Opens October 9
Members $10
Non-members $14
All day Tuesday Members $6 Non-Members $8
Thursday matinees Members $6 Non-Members $8
Lifetime Memberships for $60.
Box office opens 30 minutes before showtime.
Our screenings take place at 162 Mackenzie St. (unless otherwise noted.)
Au milieu des années 2000, Joël Girard, un soldat charismatique et attachant, est sur le point d’être déployé en Afghanistan. Sa femme Michelle et son fils Jacob doivent apprendre à vivre avec cette nouvelle réalité : cette fois, la mission est risquée. Avec l’objectif avoué de se rapprocher de Jacob, Joël devient l’entraîneur de son équipe de soccer, les Phénix. Malgré ses efforts, un fossé se creuse entre lui et son fils.
PHÉNIX est une œuvre autobiographique qui nous plonge tête première dans la réalité des familles de militaire. À travers un drame intimiste et lumineux, le réalisateur nous invite à revisiter une période trouble de l’histoire canadienne.
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In the mid-2000s, Joël Girard, a charismatic and endearing soldier, is about to be deployed to Afghanistan. His wife and son, Michelle and Jacob, must learn to live with this new reality: this new mission comes with real risk. To get closer to Jacob, Joël starts coaching his soccer team, the Phoenixes. Despite his efforts, a rift will grow between him and his son.
PHOENIXES is an autobiographical work that plunges us headfirst into the reality of military families. Through an intimate and luminous drama, the director invites us to revisit a troubled period of Canadian history.
From Academy Award®-nominated and BAFTA-winning director, Raoul Peck (I Am Not Your Negro), Orwell is the definitive feature-length documentary on visionary author George Orwell, with the exclusive cooperation of the Orwell Estate. ”Who controls the past controls the future: who controls the present controls the past…,” wrote Orwell in his novel, 1984. Today, the “newspeak” of authoritarian rule is alive and well and in unexpected places, from the rise of AI Chatbot to the Russian propaganda machine, from the marketing webs of commercial metaverses to the political banning of books in the Southern United States. Peck’s “Orwell” will use George Orwell’s life, work and legacy as a maverick iconoclastic writer to jam the signals of the algorithms gone rogue which, in the name of personal freedom, threaten to close our minds to a greater possibility.
Marie, 80 ans, en a ras le bol de sa maladie. Elle a un plan : partir en Suisse pour mettre fin à ses jours. Mais au moment de l’annoncer à Bruno, son fils irresponsable, et Anna sa petite-fille en crise d’ado, elle panique et invente un énorme mensonge. Prétextant un mystérieux héritage à aller chercher dans une banque suisse, elle leur propose de faire un voyage tous ensemble. Complice involontaire de cette mascarade, Rudy, un auxiliaire de vie tout juste rencontré la veille, va prendre le volant du vieux camping car familial, et conduire cette famille dans un voyage inattendu.
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An unexpected road trip brings a dysfunctional family together for one last journey with their elder, sparking moments of connection, joy, and reconciliation.
Best friends Yuta and Kou are about to graduate high school in a near-future Tokyo where the threat of a catastrophic earthquake pervades daily life. One night, they pull a consequential prank on their principal, which leads to a surveillance system being installed in the school. Between the oppressive security system and a darkening national political situation, Kou feels increasingly frustrated with the world while Yuta seems completely unaware. Finding an empathetic ear in a passionate student activist, Kou’s political consciousness blossoms. Assuming that Yuta would never understand his newfound interests, Kou begins to avoid his friend. For the first time in their lifelong friendship, the two are forced to confront differences that they never had expressed before.
Tillie (Isabella Roland), a floundering young woman and her charismatic, alcoholic father (Craig Bierko), struggle to resolve their fractured relationship in the weirdest possible way: after he dies, his ghost appears in mirrors to haunt everyone in the family but Tillie. Tillie’s sister, Violet (Vic Michaelis), mother (Claudia Lonow), grandparents (Mark Lonow and Joanne Astrow), stepfather (Jonathan Schmock), and even Violet’s free-spirited baby daddy (Nick Marini), must do everything they can to make Tillie see her father… even employing a very reform rabbi (Eddie Peppitone) to exorcize him… or else they will be plagued by this ghost forever.
A fascinating case study of possibilities that can happen when a filmmaking team keeps creative control through every stage of the creative and distribution process, and then marshals their interested audience to go to movie theatres on Instagram.
A filmmaker documents her boyfriend’s violent parasomnia during their holiday at a remote cabin in the woods, and as his sleepwalking gets worse, she believes the cause might be something far more sinister.
Get the scoop on work underway to plan Sudbury Indie Cinema’s next home.
Frames and Frequencies Collective, formed by local Latina artists Cecilia Rodriguez, Ali Rodriguez, and Emilce Quevedo, has come together to organize Northern Ontario’s first Latin American Film Festival called Abya Yala, to be held from October 3-5 at The Indie.
This inaugural edition features 12 Latin American films- including fiction, documentary, and experimental films from Argentina, Colombia, Peru, Brazil, Venezuela, and Mexico.
Abya Yala Latin American Film Festival has several special components including artist talks, panels, a Latin Dance Party, a CD launch Party, and, to close the festival, a concert with Patricia Cano with Kevin Barrett and Jessica Lloyd!
With moderated Q&A to follow screening with filmmakers Louise Leroux & Richard Blackburn, and UN Peacekeepers Mélanie Beaulac & Martine Le Royer, featured in the documentary about Canada’s peacekeeping mission in DRC in an attempt to address sexual assault as a weapon of war.
All-You-Can-Eat Cereal Retro Cartoon Party Halloween edition: Three hours of nostalgic and spooky cartoons with a variety of cereals. Pjs welcome!
Put those hardhats on and turn on your mining lamps because we are heading underground! Join us October 18th for a Tremors/The Descent Double Feature. These subterranean films are turning 35 and 20 so come on to and celebrate these two iconic horror films.
Sous un baobab, un vieil homme raconte aux enfants qui l’entourent une histoire : celle de l’amitié indéfectible entre Maki, un enfant de dix ans, et Zarafa, une girafe orpheline, cadeau du Pacha d’Égypte au Roi de France Charles X. Hassan, prince du désert, est chargé par le Pacha de conduire Zarafa jusqu’en France mais Maki, bien décidé à tout faire pour contrarier cette mission et ramener la girafe sur sa terre natale, va les suivre au péril de sa vie.
If you dare, meet up on October 25th at 4 pm for a spooky haunted scavenger hunt, where contestants will be visiting several haunted spots around Sudbury’s downtown core and collecting haunting riddles and stories along the way.
The Blair Witch Project (1999) screening starts at 7pm. About the film: In search of a local legend, three bold amateur documentarians–director, Heather; cameraman, Josh; sound recorder, Mike–hike into Burkittsville’s gloomy Black Hills Forest to find a shadow: the fabled Blair Witch. Now, one long year later–after that fateful October of 1994–there’s still no sign of the student filmmakers, apart from the raw footage they left behind. Who knows what truly happened during their creepy five-day journey into the mouth of madness? Was there, indeed, an intangible supernatural presence in the dark woods that led to the team’s disappearance? Either way, the missing trio must have seen something.
Don’t dream it: be it, Sudbury…. Jump to the left. Five electrifying performances of a live cast with the movie on the big screen. Tickets on sale now through the Indie box office online and in-person.
Contes et images. Quand le conte est mis en image! Venez découvrir comment des artistes visuels ont créé des oeuvres visuelles, sur grand écran, pendant qu’un conteur livre son conte. Prix 20,00-25,00$
Directed by Oscar-nominated filmmaker Amy Berg, IT’S NEVER OVER, JEFF BUCKLEY illuminates one of modern music’s most influential and enigmatic figures. The doc covers the life of the rising young star with an otherworldly voice and boundary-pushing artistry, who left the ’90s music world reeling when he died suddenly, at age 30, after the release of his critically acclaimed debut album “Grace.” The film features never-before-seen footage from Buckley’s archives and intimate accounts from his mother Mary Guibert, former partners Rebecca Moore and Joan Wasser, Jeff’s bandmates, including Michael Tighe and Parker Kindred, and luminaries like Ben Harper and Aimee Mann.
Souleymane, cycliste livreur de repas à Paris et demandeur d’asile, a deux jours pour préparer son histoire en vue d’un entretien décisif pour l’obtention d’un permis de séjour.
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Racing through the streets of Paris making food deliveries on his bicycle, Guinean immigrant Souleymane (Sangare) is struggling to stay afloat. In two days, he has to report for an asylum application interview, where he must plead his case to an immigration officer (Nina Meurisse) who will determine his future in France. As he rides, he repeats his story. But Souleymane is not ready. Drawing inspiration from Cristian Mungiu’s 4 Months, 3 Weeks and 2 Days and evoking the humanist films of the Dardennes, Boris Lojkine’s urgent, propulsive third feature never leaves Souleymane’s side in a deeply affecting account of the daily trials and uncertain futures faced by migrants in France and around the world.
À quarante ans, Fabio se laisse porter par le courant. Un peu largué, il trouve du réconfort dans l’alcool. Et un peu auprès de Marie, de vingt ans son aînée, avec qui il entretient une relation secrète. Un jour, il reçoit une convocation pour être juré d’assises, il va devoir juger un jeune pyromane accusé d’homicide involontaire.
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Marco goes through life without a compass, finding comfort in alcohol and also with Madeleine, an older woman with whom he secretly has a relationship. One day, his name is called to serve on a jury. Incapable of discernment for himself, Marco will have to decide the life of a young arsonist, accused of manslaughter.
After Ashley (Adria Arjona) asks for a divorce, good-natured Carey (Kyle Marvin) runs to his friends, Julie (Dakota Johnson) and Paul (Michael Angelo Covino), for support. He’s shocked to discover that the secret to their happiness is an open marriage, that is until Carey crosses the line and throws all of their relationships into chaos.
At his mother’s New Year’s Eve party Lucas, a young police officer, loses a letter no one was ever meant to read. Amid the backdrop of the suffocating family party, the search for the letter unlocks memories of a past he’s tried to forget: months earlier, while working undercover in a mall bathroom, Lucas arrested men by seducing them. But when he encounters Andrew, everything changes. What begins as another setup becomes something far more electric and intimate. As their secret connection deepens and police pressure to deliver arrests intensifies, Lucas finds himself torn between duty and desire. With time running out and his past closing in, PLAINCLOTHES builds toward a New Year’s Eve reckoning where everything he’s buried threatens to erupt.
