Film BrockvilleFilm Brockville

The Films

2018/19 Fall/Winter Schedule

Sun Jan 13 Beautiful Boy
Moving to the Brockville Arts Centre!
Sun Jan 27 The Guilty
Wed Feb 20 You Are Here
Wed Feb 27 A Private War
Sun Mar 10 If Beale Street Could Talk
Sun Mar 24 The Silent Revolution
Wed Apr 17 Woman At War
Wed Apr 24 Shoplifters
Sun May 05 TBA
Sun May 19 TBA
TBA Always much more coming!

Welcome!

arrow Moving to the Brockville Arts Centre in January!

Film Brockville is moving from the Galaxy cinemas to the Brockville Arts Centre as of January 2019.

FB will open at the Brockville Arts Centre on Sunday January 13 with Beautiful Boy.

FB will screen in January and February with matinees (2:00 p.m.) and evening slots (7:00 p.m.) [i.e. new time]. If there is sufficient interest in matinees beyond Jan/Feb, then FB will extend the dual screenings.

Doors open a half hour before screenings. Screening dates will alternate from one month to the next between Sundays and Wednesdays.

Tickets are $10.00. They are available at the BAC box office (cash, debit/credit cards). Tickets may be purchased online at the BAC beforehand.

Film CircuitSurvey

* TIFF Film Circuit has an exciting announcement! In order to better understand and service Film Circuit audiences, and their respective communities, Circuit will be rolling out a Film Circuit Survey.

Participants will be entered into a draw to win a FREE TRIP FOR TWO to the final weekend of the 2019 Toronto International Film Festival - Friday September 13th, 2019 to Sunday September 15th, 2019 - including airfare and hotel stay!

Access the survey.

Film Festival in Cornwall

The Aultsville Filmfest in Cornwall has asked if Film Brockville could promote their late January film festival. This runs Jan. 15-27. See the PDF file (4.7 MB).

The Films

arrow Moving to the Brockville Arts Centre in January!

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Beautiful Boy

Sun. Jan. 13 , 2:00 p.m. & 7:00 p.m. (trailer)

Beautiful Boy Based on the bestselling pair of memoirs by father and son David and Nic Sheff, Felix van Groeningen's film chronicles the heartbreaking and inspiring experience of survival, relapse, and recovery in a family coping with addiction over many years.

Fresh from his breakout role in Call Me By Your Name, Academy Award nominee Timothée Chalamet turns in another dazzling performance in Beautiful Boy.

Playing a young man raging and suffering through drug addiction, he confirms his status as one of the very best actors of his generation. He is matched every step of the way in this moving drama by Steve Carell, who continues to build on his comic achievements with powerhouse dramatic turns in FoxcatcherThe Big Short, and most definitely here. David Sheff (Carell) is a kind, loving, middle-class dad. He and his wife, Vicki (Amy Ryan), seem to have done everything right for their family. So when son Nic (Chalamet) gets addicted to methamphetamine, David can't believe it, can't stop it, and can't help but risk everything to try to get his son back. As he grapples with Nic's lies, betrayals, and constant flirtations with death, the film reminds us of who Nic used to be - a sweet, thoughtful, beautiful boy.

Adapting the bestselling books that David Sheff and Nic Sheff wrote about their experiences, Belgian director Felix van Groeningen brings both realism and poetry to a tragically timely story. As the Sheffs confront the intractable, unpredictable beast of addiction, they must at the same time confront the fact that Nic's pain might also be his choice. Beautiful Boy doesn't shy away from the harsh reality of this family's struggle, but frames it with a surprising amount of life, love, and hope. (R, 111 minutes)

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The Guilty

Sun. Jan.27 , 2:00 p.m. & 7:00 p.m. (trailer)

The Guilty Emergency dispatcher and former police officer Asger Holm answers a call from a kidnapped woman. When the call is suddenly disconnected, the search for the woman and her kidnapper begins. With the phone as his only tool, Asger enters a race against time to save the endangered woman, but he soon realizes that he is dealing with a much more complex crime than he first thought. (85 minutes, 14A, sub-titles, Tomatometer 99%)

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You Are Here

Wed. Feb. 20, 2:00 p.m. & 7:00 p.m. (trailer)

You Are Here You Are Here is an intimate documentary that goes deep into the community of Gander, Newfoundland where 38 airliners carrying over 6,500 passengers were forced to land after the terrorist attacks on 9/11. The film pulls back the emotional layers surrounding the five days during which the community housed, fed and cared for the dislocated passengers (or the “come from aways” in Newfoundland parlance).  While their stories were the inspiration for the extraordinary Broadway hit musical Come From Away, the documentary reveals first-hand accounts of the great kindnesses and energetic resourcefulness the community showed their unexpected guests. Their emotional and sometimes humorous story of compassion and generosity, born of a long history of rescuing and welcoming shipwrecked sailors, resonates with a legacy of healing and reconciliation for the world—especially for the survivors of those murdered on 9/11, and for the first responders who lost their own lives saving others on that fateful day. (83 minutes, PG)

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A Private War

Wed. Feb. 27, 2:00 p.m. & 7:00 p.m. (trailer)

A Private WarA Private War Based on the extraordinary life and career of legendary journalist Marie Colvin, A Private War marks the narrative feature debut of acclaimed documentary filmmaker Matthew Heineman (City of Ghosts).

Even in a profession populated by daring personalities, Colvin (Academy Award nominee Rosamund Pike) is a particularly courageous and devoted reporter. By the turn of the 21st century, a time when journalism itself is increasingly under attack, she is one of the most celebrated war correspondents of her generation, driven to the front lines of conflicts in the Middle East, Africa, Europe, and Asia in order to bear witness and give a voice to the voiceless — while testing her own notions of bravery and bravado, and the differences therein.

Blinded in one eye in Sri Lanka — after being deliberately targeted in a 2001 grenade attack — she adopts a distinctive eye patch, a kind of trademark that signals her battle scars, her panache, and her rebellious streak. A New Yorker transplanted to London, she remains as comfortable moving amongst her adoptive city's high society as she is traversing war zones and confronting dictators. Yet she also sacrifices loving relationships, and, over time, her personal life starts to unravel as the trauma she's witnessed on the job takes its toll.

By 2012, with the Syrian Civil War raging, Colvin's mission to expose the true cost of war leads her to embark — along with renowned British war photographer Paul Conroy (Jamie Dornan) — on the most dangerous assignment of her life, in the besieged city of Homs. (106 minutes, R, Tomatometer 89%)

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If Beale Street Could Talk

Sun. Mar. 10 , 7:00 p.m. (trailer)

If Beale Street Could Talk Based on the novel by James Baldwin, If Beale Street Could Talk is the story of Tish, a newly engaged Harlem woman who races against the clock to prove her lover’s innocence while carrying their first-born child to term. It is a celebration of love told through the story of a young couple, their families and their lives, trying to bring about justice through love, for love and the promise of the American dream.

Set in early-1970s Harlem, If Beale Street Could Talk is a timeless and moving love story of both a couple's unbreakable bond and the African-American family's empowering embrace, as told through the eyes of 19-year-old Tish Rivers (screen newcomer KiKi Layne). A daughter and wife-to-be, Tish vividly recalls the passion, respect and trust that have connected her and her artist fiancé Alonzo Hunt, who goes by the nickname Fonny (Stephan James). Friends since childhood, the devoted couple dream of a future together but their plans are derailed when Fonny is arrested for a crime he did not commit. Through the unique intimacy and power of cinema, If Beale Street Could Talk honors the author's prescient words and imagery, charting the emotional currents navigated in an unforgiving and racially biased world as the filmmaker poetically crosses time frames to show how love and humanity endure. (119 minutes, R, Tomatometer 94%)

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The Silent Revolution

Sun. Mar. 24, 7:00 p.m. (trailer)

The Silent Revolution

In 1956 East Germany, a group of senior high schoolers demonstrate solidarity with recent victims of the Hungarian Revolution. Their brief, silent protest ignites underlying tensions and leads to grave consequences. Lars Kraume (The People vs. Fritz Bauer) examines a fascinating moment in German history — just a few years before the construction of the Berlin Wall begins — with this film based on the true story of a high-school classroom that becomes the site of a political battle of wills. When Kurt (Tom Gramenz) and Theo (Leonard Scheicher) sneak into a West German cinema and catch the pre-feature newsreel, they see a very different depiction of the uprising in Budapest than what they’ve heard at home, in the East German town of Stalinstadt. The young men return home inspired at the thought of an idealistic revolution. After debating with their classmates about the virtues of the Hungarian uprising, Kurt and Theo persuade a majority of their peers to join them in a two-minute observation of silence during class, in solidarity with those killed in the struggle. Their teacher is shocked and confused, and reports the incident to the principal, Direktor Schwarz (Florian Lukas, The Grand Budapest HotelGoodbye Lenin!). Despite trying to contain the situation, Schwarz can’t keep his bosses from hearing of the political protest. As the story spreads through the upper levels of the administration, the students slowly realize the growing gravity of their situation. Deftly weaving together threads of political tension, adolescent rebellion, and institutional menace, Kraume asks us to consider the connection between a nation’s identity and its influence on the identities of its young people, who are just beginning to question their place in society.

(111 minutes, Tomatometer 89%, sub-titles)

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Woman At War

Wed. Apr. 17, 7:00 p.m. (trailer)

Woman At War Halla (Halldóra Geirharðsdóttir in a bravura performance) is a choirmaster who loves her job. And she's just learned she's been approved to adopt a child from a war-torn area in Ukraine, a long-time dream of hers.

The only hitch is that Halla is also a terrorist — an eco-terrorist to be exact. The proliferation of heavy industry, urged on by unscrupulous politicians, has been ruining Iceland's rugged landscape and she's taken action. Dubbed the Mountain Woman, Halla soon becomes the scourge of the aluminum industry. Halla is determined to see things through… but she can't help wondering, would it be more fulfilling to save hypothetical future lives or one actual life: the daughter she has yet to meet and may never if she's apprehended.

Benedikt Erlingsson's second feature drills deep into the inevitable dilemmas plaguing almost everyone committed to the greater good. And the political satire here is precise and rich. It's evident in the sleazy Fox News–style way the government demonizes Halla. At the same time, there's a puckish, postmodernist sense of humour percolating though Woman at War that suggests vintage Makavejev and Godard, or even Alain Tanner's classic Jonah Who Will Be 25 In The Year 2000.

A tiny jazz band follows Halla everywhere she goes — on rooftops, in remote fields, in the middle of a flood — sometimes joined by a cadre of singers in traditional Ukrainian dress. It's a reminder that the revolution should be hopeful, not just gloom and doom. And it should come with cool music. (100 minutes, sub-titles, PG, Tomatometer 85%)

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Shoplifters

Wed. Apr. 24 , 7:00 p.m. (trailer)

Shoplifters The latest from Japanese master Hirokazu Kore-eda (Nobody Knows) begins with the mischief and intrigue of a heist movie, but Shoplifters is much more. Osamu (Lily Franky), a middle-aged man, and Shota (Kairi Jyo), a young boy, walk into a grocery store. They play it cool, not speaking but, rather, signalling to each other with their hands and eyes. One provides cover while the other snatches goods. They stroll out the door with a hidden bounty before anyone notices. Osamu and Shota then find four-year-old Juri (Miyu Sasaki) freezing on a balcony and take her back to their poor but happy home. And though Osamu's wife doesn't want another mouth to feed, any plans to return Juri to her parents are given the kibosh after signs of abuse are discovered on the little girl's body. If they're not demanding a ransom, how could this be a kidnapping? (121 minutes, 14A, subtitles, tomatometer 99%, Palm d’Or prize Cannes 2018, sub-titles)

Review in the Toronto Star.

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TBA

Always more to come!

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-updated 2019-02-15