Our screenings take place at 162 Mackenzie St. (unless otherwise noted.)
Aspiring actor Edward undergoes a radical medical procedure to drastically transform his appearance. But his new dream face quickly turns into a nightmare, as he loses out on the role he was born to play and becomes obsessed with reclaiming what was lost. Starring Sebastian Stan and Adam Pearson.
Daytime Revolution takes us back in time to the week that John Lennon and Yoko Ono descended upon a Philadelphia broadcasting studio to co-host the iconic Mike Douglas Show, at the time the most popular show on daytime television with an audience of 40 million viewers a week. What followed was five unforgettable episodes of television, with Lennon and Ono at the helm and Douglas bravely keeping the show on track. Acting as both producers and hosts, Lennon and Ono handpicked their guests, including controversial choices like Yippie founder Jerry Rubin and Black Panther Chairman Bobby Seale, as well as political activist Ralph Nader and comic truth teller George Carlin. Their version of daytime TV was a radical take on the traditional format, incorporating candid Q & A sessions with their transfixed audience, conversations about current issues like police violence and women’s liberation, conceptual art events, and one-of-a-kind musical performances, including a unique duet with Lennon and Chuck Berry and a poignant rendition of Lennon’s “Imagine”.
Traversing time, space and genre, Argentinian filmmaker Lisandro Alonso (Jauja) presents an elliptical meditation on the experiences of indigenous communities across the Americas. Opening in a dusty town of the Old West, reality soon transitions to contemporary South Dakota’s Pine Ridge Reservation before finally landing in the jungles of 1970s Brazil. As the triptych unfolds, each temporal and spatial shift provokes metaphysical questions about colonial influence on native peoples and the ever-present tensions between indigeneity and the Western world. Featuring three-time Academy Award nominee Viggo Mortensen, Eureka is a graceful refraction of history and place, marking it Alonso’s “most expansive and ambitious film to date” (Screen Anarchy).
Alan and Adrianne’s love is immeasurable, passionate and all-consuming enough that they have accepted complete estrangement from their families and remained inseparable for 30 years. They built a castle together—their temple of love and art—with an ornate interior and several lavishly designed rooms containing their astonishing accumulation of collectibles, and with some reflection of their mutual adoration in every corner of their home. When this fairy-tale romance comes to a tragic end upon Adrianne’s sudden passing, Alan is left to face the colossal grief of losing the one person who not only loved him completely but also taught him how to be loved.
From acclaimed filmmaker Mati Diop (Atlantics), Dahomey is a poetic and immersive work of art that delves into real perspectives on far-reaching issues surrounding appropriation, self-determination and restitution. Set in November 2021, the documentary charts 26 royal treasures from the Kingdom of Dahomey that are due to leave Paris and return to their country of origin: the present-day Republic of Benin. Using multiple perspectives Diop questions how these artifacts should be received in a country that has reinvented itself in their absence. Winner of the coveted Golden Bear prize at the 2024 Berlinale, Dahomey is an affecting though altogether singular conversation piece that is as spellbinding as it is essential.
Paradise Is Burning is an emotional drama that navigates the complexities of society and family in the working-class Swedish suburbia. Three sisters -- sixteen-year-old Laura, twelve-year-old Mira, and seven-year-old Steffi -- are left to their own devices by their absent mother. As summer approaches, the trio revels in the excitement of freedom, letting their days unfold without the constraints of adult supervision. However, when Laura receives a call that threatens to place them in foster care, she frantically searches for a substitute mother to avoid this fate. Keeping the truth hidden from her younger sisters, Laura navigates the blurred lines between the thrill of independence and the harsh realities of growing up, as the sisters’ relationships with each other are put to the test.
From renegade auteur Jacques Audiard comes Emilia Pérez, an audacious fever dream that defies genres and expectations. Through liberating song and dance and bold visuals, this odyssey follows the journey of four remarkable women in Mexico, each pursuing their own happiness. The fearsome cartel leader Emilia (Karla Sofía Gascón) enlists Rita (Zoe Saldaña), an unappreciated lawyer stuck in a dead-end job, to help fake her death so that Emilia can finally live authentically as her true self.
The light, the lives, and the textures of contemporary, working-class Mumbai are explored and celebrated by writer/director Payal Kapadia, who won the Grand Prize at this year’s Cannes Film Festival for her revelatory fiction feature debut. Centering on two roommates who also work together in a city hospital--head nurse Prabha (Kani Kusruti) and recent hire Anu (Divya Prabha)--plus their coworker, cook Parvaty (Chhaya Kadam), Kapadia’s film alights on moments of connection and heartache, hope and disappointment. Prabha, her husband from an arranged marriage living in faraway Germany, is courted by a doctor at her hospital; Anu carries on a romance with a Muslim man, which she must keep a secret from her strict Hindu family; Parvaty finds herself dealing with a sudden eviction from her apartment. Kapadia captures the bustle of the metropolis and the open-air tranquility of a seaside village with equal radiance, articulated by her superb actresses and by the camera with a lyrical naturalism that occasionally drifts into dreamlike incandescence. All We Imagine As Light is a soulful study of the transformative power of friendship and sisterhood, in all its complexities and richness.
A young teen and her father take a road trip to a cabin next to the world’s largest nuclear power facility. A nonsense game, born out of their distinctive playfulness, escalates into a power struggle when the girl pretends she can “no longer see” the father. An only child, the girl has long fought between compassion and codependency with her overly eager, divorced dad. Its seeming ridiculousness is her game’s insidious power: it wears down the father’s authority and tears open the relationship. Accepted truths can no longer explain the past, nor can jokes cover the absence of a mother. Under both the hidden surveillance by private nuclear security and the suspicions cast on a man and a girl who travel alone, the game transforms into a manic social performance. The absurdity obliterates logic, language, and paternalism revealing a pantomime of skeletons in their family roles. It is only from under the shadow of this nuclear cloud that the father and daughter can emerge with the possibility of a new light reflected in their exposed and beating hearts.
Allen Sunshine tells the story of a former music mogul who retreats to an isolated lake-side home to grieve his famous wife’s suicide. He copes by composing ambient-electronic music and by nurturing an unexpected friendship with two young boys whom he meets on the lake fishing. Throughout the course of his stages of grief, Allen encounters characters that remind him of what he’s lost and forgotten, and what he hopes to gain and reconcile.