Thirty years after the events of the first film, a new blade runner, LAPD Officer K (Ryan Gosling), unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former LAPD blade runner who has been missing for 30 years.
Directed by Denis Villeneuve
Deckard (Harrison Ford) is forced by the police Boss (M. Emmet Walsh) to continue his old job as Replicant Hunter. His assignment: eliminate four escaped Replicants from the colonies who have returned to Earth. Before starting the job, Deckard goes to the Tyrell Corporation and he meets Rachel (Sean Young), a Replicant girl he falls in love with.
Directed by Ridley Scott
The breakout French hit of the 2017 Cannes International Film Festival, where it premiered in the Directors’ Fortnight to multiple, raucous standing ovations, writer/director Carine Tardieu’s charming romantic comedy JUST TO BE SURE is a winning tale of parenthood, love and family, both lost and found.
When lonely 45-year-old widower Erwan (the remarkable François Damiens, The Bélier Family) discovers by accident that that man who raised him isn’t his real father, he begins a search for his biological one. Thanks to a local private detective he soon locates the mischievous, 70-something Joseph (Le Havre’s Andre Wilms), whom it seems his mother may have known briefly. Erwan soon falls not only for his charm, but that of the impetuous Anna (a radiant Cécile de France), who has ties to them both. But the conflicting loyalties become compounded by the pregnancy of his own daughter (Alice de Lencquesaing), who defiantly refuses to name the father… very soon Erwan’s families begin to collide, to unexpected, hilarious and moving effect.
Offering a terrific showcase for her brilliant cast, director Carine Tardieu skillfully weaves a wholly-entertaining exploration of love, coincidence and human connection. Few films manage to pluck both the heartstrings and the funny bone as well as JUST TO BE SURE. It’s a delight.
LOVING VINCENT, the world’s first fully painted feature film, brings the paintings of Vincent van Gogh to life to tell his remarkable story. Every frame of the film, totalling around 65,000, is an oil-painting hand-painted by 125 professional oil-painters who travelled from around the world to the Loving Vincent studios in Poland and Greece to be a part of the production. As remarkable as Vincent’s brilliant paintings, is his passionate and ill-fated life, and mysterious death.
No other artist has attracted more attention than Vincent van Gogh. Variously labelled a martyr, a lustful satyr, a madman, a genius and a layabout, the real Vincent is at once revealed in his letters, and obscured by myth and time. Vincent himself said in his last letter: ‘We cannot speak other than by our paintings’. We take him at his word and let the paintings tell the real story of Vincent van Gogh.
Loving Vincent was first shot as a live action film with actors then hand-painted over frame-by-frame in oils. The final effect is an interaction of the performance of the actors playing Vincent’s famous portraits, and the performance of the painting animators, bringing these characters into the medium of paint.
Amanda and John Leyden stand in front of Headfort School (located in Kells, Ireland), a school where the two of them taught for 40 years, watching the students—boys and girls, ages 7 to 13, walking towards the main building—an impressive Georgian-era mansion—catching up with each other after summer break. The noise of the kids' chatter is deafening. Amanda, an elderly British woman, wearing a thick sweater and sensible shoes, can't stop smiling as she watches the flood of children pass her, and whispers to herself, "I love them!" this spontaneous moment comes early in the documentary "School Life," co-directed by Neasa Ní Chianáin and David Rane, and it is the kernel of what this film is about.
It is a celebration of these two eccentric and devoted teachers (and, by extension, teachers everywhere). We see them at work, we see them at rest, we see them kneeling by an open window smoking, wondering what they would ever do with themselves if they weren't doing this?
Dr. Steven Murphy (Colin Farrell) is a renowned cardiovascular surgeon presiding over a spotless household with his ophthalmologist wife Anna (Nicole Kidman) and their two exemplary children, 12-year-old Bob (Sunny Suljian) and 14-year-old Kim (Raffey Cassidy). Lurking at the margins of his idyllic suburban existence is Martin (Barry Keoghan), a fatherless teen who Steven has covertly taken under his wing. As Martin begins insinuating himself into the family’s life in ever-more unsettling displays, the full scope of his intent becomes menacingly clear when he confronts Steven with a long-forgotten transgression that will shatter the Murphy family's domestic bliss.
Yorgos Lanthimos has crafted a sensational thriller brimming with unsettling humour and creeping dread, steeped in Greek tragedy, Hitchcockian psychodrama, and riveting suspense. Darting confidently between genres to subvert our expectations at every turn, The Killing of a Sacred Deer firmly cements Lanthimos in the pantheon of world-class auteurs and marks him as a cinematic provocateur without precedent.
Based on the novel by Les Standiford, THE MAN WHO INVENTED CHRISTMAS tells the story of how Charles Dickens (Dan Stevens from TV’s Downton Abbey) revived the holiday of Christmas with his self-published novel, A Christmas Carol. Facing pressure with looming debt, a feckless father (Jonathan Pryce) and recent critical failures, Dickens confronts his past by conjuring up fantastic characters including Ebenezer Scrooge (Christopher Plummer), for his now classic Christmas tale. Full of wit and warmth, THE MAN WHO INVENTED CHRISTMAS will bring out the holiday spirit in us all.
PGMild Themes and Coarse Language
OFFICIAL SELECTION – 2017 BERLIN INTERNATIONAL FILM FESTIVAL
The much-anticipated new film from César-winning writer/director Martin Provost (Séraphine), THE MIDWIFE marks the remarkable pairing of two of French cinema’s most beloved stars, Catherine Deneuve and Catherine Frot.
Gifted midwife Claire (Frot) has led a quiet, focused life, dedicated to her profession and to the raising of her son as a single mother. But change is in the air; the local community maternity ward where she has worked for decades is to be closed, and though she has a job offer from a larger corporate clinic, Claire struggles to reconcile their more efficiency-driven methods with her own.
In the midst of this upheaval, she receives a call from Béatrice (Deneuve), the extravagant mistress of her deceased father, who wants to meet again, thirty years after having disappeared without a trace. Béatrice is a true free-spirit – loud, vivacious, and seemingly without guilt. Claire agrees to meet with her, but is decidedly less than enthusiastic about delving into the secrets of the past, let alone prepared to respond to a plea for help…
Provost has made a name for himself with indelible portraits of women, but reaches new heights with this exquisite depiction of feminine strengths and frailties. THE MIDWIFE memorably – and movingly – questions the value of change, but also whether steak, chips and red wine can really be considered a healthy lunch.
THE ORNITHOLOGIST, from provocative auteur João Pedro Rodrigues, made waves at TIFF and Locarno (where it received the coveted Best Director award) as a visually arresting and “powerful… mind-blowing” (IndieWire) journey into the Portuguese wilderness and beyond. When an amateur explorer is waylaid on a bird-watching expedition, he stumbles into a suspenseful journey of encounter, danger, and lust, on the path toward total enlightenment.
This truly astonishing film has won the hearts of critics, who have called it; “gorgeously realised” (Hollywood Reporter), “deliciously subversive and genuinely funny” (Variety), and “the single most delightful and narratively adventurous movie I saw at Toronto” (The New York Times).
Mfor mature themes, coarse language and brief nudity
Since the arrival of the new teacher, Maria Drazdechova, to a Bratislava suburban school in the year of 1983, life has turned upside down for students and parents. The teacher's corrupted behavior and one of the students' suicide attempt that could be related to that matter, makes the school Principal call the students' parents for an urgent meeting that will suddenly put the future of all the families at stake. They are asked to sign a petition to move Miss Drazdechova out of the school. The teacher's high connections within the Communist Party makes everyone feel threatened, but at his point they have no choice but to make a decision: will they dare to go against Miss Drazdechova and stand up for what they believe in at any risk, or will they just remain silent and let things be?