Kicking Horse Culture FILM Kicks gratefully acknowledges our partnership with Film Circuit, presented by TIFF, and its sponsors and supporters. Thanks to our Film Kicks volunteer group for curating the film selections and hosting the film nights! www.tiff.net/filmcircuit
All tickets purchased at the door.
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Adult Member $10, Student $5, Non-Member $12 + GST
Check out the Metropolitan Opera Season at the Golden Cinema.
LOVE AND FRIENDSHIP
“Whit Stillman’s Jane Austen drama Love and Friendship is a racy delight!” The Guardian
Set in the 1790s, Love and Friendship centers on beautiful widow Lady Susan Vernon, who has come to the estate of her in-laws to wait out colorful rumors about her dalliances circulating through polite society. Whilst there, she decides to secure a husband for herself and her rather reluctant debutante daughter, Frederica.
7:30pm, Thursday, November 10, 2016
“A creative and driven teenager is desperate to escape his hometown and the haunting memories of his turbulent childhood.” Canada – TIFF award Best Canadian Feature 2015.
The coming-of-age (and out-of-the-closet) story gets an imaginative twist in the first feature by writer-director Stephen Dunn. Winner of the Canada Goose Award for Best Canadian Feature Film at the 2015 Festival and selected as one of the ten best Canadian films of the year at the 2016 Canada’s Top Ten Film Festival, Closet Monster is ceaselessly inventive in its chronicle of an East Coast teen wrestling with his sexuality and learning to find his own way in life.
7:30pm Thursday Dec. 1, 2016
OUR LITTLE SISTER
“The lives of three sisters living together in their Grandmother’s home are forever changed with the arrival of their thirteen year old half sister” Nominated for the 2015 Palme D’Or at Cannes
After their estranged father’s death, three twenty-something sisters discover that they have a teenaged step-sibling in this gentle, deeply affecting family drama.
Adapted from the bestselling serialized manga Umimachi Diary, the new film from Japanese master Hirokazu Kore-eda (Like Father, Like Son) is a deeply affecting drama about a fractured, all-female family. After their estranged father’s death, three twentysomething sisters discover that they have a teenaged step-sibling whom they had never known of. Taking the shy young girl into their shared home, the sisters find their long-suppressed memories of their unhappy childhood stirred — and the painful past becomes fully present once more when the mother who had abandoned them suddenly reappears after 15 years.
7:30pm Thursday, Jan 19, 2017
“A heartfelt look at family dynamics with a marvellous performance by Susan Sarandon” USA
Striking a winning balance of insight, heart, and laugh-out-loud hilarity, the second feature from Lorene Scafaria (Seeking a Friend for the End of the World) stars the magnificent Susan Sarandon (The Lovely Bones) in one of her richest roles yet. Foregrounding a character typically relegated to the comic relief sidelines, The Meddler is about that force of nature known as the doting mother.
7:30pm Thursday Feb 2, 2017
“A crime drama film offering a timely, powerful look at the modern immigrant experience in Europe” France – Winner of the Palme d’Or at Cannes
Winner of the Palme d’Or at last year’s Cannes, this powerful drama from director Jacques Audiard (A Prophet, Rust & Bone) follows a former Tamil Tiger soldier as he flees from the aftermath of the Sri Lankan civil war to begin a new life in a Parisian suburb.
What happens to the millions of migrants who flee conflict zones to find new homes in the cities of the West? In the case of the Tamil family at the centre of the searing new film from Jacques Audiard (A Prophet, Rust & Bone), conflict is never far behind. Seeking to flee Sri Lanka at the end of the country’s civil war, a Tamil soldier (Jesuthasan Antonythasan) convinces two fellow refugees to pose as members of his family, which allows the trio to fool aid workers and win a passage to France. Once settled in the outskirts of Paris, they must use their hard-won survival skills to navigate their crime-ridden housing complex. Securing their position in a new country means making their false family real, but past violence and present threats combine to exert a rising pressure that is bound to explode.
7:30pm Thursday March 2, 2017
IT’S ONLY THE END OF THE WORLD
“Directed by Canadian wonder-kid Xavier Dolan, this is not an easy film to watch…and it doesn’t try to be.” Canada/France Winner of the Grand Jury Prize at Cannes.
Winner of the Grand Prix at Cannes, the new film from Quebecois wunderkind Xavier Dolan (Mommy) ropes in an all-star French cast (including Marion Cotillard, Vincent Cassel, Léa Seydoux and Nathalie Baye) for its tempestuous tale about the fraught reunion of a fractured family.
Xavier Dolan, the most exciting contemporary voice in Canadian film, delivers yet another visionary work. Winner of the Grand Prix at Cannes, Juste la fin du monde is a magnificent, thunderous drama about home and familial roots.
Louis (Gaspard Ulliel) is a terminally ill writer who has come home after 12 years of absence to tell his family he is dying. It’s the proverbial prodigal’s return, except that Louis’ family is not so ready to forgive him for his desertion. His arrival precipitates chaos. His mother (Nathalie Baye) has tried to keep her family together despite their struggles in the wake of Louis’ departure, and his loud, tempestuous siblings Antoine and Suzanne (Vincent Cassel and Léa Seydoux) and introverted sister-in-law Catherine (Marion Cotillard) have their own crosses and grudges to bear.
The group commences deconstructing a life’s worth of damaged family dynamics, and the gifted writer becomes a mostly silent observer who can’t get a word in edgewise to share the news he came to tell. As they all strive to — for once — be honest with each other, they create an emotional huis clos that offers them the chance to heal the wounds and fill the void.
Juste la fin du monde is based on the play by Jean-Luc Lagarce, who was recognized as one of France’s foremost modern playwrights only after his untimely death due to AIDS-related illness. Dolan gives the play a stunningly stylized adaptation, shooting almost entirely in intense close-ups. It’s a bold aesthetic choice that gets to the heart of the characters’ experience: their buried memories, their heavy sadness, and, ultimately, their profound love for each other.