BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//hacksw/handcal//NONSGML v1.0//EN
BEGIN:VEVENT
UID:125738@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181201T230000Z
DTEND:20181202T010200Z
SUMMARY:THE SISTERS BROTHERS
DESCRIPTION: The title seems like a joke: How the hell did Charlie Sisters (Joaquin Phoenix) and his older brother Eli (John C. Reilly) grow up in the Old West with a last name like Sisters and not get ragged on to the point of madness? It’s 1851, and the siblings work as ruthless hired guns for their boss, Commodore (Rutger Hauer). Conflict escalates when their overlord sends them after Hermann Kermit Warm (Riz Ahmed, terrific), a mild-mannered chemist who has invented a magic elixir that, when poured on river rocks, will highlight any gold nuggets found within. The boss has sent along an advance man in the person of lawman John Morris (Jake Gyllenhaal) to deliver Warm to the two men. Got that? What raises the bar is the presence of Jacques Audiard in the director’s chair. A French auteur, known for such humanist dramas as A Prophet, Rust and Bone and Deephan, Audiard is making his first film in English — and it’s a western. Working from a script from the novel by Patrick deWitt, the filmmaker brings an outsider’s view to the genre, one that throws his movie off in the best possible way. Audiard won Best Director at the Venice Film Festival. You’ll have no trouble understanding why. Audiard sculpts his own unique vision, and it’s a knockout. It’s one of a kind. --Rolling Stone
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125739@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181202T030000Z
DTEND:20181202T050200Z
SUMMARY:THE SISTERS BROTHERS
DESCRIPTION: The title seems like a joke: How the hell did Charlie Sisters (Joaquin Phoenix) and his older brother Eli (John C. Reilly) grow up in the Old West with a last name like Sisters and not get ragged on to the point of madness? It’s 1851, and the siblings work as ruthless hired guns for their boss, Commodore (Rutger Hauer). Conflict escalates when their overlord sends them after Hermann Kermit Warm (Riz Ahmed, terrific), a mild-mannered chemist who has invented a magic elixir that, when poured on river rocks, will highlight any gold nuggets found within. The boss has sent along an advance man in the person of lawman John Morris (Jake Gyllenhaal) to deliver Warm to the two men. Got that? What raises the bar is the presence of Jacques Audiard in the director’s chair. A French auteur, known for such humanist dramas as A Prophet, Rust and Bone and Deephan, Audiard is making his first film in English — and it’s a western. Working from a script from the novel by Patrick deWitt, the filmmaker brings an outsider’s view to the genre, one that throws his movie off in the best possible way. Audiard won Best Director at the Venice Film Festival. You’ll have no trouble understanding why. Audiard sculpts his own unique vision, and it’s a knockout. It’s one of a kind. --Rolling Stone
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125740@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181202T052500Z
DTEND:20181202T072700Z
SUMMARY:THE SISTERS BROTHERS
DESCRIPTION: The title seems like a joke: How the hell did Charlie Sisters (Joaquin Phoenix) and his older brother Eli (John C. Reilly) grow up in the Old West with a last name like Sisters and not get ragged on to the point of madness? It’s 1851, and the siblings work as ruthless hired guns for their boss, Commodore (Rutger Hauer). Conflict escalates when their overlord sends them after Hermann Kermit Warm (Riz Ahmed, terrific), a mild-mannered chemist who has invented a magic elixir that, when poured on river rocks, will highlight any gold nuggets found within. The boss has sent along an advance man in the person of lawman John Morris (Jake Gyllenhaal) to deliver Warm to the two men. Got that? What raises the bar is the presence of Jacques Audiard in the director’s chair. A French auteur, known for such humanist dramas as A Prophet, Rust and Bone and Deephan, Audiard is making his first film in English — and it’s a western. Working from a script from the novel by Patrick deWitt, the filmmaker brings an outsider’s view to the genre, one that throws his movie off in the best possible way. Audiard won Best Director at the Venice Film Festival. You’ll have no trouble understanding why. Audiard sculpts his own unique vision, and it’s a knockout. It’s one of a kind. --Rolling Stone
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125741@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181202T230000Z
DTEND:20181203T002800Z
SUMMARY:LOVE, GILDA
DESCRIPTION: No one on “Saturday Night Live” ever had a spirit that burned more brightly, or hilariously, than Gilda Radner. She poured her essence — her very being — into every character she created, and she did it effortlessly, without fuss. She didn’t just create characters. She became them, and invited the audience to share in the euphoria. Lisa D’Apolito’s exuberant and moving documentary portrait is a movie that captures the fascinating evolution and awesome range of Radner’s talent — the dozens of lovingly, crazily etched characters she did on “SNL” (the dear old deaf crank Emily Litella, the head-cold nerd Lisa Loopner, the wildly cantankerous Roseanne Roseannadanna), and the way you felt the magic pull of her gift. Forty years later, her comedy looks more sublime than ever. For anyone to die as young as Gilda Radner did (she was 42) is tragic, but for a performer who gave this much to the world, with a spirit of such elation, to be cut down in this way seems beyond cruel. Yet by the end of “Love, Gilda,” you feel like you’ve seen a very full life. --Variety 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125742@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181203T010000Z
DTEND:20181203T022800Z
SUMMARY:LOVE, GILDA
DESCRIPTION: No one on “Saturday Night Live” ever had a spirit that burned more brightly, or hilariously, than Gilda Radner. She poured her essence — her very being — into every character she created, and she did it effortlessly, without fuss. She didn’t just create characters. She became them, and invited the audience to share in the euphoria. Lisa D’Apolito’s exuberant and moving documentary portrait is a movie that captures the fascinating evolution and awesome range of Radner’s talent — the dozens of lovingly, crazily etched characters she did on “SNL” (the dear old deaf crank Emily Litella, the head-cold nerd Lisa Loopner, the wildly cantankerous Roseanne Roseannadanna), and the way you felt the magic pull of her gift. Forty years later, her comedy looks more sublime than ever. For anyone to die as young as Gilda Radner did (she was 42) is tragic, but for a performer who gave this much to the world, with a spirit of such elation, to be cut down in this way seems beyond cruel. Yet by the end of “Love, Gilda,” you feel like you’ve seen a very full life. --Variety 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125743@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181203T030000Z
DTEND:20181203T042800Z
SUMMARY:LOVE, GILDA
DESCRIPTION: No one on “Saturday Night Live” ever had a spirit that burned more brightly, or hilariously, than Gilda Radner. She poured her essence — her very being — into every character she created, and she did it effortlessly, without fuss. She didn’t just create characters. She became them, and invited the audience to share in the euphoria. Lisa D’Apolito’s exuberant and moving documentary portrait is a movie that captures the fascinating evolution and awesome range of Radner’s talent — the dozens of lovingly, crazily etched characters she did on “SNL” (the dear old deaf crank Emily Litella, the head-cold nerd Lisa Loopner, the wildly cantankerous Roseanne Roseannadanna), and the way you felt the magic pull of her gift. Forty years later, her comedy looks more sublime than ever. For anyone to die as young as Gilda Radner did (she was 42) is tragic, but for a performer who gave this much to the world, with a spirit of such elation, to be cut down in this way seems beyond cruel. Yet by the end of “Love, Gilda,” you feel like you’ve seen a very full life. --Variety 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125746@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181204T000000Z
DTEND:20181204T013000Z
SUMMARY:PERSONS WITH DISABILITIES FILM FESTIVAL
DESCRIPTION:SPECIAL EVENT! CELEBRATING THE UNITED NATIONS INTERNATIONAL DAY OF PERSONS WITH DISABILITIES    ADMISSION BY DONATION Entertaining and memorable short films featuring people with intellectual and developmental disabilities. 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125744@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181204T030000Z
DTEND:20181204T042800Z
SUMMARY:LOVE, GILDA
DESCRIPTION: No one on “Saturday Night Live” ever had a spirit that burned more brightly, or hilariously, than Gilda Radner. She poured her essence — her very being — into every character she created, and she did it effortlessly, without fuss. She didn’t just create characters. She became them, and invited the audience to share in the euphoria. Lisa D’Apolito’s exuberant and moving documentary portrait is a movie that captures the fascinating evolution and awesome range of Radner’s talent — the dozens of lovingly, crazily etched characters she did on “SNL” (the dear old deaf crank Emily Litella, the head-cold nerd Lisa Loopner, the wildly cantankerous Roseanne Roseannadanna), and the way you felt the magic pull of her gift. Forty years later, her comedy looks more sublime than ever. For anyone to die as young as Gilda Radner did (she was 42) is tragic, but for a performer who gave this much to the world, with a spirit of such elation, to be cut down in this way seems beyond cruel. Yet by the end of “Love, Gilda,” you feel like you’ve seen a very full life. --Variety 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125745@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181204T050000Z
DTEND:20181204T062800Z
SUMMARY:LOVE, GILDA
DESCRIPTION: No one on “Saturday Night Live” ever had a spirit that burned more brightly, or hilariously, than Gilda Radner. She poured her essence — her very being — into every character she created, and she did it effortlessly, without fuss. She didn’t just create characters. She became them, and invited the audience to share in the euphoria. Lisa D’Apolito’s exuberant and moving documentary portrait is a movie that captures the fascinating evolution and awesome range of Radner’s talent — the dozens of lovingly, crazily etched characters she did on “SNL” (the dear old deaf crank Emily Litella, the head-cold nerd Lisa Loopner, the wildly cantankerous Roseanne Roseannadanna), and the way you felt the magic pull of her gift. Forty years later, her comedy looks more sublime than ever. For anyone to die as young as Gilda Radner did (she was 42) is tragic, but for a performer who gave this much to the world, with a spirit of such elation, to be cut down in this way seems beyond cruel. Yet by the end of “Love, Gilda,” you feel like you’ve seen a very full life. --Variety 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125747@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181205T030000Z
DTEND:20181205T042900Z
SUMMARY:TRUE STORIES
DESCRIPTION: Music icon David Byrne was inspired by tabloid headlines to make his sole foray into feature-film directing, an ode to the extraordinariness of ordinary American life and a distillation of what was in his own idiosyncratic mind. The Talking Heads front man plays a visitor to Virgil, Texas, who introduces us to the citizens of the town during preparations for its Celebration of Specialness. As shot by cinematographer Ed Lachman, Texas becomes a hyperrealistic late-capitalist landscape of endless vistas, shopping malls, and prefab metal buildings. In True Stories, Byrne uses his songs to stitch together pop iconography, voodoo rituals, and a singular variety show—all in the service of uncovering the rich mysteries that lurk under the surface of everyday experience. --Criterion Collection 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125748@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181205T050000Z
DTEND:20181205T062900Z
SUMMARY:TRUE STORIES
DESCRIPTION: Music icon David Byrne was inspired by tabloid headlines to make his sole foray into feature-film directing, an ode to the extraordinariness of ordinary American life and a distillation of what was in his own idiosyncratic mind. The Talking Heads front man plays a visitor to Virgil, Texas, who introduces us to the citizens of the town during preparations for its Celebration of Specialness. As shot by cinematographer Ed Lachman, Texas becomes a hyperrealistic late-capitalist landscape of endless vistas, shopping malls, and prefab metal buildings. In True Stories, Byrne uses his songs to stitch together pop iconography, voodoo rituals, and a singular variety show—all in the service of uncovering the rich mysteries that lurk under the surface of everyday experience. --Criterion Collection 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125749@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181206T030000Z
DTEND:20181206T044100Z
SUMMARY:MATANGI/MAYA/M.I.A.
DESCRIPTION: A decade after "Paper Planes" launched M.I.A. into the charts’ stratosphere, Steve Loveridge’s all-access documentary offers welcome insights into the uncompromising pop-culture firebrand whose creativity and charisma are apparently rivalled only by her combativeness and appetite for controversy. Decades of personal footage shot by the Sri Lankan refugee-turned-subversive-icon reveal a deeply conflicted artist—torn between her Tamil resistance-fighter heritage, her desire for superstardom and her capacity for acts of self-sabotage (the most infamous being her one-finger salute at the Super Bowl halftime show that resulted in $1.5-million fine). In devoting equal screen time to triumphs and frustrations, Loveridge illustrates that album sales in the millions don’t necessarily translate into people wanting to hear what you actually have to say. –Vancouver International Film Festival   "[M.I.A. Is] the controlling spirit of this enjoyable documentary: always the centre of attention, performing and setting the mood with absolute magnetism. It’s clear she’s the director of her own life."—The Guardian Winner! Special Documentary Jury Award -- Sundance 18 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125750@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181206T050000Z
DTEND:20181206T064100Z
SUMMARY:MATANGI/MAYA/M.I.A.
DESCRIPTION: A decade after "Paper Planes" launched M.I.A. into the charts’ stratosphere, Steve Loveridge’s all-access documentary offers welcome insights into the uncompromising pop-culture firebrand whose creativity and charisma are apparently rivalled only by her combativeness and appetite for controversy. Decades of personal footage shot by the Sri Lankan refugee-turned-subversive-icon reveal a deeply conflicted artist—torn between her Tamil resistance-fighter heritage, her desire for superstardom and her capacity for acts of self-sabotage (the most infamous being her one-finger salute at the Super Bowl halftime show that resulted in $1.5-million fine). In devoting equal screen time to triumphs and frustrations, Loveridge illustrates that album sales in the millions don’t necessarily translate into people wanting to hear what you actually have to say. –Vancouver International Film Festival   "[M.I.A. Is] the controlling spirit of this enjoyable documentary: always the centre of attention, performing and setting the mood with absolute magnetism. It’s clear she’s the director of her own life."—The Guardian Winner! Special Documentary Jury Award -- Sundance 18 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125751@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181207T030000Z
DTEND:20181207T044100Z
SUMMARY:MATANGI/MAYA/M.I.A.
DESCRIPTION: A decade after "Paper Planes" launched M.I.A. into the charts’ stratosphere, Steve Loveridge’s all-access documentary offers welcome insights into the uncompromising pop-culture firebrand whose creativity and charisma are apparently rivalled only by her combativeness and appetite for controversy. Decades of personal footage shot by the Sri Lankan refugee-turned-subversive-icon reveal a deeply conflicted artist—torn between her Tamil resistance-fighter heritage, her desire for superstardom and her capacity for acts of self-sabotage (the most infamous being her one-finger salute at the Super Bowl halftime show that resulted in $1.5-million fine). In devoting equal screen time to triumphs and frustrations, Loveridge illustrates that album sales in the millions don’t necessarily translate into people wanting to hear what you actually have to say. –Vancouver International Film Festival   "[M.I.A. Is] the controlling spirit of this enjoyable documentary: always the centre of attention, performing and setting the mood with absolute magnetism. It’s clear she’s the director of her own life."—The Guardian Winner! Special Documentary Jury Award -- Sundance 18 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125752@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181207T050000Z
DTEND:20181207T064100Z
SUMMARY:MATANGI/MAYA/M.I.A.
DESCRIPTION: A decade after "Paper Planes" launched M.I.A. into the charts’ stratosphere, Steve Loveridge’s all-access documentary offers welcome insights into the uncompromising pop-culture firebrand whose creativity and charisma are apparently rivalled only by her combativeness and appetite for controversy. Decades of personal footage shot by the Sri Lankan refugee-turned-subversive-icon reveal a deeply conflicted artist—torn between her Tamil resistance-fighter heritage, her desire for superstardom and her capacity for acts of self-sabotage (the most infamous being her one-finger salute at the Super Bowl halftime show that resulted in $1.5-million fine). In devoting equal screen time to triumphs and frustrations, Loveridge illustrates that album sales in the millions don’t necessarily translate into people wanting to hear what you actually have to say. –Vancouver International Film Festival   "[M.I.A. Is] the controlling spirit of this enjoyable documentary: always the centre of attention, performing and setting the mood with absolute magnetism. It’s clear she’s the director of her own life."—The Guardian Winner! Special Documentary Jury Award -- Sundance 18 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125753@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181207T230000Z
DTEND:20181208T004100Z
SUMMARY:FREE SOLO
DESCRIPTION: BACK BY POPULAR DEMAND! ACADEMY AWARD NOMINEE: BEST DOCUMENTARY FEATURE! You don’t have to be a fan of rock climbing to love Free Solo. The documentary and its protagonist transcend the sport. Last year, when Alex Honnold scaled the infamous El Capitan in California’s Yosemite National Park in a “free solo” — without the use of any equipment beyond his own well-toned body and instinctual skills — it was a feat beyond superhuman. It was also breathtakingly dangerous and foolhardy.  But directors Elizabeth Chai Vasarhelyi and Jimmy Chin construct an engrossing and compelling story, with Honnold front and centre, to set out the enormity of the challenge and also to explore the elusive inner drive that leads some people to do things that are far beyond the ordinary. Honnold is himself a very interesting subject as we learn in the many months leading up to the climb. And there’s a certain intensity in Honnold’s big brown eyes that draws the audience to him as he sets out on this daunting quest. In short, he’s the ideal subject, an extraordinary man with an aura of mystery about him. Then there is the rock itself, a sheer and pitiless wall that seems simply insurmountable. The tension and dread it inspires is a critical component of the film, and the directors and their team acquit themselves exceedingly well in chronicling the actual ascent. It’s nerve-wracking and exhilarating all at once. Free Solo is above all a very complete and satisfying film.  --Toronto Star 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125754@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181208T030000Z
DTEND:20181208T044100Z
SUMMARY:FREE SOLO
DESCRIPTION: BACK BY POPULAR DEMAND! ACADEMY AWARD NOMINEE: BEST DOCUMENTARY FEATURE! You don’t have to be a fan of rock climbing to love Free Solo. The documentary and its protagonist transcend the sport. Last year, when Alex Honnold scaled the infamous El Capitan in California’s Yosemite National Park in a “free solo” — without the use of any equipment beyond his own well-toned body and instinctual skills — it was a feat beyond superhuman. It was also breathtakingly dangerous and foolhardy.  But directors Elizabeth Chai Vasarhelyi and Jimmy Chin construct an engrossing and compelling story, with Honnold front and centre, to set out the enormity of the challenge and also to explore the elusive inner drive that leads some people to do things that are far beyond the ordinary. Honnold is himself a very interesting subject as we learn in the many months leading up to the climb. And there’s a certain intensity in Honnold’s big brown eyes that draws the audience to him as he sets out on this daunting quest. In short, he’s the ideal subject, an extraordinary man with an aura of mystery about him. Then there is the rock itself, a sheer and pitiless wall that seems simply insurmountable. The tension and dread it inspires is a critical component of the film, and the directors and their team acquit themselves exceedingly well in chronicling the actual ascent. It’s nerve-wracking and exhilarating all at once. Free Solo is above all a very complete and satisfying film.  --Toronto Star 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125755@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181208T051000Z
DTEND:20181208T065100Z
SUMMARY:FREE SOLO
DESCRIPTION: BACK BY POPULAR DEMAND! ACADEMY AWARD NOMINEE: BEST DOCUMENTARY FEATURE! You don’t have to be a fan of rock climbing to love Free Solo. The documentary and its protagonist transcend the sport. Last year, when Alex Honnold scaled the infamous El Capitan in California’s Yosemite National Park in a “free solo” — without the use of any equipment beyond his own well-toned body and instinctual skills — it was a feat beyond superhuman. It was also breathtakingly dangerous and foolhardy.  But directors Elizabeth Chai Vasarhelyi and Jimmy Chin construct an engrossing and compelling story, with Honnold front and centre, to set out the enormity of the challenge and also to explore the elusive inner drive that leads some people to do things that are far beyond the ordinary. Honnold is himself a very interesting subject as we learn in the many months leading up to the climb. And there’s a certain intensity in Honnold’s big brown eyes that draws the audience to him as he sets out on this daunting quest. In short, he’s the ideal subject, an extraordinary man with an aura of mystery about him. Then there is the rock itself, a sheer and pitiless wall that seems simply insurmountable. The tension and dread it inspires is a critical component of the film, and the directors and their team acquit themselves exceedingly well in chronicling the actual ascent. It’s nerve-wracking and exhilarating all at once. Free Solo is above all a very complete and satisfying film.  --Toronto Star 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125756@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181208T230000Z
DTEND:20181209T004100Z
SUMMARY:FREE SOLO
DESCRIPTION: BACK BY POPULAR DEMAND! ACADEMY AWARD NOMINEE: BEST DOCUMENTARY FEATURE! You don’t have to be a fan of rock climbing to love Free Solo. The documentary and its protagonist transcend the sport. Last year, when Alex Honnold scaled the infamous El Capitan in California’s Yosemite National Park in a “free solo” — without the use of any equipment beyond his own well-toned body and instinctual skills — it was a feat beyond superhuman. It was also breathtakingly dangerous and foolhardy.  But directors Elizabeth Chai Vasarhelyi and Jimmy Chin construct an engrossing and compelling story, with Honnold front and centre, to set out the enormity of the challenge and also to explore the elusive inner drive that leads some people to do things that are far beyond the ordinary. Honnold is himself a very interesting subject as we learn in the many months leading up to the climb. And there’s a certain intensity in Honnold’s big brown eyes that draws the audience to him as he sets out on this daunting quest. In short, he’s the ideal subject, an extraordinary man with an aura of mystery about him. Then there is the rock itself, a sheer and pitiless wall that seems simply insurmountable. The tension and dread it inspires is a critical component of the film, and the directors and their team acquit themselves exceedingly well in chronicling the actual ascent. It’s nerve-wracking and exhilarating all at once. Free Solo is above all a very complete and satisfying film.  --Toronto Star 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125757@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181209T030000Z
DTEND:20181209T044100Z
SUMMARY:FREE SOLO
DESCRIPTION: BACK BY POPULAR DEMAND! ACADEMY AWARD NOMINEE: BEST DOCUMENTARY FEATURE! You don’t have to be a fan of rock climbing to love Free Solo. The documentary and its protagonist transcend the sport. Last year, when Alex Honnold scaled the infamous El Capitan in California’s Yosemite National Park in a “free solo” — without the use of any equipment beyond his own well-toned body and instinctual skills — it was a feat beyond superhuman. It was also breathtakingly dangerous and foolhardy.  But directors Elizabeth Chai Vasarhelyi and Jimmy Chin construct an engrossing and compelling story, with Honnold front and centre, to set out the enormity of the challenge and also to explore the elusive inner drive that leads some people to do things that are far beyond the ordinary. Honnold is himself a very interesting subject as we learn in the many months leading up to the climb. And there’s a certain intensity in Honnold’s big brown eyes that draws the audience to him as he sets out on this daunting quest. In short, he’s the ideal subject, an extraordinary man with an aura of mystery about him. Then there is the rock itself, a sheer and pitiless wall that seems simply insurmountable. The tension and dread it inspires is a critical component of the film, and the directors and their team acquit themselves exceedingly well in chronicling the actual ascent. It’s nerve-wracking and exhilarating all at once. Free Solo is above all a very complete and satisfying film.  --Toronto Star 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125758@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181209T051000Z
DTEND:20181209T065100Z
SUMMARY:FREE SOLO
DESCRIPTION: BACK BY POPULAR DEMAND! ACADEMY AWARD NOMINEE: BEST DOCUMENTARY FEATURE! You don’t have to be a fan of rock climbing to love Free Solo. The documentary and its protagonist transcend the sport. Last year, when Alex Honnold scaled the infamous El Capitan in California’s Yosemite National Park in a “free solo” — without the use of any equipment beyond his own well-toned body and instinctual skills — it was a feat beyond superhuman. It was also breathtakingly dangerous and foolhardy.  But directors Elizabeth Chai Vasarhelyi and Jimmy Chin construct an engrossing and compelling story, with Honnold front and centre, to set out the enormity of the challenge and also to explore the elusive inner drive that leads some people to do things that are far beyond the ordinary. Honnold is himself a very interesting subject as we learn in the many months leading up to the climb. And there’s a certain intensity in Honnold’s big brown eyes that draws the audience to him as he sets out on this daunting quest. In short, he’s the ideal subject, an extraordinary man with an aura of mystery about him. Then there is the rock itself, a sheer and pitiless wall that seems simply insurmountable. The tension and dread it inspires is a critical component of the film, and the directors and their team acquit themselves exceedingly well in chronicling the actual ascent. It’s nerve-wracking and exhilarating all at once. Free Solo is above all a very complete and satisfying film.  --Toronto Star 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125759@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181210T010000Z
DTEND:20181210T024100Z
SUMMARY:FREE SOLO
DESCRIPTION: BACK BY POPULAR DEMAND! ACADEMY AWARD NOMINEE: BEST DOCUMENTARY FEATURE! You don’t have to be a fan of rock climbing to love Free Solo. The documentary and its protagonist transcend the sport. Last year, when Alex Honnold scaled the infamous El Capitan in California’s Yosemite National Park in a “free solo” — without the use of any equipment beyond his own well-toned body and instinctual skills — it was a feat beyond superhuman. It was also breathtakingly dangerous and foolhardy.  But directors Elizabeth Chai Vasarhelyi and Jimmy Chin construct an engrossing and compelling story, with Honnold front and centre, to set out the enormity of the challenge and also to explore the elusive inner drive that leads some people to do things that are far beyond the ordinary. Honnold is himself a very interesting subject as we learn in the many months leading up to the climb. And there’s a certain intensity in Honnold’s big brown eyes that draws the audience to him as he sets out on this daunting quest. In short, he’s the ideal subject, an extraordinary man with an aura of mystery about him. Then there is the rock itself, a sheer and pitiless wall that seems simply insurmountable. The tension and dread it inspires is a critical component of the film, and the directors and their team acquit themselves exceedingly well in chronicling the actual ascent. It’s nerve-wracking and exhilarating all at once. Free Solo is above all a very complete and satisfying film.  --Toronto Star 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125760@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181210T031500Z
DTEND:20181210T045600Z
SUMMARY:FREE SOLO
DESCRIPTION: BACK BY POPULAR DEMAND! ACADEMY AWARD NOMINEE: BEST DOCUMENTARY FEATURE! You don’t have to be a fan of rock climbing to love Free Solo. The documentary and its protagonist transcend the sport. Last year, when Alex Honnold scaled the infamous El Capitan in California’s Yosemite National Park in a “free solo” — without the use of any equipment beyond his own well-toned body and instinctual skills — it was a feat beyond superhuman. It was also breathtakingly dangerous and foolhardy.  But directors Elizabeth Chai Vasarhelyi and Jimmy Chin construct an engrossing and compelling story, with Honnold front and centre, to set out the enormity of the challenge and also to explore the elusive inner drive that leads some people to do things that are far beyond the ordinary. Honnold is himself a very interesting subject as we learn in the many months leading up to the climb. And there’s a certain intensity in Honnold’s big brown eyes that draws the audience to him as he sets out on this daunting quest. In short, he’s the ideal subject, an extraordinary man with an aura of mystery about him. Then there is the rock itself, a sheer and pitiless wall that seems simply insurmountable. The tension and dread it inspires is a critical component of the film, and the directors and their team acquit themselves exceedingly well in chronicling the actual ascent. It’s nerve-wracking and exhilarating all at once. Free Solo is above all a very complete and satisfying film.  --Toronto Star 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125761@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181211T030000Z
DTEND:20181211T044500Z
SUMMARY:THE HAPPY PRINCE
DESCRIPTION: Rupert Everett turns his fascination with Oscar Wilde, the 19th-century Irish poet and playwright who was persecuted and jailed for “gross indecency with men” into a film of righteous anger, touching gravity, and wicked Wildean wit. Having played the literary lion on stage, Everett shows a kinship with the role that goes beyond an openly gay actor playing a gay icon. This is award-caliber acting. The Happy Prince, the title taken from a Wilde children’s’ story about suffering and transcendence, concerns the author’s last days of exile in Europe. His jail time — two years of hard labor — clearly broke him. The Happy Prince focuses on Wilde’s unwise reunion with Lord Alfred “Bosie” Douglas (Colin Morgan), the pretty boy whose father denounced the celebrated author as a sodomite, causing Wilde to bring on a losing charge of libel and his own eventual downfall. There’s also his literary executor and former lover Robbie Ross (Edwin Thomas), whose jealousy of Bosie is boundless. Steadier, support comes from novelist Reggie Turner, slyly played by The King’s Speech Oscar winner Colin Firth, whose association with Everett goes back to 1984’s Another Country. In the end, The Happy Prince makes its strongest mark as a heartfelt salute to Wilde from an actor and filmmaker who was born to play him.  --Rolling Stone
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125762@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181211T051000Z
DTEND:20181211T065500Z
SUMMARY:THE HAPPY PRINCE
DESCRIPTION: Rupert Everett turns his fascination with Oscar Wilde, the 19th-century Irish poet and playwright who was persecuted and jailed for “gross indecency with men” into a film of righteous anger, touching gravity, and wicked Wildean wit. Having played the literary lion on stage, Everett shows a kinship with the role that goes beyond an openly gay actor playing a gay icon. This is award-caliber acting. The Happy Prince, the title taken from a Wilde children’s’ story about suffering and transcendence, concerns the author’s last days of exile in Europe. His jail time — two years of hard labor — clearly broke him. The Happy Prince focuses on Wilde’s unwise reunion with Lord Alfred “Bosie” Douglas (Colin Morgan), the pretty boy whose father denounced the celebrated author as a sodomite, causing Wilde to bring on a losing charge of libel and his own eventual downfall. There’s also his literary executor and former lover Robbie Ross (Edwin Thomas), whose jealousy of Bosie is boundless. Steadier, support comes from novelist Reggie Turner, slyly played by The King’s Speech Oscar winner Colin Firth, whose association with Everett goes back to 1984’s Another Country. In the end, The Happy Prince makes its strongest mark as a heartfelt salute to Wilde from an actor and filmmaker who was born to play him.  --Rolling Stone
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125763@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181212T030000Z
DTEND:20181212T044500Z
SUMMARY:THE HAPPY PRINCE
DESCRIPTION: Rupert Everett turns his fascination with Oscar Wilde, the 19th-century Irish poet and playwright who was persecuted and jailed for “gross indecency with men” into a film of righteous anger, touching gravity, and wicked Wildean wit. Having played the literary lion on stage, Everett shows a kinship with the role that goes beyond an openly gay actor playing a gay icon. This is award-caliber acting. The Happy Prince, the title taken from a Wilde children’s’ story about suffering and transcendence, concerns the author’s last days of exile in Europe. His jail time — two years of hard labor — clearly broke him. The Happy Prince focuses on Wilde’s unwise reunion with Lord Alfred “Bosie” Douglas (Colin Morgan), the pretty boy whose father denounced the celebrated author as a sodomite, causing Wilde to bring on a losing charge of libel and his own eventual downfall. There’s also his literary executor and former lover Robbie Ross (Edwin Thomas), whose jealousy of Bosie is boundless. Steadier, support comes from novelist Reggie Turner, slyly played by The King’s Speech Oscar winner Colin Firth, whose association with Everett goes back to 1984’s Another Country. In the end, The Happy Prince makes its strongest mark as a heartfelt salute to Wilde from an actor and filmmaker who was born to play him.  --Rolling Stone
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125764@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181212T051000Z
DTEND:20181212T065500Z
SUMMARY:THE HAPPY PRINCE
DESCRIPTION: Rupert Everett turns his fascination with Oscar Wilde, the 19th-century Irish poet and playwright who was persecuted and jailed for “gross indecency with men” into a film of righteous anger, touching gravity, and wicked Wildean wit. Having played the literary lion on stage, Everett shows a kinship with the role that goes beyond an openly gay actor playing a gay icon. This is award-caliber acting. The Happy Prince, the title taken from a Wilde children’s’ story about suffering and transcendence, concerns the author’s last days of exile in Europe. His jail time — two years of hard labor — clearly broke him. The Happy Prince focuses on Wilde’s unwise reunion with Lord Alfred “Bosie” Douglas (Colin Morgan), the pretty boy whose father denounced the celebrated author as a sodomite, causing Wilde to bring on a losing charge of libel and his own eventual downfall. There’s also his literary executor and former lover Robbie Ross (Edwin Thomas), whose jealousy of Bosie is boundless. Steadier, support comes from novelist Reggie Turner, slyly played by The King’s Speech Oscar winner Colin Firth, whose association with Everett goes back to 1984’s Another Country. In the end, The Happy Prince makes its strongest mark as a heartfelt salute to Wilde from an actor and filmmaker who was born to play him.  --Rolling Stone
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125765@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181213T030000Z
DTEND:20181213T045000Z
SUMMARY:LIZZIE
DESCRIPTION: A lesbian spin on the legendary Lizzie Borden murder case is nothing new, but the stylish and haunting “Lizzie” paints a provocative portrait of a woman driven by passions and left with few options in a society that gave her little agency. In “Lizzie,” we come to know Borden’s inner turmoil in the way that the camera captures a bewitching Chloë Sevigny. Screenwriter Bryce Kass and director Craig William Macneill are left to their own conjectures as to the how and the why behind the murder of Borden’s father and stepmother, but they’ve turned the puzzle pieces into a haunting, horrifying romance. Six months before Andrew Borden (Jamey Sheridan) and his wife Abby (Fiona Shaw) faced that fatal ax — and despite the famous rhyme, each received far fewer than 40 blows — housemaid Bridget Sullivan (Kristen Stewart) reports for duty. Right away, there’s an electricity between them. The unmarried Lizzie tests her father’s patience with her willfulness, daring to go to the theater unescorted and constantly questioning his authority. Andrew’s a monster — he visits Bridget’s room in the middle of the night to rape her on multiple occasions. And on a hot day in August, Andrew and Abby will die in a murder that we see Lizzie commit, even though the courts never found her guilty. By the time she’s wielding the hatchet, Lizzie has become both avenging angel and mad warrior, both slasher and final girl, both Salome and the executioner of John the Baptist. --The Wrap 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125766@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181213T051000Z
DTEND:20181213T070000Z
SUMMARY:LIZZIE
DESCRIPTION: A lesbian spin on the legendary Lizzie Borden murder case is nothing new, but the stylish and haunting “Lizzie” paints a provocative portrait of a woman driven by passions and left with few options in a society that gave her little agency. In “Lizzie,” we come to know Borden’s inner turmoil in the way that the camera captures a bewitching Chloë Sevigny. Screenwriter Bryce Kass and director Craig William Macneill are left to their own conjectures as to the how and the why behind the murder of Borden’s father and stepmother, but they’ve turned the puzzle pieces into a haunting, horrifying romance. Six months before Andrew Borden (Jamey Sheridan) and his wife Abby (Fiona Shaw) faced that fatal ax — and despite the famous rhyme, each received far fewer than 40 blows — housemaid Bridget Sullivan (Kristen Stewart) reports for duty. Right away, there’s an electricity between them. The unmarried Lizzie tests her father’s patience with her willfulness, daring to go to the theater unescorted and constantly questioning his authority. Andrew’s a monster — he visits Bridget’s room in the middle of the night to rape her on multiple occasions. And on a hot day in August, Andrew and Abby will die in a murder that we see Lizzie commit, even though the courts never found her guilty. By the time she’s wielding the hatchet, Lizzie has become both avenging angel and mad warrior, both slasher and final girl, both Salome and the executioner of John the Baptist. --The Wrap 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125767@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181214T030000Z
DTEND:20181214T045000Z
SUMMARY:LIZZIE
DESCRIPTION: A lesbian spin on the legendary Lizzie Borden murder case is nothing new, but the stylish and haunting “Lizzie” paints a provocative portrait of a woman driven by passions and left with few options in a society that gave her little agency. In “Lizzie,” we come to know Borden’s inner turmoil in the way that the camera captures a bewitching Chloë Sevigny. Screenwriter Bryce Kass and director Craig William Macneill are left to their own conjectures as to the how and the why behind the murder of Borden’s father and stepmother, but they’ve turned the puzzle pieces into a haunting, horrifying romance. Six months before Andrew Borden (Jamey Sheridan) and his wife Abby (Fiona Shaw) faced that fatal ax — and despite the famous rhyme, each received far fewer than 40 blows — housemaid Bridget Sullivan (Kristen Stewart) reports for duty. Right away, there’s an electricity between them. The unmarried Lizzie tests her father’s patience with her willfulness, daring to go to the theater unescorted and constantly questioning his authority. Andrew’s a monster — he visits Bridget’s room in the middle of the night to rape her on multiple occasions. And on a hot day in August, Andrew and Abby will die in a murder that we see Lizzie commit, even though the courts never found her guilty. By the time she’s wielding the hatchet, Lizzie has become both avenging angel and mad warrior, both slasher and final girl, both Salome and the executioner of John the Baptist. --The Wrap 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125768@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181214T051000Z
DTEND:20181214T070000Z
SUMMARY:LIZZIE
DESCRIPTION: A lesbian spin on the legendary Lizzie Borden murder case is nothing new, but the stylish and haunting “Lizzie” paints a provocative portrait of a woman driven by passions and left with few options in a society that gave her little agency. In “Lizzie,” we come to know Borden’s inner turmoil in the way that the camera captures a bewitching Chloë Sevigny. Screenwriter Bryce Kass and director Craig William Macneill are left to their own conjectures as to the how and the why behind the murder of Borden’s father and stepmother, but they’ve turned the puzzle pieces into a haunting, horrifying romance. Six months before Andrew Borden (Jamey Sheridan) and his wife Abby (Fiona Shaw) faced that fatal ax — and despite the famous rhyme, each received far fewer than 40 blows — housemaid Bridget Sullivan (Kristen Stewart) reports for duty. Right away, there’s an electricity between them. The unmarried Lizzie tests her father’s patience with her willfulness, daring to go to the theater unescorted and constantly questioning his authority. Andrew’s a monster — he visits Bridget’s room in the middle of the night to rape her on multiple occasions. And on a hot day in August, Andrew and Abby will die in a murder that we see Lizzie commit, even though the courts never found her guilty. By the time she’s wielding the hatchet, Lizzie has become both avenging angel and mad warrior, both slasher and final girl, both Salome and the executioner of John the Baptist. --The Wrap 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125769@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181215T030000Z
DTEND:20181215T044100Z
SUMMARY:WHAT THEY HAD
DESCRIPTION: At first glance, you might mistake What They Had for one of those well-meaning family dramas about what to do when your mom is diagnosed with Alzheimer’s. But that would discount the exceptional accomplishment achieved by debuting director Elizabeth Chomko, enlivening her scrappy script with a cast of actors who truly are as good as it gets. You laugh as much as you cry, which means you believe in the movie’s truth. The ever-glorious Blythe Danner excels as Ruth, a senior-care nurse who starts showing signs of dementia. Her husband Bert (Robert Forster) turns a blind eye, bristling like the military man he was when his son, Nicky (Michael Shannon) says it’s time to get Mom institutionalized. Enter daughter Bridget (Hilary Swank), in from Los Angeles with her own daughter, Emma (Taissa Farmiga). Bridget gets to cast the deciding vote on what to do with mom since she has power of attorney for both her parents. Chomko handles the family dynamics with wicked skill and a keen eye for nuance. Swank cuts straight to the heart as the daughter struggling with what feels right as opposed to what actually is right. Movies this rich in observational detail, emotional focus and acting artistry are rare. Watch out for What They Had. It can sneak up and floor you.  –Rolling Stone
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125770@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181215T051000Z
DTEND:20181215T065100Z
SUMMARY:WHAT THEY HAD
DESCRIPTION: At first glance, you might mistake What They Had for one of those well-meaning family dramas about what to do when your mom is diagnosed with Alzheimer’s. But that would discount the exceptional accomplishment achieved by debuting director Elizabeth Chomko, enlivening her scrappy script with a cast of actors who truly are as good as it gets. You laugh as much as you cry, which means you believe in the movie’s truth. The ever-glorious Blythe Danner excels as Ruth, a senior-care nurse who starts showing signs of dementia. Her husband Bert (Robert Forster) turns a blind eye, bristling like the military man he was when his son, Nicky (Michael Shannon) says it’s time to get Mom institutionalized. Enter daughter Bridget (Hilary Swank), in from Los Angeles with her own daughter, Emma (Taissa Farmiga). Bridget gets to cast the deciding vote on what to do with mom since she has power of attorney for both her parents. Chomko handles the family dynamics with wicked skill and a keen eye for nuance. Swank cuts straight to the heart as the daughter struggling with what feels right as opposed to what actually is right. Movies this rich in observational detail, emotional focus and acting artistry are rare. Watch out for What They Had. It can sneak up and floor you.  –Rolling Stone
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125771@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181216T030000Z
DTEND:20181216T044100Z
SUMMARY:WHAT THEY HAD
DESCRIPTION: At first glance, you might mistake What They Had for one of those well-meaning family dramas about what to do when your mom is diagnosed with Alzheimer’s. But that would discount the exceptional accomplishment achieved by debuting director Elizabeth Chomko, enlivening her scrappy script with a cast of actors who truly are as good as it gets. You laugh as much as you cry, which means you believe in the movie’s truth. The ever-glorious Blythe Danner excels as Ruth, a senior-care nurse who starts showing signs of dementia. Her husband Bert (Robert Forster) turns a blind eye, bristling like the military man he was when his son, Nicky (Michael Shannon) says it’s time to get Mom institutionalized. Enter daughter Bridget (Hilary Swank), in from Los Angeles with her own daughter, Emma (Taissa Farmiga). Bridget gets to cast the deciding vote on what to do with mom since she has power of attorney for both her parents. Chomko handles the family dynamics with wicked skill and a keen eye for nuance. Swank cuts straight to the heart as the daughter struggling with what feels right as opposed to what actually is right. Movies this rich in observational detail, emotional focus and acting artistry are rare. Watch out for What They Had. It can sneak up and floor you.  –Rolling Stone
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125772@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181216T051000Z
DTEND:20181216T065100Z
SUMMARY:WHAT THEY HAD
DESCRIPTION: At first glance, you might mistake What They Had for one of those well-meaning family dramas about what to do when your mom is diagnosed with Alzheimer’s. But that would discount the exceptional accomplishment achieved by debuting director Elizabeth Chomko, enlivening her scrappy script with a cast of actors who truly are as good as it gets. You laugh as much as you cry, which means you believe in the movie’s truth. The ever-glorious Blythe Danner excels as Ruth, a senior-care nurse who starts showing signs of dementia. Her husband Bert (Robert Forster) turns a blind eye, bristling like the military man he was when his son, Nicky (Michael Shannon) says it’s time to get Mom institutionalized. Enter daughter Bridget (Hilary Swank), in from Los Angeles with her own daughter, Emma (Taissa Farmiga). Bridget gets to cast the deciding vote on what to do with mom since she has power of attorney for both her parents. Chomko handles the family dynamics with wicked skill and a keen eye for nuance. Swank cuts straight to the heart as the daughter struggling with what feels right as opposed to what actually is right. Movies this rich in observational detail, emotional focus and acting artistry are rare. Watch out for What They Had. It can sneak up and floor you.  –Rolling Stone
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125773@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181217T010000Z
DTEND:20181217T023500Z
SUMMARY:WON’T YOU BE MY NEIGHBOR?
DESCRIPTION: Fred Rogers is the subject of Morgan Neville’s surprisingly moving Won’t You Be My Neighbor? You ask: How can a man so square now be so hip? Neville gently eases us into a neighborhood-as-world in which all talk is soft; all fantasy is plainly handmade, as if by a child in a playroom; and the most important thing we’re meant to take away is that no matter how we look or feel (sad, mad, plaid), we’re special, each of us, loved unconditionally by this nice, nice man. There he is, breezing through the front door, jauntily trading his shoes for sneakers and sports coat for a button-down or zip-up sweater. There is no doubt that we miss him, badly. Won’t You Be My Neighbor? is a wonderful breather from reality, from which you come back more conscious of — and dismayed by — the hate that more than ever runs the world. –Vulture/New York Magazine “At a time when tolerance and compassion often seem to be under siege, Won’t You Be My Neighbor? reminds us that the softest voices often have the strongest impact.” –St. Louis Post-Dispatch “This funny, touching and vital doc from Oscar winner Morgan Neville ("20 Feet From Stardom") shows why the late Mr. Rogers remains timely and timeless.” –Rolling Stone
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125774@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181217T030000Z
DTEND:20181217T043500Z
SUMMARY:WON’T YOU BE MY NEIGHBOR?
DESCRIPTION: Fred Rogers is the subject of Morgan Neville’s surprisingly moving Won’t You Be My Neighbor? You ask: How can a man so square now be so hip? Neville gently eases us into a neighborhood-as-world in which all talk is soft; all fantasy is plainly handmade, as if by a child in a playroom; and the most important thing we’re meant to take away is that no matter how we look or feel (sad, mad, plaid), we’re special, each of us, loved unconditionally by this nice, nice man. There he is, breezing through the front door, jauntily trading his shoes for sneakers and sports coat for a button-down or zip-up sweater. There is no doubt that we miss him, badly. Won’t You Be My Neighbor? is a wonderful breather from reality, from which you come back more conscious of — and dismayed by — the hate that more than ever runs the world. –Vulture/New York Magazine “At a time when tolerance and compassion often seem to be under siege, Won’t You Be My Neighbor? reminds us that the softest voices often have the strongest impact.” –St. Louis Post-Dispatch “This funny, touching and vital doc from Oscar winner Morgan Neville ("20 Feet From Stardom") shows why the late Mr. Rogers remains timely and timeless.” –Rolling Stone
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125775@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181218T030000Z
DTEND:20181218T043600Z
SUMMARY:THREE IDENTICAL STRANGERS
DESCRIPTION: BACK BY POPULAR DEMAND! WINNER! SPECIAL JURY AWARD –Sundance Film Festival What’s crazier than finding a long-lost twin? How about a long-lost triplet? With a story so bizarre it can only be true, Tim Wardle’s documentary tells the tale of three young men who discover they’re actually identical triplets separated at birth. But what begins as a light and fluffy, too-weird-to-be-fiction story goes unimaginably deeper, stranger, darker. It’s best to go in as cold as possible, to try (and likely fail) to guess what comes next, and to prepare for a wild, twisting nonfiction ride. –Seattle Times As this movie goes on, and the narrative unfolds, you are likely to be saying to yourself, “Oh my God,” every 10 minutes or so. Three Identical Strangers is the sort of movie that you should ideally see without knowing too much about it or what happens in it…. Wardle spent five years making Strangers after several other filmmakers had given up because they were always hitting a dead end, and so he deserves credit for journalistic doggedness and also for making a documentary that plays like a nerve-jangling thriller. –The Wrap Separated at birth, then reunited at age 19 in 1980, New York triplets Bobby Shafran, Eddy Galland, and David Kellman became the toast of the talk-show circuit. Turns out, the brothers’ story is much bigger and more complicated than anyone imagined, and is only now being properly revealed, thanks to director Tim Wardle’s jaw-dropping decades-later doc. A gripping, stranger-than-fiction account, the film begins as a human-interest story and builds to an impressive work of investigative journalism. –Variety
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125776@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181218T050000Z
DTEND:20181218T063600Z
SUMMARY:THREE IDENTICAL STRANGERS
DESCRIPTION: BACK BY POPULAR DEMAND! WINNER! SPECIAL JURY AWARD –Sundance Film Festival What’s crazier than finding a long-lost twin? How about a long-lost triplet? With a story so bizarre it can only be true, Tim Wardle’s documentary tells the tale of three young men who discover they’re actually identical triplets separated at birth. But what begins as a light and fluffy, too-weird-to-be-fiction story goes unimaginably deeper, stranger, darker. It’s best to go in as cold as possible, to try (and likely fail) to guess what comes next, and to prepare for a wild, twisting nonfiction ride. –Seattle Times As this movie goes on, and the narrative unfolds, you are likely to be saying to yourself, “Oh my God,” every 10 minutes or so. Three Identical Strangers is the sort of movie that you should ideally see without knowing too much about it or what happens in it…. Wardle spent five years making Strangers after several other filmmakers had given up because they were always hitting a dead end, and so he deserves credit for journalistic doggedness and also for making a documentary that plays like a nerve-jangling thriller. –The Wrap Separated at birth, then reunited at age 19 in 1980, New York triplets Bobby Shafran, Eddy Galland, and David Kellman became the toast of the talk-show circuit. Turns out, the brothers’ story is much bigger and more complicated than anyone imagined, and is only now being properly revealed, thanks to director Tim Wardle’s jaw-dropping decades-later doc. A gripping, stranger-than-fiction account, the film begins as a human-interest story and builds to an impressive work of investigative journalism. –Variety
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125777@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181219T030000Z
DTEND:20181219T051300Z
SUMMARY:ACROSS THE UNIVERSE
DESCRIPTION: Here is a bold, beautiful, visually enchanting musical where we walk into the theater humming the songs. It’s an audacious marriage of cutting-edge visual techniques, heart-warming performances, 1960s history and the Beatles songbook. Sounds like a concept that might be behind its time, but I believe in yesterday. --Roger Ebert     An often-dazzling rock opera set to the accompaniment of 33 Beatles songs. --USA Today
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
END:VEVENT
BEGIN:VEVENT
UID:125778@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181220T030000Z
DTEND:20181220T050000Z
SUMMARY:WHITE CHRISTMAS
DESCRIPTION: Irving Berlin tunes brighten this tale of a successful song-and-dance team (Bing Crosby & Danny Kaye) who become romantically involved with a sister act (Rosemary Clooney & Vera-Ellen) at the Vermont inn of their former commanding general.  “This unabashedly sentimental holiday favorite is too cheerful to resist.”  –Rotten Tomatoes
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
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BEGIN:VEVENT
UID:125779@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181221T030000Z
DTEND:20181221T051500Z
SUMMARY:LOVE ACTUALLY
DESCRIPTION: The ultimate British romantic comedy featuring a sterling all-star cast including Hugh Grant, Alan Rickman, Emma Thompson, Liam Neeson, Colin Firth, Laura Linney, Bill Nighy, Keira Knightley, and Rowan Atkinson. A movie as sweetly munchable as a Christmas cookie, it’s a toasty ensemble comedy in which a handful of lonelyhearts attempt to come out of their shells, and it’s going to make a lot of romantics feel very, very good; watching it, I felt cozy and charmed myself.” –Entertainment Weekly 
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
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BEGIN:VEVENT
UID:125780@cinecenta.com
DTSTAMP:20181201T080000Z
DTSTART:20181222T030000Z
DTEND:20181222T050900Z
SUMMARY:IT'S A WONDERFUL LIFE
DESCRIPTION: One of the most treasured films in Hollywood history. Jimmy Stewart, Donna Reed and Lionel Barrymore star in Frank Capra’s sentimental tale about a small-town everyman who, one Christmas Eve, comes to think of his life as a failure. As he ponders suicide, an angel intervenes to show him the terrifying world that would exist in his absence. This film has become synonymous with the spirit of the season. Happy Holidays, Movielovers!
LOCATION:Cinecenta Films, Student Union Building, 3800 Finnerty Road, Victoria, BC, V8P 5C2
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