The Indigenous Screen Office (ISO) has confirmed its 1M dollar contribution to the building of a film and television production studio in Iqaluit, Nunavut. ISO was first-in-funder for the studio initiative, led by Red Marrow Media, which triggered a private partnership investment from fellow Inuk entrepreneur Cody Dean, and marks a notable milestone as ISO’s largest funding commitment yet. This is part of a larger investment in Nunavut through the ISO’s Sector Development program, which also includes support for two broadcast entities, Inuit TV and Uvagut TV.

The capital contribution to create the studio space in Iqaluit ensures Red Marrow’s as-yet untitled scripted series created and written by Inuit writers and producers Stacey Aglok MacDonald and Alethea Arnaquq-Baril will be shot in Nunavut rather than in the south, maximizing the benefits of the project for the Inuit production community. The project is majority produced by Red Marrow Media, in partnership with Miranda de Pencier’s Toronto-based production company Northwood Entertainment and is the first ever CBC/APTN/Netflix collaboration. Following production, the studio will continue to create economic development opportunities for Nunavut’s film and TV industry, and be shared for broad community use.

“ISO worked hard to negotiate terms with Canadian Heritage that would allow us to support capital costs because we know this is a critical component to building capacity in the Indigenous screen sector – particularly in the north,” said Kerry Swanson, CEO of the ISO. “We are incredibly proud to be able to help build much-needed production infrastructure in Nunavut that will create industry opportunities for generations to come.”

“We are so grateful to the ISO for supporting our vision for a space in Iqaluit. This studio will enable our production community to create content on a scale that has never been possible before,” said Alethea Arnaquq-Baril & Stacey Aglok MacDonald, co-CEOs of Red Marrow Media. “It is so important to us to be able to create content in our own homelands, which allows us to bring our community into our show, both onscreen and off. A studio like this would have been game changing for us at the start of our careers, and we hope its existence now will help spark the careers of many more Inuit creatives to come.”

In the last five years, the ISO has been a pioneering organization in the screen, arts and culture sectors, delivering over $24.6m directly to over 320 First Nations, Inuit and Métis recipients across Canada. Over 88% of ISO’s total budget has been delivered directly to applicants and projects over the last two years, with all funding delivered in both official languages. The organization’s work in advocacy, funding policy, program design and delivery, eligibility, narrative sovereignty and protocols have been replicated and advanced across the industry, where ISO is widely acknowledged as a leading organization.

The ISO is the first organization of its kind in Canada and abroad – an independent Indigenous-led and run funding organization that supports screen-based content owned and controlled by Indigenous storytellers on all platforms. ISO’s mandate is in line with the United Nations Declaration on the Rights of Indigenous Peoples, ratified by Canada, which positions storytelling and self-representation in media as a fundamental right. With 67% of funding in 2022 going to projects with Indigenous languages, the ISO further supports the government’s Indigenous Languages Act and language rights affirmed by this government and by UNDRIP.

About ISO

The ISO is the first organization of its kind in Canada and abroad – an independent Indigenous-led and run funding organization that supports screen-based content owned and controlled by Indigenous storytellers on all platforms. ISO’s mandate is in line with the United Nations Declaration on the Rights of Indigenous Peoples, ratified by Canada, which positions storytelling and self-representation in media as a fundamental right. With 67% of funding in 2022 going to projects with Indigenous languages, the ISO further supports the government’s Indigenous Languages Act and language rights affirmed by this government and by UNDRIP.

Paramount Pictures Canada x Mr. Will want to give Readers a chance to attend an Advance Screening of TRANSFORMERS: RISE OF THE BEASTS! One lucky winner also will get this amazing Prize Pack!

ADVANCE SCREENINGS:

TORONTO

Date: Monday, June 5th

Time: 7:00PM

Location: Scotiabank Theatre Toronto

*Doors open at 6:20PM.

MONTREAL ENGLISH

Date: Monday, June 5th

Time: 7:00PM

Location: Cineplex Cinemas Forum

*Doors open at 6:20PM.

Date: Monday, June 5th

MONTREAL FRENCH

Time: 7:00PM

Location: Cineplex Cinemas StarCité

*Doors open at 6:20PM.

VANCOUVER

Date: Monday, June 5th

Time: 7:00PM

Location: International Village Cinemas

*Doors open at 6:20PM.

EDMONTON

Date: Monday, June 5th

Time: 7:00PM

Location: Scotiabank Theatre Edmonton

*Doors open at 6:20PM.

Synopsis:

Returning to the action and spectacle that have captured moviegoers around the world, Transformers: Rise of the Beasts will take audiences on a ‘90s globetrotting adventure with the Autobots and introduce a whole new faction of Transformers – the Maximals – to the existing battle on earth between Autobots and Decepticons. Directed by Steven Caple Jr. and starring Anthony Ramos and Dominique Fishback, the film arrives in theatres June 9, 2023.

To enter for a chance to win, click “like” on this Post at MR. WILL ON FACEBOOK. Indicate your City in the comments there. Re-Tweet the below also for another chance!

Rules and regulations here.

(Photo/video credit: Paramount Pictures Canada)

Today, Prime Video announced the title of the next chapter of the Citadel Spyverse, Citadel: Diana, and revealed a first look at Matilda De Angelis (The Undoing) as the central character in the forthcoming series.

The Season One finale of Citadel, starring Richard Madden and Priyanka Chopra Jonas, drops today on Prime Video. The first series in the Spyverse global franchise wraps its first season with huge twists and nail-biting reveals, as the agents of Citadel discover the identity of the mole who brought down the agency at the hands of rival syndicate Manticore. Betrayals will be uncovered and questions will be answered, as the consequences of the finale create ripple effects that will be felt throughout the Spyverse. Following the finale episode, a post-credits teaser of Citadel: Diana reveals an exciting look at what’s to come as the Citadel Spyverse expands with the next chapter.

Citadel: Diana was locally created, produced, and filmed in Italy, with production wrapping earlier this year. The series comes from Cattleya (ZeroZeroZero)—part of ITV Studios—and showrunner and executive producer Gina Gardini, with Riccardo Tozzi, Marco Chimenz, and Giovanni Stabilini also serving as executive producers and Emanuele Savoini as co-executive producer. AGBO’s Anthony Russo, Joe Russo, Mike Larocca, Angela Russo-Ostot, Scott Nemes, and David Weil (Hunters) executive produce on Citadel: Diana and all series within the global Citadel universe. Midnight Radio executive produces Citadel: Diana and all series within the global Citadel universe. 

Citadel: Diana is directed by Arnaldo Catinari and developed by Alessandro Fabbri, who is also the head writer, and wrote the series with Ilaria Bernardini, Laura Colella, Gianluca Bernardini, and Giordana Mari. As previously announced, other cast members alongside Matilda De Angelis include Lorenzo Cervasio, Maurizio Lombardi, Julia Piaton, Thekla Reuten, Daniele Paoloni, Bernhard Schütz, and Filippo Nigro.

Canadian pop artist Kenzie Cates today premieres the music video for her latest release “i don’t need u,” chronicling her unnerving experience surviving and departing a cult she didn’t realize she was in. The song is a celebration of her strength, liberation, and hard-won self-trust.

“Being in a cult and then subsequently leaving has been one of the hardest things I’ve ever been through. The person I had to become to belong was not somebody I recognize today,” says Cates. “Songwriting and music weren’t really allowed in the cult, so after leaving, a big part of coming back to myself was pursuing a career in pop music.”

The music video for “i don’t need u” sees Kenzie confronting her former cult leader, declaring her independence from him with levity and humour while at the same time earnestly embracing her newfound (and hard-won) self-trust. It was shot and directed by Shiraz Higgins (credits: most of BBNO$’s music videos), and subverts Kenzie’s experience of being in a cult by casting her as the cult leader with dozens of disciples who resemble her former cult leader. Reversing the former power dynamic that defines her life, Kenzie exercises her complete control over her disciples’ minds, subjecting them to her every whim and shaping them into unexpected new versions of themselves.

“I wanted to intentionally speak to my sense of independence that I had worked really, really, hard for, and most importantly, I wanted a chance to say to the cult leader, ‘fuck you and fuck off.’ I sincerely hope this song can empower anybody who is in an abusive relationship make contact with their strength.”

Kenzie Cates has quickly gained international attention for her stunning artistry and powerful songwriting. This year, the BC-native cracked the top 10 in Nashville Songwriter’s Association International Annual Song Contest; and placed as a semi-finalist in American Songwriter’s annual song contest, landing in the 99th percentile of submissions. In 2021, she was a semi-finalist in the CBC/Toyota Searchlight Competition, which followed similar results in Yangaroo’s “New Indie Artist” search at Canadian Music Week in 2019.

She directed, shot, and edited her own music video for her first single release, “ruin it” (WATCH HERE). Encouraged by the song’s success, she applied and was selected to participate in Judy Stakee’s songwriting retreat in Nashville in March 2020, as well as Andrew Allen’s masterclass through the Songwriter’s Association of Canada that May. She has received considerable airplay across Canada for multiple singles, reaching the #3 position on Bellevue Radio’s Indie Chart. After exiting a cult in the fall of 2022, Kenzie has been writing about her experience of abuse, releasing her first single on the topic this March, “right about me,” described as a “masterful” expression of the confusion that results from chronic abuse. She hopes by telling her story, she can raise awareness about the ubiquity of cults.

By Amanda Gilmore

No one does a courtroom drama better than the French. Last year Director Alice Diop brought us the engrossing Saint Omer and this year Director Justine Triet brings us the riveting Anatomy of a Fall.

It follows Sandra (Sandra Hüller), a well-esteemed writer, who lives in a secluded cabin in the French Alps with her husband Samuel (Samuel Theis) and their partially blind son Daniel (Milo Machado Graner). One day, Daniel returns from walking the family dog and finds his father face down in the snow dead at the foot of the cabin. The investigation can’t determine if this was suicide or homicide leading to Sandra being arrested and tried for his murder.

The opening of Anatomy of a Fall has Sandra being interviewed by a student about her work. Abruptly, rap music blares and shakes through the cabin. Sandra informs the student that her husband enjoys listening to music loudly while he works on some repairs. At first glance, this scene seems unimportant. Yet, nothing about this Film should be taken at first glance.

Triet and co-writer Arthur Harari have crafted a complex story that’ll leave you second-guessing everything. This initial scene becomes evidence later in court. As does many moments from the mundane to the damaging. The most damaging is an audio recording of a heated argument between the couple that ended with glasses breaking and punches thrown. But by whom? Sandra or Samuel?

At the start of the trial, the prosecutor informs the court that Sandra’s bisexual and has had affairs. It’s clear this is just as important in the determination of her innocence as anything shown as evidence. Just as in many high-profile cases that are considered difficult to determine, the defendant’s private matters are dissected.

Triet doesn’t want to give you answers. She wants to show you the evidence presented and have you decide for yourself. Was it suicide? Was it homicide? What makes things more challenging to make a concrete decision is Hüller who gives a tour-de-force performance. She’s mysterious, intriguing, cruel, funny and nurturing. It’s an incredible portrayal and one of the year’s finest.

No matter what conclusion you’ve come to, Anatomy of a Fall’s superpower is the ability to leave room for the audience to debate. Because some will believe she did and some will believe she didn’t. Even more impressive, regardless of which side of the coin you fall on, every viewer will pinpoint a different part of the ‘evidence’ to prove their reasoning. Much like the reality we face in publicized high-profile court cases.

Anatomy of a Fall screens at Cannes ’23:

Sun May 21 at 4PM at GRAND THÉÂTRE LUMIÈRE

Mon May 22 at 8:30AM at AGNÈS VARDA THEATRE

Mon May 22 at 9AM at CINEUM IMAX

Mon May 22 at 12PM at GRAND THÉÂTRE LUMIÈRE

Mon May 22 at 9:30PM at LICORNE

Tue May 23 at 9AM at CINEUM AURORE

Wed May 24 at 9AM at CINEUM SCREEN X

Quentin Tarantino returned to Cannes, site of where he won the 1994 Palme d’Or with Pulp Fiction. He appeared as a guest of the Directors’ Fortnight competition, presenting a secret screening of the John Flynn classic ROLLING THUNDER. On why he chose this Film specifically, he tells the audience that he saw it opening night back in 1977 with his mom, the Film screening as part of a double-billing to ENTER THE DRAGON. He wound-up loving ROLLING THUNDER so much that he almost forgot about ENTER THE DRAGON!

Tarantino comments on political messages in his films. He spoke about how he can watch a buddy cop movie and not think about the political messages behind it, because he doesn’t know if there is one. But when I comes to the films he writes and directs, he says “If there are political messages in the film they are there because I put them there.”.

While Tarantino is known for graphic violence in his films, he does draw the line, stating, “I don’t agree with killing animals”. He adds, “I know I have seen some gruesome Horror films that didn’t have to be that way but almost always it’s not just the violence that I have a problem, with it’s usually badly done. There is an incompetent factor in there.”.

To this day, he cites Brian De Palma as his biggest influence. “I’m not gonna sign up for the most popular dude. That’s not my thing. Part of loving De Palma was getting into fights about him”. “The satire and comedy inside his thrillers even some of his action films are hysterical.”.

He also comments on re-writing history with revenge in his films. “In the case of Inglorious Basterds I didn’t think that I was going to kill Hitler at the end. That wasn’t the plan.”. “Then they’re in the theatre and I’m like ‘Hey, this is kinda working out. They actually might be successful at this. But I wrote myself in a corner…then all of a sudden a thought came to me ‘Just fucking kill him!’ and I’m like ‘Can I do that?’, then I’m like ‘Yea, it’s my story, I can do whatever the fuck I want!'”. “With Once Upon A Time in Hollywood… the reason I wrote the whole story was the save Sharon and kill those motherfuckers and have them go to the wrong house and REALLY THE WRONG HOUSE!“.

Lastly, on his tenth and final upcoming film, he is cryptic about it. “You’ll just have to wait and see…to be continued.”.

It’s officially patio season in the city, and Toronto’s largest waterfront patio and day club, Cabana Pool Bar, from INK Entertainment Group, is gearing up for another epic summer, with stellar talent and experiences lined up for the 2023 season, starting with a grand opening party on Sunday, June 4th. 

Music fans can expect 13 weeks of incredible events, appearances and performances from some of the world’s biggest artists including acclaimed, Grammy-nominated American electronic producer and DJ Kaskade; Jersey Shore favourite and powerhouse DJ Pauly D; Swedish DJ, producer and co-founder of Swedish House Mafia, Steve Angello; renowned dance music and future house DJ and producer, Tchami; the platinum-selling Torontonian production and DJ duo, DVBBS; captivating American rapper Tyga; London-based house DJ, producer and remixer, Sigala; and the popular English producer and DJ, Duke Dumont, with more to be announced.  

“Cabana is Toronto’s ultimate summer playground, and we can’t wait to welcome guests back for another incredible season,” says Charles Khabouth, CEO and Founder, INK Entertainment Group. “Whether you’re looking to soak up the sun on our daybeds with friends, or catch your favourite artists in action, Cabana is the only place to be this summer.”

The 2023 season will be kicking off with an opening party on June 4th featuring Manzone & Strong, Christina Cruise and Kevin Faria. To celebrate, all guests will be able to redeem free entry with a Cabana wristband before 3 pm, which will be handed out at various events at other INK venues Toybox and Rebel. Daylife fans can also keep their eyes peeled for Cabana pop-ups throughout the city between May 26 and June 3, to secure their wristbands and experience additional giveaways. 

Cabana fans can also look forward to the return of popular themed parties from previous years including, the RED Party on Canada Day weekend, The Rosé Party featuring Brooke Evers on June 10th, as well as special events during PRIDE, Caribana weekend and more.  

Located at Polson Pier with unparalleled views of Lake Ontario, Cabana transforms Toronto’s waterfront into a ‘day-to-night’ party spot with a seasonal poolside menu from Oliver and Bonacini, private cabanas, daybeds, and room for up to 2,500 sun seekers, accessible by land or by boat, with a docking service available. 

For more information visit www.cabanapoolbar.com or follow Cabana on Instagram, Facebook or Twitter.  

Tickets: 

www.cabanapoolbar.com 

FUBAR has an extra special place in our hearts. After having filmed in and around Toronto last Summer, we’ve been waiting anxiously for its debut and finally its release is now before us on Netflix.

Legendary Arnold Schwarzenegger makes his Scripted Television debut in this Series about a father and daughter duo, who have been keeping secrets from one another all along. We meet Luke (Schwarzenegger), a CIA operative who on the surface is a sweet, caring father to his daughter Emma (Monica Barbaro). His marriage to her mother had failed but his work may have been responsible for that. Emma also is a CIA operative and keeps this from her father and FUBAR explores their relationship on two levels – one where everthing is seemingly happy-go-lucky, but on a deeper level them discovering eachother’s secrets enables them to face their own family issues head-on. They need to be able to tackle this to be able to be a successful team on a work and personal level.

FUBAR feels true to brand for Schwarzenegger. Think, True Lies, but his biggest opponent here is his own daughter. And above that, she possesses his headstrong manner. Schwarzenegger and Barbaro play off well together in a battle of egos, which makes for fun. Supporting Players like Scott Thompson, Fortune Feimster, Gabriel Luna and Jay Baruchel keep things light and engaging, ensuring the Series stays true to its energetic feel. The Series is comedic and packed with action, style and thrills, giving fans exactly what they’d expect.

All eight episodes of FUBAR arrive on Netflix May 25, 2023.

INK Entertainment Group and Harlo Entertainment are proud to announce their new collaboration, Ultra, a luxurious and elevated supper club experience, opening in Midtown on June 6th. Ultra marks an exciting new venture and partnership between Charles Khabouth and Danny Soberano of INK, and Michael Kimel and Brandon Marek of Harlo Entertainment, as they introduce the first concept of its kind to Toronto’s Midtown. 

Nestled between Toronto’s prestigious neighbourhoods of Rosedale, Summerhill and Forest Hill, at 12 St. Clair Ave E, Ultra invites guests to indulge in a feast for the senses, from exceptional Pan-Asian cuisine and exquisite cocktails to elevated entertainment and jaw-dropping decor curated by internationally acclaimed design collective, Studio Munge.

“From the moment guests step into Ultra, they will be immersed into an elegant and seductive world, inspired by the creative and unique mind of Alexander McQueen,” said Charles Khabouth, CEO and Founder of INK Entertainment Group. “Whether guests choose to stop by for a cocktail in our Onyx Bar, or spend an evening with us for a decadent meal followed by dancing and entertainment in our opulent golden parlour, Ultra will offer an experience unlike any other in the city.”  

Ultra is centered around an innovative Pan-Asian menu, developed by Executive Chef Kihyun Kim (previously Akira Back Toronto, Millennium Hilton Seoul and Yellowtail at The Bellagio), incorporating international flavours, fusing beloved Asian dishes and ingredients with an Occident twist. Ultra’s menu embraces the joy of sharing and premium ingredients, with menu features including cold and hot shares, such as Giant Ezo Hokkaido Scallop and Seared Japanese Yellowtail; rice and noodles, including Black Garlic Somen and Bay Scallop Chili Udon; fresh sushi and sashimi; and robata grill mains, like Hangar Steak, Picanha, Miso Black Cod and Charred Lamb Chop. 

Complementing the culinary experience is an innovative cocktail menu from Ultra’s Mixologist, Vitus Wight (previously Gladstone House, George and Playa Cabana), drawing inspiration from the many different cultures and flavours of East Asia, infusing select herbs, traditions and techniques for innovative cocktails to suit a modern palette. Standouts include Ultra’s signature Onyx Martini, utilizing cold infusion to draw the aromatic flavours from Pandan leaf, combined with Grey Goose Vodka and a Tok Junmai Sanzen Omachi Sake to showcase the umami flavours of Japan; and the Kuro Mame, a bold take on Vietnamese Coffee, with Woodford Reserve, Tia Maria, Cold Brew, Condensed Milk and Black Sesame. 

An extensive wine list rounds out Ultra’s beverage program, with a diverse selection of both classic and more innovative varietals, to ensure a perfect pairing with each dish on the menu. In addition, a carefully curated sake collection showcases an exquisite range of traditional and premium sake varieties, sourced from renowned breweries in Japan and beyond, available by the glass and by the bottle, as well as additional bottle service options for those dancing until the early hours of the morning.  

Many Torontonians may remember Ultra as a popular supper club concept located on Queen West during the 2000s, and one of the first collaborations between INK and Studio Munge. Now, over 10 years later, the two powerhouses have joined forces once again, alongside Harlo Entertainment, to bring an entirely new Ultra experience to Toronto’s Midtown. 

Embodying a provocative and dramatic elegance, Ultra features three beautiful spaces masterfully curated by Studio Munge, inspired by legendary designer Alexander McQueen. 

• The Ochre Room – A grand octagonal room and the heart of the Ultra supper club experience. Adorned with opulent gold decor, a dramatic, bespoke chandelier extending from the center to the outer edges of the room, and an array of elegant sofas, chairs, and ottomans artfully arranged below to offer a seamless transition from dining to dancing. 
• Onyx Bar – Celebrating the richness and sex appeal of fashion’s most revered colour, black, this dimly lit cocktail cove, cloaked with sensual drapery, black velvet banquettes and plush pillows is the perfect space for getting cozy with cocktails in hand. 
• Mineral Lounge – Through an immersive stairwell painted in a seafoam blue, guests will arrive at an ethereal, octagonal terrace, with soft teal velvet sofas, pillowy dining chairs, and a lively bar with views of the city – the ideal setting for an aperitivo or dining al fresco during the summer. 

As the evening unfolds, guests are encouraged to sit back and revel in Ultra’s seamless transition from an elevated dining experience to an enthralling late-night atmosphere. With DJs and entertainment until the early hours, Thursday to Saturday, Ultra will ensure an unforgettable evening of delectable cuisine, enchanting ambiance, and thrilling entertainment all under one roof.

Ultra will be open for dinner Monday to Saturday, between 5 pm and 11 pm, starting June 6th, with the Supper Club experience available Thursday through Saturday until 2 am. Advance reservations can now be made via OpenTable. 

By Amanda Gilmore

Visionary Director Wes Anderson delivers a witty Sci-Fi about loneliness.

Asteroid City is about a TV show broadcast about a play that’s about people visiting a place called Asteroid City. Yes, you read the correctly. In typical quirky Anderson fashion, he brings us into this story through a character telling a story. In so doing, he delivers layers of themes that merge into one universal look at humanity.

Anderson first introduces us to a black-and-white TV Show with a story being told by a Broadcast Host played brilliantly by Bryan Cranston. He tells us about a playwright (Edward Norton) who was in search of a cast to perform in his new play that had yet to have a name — ahem…it becomes titled Asteroid City. Anderson then pulls back the curtain and brings us into the play, broken down with title card Acts and Scenes, and the familiar world of vibrant colour we’ve come to expect from the visionary arrives.

The play is about Augie (a fantastic Jason Schwartzman) who’s driving to Asteroid City with his son Woodrow (Jake Ryan) and three daughters. Woodrow is going to be awarded a medal at the Junior Stargazer convention in the town. When they arrive, Augie informs his children that their mother passed away three-weeks prior. This is the first indication of a slightly darker tone for Anderson even while being in this enchanting colourful world. He examines themes such as grief, loneliness and slight apathy.

While in a diner in-town, Augie and Woodrow meet actress Midge Campbell (Scarlett Johansson) and her daughter (Grace Edwards). Johansson excels in this quirky role that we rarely get to see her play. Her character is quite meta as she’s an actress who’s playing an actress in the play Asteroid City.

Augie and Midge slowly build a kinship as they often meet in the windows of their adjoining rentals. Angie runs lines with Midge as she rehearses for her next big role. Frustrated that he isn’t giving much emotion, Augie finally confesses. He hasn’t been feeling much of anything since his wife’s death. This leads Midge to tell him to use that grief and put it into the character.

For all of the spectacular visuals in Asteroid City, this is the most beautiful thing Anderson has delivered. This is a small but powerful message of how art can help channel emotional pain. He cements this theme when we return to black and white. As the actor playing Augie steps backstage and out on a balcony. He runs into the actress (Margot Robbie) who was going to play his wife before they decided to kill off her character. With only this scene, Robbie captivates as she delivers a monologue about the grief of losing the role but the fact that she’s now at a different production just next door. Things end but you need to feel and work through the emotions to move forward.

Anderson’s packed in quite an Ensemble that whom knock it out of the park. He also delivers on the Sci-Fi front. With a few scenes that are such fun that you’ll be craving more.

Asteroid City screens at Cannes ’23:

Tue May 23 at 7PM at GRAND THÉÂTRE LUMIÈRE

Wed May 24 at 8:30AM at GRAND THÉÂTRE LUMIÈRE

Wed May 24 at 8:30AM at AGNÈS VARDA THEATRE

Wed May 24 at 2:30PM at GRAND THÉÂTRE LUMIÈRE

Wed May 24 at 4PM at CINEUM IMAX

Thu May 25 at 2PM at CINEUM AURORE

Sat May 27 at 3:15PM at AGNÈS VARDA THEATRE