's exquisite collection Runaway and relocating them to Spain, Almodóvar creates a marvellously 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), until an unexpected encounter brings an end to those plans and, for reasons unbeknownst to her husband, she decides to 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. 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 her husband 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.

Film Brockville - The Films

After the Storm (Unobstructed View Inc. - 117 minutes)
N.B. revised date

Wed. Apr. 05, 7:30 p.m.

After the StormDwelling on his past glory as a prize-winning author, Ryota (Hiroshi Abe) wastes the money he makes as a private detective on gambling and can barely pay child support. After the death of his father, his aging mother (Kirin Kiki) and beautiful ex-wife (Yoko Make) seem to be moving on with their lives. Renewing contact with his initially distrusting family, Ryota struggles to take back control of his existence and to find a lasting place in the life of his young son (Taiyo Yoshizawa) - until a stormy summer night offers them a chance to truly bond again.

After the Storm is Kore-da at his mildest ilmmaking. Don’t expect the drama of Like Father, Like Son or the imagination of After Life his two best films. Yet After the Storm is not without its pleasures.

On the surface it is a simple film, a kind look at a loser. Ryota (Hiroshi Abe) is a failed writer, a third-rate detective, and a hardened gambler. As the film’s title seems to suggest, the salient moments of his life have already passed before the beginning of the story.

He won an important literary award when he was young, but his promising career vanished into thin air. Now, his father has died and his wife has left him. He adores his young son, but seems resigned to his position on the sidelines of the boy’s life.

One night, when a typhoon strikes, the broken family is forced to spend the night together at Ryota’s mother’s home. The ensuing interaction that is both bittersweet and tender forms the film’s highlight. "I never want to grow up to be like you," the son says.

"I will always love them; they are my family," the father says at one point. Great performances here not only from Abe but from Kirin Kiki as Ryota’s mother, who is so funny she steals every scene she is in.

Film Brockville - The Films

Water (114 minutes, 14A, tomatometer 91)
Canada On Screen event – free admission

Wed. Apr. 19, 7:30 p.m.

Water The conclusion of Mehta's Elements Trilogy and possibly the director's most beloved work, Water was almost never made. When Mehta first attempted to shoot the film in 2000, her set was burned down by Hindu fundamentalists; three years later, Mehta re-mounted the film, shooting secretly in Sri Lanka with a different cast. Set in the late 1930s against the backdrop of Gandhi's non-violent protests and campaign to better the condition of women, Water takes place in an ashram where widows both old and young (including a girl of seven) are sent to live out their lives in austerity after the deaths of their husbands. When a beautiful young widow (Lisa Ray) who had been forced into prostitution by the ashram's imperious overseer begins an affair with a wealthy follower of Gandhi, the stage is set for tragedy. At once intimate and epic, Water was a substantial commercial success and was nominated for the Academy Award for Best Foreign Language Film.

Check out an engrossing video in which Deepa Mehta discusses the making of the movie.

Film Brockville - The Films

20th Century Women (118 minutes, R, tomatometre 89)

Wed. May 3, 7:30 p.m.

20th Century Women Set in 1979 Santa Barbara, this film follows Dorothea Fields (Annette Bening), a determined single mother and divorcée in her mid-50s doing her best to raise her adolescent son Jamie (Lucas Jade Zumann) in a time of sweeping cultural change and rebellion. More than anything, she wants to make a good man of her son without the influence of a male presence.

The boy's coming-of-age is further shaped by Abbie (Greta Gerwig), a free-spirited photographer living as a boarder in the Fields' home, and Julie (Elle Fanning), a provocative teenage neighbour, both of whom impart the ways of the world and teach him different lessons about love and freedom.

Film Brockville - The Films

Maudie (PG, 115 minutes, tomatometre 89)

Wed. May 17, 7:30 p.m.

Maudie Maud Lewis is among the most inspiring figures in Canadian art. Afflicted with juvenile rheumatoid arthritis, she spent her early life dismissed for what was presumed to be her limited ability. But Lewis' colourful paintings, made on surfaces ranging from beaverboard to cookie sheets, established her as one of our country's premier folk artists. Starring Sally Hawkins and Ethan Hawke (also appearing at the Festival in The Magnificent Seven), this moving film explores Lewis' life in all its heartbreak and triumph.

Marshalltown, Nova Scotia, 1937. Maud Dowley (Hawkins) is stuck living with her unsympathetic aunt. Desperate to break away, she responds to a local fish peddler's call for a housekeeper. Everett Lewis (Hawke) is disagreeable and initially cruel to Maudie, but the two quickly acknowledge that each is in their own way a social outcast. They need and understand each other. Within weeks, they marry.

One day a summer resident comes calling. She's a New Yorker, wears alluring clothing and talks like Katharine Hepburn. She sees something in Maudie's paintings and commissions one. Suddenly Maudie's pastime is recognized as having real value. People come from far and wide. Eventually her work will hang in the White House.

Cinematographer Guy Godfree fills Maudie with majestic images of maritime landscape and light, while director Aisling Walsh focuses on character, drawing performances of emotional complexity and great physical detail from her leads.

Though set in the past, Maudie speaks to the present in many ways — this is, after all, a tale of a woman asserting herself as a generator of both art and commerce. But it is also a story of the power of creativity to transform a life and touch the soul.

Film Brockville - The Films


Always more to come!

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-updated 2017-04-19