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 Ruben Östlund’s wickedly funny Palme d’Or winner, social hierarchy is turned upside down, revealing the tawdry relationship between power and beauty. Celebrity model couple, Carl (Harris Dickinson) and Yaya (Charlbi Dean), are invited on a luxury cruise for the uber-rich, helmed by an unhinged boat captain (Woody Harrelson). What first appeared instagrammable ends catastrophically, leaving the survivors stranded on a desert island and fighting for survival.
Directed by Academy Award-winning filmmaker Laura Poitras, All the Beauty and the Bloodshed is an epic, emotional and interconnected story about internationally renowned artist and activist Nan Goldin told through her slideshows, intimate interviews, ground-breaking photography, and rare footage of her personal fight to hold the Sackler family accountable for the overdose crisis.
Brimming with warmth and the ache of cherished memory, Scottish writer-director Charlotte Wells’ feature debut is a quiet revelation. Recalling a father–daughter journey to a Turkish seaside resort some 20 years after the fact, Aftersun employs the gentlest touch yet leaves an indelible mark.
In Elegance Bratton’s deeply moving film inspired by his own story, a young, gay Black man, rejected by his mother and with few options for his future, decides to join the Marines, doing whatever it takes to succeed in a system that would cast him aside. But even as he battles deep-seated prejudice and the grueling routines of basic training, he finds unexpected camaraderie, strength, and support in this new community, giving him a hard-earned sense of belonging that will shape his identity and forever change his life.
For the past decade, award-winning documentarian Alice Diop has turned her camera on the injustices and intimate stories of immigrant communities on the peripheries of Paris in a meaningful act of recentring. With Saint Omer, her astonishing narrative feature debut, she brings her typical sensitivity and rigour to a story liberally adapted from a 2013 fait divers, in which a woman allegedly placed her 15-month-old daughter on a beach in northern France, abandoning her to the high tide.
In this gritty super-stylish thriller, Mouse (Hayley Law), is an irreverent dancer at a dead-end burlesque club run by Mama (Famke Janssen), a tough, shady club owner. When Mouse's only friends and fellow club dancers go missing under mysterious circumstances, nobody at the club seems too concerned about them, and the police couldn't care less. Mouse and her constant sidekick Ugly (Keith Powers) quickly realize that it is up to them to dig up all the dirt and start the hunt for the culprits. Desperate for answers and with time running out, Mouse chooses a very risky play that plunges her further down the rabbit hole and into a sordid underworld, leaving her out in the open. What she discovers is that corruption runs deep, monsters are real, and that sometimes, justice is meant to be taken into your own hands.
Evelyn (Julianne Moore) has devoted herself to helping people in hard times, but she struggles to connect with her son Ziggy (Finn Wolfhard), an aspiring internet star oblivious to the problems of the world. As Evelyn attempts to become a parent figure to an unassuming teenager she meets at her shelter, and Ziggy fumbles through his pursuit of a brilliant and politically conscious young woman at his high school, this emotional comedy reveals a funny and sharply perceptive portrait of a mother and son who may seem at odds but who are more alike than either would care to admit.
In August 1990, a record store opened on Yonge St. that quickly began serving the needs of college radio and DJs who spun new sounds far from the mainstream. Through the contagious work ethic and guidance of founder Eugene Tam, organically it became the hub for "Dance" music and the genres which emerged from under that umbrella, fueling and fostering Hip-Hop and Electronic culture. Today its impact today on Toronto and by extension Canada is without question. This is the story of Play De Record.
From director-writer-producer Todd Field comes TÁR, starring Cate Blanchett as the iconic musician Lydia Tár. Renowned musician Lydia Tár is days away from recording the symphony that will elevate her career. When all elements seem to conspire against her, Lydia's adopted daughter Petra becomes an integral emotional support for her struggling mother. Tár examines the changing nature of power, its impact and durability in our modern world.
The film follows two brokers who sell orphaned infants, circumventing the bureaucracy of legal adoption, to affluent couples who can't have children of their own. After an infant's mother surprises the duo by returning to ensure her child finds a good home, the three embark on a journey to find the right couple, building an unlikely family of their own.
Leo and Remi are two thirteen-year-old best friends, whose seemingly unbreakable bond is suddenly, tragically torn apart. Winner of the Grand Jury Prize at the Cannes Film Festival, Lukas Dhont's second film is an emotionally transformative and unforgettable portrait of the intersection of friendship and love, identity and independence, and heartbreak and healing.
Sandra (Lea Seydoux) is a widowed young mother raising her daughter on her own, while also caring for her sick father (Pascal Greggory). She’s dealing with the loss of the relationship she once had with her father, while she and her mother and sister fight to get him the care he requires. At the same time, Sandra reconnects with Clément (Melvil Poupaud), a friend she hasn’t seen in a while and, although he’s married, their friendship soon blossoms into a passionate affair.
Living is the story of an ordinary man, reduced by years of oppressive office routine to a shadow existence, who at the eleventh hour makes a supreme effort to turn his dull life into something wonderful. An English-language adaptation of the script of "Ikiru" (1952), set in London in the 1950s.
When an interdimensional rupture threatens to unravel reality, the fate of the world is suddenly in the hands of a most unlikely hero: an overwhelmed immigrant mother. As bizarre and bewildering dangers emerge from the many possible universes, she must learn to channel her newfound powers and fight to save her home, her family, and herself. Directed by Daniel Kwan and Daniel Scheinert, collectively known as Daniels, the film is a hilarious and big-hearted sci-fi action adventure about an exhausted Chinese American woman (Michelle Yeoh) who can't seem to finish her taxes.
After being removed from the traveling circus, which is the only life he’s ever known, EO begins a trek across the Polish and Italian countryside, experiencing cruelty and kindness in equal measure, all the while observing the follies and triumphs of humankind. During his travels, EO is both helped and hindered by a cast of characters including a young Italian priest (Lorenzo Zurzolo), a Countess (Isabelle Huppert), and a rowdy Polish soccer team. Loosely inspired by Robert Bresson’s Au hasard Balthazar, and featuring immersive, stunning cinematography by Michal Dymek coupled with Pawel Mykietyn’s resonant score, Skolimowski’s film puts the viewer in the perspective of its four-legged protagonist. EO’s journey speaks to the world around us, an equine hero boldly pointing out societal ills, and serving as warning to the dangers of neglect and inaction, all while on a quest for freedom.