In this sensual experimental elegy by Harmony Korine, spellbinding infrared photography evokes a dreamlike portrait of a tormented assassin.

Astral Projection is a monthly screening series exploring astrology through film curated by our Box Office Manager, Nic Kaneski. Join us in celebrating the beginning of each zodiac season with a screening embodying the qualities of the sign, directed by a filmmaker of the sign. For stargazers and skeptics alike and anyone interested in the intersection of astrology, pop culture, and identity. Donna Deitch’s swooning and sensual first film, Desert Hearts, was groundbreaking upon its 1986 release: a love story about two women, produced and directed by a woman. In the 1959-set film, an adaptation of a beloved novel by Jane Rule, straitlaced East Coast professor Vivian Bell (Helen Shaver) arrives in Reno to file for divorce, but winds up catching the eye of someone new, the younger free spirit Cay (Patricia Charbonneau), touching off a slow seduction that unfolds against the breathtaking desert landscape. With smoldering chemistry between its two leads, an evocative jukebox soundtrack, and vivid cinematography by Robert Elswit, Desert Hearts beautifully exudes a sense of tender yearning and emotional candor. Generously sponsored by IATSE 856 Manitoba.

Astral Projection is a monthly screening series exploring astrology through film curated by our Box Office Manager, Nic Kaneski. Join us in celebrating the beginning of each zodiac season with a screening embodying the qualities of the sign, directed by a filmmaker of the sign. For stargazers and skeptics alike and anyone interested in the intersection of astrology, pop culture, and identity. An antiterrorism agent goes under the knife to acquire the likeness of a terrorist and gather details about a bombing plot. When the terrorist escapes custody, he undergoes surgery to look like the agent so he can get close to the agent’s family. Generously sponsored by IATSE 856 Manitoba.

back home follows filmmaker, Nisha Platzer’s pursuit to get to know her older brother, Josh, twenty years after he took his own life. As she connects with the friends who knew him best as a teen, a complex portrait emerges. Through intimate recollections re-imagined on Super8 and 16mm film, and lyrical images hand-processed with plants, seaweed, soil and ashes, back home floats between memory and present time in a fragmented meditation on identity, grief and loss: illuminating the transformative power of healing in community. Join us on May 3 for an in-person discussion with filmmaker Nisha Platzer. Presented in partnership with Winnipeg Underground Film Festival.

Introduced Olivia Norquay and Jillian Groening of Bikini Drive-In, a semi-monthly screening series discussing horror films through an intersectional feminist lens. Celebrate the 45th Anniversary of George A. Romero’s Dawn of The Dead as it was meant to be seen – on the BIG SCREEN in 3-D! New Amsterdam Entertainment Inc.® is proud to announce that the critically acclaimed horror classic, George A. Romero’s Dawn of the Dead, is returning home to the silver screen in both Theaters and Drive-Ins across the U.S. and Canada this April and May in celebration of its 45th Anniversary! Long heralded as one of the greatest, most influential horror films of all time, this ferocious cinematic shocker has been among the most requested theatrical revival titles from fright fans the world over for the last 30+ years. Once an omnipresent staple of midnight movie programs, George A. Romero’s gut-chomping, genre-defining sequel to Night of the Living Dead has since all but disappeared from movie screens, as well as every other viewing format available. The cult following is now so large that it is estimated that over 80% of Dawn of the Dead’s fans have never experienced this legendary epic on a real movie screen, so NAE is thrilled to be able to bring the original uncut theatrical version back for the fans and back for the screams! Generously sponsored by IATSE 856 Manitoba. At the request of the distributor, membership benefits do not apply for these special event screenings.

From Golden Bear winner Radu Jude, DO NOT EXPECT TOO MUCH FROM THE END OF THE WORLD takes a fierce and darkly comic swipe at modern day life. Overworked and underpaid production assistant Angela (Ilinca Manolache) is assigned to film a workplace safety video for a multinational corporation in Bucharest. When one of the interviewees makes a statement that ignites a scandal, Angela has to re-invent the story. Featuring appearances from Nina Hoss, Uwe Boll, and Angela’s TikTok alter-ego Bobiță, Jude’s anarchic satire is a wild and unforgettable ride through the vulgar indignities of the 21st century.

When martial arts superstar Bruce Lee died in 1973, the world went into shock. Despite his minuscule filmography, he broke down international barriers and became an icon. So, what happens when an actor and artist at the height of their career is no longer able to fill the vast demand for his talents? In the ‘70s and ‘80s, an entire subgenre dedicated to filling that void was born. Filled with incredible footage, Enter the Clones of Bruce tracks the history of the infamous Bruceploitation subgenre through the eyes of those who created it. The titular clones of the era, like Ho Chung-tao (Bruce Li) and Moon Kyung-seok (Dragon Lee), share their own perceptions outside of their alter egos in fascinating interviews, along with infamous filmmakers (B-movie fans will get a kick out of Godfrey Ho’s appearance) and Bruceploitation scholars. Regardless of any participant’s skill set or their relationship with the real Lee, their stories beg the same question: what is the line between paying respect to an icon and exploiting their legacy? And how much fun can the audience have watching?

Takumi and his daughter Hana live in Mizubiki Village, close to Tokyo. Like generations before them, they live a modest life according to the cycles and order of nature. One day, the village inhabitants become aware of a plan to build a glamping site near Takumi’s house; offering city residents a comfortable ‘escape’ to nature. When two company representatives from Tokyo arrive in the village to hold a meeting, it becomes clear that the project will have a negative impact on the local water supply, causing unrest. The agency’s mismatched intentions endanger both the ecological balance of the nature plateau and their way of life, with an aftermath that affects Takumi’s life deeply.

A painter stages a heist to steal his paintings back from the vault of a museum. A filmmaker happens to be at the museum on the same day. Plays with Semi-auto Colours, Dir. Isiah Medina, 2010, Canada, 6 min Kids from the West End learn to count to One. idizwadidiz, Dir. Isaiah Medina, 2017, Canada, 8 min Two friends walk and draw circles. It is what it is, idizwadidiz, c’est ce que c’est, seskecé. Nice weather. Join us for a virtual post-screening Q&A with filmmaker Isiah Medina. Presented in partnership with FascinAsian Film Festival.

The first independent film released in post-Handover Hong Kong, director Fruit Chan’s atmospheric shoestring-budget character study is a rough-and-ready piece of work shot on grainy leftover 35mm short ends in the city’s overcrowded subsidized housing projects. The result is a tough, pessimistic film, a portrait of a city on the brink that follows the drifting of high school dropout and wannabe Triad tough Autumn Moon (Sam Lee, in a star-making role, opposite a largely nonprofessional cast), who sees little hope for his future or that of his home as a newly created Special Administrative Region within China. A raw, groundbreaking drama and portrait of nihilistic youth in the same vein as Rebel Without a Cause (Nicholas Ray, 1955), My Own Private Idaho (Gus Van Sant, 1991), and The Doom Generation (Gregg Araki, 1995), the film poses questions that remain burningly relevant as tumult engulfs Hong Kong. The 4K restoration was carried out in the Hong Kong and Bologna headquarters of L’Immagine Ritrovata, made from the original camera negative with the supervision of director Fruit Chan and cinematographer O Sing-Pui.

The idyllic, beach-side life of a retired Triad boss, his daughter Lap (Joey Wong) and her boyfriend Rick, shatters when a mob favour turns into a bloody shootout. Trading her freedom for her father’s, Lap becomes mistress to Godfather Shen while Rick goes into exile. Years later, Shen unknowingly hires Rick as a hitman, and Lap sees her chance at escape,while doe-eyed Triad gofer (Tony Leung) completes the doomed quadrangle. Directed by the foremost stylist of the Hong Kong New Wave (and a mentor to Wong Kar-Wai), My Heart Is That Eternal Rose is the apotheosis of Patrick Tam’s time within the strictures of the Hong Kong mainstream. Fulfilling commercial requirements with a lush sense of style, the film sings with the painterly cinematography of Christopher Doyle while Tam’s dream-like direction bridges the distance between the bullet ballets of a John Woo and the festering darkness of a David Lynch.

Set in the massive, crumbling urban developments in Hong Kong’s New Territories with a combination of trained actors and nonprofessionals, Spacked Out depicts a few tumultuous days in the lives of four schoolgirls, filled with desultory mall outings, classroom phone sex, and the occasional box-cutter brawl. A study of the everyday hope and despair experienced by Hong Kong’s dead-end kids that stands alongside Tsui Hark’s Dangerous Encounters of the First Kind (1980) and Fruit Chan’s Made in Hong Kong (1997), here focusing attention on young working-class women. Swimming in turn-of-century malaise, this youth drama offers a slice of urban grime as our quartet, who can only rely on themselves, navigate drug abuse, bad boyfriends and library books way past their due dates

Winner of the Golden Bear at the Berlin Film Festival, this affecting, enlightening documentary from nonfiction master Nicolas Philibert (To Be and to Have, In the Land of the Deaf) invites viewers to come aboard the Adamant and witness the transformational power of art and community. The Adamant is a one-of-a-kind place: a floating refuge on the Seine River in the heart of Paris that offers day programs for adults with mental illnesses. Its attendees come from across the city and are offered care that grounds them in time and space, helping them achieve recovery and stability. Through a blend of therapy, education, and culture rooted in music and the arts, the Adamant offers a hopeful vision of what a humanistic approach to mental health care could look like. The community on the boat is intentionally created so that both the staff and the people receiving care are treated with the same respect and dignity. Their meetings and conversations reveal the camaraderie and collective humanity of a group of people whose similarities far outweigh their differences.

Alejandro is an aspiring toy designer from El Salvador, struggling to bring his unusual ideas to life in New York City. As time on his work visa runs out, a job assisting an erratic art-world outcast becomes his only hope to stay in the country and realize his dream.

Restored on the occasion of its 100th anniversary, Man Ray’s first foray into filmmaking, the wildly improvisational and unapologetically fragmentary Return to Reason, finds the artist exploding and reconstructing the cinematic medium as a vehicle for accessing the abstract essence of things by way of the rhythmic accumulation of visual details glimpsed in part, never in their wholeness. What emerges from this program—which combines Return to Reason with several other kindred and newly restored early films by Ray, set to haunting and hypnotic new music by SQÜRL (Jim Jarmusch and Carter Logan)—is the sense of Ray as perhaps the modern artist par excellence, an intrepid experimentalist absolutely committed to delving ever deeper into the space between consciousness and unconsciousness, sense and nonsense, wakefulness and dreaming. Featuring Le Retour à la raison, Man Ray, 1923, France, 3 min Emak-Bakia, Man Ray, 1926, France, 19 min L’Étoile de mer, Man Ray, 1928, France, 27 min Les Mystères du château de Dé, Man Ray, 1927, France, 27 min The restoration process was led by Womanray and Cinenovo sourcing original prints from various parts of the world, in partnership with La Cinémathèque française, the Centre Pompidou, the Library of Congress, the French CNC and Cineteca di Bologna. Presented in partnership with send + receive: a festival of sound.

Join us for our Staff Picks series, where our Winnipeg Film Group staff will select and introduce new and old favourites. This month’s selection was chosen by Box Office Manager Nic Kaneski. In near-future New York, 10 years after the “social-democratic war of liberation,” diverse groups of women organize a feminist uprising as equality remains unfulfilled. Generously sponsored by IATSE 856 Manitoba.

Over 25 years after its original release, The End of Evangelion is coming to North American theatres for the first time ever. Created by Hideaki Anno , the Neon Genesis Evangelion television series is one of the most influential animated series of all time. Since its 1995 premiere in Japan, the story of teenager Shinji Ikari has emerged as one of the most iconic titles in animation history and a global pop culture phenomenon. Originally released in 1997, this final movie version was created as an alternative ending to the Neon Genesis Evangelion TV series, remaking the final two episodes from the series: SEELE plans an attack on NERV after failing to create a man-made Third Impact. After reaffirming both her own and her mother’s existence in a state of despair, Asuka returns and begins the counterattack. However, new enemies descend from the heavens. Meanwhile, Shinji witnesses the horrifying wreckage of Asuka’s EVA-02 while piloting EVA-01. Mass production models surround EVA-01 and perform a solemn ceremony. What does it mean to complete a human heart?

This revolutionary DIY parody film and hilarious reimagining of the classic autobiographical coming-of-age story follows an unconfident, closeted trans girl as she moves to Gotham City to make it big as a comedian by joining the cast of UCB Live - a government-sanctioned late night sketch show in a world where comedy has been outlawed. As mainstream success eludes our heroine, leading her to unite with a ragtag team of rejects, misfits, and a certain love interest named Mister J, "Joker the Harlequin" is born again as a confident (and psychotic) joker on a collision course with the city's fascist caped crusader. Vats of feminizing chemicals, sexy cartoon interludes, scarecrow psychiatrists, CGI Lorne Michaels, and psychedelic gender dysphoria all play supporting roles. Helmed by writer/director/editor/star Vera Drew and using her own life experiences as a basis for the film, The People’s Joker is a deeply personal journey that's as much documentary as it is parody. The People’s Joker features a superhero-sized cast of celebrated comedic talent in both voice and live action roles behind the vibrant kaleidoscope of characters that lampoon the iconic heroes and villains of the DC comics’ world, featuring cameos from comedy multi-hyphenate Tim Heidecker, award-winning actor Bob Odenkirk, Maria Bamford (Netflix’s Big Mouth, Adult Swim’s Teenage Euthanasia), and Scott Aukerman (Between Two Ferns with Zach Galifianakis co-creator and host of the Comedy Bang! Bang! podcast), with Vera Drew, Lynn Downey (Amazon Prime Video’s Daisy Jones & The Six), Nathan Faustyn (Saddled), and Kane Distler, in his film debut as Mister J.

The Man-Eaters, an all-girl motorcycle gang, spend their time terrorizing a local community, race each other for first pick of their male groupie "stud line," and throw raucous orgies in their clubhouse. Led by sexy but tough-as-nails Queen (Betty Connell) and big, brutal Whitey (Pat Poston), the girls initiate cute little Honeypot (Nancy Lee Noble) into the gang, then start a turf war with Joe-Boy and his group of hot rodders. Gory highlights include a man being decapitated by the gang and another man being dragged along the ground attached to the back of a female biker. Gonzo sex and violence courtesy of director H.G. Lewis and writer Allison Downe. Shot in two weeks for $50,000 and using a cast of mostly real life biker chicks, the dialogue in this film has a poetry all it's own: “Go fumigate yourself, craphead! We don't owe nobody nothin' and we don't make no deals! We're swinging chicks on motors and Man-Eaters on wheels!" Trash Cult Tuesdays is sponsored by Sookram’s Brewing Co. Join us every Tuesday for cheap cult classic films paired with Sookram’s Cult Classic Pilsner on special!

The iconic girl gang hit from Jack Hill, legendary director of Spider Baby, Coffy, and Foxy Brown! Lace (Robbie Lee), the leader of girl gang The Dagger Debs, meets her match when new girl Maggie (Joanne Nail) moves into the neighborhood. Conflict turns to friendship as the girls end up in juvie together. Meanwhile, The Silver Daggers, the ladies’s male counterparts, have to contend with the arrival of a new gang, led by the villainous Crabs (Chase Newhart). But when the girls get back on the streets, a planned retaliation strike in tandem with The Silver Daggers backfires and puts Lace in hospital. Maggie assumes control, teaming up with Muff (Marlene Clark) and her gang to declare all out war. Filled with sharp, clever dialogue and tongue in cheek humor, this Shakespeare-influenced girl gang mash-up is a stone cold 1970s classic. Trash Cult Tuesdays is sponsored by Sookram’s Brewing Co. Join us every Tuesday for cheap cult classic films paired with Sookram’s Cult Classic Pilsner on special!

It’s the fury of Lee times three! Experience the convergence of Bruceploitation’s most legendary clones – Bruce Le, Bruce Lai, Dragon Lee and even Bruce Thai – in “what may be the strangest Bruceploitation movie of all” (B&S About Movies): Minutes after his death in a Hong Kong hospital, scientists from The Special Branch of Investigation remove a syringe of blood from Bruce Lee’s corpse to create three genetic clones of the martial arts superstar for top-secret crime-fighting missions. But who will survive when a power-mad operative turns the clones on each other in the ultimate game of death? As if that’s not enough of “a dizzying display every bit as wonderful as it sounds” (Far East Films), we’re also treated to relentless action, dubious science, gratuitous nudity, and actual footage from Bruce Lee’s funeral. Bolo Yeung (Enter The Dragon) and Jon T. Benn (The Way of The Dragon) co-star in this “mind-blowing masterpiece of surreal filmmaking” (Silver Emulsion) produced by the notorious Dick Randall (The Wild Wild World of Jayne Mansfield, Challenge of The Tiger, Pieces) and directed by Joseph Kong (Enter the Game of Death, Young Dragon, Bruce’s Secret Kung Fu), now restored from 35MM archive prints and scanned in 4K for the first time ever. Trash Cult Tuesdays is sponsored by Sookram’s Brewing Co. Join us every Tuesday for cheap cult classic films paired with Sookram’s Cult Classic Pilsner on special!

The multiverse has never been filled with this much madness. Easily one of the most unhinged and surreal martial arts spectacles to ever escape from Hong Kong, The Dragon Lives Again finds the spirit of Bruce Lee (Bruce Leung Siu-lung) battling through the Underworld against Dracula, James Bond, The Godfather, "The Exorcist," Emmanuelle, some mummies, and more. But he's not alone! Along the way, Bruce befriends the One-Armed Swordsman, Caine from the TV show Kung Fu, and last but not least, Popeye the Sailor. Previously only available via crusty bootlegs, The Dragon Lives Again has been preserved by Severin Films from the only known film elements in this universe—or any other. Trash Cult Tuesdays is sponsored by Sookram’s Brewing Co. Join us every Tuesday for cheap cult classic films paired with Sookram’s Cult Classic Pilsner on special!