Sudbury Indie Cinema is a not-for-profit co-op. Since 2015, we have been bringing the best in independent cinema to Northern Ontario on a year-round basis. We are mission-driven, rather than profit-driven. We select high-caliber, laudable films that give voice to lesser-heard perspectives on the big screen. We actively support other arts organizations, grassroots not-for-profits and local homegrown filmmakers. Originally, back in summer 2013, we formed as a community response to the growing monopoly of Hollywood blockbusters on a shrinking number of large screens. We have since repurposed part of a closed school into a single screen, state-of-the-art, 180-seat digital cinema. We opened at 162 Mackenzie Feb. 28th, 2019. Access us from the side door at the north side of the building: free parking in the laneway.
We have a growing membership of 1000 Charter members who are cinephiles, appreciate independent cinema, support the co-operative movement, and cherish the growing arts and culture hub downtown.
Our screenings take place at 162 Mackenzie St. (unless otherwise noted.)
In a dingy clinic, a newborn child is whisked away from her exhausted mother, supposedly for routine health checks, and is never returned; in short order, the clinic vanishes into thin air too, leaving the stolen baby’s bewildered, impoverished parents with no recourse. The premise of Song Without a Name is at once fact-based and the stuff of shadowed, surreal nightmares, and Peruvian writer-director Melina León’s artfully affecting debut feature splits the difference: Earthy with social detail from a despairing period of Peru’s recent history, it’s also shot, scored and styled like the most beautiful of bad dreams.
Isolated from the outside world, fifteen-year-old Lara (Hannah Rae) lives in seclusion on a vast country estate with her father and strict governess Miss Fontaine (Jessica Raine). Late one evening, a mysterious carriage crash brings a young girl into their home to recuperate. Lara immediately becomes enchanted by this strange visitor who arouses her curiosity and awakens her burgeoning desires. This atmospheric coming-of-age tale is inspired by the 1872 Gothic vampire novella by Joseph Sheridan Le Fanu.
Crash is David Cronenberg’s study of eroticism and technology. Based on J.G. Ballard’s novel, and starring James Spader, Holly Hunter, Elias Koteas, Deborah Kara Unger and Rosanna Arquette, the film is a sophisticated work in which Cronenberg depicts, with shocking beauty, a world in which humans align their minds, bodies and sexuality to the technology of cars. Set in a passionless world of multi-lane freeways, Crash is the story of advertising executive James Ballard and his wife Catherine, who lead complex, if hollow, sexual lives. Following a near fatal car crash with Dr Helen Remington, Ballard is drawn into an exploration of the connections between danger, sex and death. As their involvement with photographer-scientist Vaughan and accident victim Gabrielle deepens, Ballard and Catherine find new and disturbing ways of expressing love.
Two high level scuba-divers and long-time friends, Don and Dave, broke a world record for depth in the Boesmansgat cave in South Africa. It would take them 15 minutes to reach the bottom, but 12 hours to surface. Having reached the bottom, against all odds, they find a body. They decide to come back and retrieve it. They call the parents, enrol 8 fellow divers, and hire a cameraman to document the dive. The camera will follow them throughout the preparation and the dive, including to the bottom of the cave. Little did they know that on that historic dive, Dave would not be coming back. In this time of over-performance driven by self-promotion and self-filming comes Boesmansgat, a story of loss and mourning where egoism and altruism, hubris and self-control, risk-taking and spirituality all go hand in hand. A cascade of choices and tense paradoxes that lead to a tragedy long foreseen, yet impossible to prevent.
Reporting from the frontlines of the Okanagan wildfires, Stan (Tim Guinee) documents uncommon heroism on his blog while hoping for a big break that’ll make him a household name beyond Peachland. But when he’s unexpectedly charged with a shocking crime, he must scramble to salvage his reputation with the civic leaders who respect him and save his marriage to Gail (Chelah Horsdal, The Man in the High Castle), the woman who’s supported him amidst his various struggles. But how will Gail react when the extent – and nature – of the charges are revealed and his innocence is hardly assured?
Executive Producer Fernando Meirelles (Academy Award-Nominated Director of City of God & The Constant Gardener) and Malian musician/activist Inna Modja take us on an epic journey along Africa's Great Green Wall — an ambitious vision to grow an 8,000km 'wall’ of trees stretching across the entire width of the continent to restore land and provide a future for millions of people.
Australian band INXS provided the soundtrack to millions of lives in the 1980s and 90s and made an entire generation sit up and listen like thieves to their music. Wildly popular lead singer and songwriter Michael Hutchence created a new sensation with his unmistakable voice, but who was this shining star? The men and women who understood him best, including famous girlfriends Kylie Minogue and Helena Christensen, remember the good and bad times through intimate home movies and private memories. We may sing along to his songs but what do we really know about this sensualist whose original sin was feeling too much and who disappeared from the world once he could no longer find pleasure in it?
Capturing the messy upheaval of the '70s just as rock was re-inventing itself, the film explores Creem Magazine's humble beginnings in post-riot Detroit, follows its upward trajectory from underground paper to national powerhouse, then bears witness to its imminent demise following the tragic and untimely deaths of its visionary publisher, Barry Kramer, and its most famous alum and genius clown prince, Lester Bangs, a year later. Fifty years after publishing its first issue, "America's Only Rock 'n' Roll Magazine" remains a seditious spirit in music and culture.
Rubika Shah’s energising film charts a vital national protest movement. Rock Against Racism (RAR) was formed in 1976, prompted by ‘music’s biggest colonialist’ Eric Clapton and his support of racist MP Enoch Powell. White Riot blends fresh interviews with queasy archive footage to recreate a hostile environment of anti-immigrant hysteria and National Front marches. As neo-Nazis recruited the nation’s youth, RAR’s multicultural punk and reggae gigs provided rallying points for resistance. As founder Red Saunders explains: ‘We peeled away the Union Jack to reveal the swastika’. The campaign grew from Hoxton fanzine roots to 1978’s huge antifascist carnival in Victoria Park, featuring X-Ray Spex, Steel Pulse and of course The Clash, whose rock star charisma and gale-force conviction took RAR’s message to the masses.
Kelly Reichardt once again trains her perceptive and patient eye on the Pacific Northwest, this time evoking an authentically hardscrabble early nineteenth century way of life. A taciturn loner and skilled cook (John Magaro) has traveled west and joined a group of fur trappers in Oregon Territory, though he only finds true connection with a Chinese immigrant (Orion Lee) also seeking his fortune; soon the two collaborate on a successful business, although its longevity is reliant upon the clandestine participation of a nearby wealthy landowner’s prized milking cow. From this simple premise Reichardt constructs an interrogation of foundational Americana that recalls her earlier triumph Old Joy in its sensitive depiction of male friendship, yet is driven by a mounting suspense all its own. Reichardt again shows her distinct talent for depicting the peculiar rhythms of daily living and ability to capture the immense, unsettling quietude of rural America.
L'Opéra national de Paris entame une nouvelle saison au cours de laquelle neuf productions opératiques et huit ballets sont au programme. À sa première année comme directeur, Stéphane Lissner veille au bon fonctionnement de l'organisme. Il est entouré d'une équipe dévouée, composée aussi bien de concepteurs artistiques, de responsables des communications que de costumiers ou de membres du choeur. Ce documentaire propose une incursion dans le quotidien des gens qui président aux représentations données à l'Opéra Bastille comme au Palais Garnier. Il offre un tour d'horizon, explorant des coulisses à la scène, des bureaux aux salles de répétition, en passant par le parterre rempli d'auditeurs admiratifs.
If you love mystical romantic stories with a heartwarming ending, you’ll definitely enjoy Summerland. When Alice (Gemma Arterton) takes in a child evacuee named Frank (Lucas Bond), she has no idea her world is about to change forever. As an unmarried writer who lives in isolation, Alice devotes herself to scientifically disproving literary myths and magic. Apprehensive at first, she warms up to Frank, eventually confiding in him about her painful past including the only person she’s ever loved, a woman named Vera (Gugu Mbatha Raw). With the belief that everything has to be backed by scientific evidence, Alice sets out to witness for herself a magical place called Summerland where it is said that one can communicate with the dead.