By Amanda Gilmore

Molly Manning Walker makes an exceptional, daring Feature directorial debut.

Three best friends, Tara (Mia McKenna-Bruce), Em (Enva Lewis) and Skye (Lara Peake) go on a vacation to a small town in Greece. The Brits plan this vacay to be what is typically called a rites-of-passage holiday — drinking, clubbing and hooking up. This should be the best summer of their lives but not for Tara.

We’re introduced to these three charismatic young women as they make their way to their hotel. The chemistry between the three actors is palpable. It’s a delight watching their first interaction with the receptionist. Lying through their teeth in order to get a pool-view room. It’s rare to see the openness with which they speak to each other on screen. They converse freely about which one of them will get laid the most. It’s here we learn that Tara is a virgin and is looking at this holiday as her chance of sealing the deal. They’re hilarious, complex, and authentic women on the cusp of adulthood.

Shortly after we become completely beguiled by the Trio, Manning Walker introduces us to the world they’ve entered. It’s one filled with a non-stop party clock and a sea of horny partygoers. Manning Walker’s unflinching direction takes us into this world. Each pool and party scene oozes with energy and unapologetic authenticity. So much so that you can smell the chlorine and sun tan lotion by the pool. And we can smell the stench of sweat and alcohol in those crowded parties filled with hard bodies.

The first half of How To Have Sex is filled with daring, raw scenes of rowdy behaviour. Manning Walker gives us the uncomfortable truth of what these types of holidays can be like. Not only for the girls but the neighbours they meet while there. But it’s all fun and games until someone gets hurt right? Few Filmmakers can master the tonal shift that happens in the second half of the Film. But Manning Walker can and exceeds this feat beyond limits.

The latter half of the Film delves deep into consent, particularly for people who have a 24-hour party clock. Once again, Manning Walker’s lens is raw and unflinching. However, this time it isn’t showing us the fun party lifestyle. Now she’s showing us the cruelty inflicted on Tara. From the moment the event happens, we stay with Tara and her state of mind. The parties are no longer fun. Her friends are irritating. Most heartbreakingly, we feel the misguided shame she feels.

This might be the most painful part of How To Have Sex. Manning Walker’s Script examines the stigma attached to this type of assault. It’s this stigma that makes survivors internalize their pain. The shame Tara feels is shown by her never telling anyone what happened, even her friends. These are the same friends she was tied at the hip to only a couple of days before. McKenna-Bruce gives a breakout performance that encapsulates the lively Tara before the horrific event and gives a heartrending performance as Tara battles her inner turmoil.

Overall, How To Have Sex is one of the best films of the year. We will be hearing the names Manning Walker and McKenna-Bruce for years to come.

How To Have Sex screens at Cannes ’23:

Fri May 19 at 1:30PM at DEBUSSY THEATRE

Sat May 20 at 8:30AM at DEBUSSY THEATRE

Sat May 20 at 5:30PM at CINEUM AURORE

Sun May 21 at 11AM at CINEUM SCREEN X

Sun May 21 at 4:30PM at LICORNE

By Amanda Gilmore

Cinematographer Sean Price Williams (Good Time) steps into the Director’s chair and delivers the engrossing The Sweet East.

It follows Lillian (Talia Ryder) who’s craving more excitement in her life. While on a high school trip to Washington, D.C. an opportunity arises to get a first glimpse of the wider world. This takes her on a road trip across the cities and woods of the Eastern seaboard of the U.S. Along the way she runs into many different personalities.

The Sweet East plays out like Alice In Wonderland, but is set in present-day America. Lillian initially begins her road trip odyssey by travelling through a glass mirrored door in a karaoke bar. From there she begins the journey that takes her across different ‘worlds’, just as Alice does. She hops across these worlds and experiences different parts of modern-day America. Some may argue that these different realms resemble different cults operating within the country today. Those people wouldn’t be far off. One of the most memorable stops on Lillian’s journey is when she meets Lawrence (Simon Rex) at what can only be considered a white nationalist gathering.

Director Williams and Screenwriter Nick Pinkerton know what the preconceptions of Lawrence will be, as they are what Lillian’s preconceptions are. But Pinkerton and Williams are more concerned with delivering complex characters. Ones who are deeply flawed but will surprise you and make you see them in different lights. For instance, no matter how many times Lillian attempts to seduce Lawrence, his morals won’t allow him to indulge.

Rex gives a controlled, nuanced performance as a white nationalist (who idealizes Nazis and has Hitler’s Autobiography in his house) with set morals on the sexual front. Sure, he considers and romanticizes the idea of being with Lillian. Yet, he’ll never give in to those desires.

As Lillian travels through each ‘world’ it becomes clear that Williams and Pinkerton are delivering a critique on present-day America. Each ‘world’ delivers a different point of American idealism, possibly none more so than when she happens to run into Producer Matthew (Jeremy O. Harris) and Director Molly (Ayo Edebiri) in New York City who demands she is in their film. This clearly plays into the belief in the American Dream. Lillian comes from no film background but because of her look, this duo MUST have her play their lead role. Harris and Edebiri are outstanding and share a magnetic chemistry that demands to be witnessed.

With a subject such as this, you’d assume The Sweet East is a dark Drama. However, it’s actually a delightful witty Comedy. There is perfect comedic timing from the entire Cast and the precision with which the Script is carried out, in the steady hands of Williams, makes for a singular viewing experience.

At the heart of the Film is Lillian played by insurmountable upcoming talent Ryder, who some will know from her powerful performance in Never Rarely Sometimes Always. She commands each frame of the Film in a true star-making role. The Sweet East is really about a teenage girl going on a gritty road trip through the East of America. Most thrilling is that Lillian is never naive or gullible. Ryder plays her with full control of her own circumstances and uses her own devices to get herself out of sticky situations. 

The Sweet East screens in part of the Director’s Fortnight sidebar of Cannes ’23 on:

Thu May 18 at 12PM at THÉÂTRE CROISETTE

Thu May 18 at 8:45PM at THÉÂTRE CROISETTE

Fri May 19 at 9AM at LICORNE

Fri May 19 at 11:30AM at ARCADES 1

Fri May 19 at 4:30PM at ALEXANDRE III

By Amanda Gilmore

Sean Penn’s latest is one brutal look into the lives of paramedics in East New York. It follows Ollie (Tye Sheridan) a rookie on the job. At the scene of a shooting, Ollie meets veteran EMT Rut (Penn). From there the two become paired up for Ollie’s first year on the job. Leading to the young paramedic getting a crash course in lifesaving techniques while working with the grizzled New York City veteran.

Black Flies is a raw look at the daily working life of paramedics in Brooklyn. Director Jean-Stéphane Sauvaire doesn’t spare us of just how brutal the job is. And the responsibility it carries — these people are carrying patients’ lives in their hands. It’s a tough and uncomfortable watch as it plays out like a Horror Film about a descent into hell. We watch three different paramedics at different points in their careers.

Ollie is at the very beginning and wants to save people’s lives. He’s shocked at the cruelty and inhumanity he sees every day. Sheridan, who also produces, turns in his greatest performance to date as an EMT attempting to maintain his morality while watching his colleagues lose theirs. There’s enough background given to Ollie that makes us invested in his journey. We hope he holds onto the light.

Rut has been at this for a long time and is at the point of snapping. Penn turns-in a captivating performance as a veteran paramedic who’s basically on his way out. He shows the audience the true struggle of making quick tough decisions. Then there’s Micheal C. Pitt’s character who has already snapped. He tells Ollie that they are the ones who play God as soon as the ambulance doors shut. Stating he decides who lives if he believes they are worthy of it.

Although it’s necessary to have a character who has already hit their breaking point, there are times this character feels like a distraction from the main purpose of the Film. Because Black Flies feels like its intention is to be a love letter to paramedics. The true heroes. Another distraction is the romantic storyline given to Ollie which doesn’t add anything substantial to the narrative.

Black Flies is a Film about the realities and the horror that Paramedics face every day and the mental toll the job takes.

Black Flies screens at Cannes ’23:

Thu May 18 at 10:30PM at GRAND THÉÂTRE LUMIÈRE

Fri May 19 at 11:30AM at LICORNE

Fri May 19 at 11:45AM at GRAND THÉÂTRE LUMIÈRE

Fri May 19 at 2PM hat CINEUM IMAX

Sat May 20 at 1PM at CINEUM SCREEN X

Sun May 21 at 9PM at AGNÈS VARDA THEATRE

…

By Amanda Gilmore

Director Kore-eda Hirokazu pleas for acceptance with this powerful film about morals.

It’s hard to explain what Monster is truly about due to the hidden story within the central narrative. The most straightforward summary would be that Monster is about a young boy, Minato (Soya Kurosawa), who begins acting strange. His single mother Saori (Sakura Ando) begs to get the truth from her only son. He tells her that his teacher Mr Hori (Eita Nagayama) has been harassing him. Saori demands answers from Mr Hori and the Principal, but is Minato telling the full truth?

That overview doesn’t do the narrative the justice it deserves, because of the deeply nuanced script from Yûji Sakamoto. He’s broken down the story into three points of view. Each one tells a different part of the same central story — Minato’s behaviour drastically declines and he claims it’s due to his teacher’s harassment.

The first POV focuses on the story Minato tells his mother. We follow Saori as she demands that action be taken against Mr Hori for what he’s done to her boy. Hirokazu’s most recent Films (Palme d’Or winning Shoplifters and last year’s Broker) have revolved around the theme of family, and what constitutes a family. This first act brings out this theme again but in a different form. This time it’s a single mother, who recently lost her husband, fighting for their son. Ando delivers a commanding performance that captures the nurturing mother and the fierce mama bear that lives within.

It’s once we get to the second POV that the theme of the family begins to shed. The focus is on Mr Hori. These POV changes aren’t first person, but rather Hirokazu placing focus on that character living through the same events. In the first part, we are taking Minato’s word for it just as his mother is. Here, we are seeing behind the curtain what Mr. Hori actually did. We begin to realize there are cracks in the young boy’s story. And we’re gifted a red herring about Minato being a bully to classmate Eri (Hinata Hiiragi).

Sakamoto and Hirokazu play with the timelines of each POV and control when crucial information is revealed, keeping the audience guessing where the story will go. It isn’t until the final POV, that of Minato, that we are given the full side of the story. Like how Eri and Minato are really close friends. They spend their time outside of school with each other, playing games in an abandoned train car in the forest. They find a family with each other.

There will be some who will call this third act a twist, however, it’s really revealing Minato’s truth in a mysterious and secretive way. It mirrors the fact that Minato believes he has to lie to keep himself safe. It plays into the overarching theme of Monster which is a cry for acceptance. More importantly, the negative mental impact inflicted on those scared to live their truth due to the lack of acceptance.

Monster screens at Cannes ’23:

Wed May 17 at 7PM at GRAND THÉÂTRE LUMIÈRE

Thu May 18 at 8:30AM at GRAND THÉÂTRE LUMIÈRE

Thu May 18 at 11AM at AGNÈS VARDA THEATRE

Thu May 18 at 11:15AM at CINEUM IMAX

Thu May 18 at 9:30PM at LICORNE

Fri May 19 at 5:15PM at CINEUM AURORE

By Amanda Gilmore

Cannes ’23 opening night film tells the true story of Jeanne Bécu (Maïwenn). Jeanne was born as the illegitimate daughter of an impoverished seamstress in 1743. As she grew up, and got kicked out of the convent she was forced into, she had two choices — work as a maid like her mother or become a courtesan. She choose the latter as she believed that was a way to live her fullest life. It was that life that lead her to become a mistress to King Louis XV (Johnny Depp). Becoming his favourite but hated among the court.

Maïwenn, who in addition to acting as directs and co-writes, brings us into the Age of Enlightenment in Versailles. Maïwenn shot the Film on location at the Château de Versailles when it was closed to the public on Mondays. From the moment Jeanne steps into the Palace, wealth drips from every angel. The King even gifts her a decadent diamond necklace following their first night.

Many Period Films lose focus on their subject. Especially when another character is more known in history books. Thankfully, Maïwenn doesn’t divert from telling Jeanne’s story. It’s a sad story to watch. She has only two choices due to her class within society, but also due to being a woman. Jeanne Du Barry is really a story about a woman locked inside society’s cage. Yet, Jeanne never loses her light. She had an exuberant personality that Maïwenn embodies. She perfectly captures the daring Jeanne and allows her light to shine through even in the dark.

Learning about this woman who rose the ranks within society is enthralling. Yet, a shorter run time may pack a harder punch. There are recurring moments that only needed to be included twice at most (like the King’s daughters finding ways to embarrass and hurt Jeanne).

Although Jeanne’s life story was challenging, Maïwenn and her co-writers find levity. This is shown through Jeanne’s zest for life and in the relationship she shares with the King. There’s even a recurring gag that runs throughout revolving around how one should never turn their back to the King but rather bounce backwards. The Film highlights the relationship they shared and how the King went against his family to have her at his side. Depp and Maïwenn have good chemistry that helps aid in the romantic storyline.

Jeanne Du Barry screens at Cannes ’23:

Tue May 16 at 7PM at GRAND THÉÂTRE LUMIÈRE

Tue May 16 at 11:30PM at GRAND THÉÂTRE LUMIÈRE

Wed May 17 at 9AM at GRAND THÉÂTRE LUMIÈRE

Wed May 17 at 12PM at GRAND THÉÂTRE LUMIÈRE

Thu May 18 at 10AM at CINEUM IMAX

Thu May 18 at 4:30PM at LICORNE

Sphere Films today announced the acquisition of the Canadian rights for WE LIVE IN TIME by John Crowley (Academy-Award nominated Brooklyn) starring award-winning actors Andrew Garfield and Florence Pugh, currently in production in London, England.

WE LIVE IN TIME is a romantic drama scripted by playwright and screenwriter Nick Payne with Benedict Cumberbatch on board as Executive Producer. Developed and produced by STUDIOCANAL with partners at SunnyMarch: Leah Clarke (The Mauritanian, The Electrical Life of Louis Wain), Adam Ackland (The Mauritanian, The Electrical Life of Louis Wain, Patrick Melrose) and Guy Heeley (Cyrano, Together, Locke), the project is co-financed by Film4 and STUDIOCANAL. International sales are handled by STUDIOCANAL while the U.S. distribution rights have been acquired by A24.

Sphere Films also picked up three titles ahead of the Cannes Film Festival. They include ABOUT DRY GRASSES (Official Competition) by the esteemed, award-winning Turkish filmmaker Nuri Bilge Ceylan, CLUB ZERO (Official Competition) by Austrian filmmaker Jessica Hausner, who has regularly premiered her films in Cannes, and BONNARD PIERRE ET MARTHE (Cannes Premiere) by Martin Provost (The Good Wife, Séraphine) which stars Vincent Macaigne, Cécile de France and Stacy Martin.

(Photo credit: Getty Images)

Our Amanda Gilmore has arrived in Cannes to deliver us some coverage of the Festival, its stars and most buzzy films! The Festival is on now through May 27, 2023. Today, she attended the Press Conference for this year’s Jury, featuring some very accomplished names in the industry including Paul Dano, Brie Larson, Ruben Östlund and Julia Ducornau.

Some quotes from today, starting with Paul Dano.
Dano: “I’m so excited to be here and be surrounded by these people”. “I’ve been going every year since I was a teenager to the Cannes Festivalto see what films I wanted to seek-out, especially foreign filmmakers.”.

He also comments on the current Writers’ Strike taking place in Hollywood and both him and his wife Zoe Kazan working hard to create awareness for the cause.
Dano: “My wife is currently on the picket line with our (child) and when I get home I will join her on the picket line.”.

Julia Ducournau, Palme d’Or-winning Director of acclaimed Titane also is a jury member and comments about the Festival.
Ducournau: “I was extremely happy they let me do this”. “I don’t want to know anything about the films before I see them. You come here for open-mindedness.”.

She comments on handing on the torch and what the impact of winning a Palme d’Or can have on one’s career.
Ducournau: “Giving the Palme d’Or to someone can really change their life. It’s the Holy Grail!”.

Ruben Östlund, Director of Oscar-nominated Triangle of Sadness, speaks about being Jury President.
Östlund: “You try to crate a certain atmosphere”. “People shouldn’t be scared to say what they want.
We don’t have to be smart, we just have to have the first instinct and speak what we think.”.

He is asked what he thinks of this year’s in-competition films:
Östlund: “We’re going to keep our mouths completely shut this year.”.

Academy Award-winning Actress Brie Larson comments on her approach to work and having expectations going into see a film.
Larson: “I take the same level and care in everything. It doesn’t matter the budget, a film is a film”. “I love going into films without knowing anything”.

Remember to bookmark this link and check daily for updates, reviews and sightings from this year’s Festival!

Some sights from Cannes from Amanda:

(Photo credit: Amanda Gilmore)

Pixar Animation Studios returns to the globally revered Cannes Film Festival for the world premiere of its all-new feature film “Elemental” on May 27, 2023 ahead of its theatrical release on June 16. Debuting out of competition as the closing film of the 76th edition of the festival, “Elemental” is the fourth film from the storied studio to be selected for the event and joins previous favorites “Up,” “Inside Out” and “Soul.”

Pete Docter, Pixar’s chief creative officer, said this year’s return to Cannes is particularly special for the studio. “As we all emerge from our pandemic cocoons and come together in story rooms, animation dailies and impromptu brainstorming sessions, it’s a joy and honour to have Pixar back on La Croisette,” said Docter. “Directed by the extraordinary storyteller Peter Sohn, ‘Elemental’ is so funny, full of heart and, frankly, stunning to see. It was created for audiences to experience on the big screen and I love that it’ll make its world premiere at Cannes.”

Docter, Sohn and producer Denise Ream will join members of the film’s voice cast at the event. Cannes has hosted the international competition since 1946. “For many years, the Cannes Film Festival has welcomed animated films from around the world,” said Thierry Frémaux, general delegate, Cannes Film Festival. “Pixar Animation Studios, with ‘Up’—directed by Pete Docter—made Cannes history by opening the 62nd edition of the Festival in 2009. It was a wonderful event! This is another great opportunity to present the amazing ‘Elemental’ on the closing of this 76th Cannes Film Festival and to think about our lives in such a powerful way.”

Disney and Pixar’s “Elemental” is an all-new, original feature film set in Element City, where fire-, water-, land- and air-residents live together. The story introduces Ember, a tough, quick-witted and fiery young woman, whose friendship with a fun, sappy, go-with-the-flow guy named Wade challenges her beliefs about the world they live in. The voice cast includes Leah Lewis as the fiery Ember; Mamoudou Athie as the water-guy Wade; Ronnie del Carmen as Ember’s soon-to-be retired dad, Bernie; Shila Ommi as Ember’s love-seeking mom, Cinder; Wendi McLendon-Covey as Wade’s stormy and Air-Ball-loving boss, Gale; Catherine O’Hara as Wade’s welcoming mom, Brook; Mason Wertheimer as Ember’s admiring neighbor, Clod; and Joe Pera as an overgrown city bureaucrat, Fern. Directed by Peter Sohn, produced by Denise Ream, p.g.a., and executive produced by Pete Docter, “Elemental” features a screenplay by John Hoberg & Kat Likkel and Brenda Hsueh with story by Sohn, Hoberg & Likkel and Hsueh. The film’s original score was composed and conducted by Thomas Newman. “Elemental” opens with Pixar’s all new short, “Carl’s Date,” in theatres on June 16, 2023.

Internationally renowned and leading Canadian production company Trio Orange in collaboration with Quebecor Content today announced Academy Award-nominated director Philippe Falardeau (Monsieur Lazhar, My Salinger Year, The Summers of the Raspberries) will present his new 4-part documentary series Lac-Mégantic: This is not an Accident at CANNESERIES 2023 as its world premiere, followed by its North American premiere at Hot Docs 2023 as part of the Deep Dive category. Directed and co-written by Falardeau with co-writer Nancy Guerin (Left Behind America, A Sister’s Song, Pink Ribbons Inc. ) and produced by Annie Sirois (Can you Hear Me?, Last Summer of the Raspberries, David Saint-Jacques Space Mission, Escobar Told By His Sons), Falardeau investigates one of the worst oil train tragedies in history; a foreseeable catastrophe ignited by corporate and political negligence. For more information on festival screenings please visit CANNESERIES and Hot Docs websites.

Almost ten years ago, on July 6, 2013, a devastating tragedy occurred in Lac-Mégantic, Quebec, when a runaway train derailed in the heart of this idyllic town. Within seconds, six million liters of Bakken oil explode, killing everyone in its path, incinerating downtown.

At the heart of this series are the survivors who share their most intimate stories of lost loved ones and the string of injustices they’ve faced since that summer night. Yet, the steps needed to prevent another Lac-Mégantic tragedy are still not in place.

“It was extremely important to me to give a voice and a face to the people of Lac-Mégantic who not only suffered a massive tragedy but have been reliving the trauma over the past ten years as the powers-that-be continue to make negligent decisions that affect their everyday lives,” said Philippe Falardeau, director and writer. “Unfortunately Lac-Mégantic is not an isolated event. Even though this tragedy shocked the world and prompted widespread calls for greater safety measures, current events show that little has been done to avoid these types of transportation disasters. Our series is a call to action to bring much needed attention and change in honour of all of those who lost their lives.”

Following its festival premieres, the French language version of Lac-Mégantic: This is not an Accident begins streaming May 2 on VRAI, with other broadcast announcements to follow. The series is Executive Produced by Carlos Soldevila and created with the support of SODEC Quebec, Quebecor Fund, Rogers Documentary Fund, Canada Media Fund.

Episode 1: Itinerary of a Moving Bomb

The citizens of Lac-Megantic share their harrowing accounts from that fateful night. The episode then flashes back to June 30, 2013, where a perfect storm brews as the ill-fated train leaves the Bakken oil fields of North Dakota. Six days later it is perched on a hill that overlooks the small lakeside town. Down on Main Street, the drinks flow as the crowd dances the night away, blissfully unaware that a runaway train just cleared four rail crossings and is closing in on Lac-Mégantic.

Episode 2: Pure Souls

As downtown burns, citizens search for the missing. The scope of the destruction is evident, but the cause will take time to figure out. Officials from all over descend on Mégantic but no one takes responsibility for what’s happened. Grieving families wait days, even weeks, to learn the fate of their loved ones. We meet the people who were close to the explosions. This proximity has a durable impact. For some, their lives have been turned upside down. But for others, it becomes a defining moment.

Episode 3: The Worst Is Yet To Come

Out on the tracks, locals take safety into their own hands as they patrol the rail lines that circle Mégantic. The rebuilding process rips the town apart as citizens are left to clean up the mess that they did not create. A criminal trial gets underway where three low-level train employees face life in prison. The larger picture begins to emerge. It points to a negligent corporate culture and a system that fails to go after the higher echelons even as their decisions cause great irreversible harm.

Episode 4: This Was No Accident

High up in the Canadian Rockies, tragedy strikes again, killing three railmen. Surging from this disaster lies another grieving community searching for answers. In Lac-Mégantic, plans for a bypass divide the town even further. The new route will split the family farm of Conrad and Yolande Boulanger whose grandson died in the Mégantic tragedy. Adding insult to injury, the new rails will accommodate longer and heavier trains arriving in record numbers, with cargo far more dangerous than crude oil.

By Amanda Gilmore

Coming off the success of Shoplifters, Writer-Director Hirokazu Kore-eda is back with another beautiful depiction of a chosen family.

So-young (Ji-eun Lee) makes the tough choice to leave her newborn at the Baby Box facility. It’s a place where people can leave their children in the hopes of them being adopted. However, Brokers Sang-hyun (Song Kang-ho) and Dong-soo (Dong-won Gang) make the decision to take the baby home with them in order to sell it to a loving family. To their surprise, So-young returns for her baby. When the two men tell her their plan, she joins them on their journey to find suitable parents.

Kore-eda has a keen eye for what makes a family. Just like Shoplifters, this is a story of making your own family. However, it’s also about knowing when to say goodbye. The premise doesn’t sound like it will be a heartbreaker, but Kore-eda’s empathetic eye makes this story a tender, emotional journey about belonging.

Just like the best Tearjerkers, Broker is laced with relatable Comedy. This humour comes from the relationship that flourishes between these characters. It all comes together once the three realize that a young boy from the orphanage they visited has snuck into their van. This is the start of their own quirky family beginning to grow. He’s a cute addition to this bunch and they fall into sync quickly.

Broker’s steady pacing allows audiences to get to know each character. We empathize with So-young, a woman on the run searching for a way out. What she finds instead, is a family that she didn’t know was possible. Lee stuns, giving depth to the textured So-young. One scene she shares with Gang takes place on a Ferris Wheel. The authenticity and chemistry between them is spellbinding. There won’t be a dry eye in the audience. While Kang-ho shines bright as the pseudo-father of this lovable dysfunctional family. He evokes the nostalgia for being the patriarch after his first family has cut ties.

Broker connects universally.

Broker screens at Cannes ’22:

Thu, May 26 at 7:00 PM at GRAND THÉÂTRE LUMIÈRE

Fri, May 27 at 8:30 AM at GRAND THÉÂTRE LUMIÈRE

Fri, May 27 at 9:30 PM at LICORNE

Sat, May 28 at 12:00 PM at CINEUM SCREEN X

Sat, May 28 at 7:15 PM at SALLE BAZIN