Our screenings take place at 162 Mackenzie St. (unless otherwise noted.)
In 1966, the documentary “Rush to Judgment” presented for the first time a simple, concise legal argument that the Warren Commission was hiding something, suggesting a broader conspiracy. Lee Harvey Oswald could not have single-handedly killed President John F. Kennedy.
Director Emile de Antonio and lawyer Mark Lane recorded unpolished, first-hand interviews from witnesses with direct proximity to the murders–but who were not given a platform in the official inquiry. For a subject that has been rehashed and sensationalized so many times in the intervening 60 years, this documentary brings fresh clarity and presents a cool-headed argument that is untouched by time.
Stéphane (Laure Calamy) a finalement retrouvé son père biologique Serge (Jacques Weber). Il s’agit d’un vieil homme malade, riche et bourru, qui habite une luxueuse villa en compagnie de femmes inquiétantes. Difficile de faire le poids entre une épouse fantasque (Dominique Blanc), une fille ambitieuse (Doria Tillier), une adolescente rebelle (Céleste Brunnquell) et une servante mystérieuse. Surtout que tout le monde semble attendre sa mort afin de se séparer de l’héritage. Contre toute attente, Stéphane se prend d’affection pour son patriarche malcommode, débarquant au sein de ce clan comme un chien dans un jeu de quilles, bouleversant les alliances en mettant à nu les mensonges.
When Stéphane (Laure Calamy) gets in touch with wealthy Serge (Jacques Weber), announcing that she is his long-abandoned daughter, his immediate family are none too thrilled. As Stéphane embarks on an extended visit in hopes of getting to know Serge, she also becomes entangled with the hostile women who share a tense existence in his beautifully appointed mansion by the sea: the restaurateur’s wife (Dominique Blanc), his other daughter (Doria Tillier), a rebellious granddaughter (Céleste Brunnquell), and a strangely off-putting housemaid, all of whom are clearly unsettled by the arrival of Serge’s newly announced heir. But Stéphane is a confident liar with secrets of her own, which writer-director Sébastien Marnier teases out with cool assurance in this wildly entertaining thriller that will keep you guessing all the way to the end.
Sophia (Magalie Lépine Blondeau) est professeure de philosophie à Montréal et vit en couple avec Xavier (Francis-William Rhéaume) depuis 10 ans. Sylvain (Pierre-Yves Cardinal) est charpentier dans les Laurentides et doit rénover leur maison de campagne. Quand Sophia rencontre Sylvain pour la première fois, c’est le coup de foudre. Les opposés s’attirent, mais cela peut-il durer ?
Sophia’s (Magalie Lépine Blondeau) comfortable life is turned upside down the day she meets Sylvain (Pierre-Yves Cardinal), an entrepreneur from the Laurentians. She will leave everything to live this burning passion, telling herself that it will perhaps be the last of her life. But a whole world separates lovers. She comes from a wealthy intellectual background in Montreal, while Sylvain comes from a family of manual workers. Sophia will be released from it for a solid questioning of her own values and aspirations after having however abandoned herself to her great romantic impulses.
Simon (TIFF ’17 Rising Star Théodore Pellerin) is a skilled makeup artist by day and a sensational drag artist by night. Young and carefree, his energies are overwhelmingly set on honing his act and partying — until he meets Olivier (Félix Maritaud), a handsome, charming fellow drag artist from France. The two become lovers and artistic partners, crafting sexy, flamboyant duets that thrive on their intrinsic chemistry. Just as Simon is getting accustomed to this exciting new relationship, his long-estranged mother, Claire (Quebec screen icon Anne-Marie Cadieux), swoops back into his life. A revered opera singer, Claire is in town for a show — and Simon must work around her schedule if he wants to see her. As Olivier becomes more domineering and Simon struggles to get Claire’s attention, disquieting similarities emerge between lover and mother. Neither Olivier nor Claire seems to truly respect Simon. Both offer just enough love to hook Simon, but prove emotionally unavailable the moment things become complicated.
In modern-day Helsinki, Ansa (Alma Poysti) and Holappa (Jussi Vatanen), two lonely souls in search of their first love, meet by chance in a local karaoke bar. However, the pair’s path to happiness is beset by numerous obstacles—from lost phone numbers to mistaken addresses, alcoholism, and a charming stray dog.
Emma (Sophie Desmarais), cheffe d’orchestre talentueuse et étoile montante de la scène montréalaise, entretient une relation compliquée avec son père et agent Patrick (Sylvain Marcel). Elle doit faire face à ses émotions et décider si elle veut réussir à mener de front sa carrière et sa relation amoureuse avec Naëlle (Nour Belkhiria), une violoncelliste récemment séparée et mère d’un jeune garçon.
À la mort de sa mère, Elsie apprend que celle-ci lui a laissé une mission en héritage. La jeune femme doit retrouver les cinq ex-maris de sa maman et dénicher, avec chacun d'eux, un endroit approprié pour répandre une partie de ses cendres. À l'aube de la trentaine, elle doit donc reconnecter avec ses anciens beaux-pères et son père biologique dans des circonstances pour le moins inopinées. Ce voyage parsemé d'embûches l'aidera à apprivoiser certains de ses démons et à se lancer, tête première et plus sereine, dans une nouvelle étape de sa vie.
Imagine this: you work at a bank in Córdoba, Argentina. It’s a steady, undemanding job — maybe a little dull — but you do it well. Then, one day, a co-worker tells you he’s stolen $650,000 and wants you to stash it for him for a while. You’ll get half. That’s all there is to it. Just keep quiet. Most filmmakers would see this as the jumping-off point for a taut, nervous thriller, but that’s just not how Rodrigo Moreno rolls. The Argentine writer-director (A Mysterious World, TIFF ’11) is more interested in how relationships form and dissolve under the pressures of ordinary life, and the way people respond to radical change. The Delinquents lets him play with those ideas in the context of a genre we think we know inside out. Certainly, being offered $325,000 (US!) for doing almost nothing is a radical change for Roman (Esteban Bigliardi), who’s less interested in the morality of becoming an accomplice to his colleague Morán (Daniel Elias) than he is in where Morán wants him to hide the cash. And that leads him, and the film, to a long interlude in the countryside, where Roman will meet some very nice people and discover a whole new, enticing way of living.
In 2012, the head union representative of a French multinational nuclear powerhouse becomes a whistle-blower, denouncing top-secret deals that shake the French nuclear sector. Alone against the world, Maureen Kearney fights government ministers and industry leaders to bring the scandal to light and defend more than 50,000 jobs.
Immediate Family tracks the rise and collaborations of a group of legendary studio musicians through the 1970s and onward, chronicling their illustrious partnerships and their formidable record of hit-making. Directed by Denny Tedesco, whose documentary The Wrecking Crew followed the first wave of studio musicians in the 60s, the film reveals the machinery behind the booming era of the singer-songwriter, when the talents of these four musicians were in furious demand. The foundations of their enduring friendship, formed on the road and in studios, is recalled with dynamite clarity —reminisced with fondness through intimate interviews with the guys themselves, as well as the memories of some of rock’s most iconic voices. Immediate Family is a backstage tour spanning multiple eras of musical history.