Warning: Images are not from the movies we’re showing. Trust us, you can’t imagine what we’re showing!
Totally fabulous, but truly wrong, this early ’90s exploitation flick was rated Category III – Hong Kong’s version of “No Children Allowed!” – but not for the reasons you’d think. This bonkers action movie/cinematic couples counseling session has a little bit of nudity, a whole lot of violence, but that rating is almost entirely for its general vibe of…whut?!? All about a cop who’s rendered impotent because the bad guys have bigger, harder machine guns, which leads to his wife dumping him, he’s re-assigned to a rural outpost where he basks in simmering rage until some bad guys show up…with machine guns. Full of so much castration anxiety it needs a therapist, this high caliber humdinger redefines over-the-top action as a dream come true for children of divorced parents everywhere who always hoped mommy and daddy would get back together again…and kill.
Kevin Drew and Brendan Canning helped turn Toronto into an indie-rock mecca in the mid 2000s. Not unlike the story of Seattle’s grunge explosion: Cobain in flannel. Or the New York revival led by The Strokes. The movement they created marked the apex of Toronto’s metamorphosis from a sleepy metropolis to a beacon of hipster cool largely driven by the city’s endlessly inventive music scene. “It wasn’t so hard to be an artist around 2000 in Toronto,” says Broken Social Scene’s Jason Colette in It’s All Gonna Break, a new documentary about the band in this era. “Rent was cheap. The creativity was on fire.”
One of the band’s friends, Stephen Chung, had a camera. He wasn’t setting out to make a documentary—he was a participant, immersed in the expansive Broken Social Scene family of wildly talented artists. Before the iPhone era, Chung captured the raw, unguarded chemistry of the band: late-night jams in cramped apartments before soaring rents, the boundless creative energy of the time, and the beautiful chaos of something none of them saw coming—Lollapalooza, Letterman, film soundtracks, critical acclaim, and global success.
For years, the footage sat unseen, tucked away until the moment was right. Now, with fresh interviews from Kevin Drew, Brendan Canning, Leslie Feist, Emily Haines, and band members, It’s All Gonna Break opens the time capsule of never-before-seen footage that captures the intimacy and magic of the era. This isn’t just a retrospective—it’s a front-row seat to Broken Social Scene’s rise, their reckoning with fame, their defiance of convention, and how they came to define a generation of indie rock. Chung’s kaleidoscopic visual diary is a remarkable coming-of-age story of friends and artists forging their path, growing up together, and creating something unforgettable on their own terms.
Kenny Scharf: When Worlds Collide was made over 11 years and features interviews and rare archival footage with Kenny Scharf, Andy Warhol, Jean-Michel Basquiat, Keith Haring, Ed Ruscha, Dennis Hopper, Yoko Ono, Kaws, Marilyn Minter and Jeffrey Deitch. The documentary shows Scharf’s New York City arrival in the early 1980s where he quickly befriended Keith Haring and Jean-Michel Basquiat. This trio, amongst the fervent creative bustle of a depressed downtown scene, would soon take the art world by storm.
While Basquiat and Haring both died tragically young, Scharf lived through cataclysmic shifts in New York City and the art world. Despite setbacks along the way, Scharf continues to follow his particular high-tone, technicolor artistic vision while growing public and critical appreciation for his earlier work has cemented his place as a pop art icon.
Starring: Ice Cube, Cedric The Entertainer, Eve, Anthony Anderson, Sean Patrick Thomas, Keith David
A smart comedy about a day in the life of a barbershop on the south side of Chicago. Calvin (Ice Cube), who inherited the struggling business from his deceased father, views the shop as nothing but a burden and a waste of his time. After selling the shop to a local loan shark, Calvin slowly begins to see his father’s vision and legacy and struggles with the notion that he just sold it out.
Starring: Virginie Efira, Alexis Tonetti, Félix Lefebvre, Mathieu Demy
The Future of Film is Female presents ALL TO PLAY FOR, the feature debut by director Delphine Deloget, and the short film MIA, INDETERMINATE by Lili Peper. To make an additional $10 donation to The Future of Film is Female, select the “Event + Donation” ticket on the checkout screen.
Single mother Sylvie (Cesar winner Virginie Efira, Benedetta) lives with her two young sons, Sofiane and Jean-Jacques. One night, Sofiane is injured while alone and child services removes him from their home. Sylvie is determined to bring her son back home, against the full weight of the French legal system in this searing Cannes official selection and winner at the 2024 Belgian Oscars. A Hope Runs High Release.
Preceded by:
MIA, INDETERMINATE
Lili Peper, 2023, 20 min
written by Shahira Kudsi, starring Suzanne Cryer, Olivia Scott Welch
Mia has recently taken in her mother, Bird, a charming but at times infuriating woman with a mental illness. A day in their life together reveals the importance of letting go of control and enjoying the time you have.
In the mid-‘70s, filmmaker James Szalapski documented the then-nascent country music movement that would become known as “outlaw country.” Inspired, in part, by newly-long-haired Willie Nelson’s embrace of hippie attitudes and audiences, a younger generation of artists including Townes Van Zandt, David Alan Coe, Steve Earle and Guy Clark popularized and developed the outlaw sound.
Starring: Maureen O’Hara, Louis Hayward, Lucille Ball, Virginia Field, Ralph Bellamy
Years before her comedic mugging in I Love Lucy, Lucille Ball shook her stuff as Bubbles in Dorothy Arzner’s Dance, Girl, Dance. Co-star Maureen O’Hara is Judy, a talented dancer with artistic ambitions who clashes with the flashy, fame-hungry Bubbles. Tensions rise as they not only compete for the spotlight, but also the affections of a wealthy suitor. But this isn’t a cat fight – instead the friendship of the two women is treated with complexity, and the film highlights the divide of commercially popular but artistically compromised performances versus work that forgoes the splashy in favor of creative integrity, while not judging the choices of either character.
Ginger Baker looks back on his musical career with Cream and Blind Faith; his introduction to Fela Kuti; his self-destructive patterns and losses of fortune; and his current life inside a fortified South African compound.
Starring: Keith Gordon, John Stockwell, Alexandra Paul, Williams Ostrander, Robert Prosky, Harry Dean Stanton
Sissy Fist Productions presents Nostalgia’s “Let’s Watch a Movie”—a campy collision of The Tonight Show with Johnny Carson, Elvira’s Movie Macabre, and Mystery Science Theater 3000! Hostess extraordinaire, Nostalgia, invites you to a screening of the 1983 John Carpenter classic, Christine. Expect hot-rod drag performances, witty live commentary, communal drinking games, wicked prizes, and audience antics that’ll make this a ride to die for!
Unpopular nerd Arnie Cunningham (Keith Gordon) buys a 1958 Plymouth Fury, which he names Christine. Arnie develops an unhealthy obsession with the car, to the alarm of his jock friend, Dennis Guilder (John Stockwell). After bully Buddy Repperton (William Ostrander) defaces Christine, the auto restores itself to perfect condition and begins killing off Buddy and his friends. Determined to stop the deaths, Dennis and Arnie’s girlfriend, Leigh Cabot (Alexandra Paul), decide to destroy Christine.
CAST:
Nostalgia — (@nostalgiarama)
Nancy NoGood — (@shesuptonogood)
Emi Grate — (@emigrate_drag)
Bertha Vanayshun — (@berthavnyc)
Starring: Norma Shearer, Joan Crawford, Rosalind Russell, Phyllis Povah, Mary Boland, Paulette Goddard
Mary Haines (Norma Shearer) can’t believe her husband’s having an affair with salesgirl Crystal (Joan Crawford). But when Sylvia (Rosalind Russell) and Edith (Phyllis Povah) deliver the gossip firsthand, Mary heads to Reno for a divorce. En route she meets Countess de Lave (Mary Boland) and Miriam (Paulette Goddard), who coincidentally is having an affair with Sylvia’s husband. Once in Reno, the Countess finds another beau, Sylvia shows up for a divorce and Mary plots to win back her man.
