My Internship in Canada
108 minutes, French and Creole, NR
DECEMBER 2-4 | FRI 2 & 5:30 | SAT 1 & 7:30 | SUN 3
In this satirical look at the changes of Canadian politics from Oscar-nominated director Philippe Falardeau (Monsieur Lazhar), an independent M.P. suddenly finds himself thrust into the parliamentary spotlight, and it’s up to his young Haitian intern to help the hapless backbencher navigate the complexities and pitfalls of Parliament Hill.
Focusing on the last honest man in office – a rural independent MP (Patrick Huard) who finds himself with the deciding vote over whether the country goes to war – Falardeau wrings laughs out of all the expected corners of the Canadian political psyche. (His Stephen Harper stand-in, played by Paul Doucet, is a particular riot, right down to his cat-loving wife and penchant for piano solos.)
Although the film slips into a few questionable ruts of poor taste – one villain’s stutter is played for laughs, while the entire population of Haiti can be viewed as the butt of a good-intentioned but poorly executed democracy-for-dummies joke – the performances are lived-in and the tone is refreshingly light. A genuine crowd-pleaser, no matter what colour that sign on your lawn might be.
80 minutes, NR
DECEMBER 2-4 | FRI 8:30 | SAT 4 | SUN 12 & 6
A wise drama about finding yourself adrift in mid-life, longing for something essential that you fear has been lost.
Former high school sweethearts Jim (Mark Duplass) and Amanda (Sarah Paulson) have been out of touch for more than 20 years – but by sheer coincidence, they run into each other at a grocery store back in their alpine hometown of Crestline, California. Jim’s mother has died and he’s here to put her house on the market. Amanda is visiting her pregnant sister. They get to talking, first over coffee, then over beer and jellybeans.
Before they know it they’re at Jim’s mother’s house, where everything sends them spiraling back into the past. Jim and Amanda’s lives have taken different directions, yet here they are, reconnecting like nothing has changed.
Alex Lehmann’s feature debut is a tender, wise chamber drama about finding yourself adrift in mid-life, longing for something essential that you fear has been lost.