Interview: Miranda de Pencier on Opening Up Opportunities with “The Grizzlies”

On redefining her own goals with this moving sports drama set in the indigenous community of Kugluktuk.

Originally published by MoveableFeast.com

It was incidental that a character named Miranda comes to the fore in “The Grizzlies,” but to Miranda de Pencier, it might’ve seemed like destiny when the longtime producer was beckoned to take on the director’s chair for the first time.

“I’ve never worked harder on anything or cried more or laughed more in my life making something and I’d like to direct again,” says de Pencier, who has dedicated herself to those starting out in the industry achieve their vision. “Right now, I’m focused on supporting a number of young and talented other directors to make some things that I’m really excited about, but I want to step into that chair again.”

De Pencier is unlikely to be confused with the introverted young woman (Emerald MacDonald) who learns to play lacrosse when the sport begins to become a point of pride for the community of Kugluktuk, home to an Inuit population that has long been marginalized and known mostly for having the highest suicide rate in North America, but you do see her flourish, working from a script by “Justified” creator Graham Yost and “Anne With an E” creator Moira Walley-Beckett that celebrates seizing opportunities when they open up. In the film, that comes in the form of Russ Sheppard (Ben Schnetzer), a teacher brought in to take over history classes in the furthest reaches of Northwestern Canada and finds his students, who see no future when surrounded by the frustrated fates of their parents, might be more engaged with something more proactive. Taking the last $300 left in the PE budget, Sheppard reminds the teens that lacrosse only became the national sport of Canada after it was created by the First Nations, inspiring them to start something of their own.

While the logline for “The Grizzlies” may suggest it falls into the tropes of another inspirational sports movie, or worse, the arrival of a white savior, the film slyly uses these expectations to upend them when it’s Sheppard who gets more of an education than anyone about the hardships of indigenous life and the teens learn just enough to take control of their own destiny, something you suspect comes through so sincerely when it was actually happening behind the scenes of the film. Using the production as a way to broaden the horizons of those now living in Kugluktuk, “The Grizzlies” has beautifully extended its encouraging reach from the 2005 story it’s based on to today and with the film now making its way onto VOD and digital after its planned theatrical release had to be scrapped as a result of the coronavirus, the director shared how the making of it changed her perspective and her life as well as her hope that it will change others as well.

Did you have the directing bug for a while or was it this project?

It’s funny because I started out as an actress and I directed a little bit of theater in my youth, not professionally, but I really loved it. This was 20 or 30 years ago and there weren’t a lot of examples of other female directors around me, so I just didn’t know how to go about it or step into that role, so I thought why don’t I produce and maybe it can lead to directing. Then I think I forgot about the directing part because I really ended up loving producing and worked with so many amazing, talented people. [laughs] I loved developing material and supporting directors with their vision, although I would sit sometimes at festivals and think about it. It was really Graham Yost, who wrote the original screenplay for “The Grizzlies” and was supposed to direct, who turned to me one day and he said, “de Pencier, I just don’t think I can do it, at least not this year” — he was getting really busy on “Justified” — and so I said, “Okay, we’re going to need to go find somebody. Who’s that going to be?” And he said, “Well, what about you?” And I laughed. And he said, “Well, you were an actress. You’ve been working with the community. I see it in you.” So he saw it before I saw it. [laughs]

You mention the indigenous community – this sounds like it wasn’t just building a film, but involving them to the extent they can do productions on their own now. What was that like as an undertaking?

Working on this film completely changed my life. I had never been to an indigenous community before making this film, and I wasn’t really thinking about it as a film that had an indigenous component to it when I started out because I was interested in the material as an inspirational sports drama. I’d seen a news piece about kids who were overcoming their trauma through sport, and we happened to make the film over the 10 years when Canada started talking about reconciliation and decolonization when words like that weren’t being uttered 10 years ago and neither was the importance of perspective and having people be able to tell their own stories. So I got really lucky early on, partnering with two Inuit producers Stacey Aglok MacDonald and Alethea Arnaquq-Baril, who really kept me from screwing up and made sure that all the drafts and really right through the editing process that every cut of the film they watched and gave comments. We screened it for other indigenous filmmakers who were really helpful. It was definitely a huge learning curve and a big journey and it became a real collaboration between indigenous and non-indigenous.

If you wanted to make a classic sports movie, one of the fascinating things about this is how that gives you a structure that can then feel slightly subversive in applying it to another culture, seeing people you don’t normally see in those roles. Was it difficult to find the balance of hitting certain notes?

One of the great things that happened is it took a long time to raise the money for this film. That was a constant frustration [at first] because it was convincing funders that it was worth financing a movie that starred a bunch of young indigenous kids who you haven’t seen on-screen before. The character of Russ was really important to them because that was the only role that could be seen as the draw for the funders, and then as the partnership evolved between my indigenous co-producers and us Hollywood producers, we learned so much more about the north and realized the initial screenplay was a little more from Russ’ perspective and from the Southern white perspective. Russ Shepard always maintained that the kids changed him more than he changed them, so the truth was it was really about their transformation that we wanted to tell, and the last thing we wanted to do was make a “white man saves the day movie.” The world certainly doesn’t need another one of those and that wasn’t really the truth of what happened.

The kids in Kugluktuk really were extraordinary and became the heroes of the movie, but because it took so long to develop and make, the development of the script and the relationships became smarter and better, and all of us who were working on it got more experienced together. One of the Inuit co-producers Stacey and I had just done this workshop to find a bunch of young actors, so we thought, “Let’s not waste that. Let’s make something,” so we made a short film because we were waiting to make the bigger film and we ended up making “Throatsong.” Then we couldn’t afford to bring crew from the South, but it was really our desire [anyway] to train as much local crew as we could, so we ended up spending two weeks training all this crew in the north, all of whom had never been on a film set before. We went to a hair salon and got someone who could do hair and we found an electrician to be the gaffer and we literally went to people who had skills but hadn’t translated those skills to a film set.

That film ended up winning the Canadian Screen Award and got shortlisted for the Academy Award that year, and it was a first-time director, the first-time lead actress and a first-time producer and first-time crew except for our DP and our sound guy, they were the only outsiders, so what ended up happening is by the time we ended up making “The Grizzlies,” all of us had more experience.

Were you prepared to shoot in the Arctic?

Oh man. (laughs) This movie has everything you shouldn’t do in your first movie — animals, first-time actors, weather, stunts and fights. It’s just a lot, and interestingly enough, the biggest challenges of shooting in the Arctic are financial, just shipping equipment up costs hundreds of thousands of dollars and [while] we trained as many local crew as we could, we did need experts in departments from the South, so [it was] bringing up that crew and housing them. Because we were shooting at the end of April into May, we had the opposite problem that most movies do, which is that we were chasing the dark because in the spring, you get 24 hours of light and no night, so the parts of the film where we wanted winter night in the Arctic, we ended up having to shoot right at the beginning and then the last half of the movie, it was 24 hours of daylight when we were shooting.

The film has a beautiful score. Did you have an idea for the music from the start?

Garth [Stevenson, the composer] is so incredible. I listened to a lot of composers in the edit bay and every time I would put someone I thought was extraordinarily talented up against the picture, if the music was too complicated or rhythmic, it was very hard to find a sound that didn’t compete with the film. We also wanted to put as much Inuit music in the film, and because there’s not a lot of Inuit music in the world, mostly because there’s not access and money to record it, it was a challenge to find music that was already out there. When I found Garth and his music, it was the perfect fit. He writes a lot of his music outside. He’s inspired by nature and I don’t know if that was just organically part of it, but he loved the film and I went to Massachusetts to meet with him at his studio and talked about the film at length.

He really did an amazing job with the score and then we fused some of his score with indigenous singers like Tanya Tagaq, and because the talent’s out there [but recording is difficult], I tasked the music supervisor with finding young Inuit rappers on YouTube, so she went online and she found a number of these kids that had recorded their own music in their little tiny towns up in the Arctic and we picked four of them, we sent them the scenes that we wanted them to write the raps for. They wrote all their own music and then we flew them to Toronto and the engineer for Drake and the Weeknd was our master-in-command. We just worked with those artists and recorded their music professionally. They were incredible.

Before you premiered in Toronto, you toured the Northern communities with the film. What was that experience like?

It was so emotional, and it was really important to our Inuit co-producers to make sure that community got to see the film [first]. For all of us making the film, we wanted young indigenous youth to see the film because it’s about them, and many indigenous communities in Canada just don’t have movie theaters, so the fact that we made this inspirational drama starring this Inuit youth and other young indigenous people wouldn’t be able to see the film just felt wrong. We raised a quarter of a million dollars and toured remote communities, most of them who didn’t have movie theaters and the response was extraordinary. The tides are turning and finally the world giving more platforms for voices that we haven’t heard enough of yet, so we’re all better for it now. We’ve got more women directing and there’s a lot of exciting indigenous talent and indigenous filmmakers that I’ve met through the process of making “The Grizzlies” who are developing projects that are coming down the pipe and they’re going to blow everyone away. It’s very exciting for all of us.

But at those screenings, what we experienced were young indigenous people who had never seen themselves represented on screen and certainly never represented as the heroes of the film, so it’s become many young people’s favorite film and it’s also given a lot of hope to a lot of youth that has been struggling in those communities. It’s been an incredibly humbling experience as a filmmaker to see that response. We were in one community where a young girl came up to one of our Inuit co-producers after the screening and she actually herself worked in suicide prevention. She said she had planned to kill herself on the anniversary of her mother’s death, but now having seen the film, she hopes to stay alive and spread the word and work with other youth in her community, so I can retire now. [laughs] In my mind, it’s become way more than a film. I realized as I got to know the community more and I realized how much I was telling a story that wasn’t my story, I needed to listen so much to everyone in the journey of making the film, from the young actors we worked with to crew, to the Inuit co-producers I worked with and as my co-producers say, it was like we were living a version of reconciliation through the making of this film.

The Grizzlies premieres in Australian and New Zealand cinemas on March 18.

To find out more head to: www.thegrizzliesmovie.com.au

The Grizzlies | Official Trailer | In Cinemas March 18

Mistakes and Reconciliation: The Gruelling Path to Making The Grizzlies

Originally published in The Globe and Mail

Miranda de Pencier will tell you right off the top that she didn’t really have any idea what she was getting into, back in July, 2009, when she flew into the hamlet of Kugluktuk, Nunavut, to begin development on a movie about a high-school lacrosse program that had transformed the community and arrested an epidemic of teen suicides. Yes, she’d seen a feel-good news story about the program, which was started by a teacher from Saskatchewan, on the U.S. sports cable channel ESPN; it spoke to her. But, c’mon: She’d never been to the Arctic, had never even meet an Inuk. “I was making a genre sports film!” she explained the other day with a self-mocking shake of her head, sitting in a bar on the Danforth in Toronto.

Indeed, at a Toronto International Film Festival press conference last summer announcing that The Grizzlies would make its world premiere that September, the producer and director Alethea Arnaquq-Baril (Angry Inuk) recalled her first meeting with de Pencier in Iqaluit. “When Miranda came north to explore the possibility of making this film, my first thought was: ‘Who is this white lady? And who the heck is she to be telling this story?’”

Fair enough. But if they eventually saw eye to eye, together with the producer, Stacey Aglok MacDonald, who grew up in Kugluktuk and is now based in Iqaluit, the women would struggle through an epic 10-year-long journey of false starts and near disaster. Working with teens from across the Arctic, they would unwittingly trigger long-buried traumas. With a non-Indigenous director and two non-Indigenous writers on the project, they would run headlong into the explosive issue of appropriation. And yet, in the end, they would also manage to produce that rarest of creatures: a Canadian feature film with broad audience appeal that may also be, both on-screen – and, most profoundly, in its behind-the-scenes development and execution – a model of white-Indigenous reconciliation.

None of which was on de Pencier’s mind when a fellow Hollywood producer sent her that ESPN report. Made in 2004, it told the story of what happened after the newly minted teacher Russ Sheppard arrived in Kugluktuk (pop. 1,151) to work at the local high school, and was stunned by a series of teen suicides. He created a lacrosse program in hopes that it might give his students a sense of belonging and purpose. According to the ESPN story, 4½ years after the creation of Team Grizzly, there hadn’t been a single teen suicide in the village.

Born and raised in Toronto, where she had spent time as a child actor (perhaps most famously as Josie Pye in the 1985 Anne of Green Gables miniseries), de Pencier was at that point based in Los Angeles, working as a producer.

“I always get really inspired by films about people overcoming challenges, people transforming and changing,” she explained last month, sitting in the offices of her Toronto company, Northwood Entertainment. On the sound stages one floor below, Northwood’s Anne of Green Gables reboot, Anne With an E (a show that is about a young girl transforming and changing) had begun shooting its third season. A small army of workers buzzed just outside her door; inside, cardboard filing boxes marked “The Inspiring Grizzlies, Inc.” were jammed up against her desk.

“I’m going to start crying – sorry,” de Pencier said, suddenly welling up. “But when I first started working on this movie, I wasn’t a very happy human.” She gave a sharp laugh – a kind of hiccupping “ha!!” – that seemed like she was thrilled she had allowed the sound to escape, and embarrassed too. She was back in the office after a week up North, where she and her partners had been showing The Grizzlies to Inuit communities, including three screenings in Kugluktuk community centres that left audiences sobbing and applauding; she was still emotionally raw. The ESPN story, she recalled, “really hit me, because I had had depression in high school, and sports helped me get through.”

Frankly, the whole process had been an emotional one. She was stunned when she first arrived in Kugluktuk in 2009. “I was blown away. I thought: This is Canada?! I mean – the poverty! Extreme poverty!” she said. “It was really devastating to see, to really understand what used to be there, and what was taken from the North.”

During that visit, a woman who had been a member of the original Grizzlies team drove her around, reminiscing about the key places in her life. “She was describing how the town was living with such extreme violence and devastation and high suicide rates before the Grizzlies.” And then, de Pencier recalled, this woman casually mentioned the abuse she had suffered at home: “ ‘I only get smacked around a little bit. Just sometimes. You know, when my parent drinks. Not nearly as bad as some of the other kids.’” De Pencier was floored. “And yet, she had this grace and this intelligence and this energy and this joy, and was a successful person.”

De Pencier realized that, while she had battled depression, the Kugluktuk teens had faced challenges “so far beyond the scope of my issues. And immediately then, I thought, Well, this is a way bigger and more important story, of kids who are overcoming a legacy of colonialism. They are going to be the generation that begins to heal.” One by one, the original Grizzlies signed over their life rights to de Pencier, telling her they trusted her, that they hoped a film of their story might help prevent Kugluktuk from backsliding, and also inspire other Inuit communities to make the same positive changes.

In late 2009, de Pencier and her fellow producers convened a week-long casting workshop of 30 Inuit youth from across Nunavut in Iqaluit, where the kids worked on such skills as drum dancing, throat singing and mask performance taught by Atanarjuat: The Fast Runner star Natar Ungalaaq. At the end of the week, de Pencier gathered them together in a circle to ask what they hoped to take back to their communities. A video shot by de Pencier’s documentarian brother, Nick (who co-directed Anthropocene), shows a startling eruption, as the kids begin to weep openly and share stories of their own domestic challenges, of their loved ones who had died by suicide, of their own attempts to end it all. Then one young man walks into the middle of the circle and tells them each to look to the person on their left, then to their right. He explains that everyone in the room could relate to each other’s experience: They need not suffer alone. The video ends as the kids huddle together and, like a football team breaking for a play, count off: “One – two – three – new start!”

Enthralled by this vision of the kids finding strength in each other, de Pencier incorporated a similar episode into The Grizzlies, with the kids taking their fate into their own hands. Still, the moment unnerved her: Many of the kids at the workshop were re-experiencing trauma, and like Russ Sheppard in the film, she was not equipped to treat what she had stirred up. “I was in way over my head,” she admitted. There were no mental-health professionals on hand. She vowed not to repeat the mistake.

It would be years before she would get the chance, anyway, because funding for the film fell apart shortly after the workshop. Graham Yost, the Canadian-born screenwriter (Speed) who had done the first drafts of the screenplay and was set to direct, left the project to become the showrunner on the FX cable channel’s Justified.

It was just as well: The script needed more work. For the first several drafts, according to Aglok MacDonald and Arnaquq-Baril, the character of Sheppard was a “white saviour” type, a common Hollywood trope. “It’s not just in film, that happens in real life all the time,” Arnaquq-Baril said during an interview. But more often than not, the self-styled heroism falls short. “People come up with the intention of saving the cute little brown kids, they fail at it and they leave.”

“To his credit, the real-life Russ, he always says he didn’t go up there and save these kids,” she continued. “They taught him. He was saying that to Miranda and Graham Yost from the beginning. I think it was hard to sink in. We had to really do the homework of explaining what the whole ‘white saviour’ thing is, and how problematic it is.

“To Miranda’s credit, she didn’t get all offended and walk away and do it without us as producers. She listened, and she kept coming back, and she changed the script.”

Arnaquq-Baril adds: “Miranda made lots of mistakes. Lots of mistakes – as did we. But the fact that she had this humility to do that, and be vulnerable in that way, allowed us to make something that we can all be really proud of.”

Still, when the financing first collapsed, de Pencier began to wonder whether she, too, would be just another Southerner to make well-intentioned but unrealistic promises, and then slink away. In the end, she was grateful for the delay: “It would not be the movie it is if we hadn’t had the time to learn and get better.”

And so, even as she continued with her Hollywood career – producing, among other projects, the 2010 late-in-life coming-out film Beginners, which won Christopher Plummer an Oscar – she remained intent on proving her commitment to the North. She wrote and directed the 18-minute short Throat Song, produced by her and Aglok MacDonald, about a young Iqaluit woman who works for the Department of Justice, helping people report their own sexual assault, but is powerless in her own abusive relationship. The film won a Canadian Screen Award.

Making the short helped convince de Pencier – and her Hollywood partners, including the legendary Frank Marshall, who serves as an executive producer – that she was ready to shoot a feature. She brought on another writer, Moira Walley-Beckett (Breaking Bad), who later would go on to create the Anne reboot with de Pencier, and in the spring of 2016 The Grizzlies finally went before the cameras in Iqaluit, with a crew that was one-third Inuit or Indigenous. U.S. actor Ben Schnetzer stars as Russ, fronting a cast that is more than 90-per-cent Inuit or Indigenous, including Paul Nutarariaq and Anna Lambe, who were both nominated for this year’s Canadian Screen Awards for playing two of the troubled students.

Still, the film continued to evolve during postproduction, as de Pencier and her co-producers struggled to strike a balance between an honest depiction of the community’s troubles and gratuitous exploitation. In one scene, the camera drifts slowly over a couple of parents who have passed out from drinking. “We had many, many conversations, over years, about that,” Arnaquq-Baril said. “How long you hold on the shot, when you cut, asking: ‘Is this a beat too long?’ And aside from that shot, having those conversations about – not having poverty porn, or trauma porn.”

They also modified Schnetzer’s performance in postproduction, toning down his initial cluelessness, which came off more aggressively on screen than it had on the page. Test audiences, especially in the South, were uncomfortable with his ignorance.

After they had a final cut, they were puzzling over how to open the film with a potted history of the North that might set the scene, when de Pencier suddenly remembered some archival footage that was a part of her family’s own history. In the 1920s and 30s, her grandfather, Richard Henry Gardyne Bonnycastle, had made frequent flights into the Arctic as a fur trader for the Hudson Bay Company, including to the western outpost of Copper Mine, which became Kugluktuk. While up there, he captured rare 16-mm footage of joyful Inuit living off the land. De Pencier realized it was perfect for the film’s title sequence. When Arnaquq-Baril saw the footage, “I bawled,” she said. “It’s just amazing to see these snippets of life, and these healthy, beautiful people that have such confidence – you can just see it, in the way they carry themselves, in their looks and their faces.”

Over the past month, de Pencier has travelled extensively with the film, taking it with her fellow producers to cheering audiences across Nunavut and then, on her own, down to Mexico City, where she was peppered with questions by journalists who she said were eager to bring its positive message to that country’s Indigenous population.

When de Pencier and I met after she’d gotten back from the first series of screenings in Nunavut, her thoughts were a little jumbled. She needed time to figure out what she wanted to say: She was overwhelmed by the way the movie, which had begun as a kind of Inuit Bad News Bears, was already beginning to affect the conversation in this country. And so she asked to meet again.

At the bar on the Danforth, she opened up her laptop. After we had last talked, she’d gone home and dictated into her phone for a few hours, to try to express her thoughts concisely.

I asked her about the film as a model for living reconciliation. She laughed a little, and said that she’d never even used that phrase until last year. She turned to her laptop and began to read.

“We all have this opportunity right now – non-Indigenous and Indigenous – to struggle though this relationship. My relationship with Stacey and Alethea, and my cast and crew, I feel I fumbled through it. I made mistakes, I wasn’t perfect, but the struggle was so worth it. And I think the film definitely got better because of it.”

“It is scary, at times. But if you’re willing to feel shame and pain, it’s a worthwhile journey. Hopefully for all of us. Because we all are living in this country together, right?”

And then, looking up, she told me about something that happened after a recent screening of The Grizzlies at the Kingston Canadian Film Festival (where the film won the People’s Choice Award). An audience member had asked Anna Lambe whether she intended to continue acting. “[Anna] had never said this to me," de Pencier said, "but she got up and said, ‘Before making The Grizzlies, I was very internal, and I had a lot of prejudice against myself, I was very racist against myself, and I had no cultural pride.’ And she said, ‘Making this movie made me feel so proud about being Inuit,’” de Pencier said. “Now, she’s at the University of Ottawa, studying International Development and Globalization, for the sole purpose of fighting for Inuit rights. And she goes, ‘It’s about time that we have our voice, that we get to say what we want, that we finally get to step up.’ ”

“I think what we tried to do in the movie is, by the end, we say, ‘We’re done, this is the last movie from the North that has a white person at the centre,” de Pencier said. “If making the film helps Anna go become a leader for the North – I can’t, as a filmmaker, ask for anything more than that. That’s way better than a movie.”

For more information about the film head to www.thegrizzliesmovie.com.au

The Penitent Thief | Official Trailer | Coming Soon

TRAILER: The Penitent Thief | Official Trailer | Coming Soon

SYNOPSIS: The story of the two unnamed men who were crucified alongside Jesus and how they came to be beside him on the cross that fateful day. Dismas and his brother Jotham, along with Gestas, another young man who will share their fate, suffer tragedy and injustice at the hands of a band of thieves and a ruthless Roman centurion. Theirs is a story of survival against the odds, but they cannot outrun their destiny.

Event Cinemas New Zealand Find Times & Tickets

Hoyts Cinemas New Zealand Find Times & Tickets

The Penitent Thief

Discover the story of the thief on the cross...
IN CINEMAS FEBRUARY 25





We are celebrating this fresh take on the Easter story by giving away 5 DOUBLE PASSES!


All you have to do to go in the draw is:

1. Click THIS link, which will take you to our Facebook post about the comp.

It's that easy! We'll be drawing the winners on the 16th February. 

To be eligible you must live in Australia. Just so you know, we usually contact the winners by responding to their comment on the competition post (the same one linked HERE) so keep an eye on your notifications! This is a time-sensitive comp, since the passes can only be used while the film is in cinemas and we need to be able to post them to you in time. We do our best, but if we don't hear back from you until it's too late, then... sorry! 


The Penitent Thief - WIN one of 5 DOUBLE PASSES!

There's a reason we choose to get behind the films we do. And The Girl on the Bridge is a really special one.

I arrived back in Aus on Mar 10th from the US. I felt sick when I got home and I had visited the Netflix building in LA which had since been shut down because of the virus. I was told by someone they wanted to quickly test for Covid. I sat in the testing facility and watched them turn away probably 90% of the people who were walking up to get tested … because they didn’t qualify at that point. Most of the people being turned away had fear in their eyes. Sitting waiting to go in for my test (which I was negative for) made me think that this pandemic will create fear and anxiety and that the potential flow on is depression and suicide peaking to new heights. I immediately new that our call to share stories of hope would potentially go to a new level as well!

As I pondered this a film came across our desks. THE GIRL ON THE BRIDGE is a film that tackles mental health and suicide in a way like I have never seen before. Its been described as ‘more than a film … a window into the soul of a survivor’ and ‘a declaration of hope’. We’ve dedicated ourselves, our team and our resources to making sure this film gets out there across Australia UNLIKE any other project in our 16 year history.

The Girl On The Bridge releases for the first time in Australia from October 10. The film will be available to watch online and in select cinemas nationally.

The Girl on the Bridge | Official Trailer | Coming to Australia October 2020

A Personal Story for Us

HOW TO ENTER OUR 'SAINT JUDY' FACEBOOK COMPETITION!


We have 5 double passes to SAINT JUDY to give away, exclusive to you, our Movies Change People friends! Winners will be drawn Monday 17th August, and it's super easy to enter, just follow the steps below!



1. Go to the SAINT JUDY website to see which cinema near you is playing!
CINEMAS NEAR ME


2. Head to our Facebook post (by clicking below), and in the comments tag a friend, along with which cinema you would like to watch it together. For example, "Hey [tagged bestie], let's see this at EVENT ROBINA!"
FACEBOOK POST


That's all. Best of luck!


Genres

News

Interview: Miranda de Pencier on Opening Up Opportunities with “The Grizzlies”

Mistakes and Reconciliation: The Gruelling Path to Making The Grizzlies

The Penitent Thief

The Penitent Thief - WIN one of 5 DOUBLE PASSES!

A Personal Story for Us

WIN a double pass to see SAINT JUDY at the movies!

Newsletter

Stay in Touch