CINECENTA.COM DOLBY STEREO july 28-september 14, 2019 veryone is welcome at Cinecenta! We are a non-profit division of the University of Victoria Students’ Society, conceived as an inexpensive alternative for students, the University community and the public. The Etheatre is in the Student Union Building at UVic. Many buses come JULY 28-sept 14/19 to UVic and stop right outside the SUB. UVic charges for parking except on Sundays and Holidays, when it is free. PARKING HELP LINE: 250-721-6386. UVSS Students $5.75 Tickets and memberships go on sale 40 minutes before showtime. Please arrive Special for UVSS students early to avoid disappointment. 9pm shows (or later) $4.75 LOCATED IN THE STUDENT UNION BUILDING, UVIC Seniors, Children (12 & under) $5.75 Other Students $6.75 Everyone is welcome at Cinecenta! But if you aren’t affiliated with Cinemagic Members $6.75 UVic and are going to come more than once a year, you can UVic Alumni, Faculty, Staff,

50 $6.75 save money by purchasing a cinemagic and guests (1 only) of above Cinemagic Membership! MEMBERSHIP Non-members $7.75 All films are in English, or with TWO COMPLIMENTARY TICKETS English subtitles where noted. $6.75 ADMISSION FOR YOU + TEN FILM DISCOUNT PASS UVSS

$17. 1 ANNUAL SUBSCRIPTION Students, Seniors $50.00 Cinecenta office: 250-721-8364 Members, UVic Staff $57.50 24-hour info Line: 250-721-8365 (unavailable to non-members) MANAGER: LISA SHEPPARD PROGRAMMER: MICHAEL HOPPE art + Design: Brent Parrish & Leanne Weflen

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“INSTANTLY ESSENTIAL!” –Hollywood Reporter

July 28 (5:00 & 7:00) july 29 (7:00 & 9:00) August 1, 2 & 3 (7:00 & 9:15) “Pavarotti’s larger-than-life personality shines in almost every scene. The singer’s optimism is contagious, and his schoolboy-like wonder is jubilant. PAVAROTTI There’s a lot to smile at here.” –New York Times AMAZING GRACE: ARETHA FRANKLIN july 30 & 31 (7:00 & 9:15) Ron Howard, UK/USA, 2019, 115 minutes, PG, CC Alan Elliott/Sydney Pollack, USA, 2018, 87 minutes, G – At first glance, director Ron Howard does not seem the ideal candidate to make a documentary on Italy’s international operatic “A miracle;” “Nothing short of a revelation;” “A full-on experience, body and soul;” “FOUR STARS” sensation, the man with the voice from God, Luciano Pavarotti. Initial impressions, however, can be deceptive, and Howard turns out “resplendent;” “a treasure;” unforgettable and nourishing for the soul” -- these are just NUREYEV to be a natural choice to direct this warm, emotional and completely involving film about the celebrated tenor. Pavarotti, who died in some of the words critics have used to describe the experience of finally seeing this film Jacqui Morris & David Morris, UK, 2018, 109 minutes 2007 at age 71, was celebrated like no tenor since Enrico Caruso, accounting for more than 100 million albums sold. There are 53 new after 47 years. “Amazing Grace” features the late Aretha Franklin at the very height of her This finely crafted, impeccably researched documentary feels not so much timely as eternal. interviews in total, including the singer’s first wife, three adult daughters, as well as his second wife. Also on camera are celebrated powers, performing live at the New Bethel Baptist Church in 1972. But due to a technical fellow musicians including Lang Lang, Zubin Mehta, Plácido Domingo and José Carreras, as well as Bono, one of the pop singers issue with the original recording it went unseen. Modern technology has allowed for the To see what it was that made Rudolf Nureyev onstage such a furious and transporting poet- of-the-body, is to be at once moved and awed. “Nureyev” presents a great deal of dance Pavarotti collaborated with late in his career. Howard has also rounded up a range of fascinating performance footage from earlier in restoration of this stirring, unknown classic. More than just a concert film for Franklin or Pavarotti’s career, some of which is quite startling. Not surprisingly, “Pavarotti” features numerous arias, and though Puccini’s “Nessun gospel fans, “’Amazing Grace’ is a rush of pure spiritual uplift. There are only so many footage that has never been seen before, and it’s a thrill to behold; nothing tells Nureyev’s story half as well as simply staring at him in his prime. He transformed the ballet into a blazing Dorma,” a personal favorite, is sung a lot, the most moving segment we hear is Cavaradossi’s wrenching final aria in the composer’s ways to praise Franklin’s voice and they all fall short - just go and hear it for yourself”. “Tosca,” sung when the tenor himself was coming to grips with his own mortality. —Los Angeles Times —The Playlist erotic spectacle, coaxing the sexual subtext to the surface and setting it aflame. —Variety

“SENSATIONAL!” –Deadline Hollywood

AUGust 7 & 8 (7:00 & 9:00) August 4 (5:00 & 7:00) August 5 (7:00 only) August 6 (7:00 & 9:00) ECHO IN THE CANYON “Quirky, tender and hopeful” HAROLD & MAUDE Andrew Slater, USA, 2018, 83 minutes, PG, CC AUGust 9 & 10 (7:00 & 9:15) “The performances are wonderful, THE TOMORROW MAN Hal Ashby, USA, 1971, 91 min, rated G Noble Jones, USA, 2019, 99 minutes, PG, CC –The Wrap Featuring: , , , , , , THE CULT CLASSIC OF ITS ERA! The story Roger Mcguinn, , Regina Spektor, , Cat Power, Lou Adler, , especially Hoult and Collins, who exude A thoughtful character study about the coping mechanisms we use to protect ourselves from of the bond between a death-obsessed , Michelle Phillips, Nora Jones, Jade Castrinos the world, with solid performances from John Lithgow and as two troubled TOLKIEN a charming chemistry.” –Austin Chronicle young man (Bud Cort) from a wealthy Dome Karukoski, USA, 2019, 112 minutes, PG, CC senior citizens embarking on a tenuous courtship. Lithgow plays Ed, a lonely retiree who fills In the mid-60s big changes were afoot culturally, politically, and musically family and a bohemian octogenarian (Ruth his days preparing for a sociopolitical apocalypse. Ed crosses paths with Ronnie (Danner), particularly in and around L.A., and specifically in Laurel Canyon. Groups focusedA fastidious, keen-minded look at the tumultuous youth of the author of The Hobbit and The Gordon). Equal parts gallows humor and a quirky, withdrawn clerk at a local collectibles store. The budding romance runs into road- on poetic lyrics and complex harmonies, like , , theLord of the Rings. While snugly fitting within the conventions of respectable British period romantic innocence, it dissolves the lines blocks, owing to Ed’s anxieties, not to mention the secrets Ronnie keeps hidden. Danner uses Mamas and the Papas, and . Jakob Dylan interviews some of the biographical dramas, this handsome film stresses both the daunting trials he endured — that separate people by class, gender, and her febrile intelligence and natural compassion to portray Ronnie’s intriguing reclusiveness, major players and brings together some of his contemporaries to re-record and talk losing both parents very young, a blocked love affair, the trauma of World War I trench warfare age, and it features a remarkable soundtrack providing a good comedic counterbalance to Ed’s kooky rants. Together, they make for an about the most interesting songs of the period. The result is a combination musical — and his brilliance as a scholar and incipient creator. Top this off with a charismatic lead by Cat Stevens. —Criterion Collection eccentric and adorable, if troubled, pair. —The Wrap documentary and concert film right up there with the all-time greats. —Film Threat turn by the dashing, convincingly smart Nicholas Hoult. —Variety Also starring Lily Collins.

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“Laudatory overview of one of “Briskly entertaining and his country’s greatest singer- entirely legend-affirming.” “A classy - and songwriters.” –Globe and Mail –Toronto Star respectfully sexy - night at the movies.” August 13 (7:00 & 9:00) August 14 & 15 (7:00 & 9:00) –Variety “PURE GOLD” –What She Said August 16 & 17 (7:00 & 9:10) WALKABOUT GORDON LIGHTFOOT: “In ‘Wild Rose,’ heartbreak can - and does - , Australia/UK, 1971, August 11 (4:15 & 7:00) August 12 (7:00 & 9:25) 100 min, PG become something beautiful.” –Washington Post One of the most hauntingly beautiful films IF YOU COULD READ MY MIND WILD ROSE Tom Harper, UK, 2018, 101 minutes, PG ever made! A young sister (Jenny Agutter) Martha Kehoe & Joan Tosoni, Canada, 2019, 91 minutes, PG THE WHITE CROW and brother (Lucien John) are abandoned in Portrait of a Canadian icon: with unprecedented access to the artist, the film takes audiences “Three chords and the truth.” It’s the tattoo that adorns spitfire Rose-Lynn Harlan’s (Jessie Ralph Fiennes, UK, 2018, 127 minutes, PG the harsh Australian outback and must learn from high school auditoriums in straight-laced, small town Ontario in the 50s to the Buckley) forearm. And it’s the reason the Glaswegian lass proclaims she loves good-old Ralph Fiennes’s film, both cautious and intent, guides us through the early years of the to cope in the natural world, in this hypnotic coffee houses of Yorkville and Greenwich Village in the 60s, through Lightfoot’s turbulent, American country music. But although she belts the tunes with an astonishing sense of ballet dancer Rudolf Nureyev (dancer Oleg Ivenko), from his impoverished childhood masterpiece from Nicolas Roeg. Along the substance-fueled arena shows of the 70s, and finally to the artist in present day. Lightfoot soul and clarity, it’s the truth part that trips her up. Her journey to discover that is the in the Soviet Union to his momentous decision to defect to the West in 1961. David way, they meet a young aborigine (David himself is ruminative and reflective, particularly as he thinks back on his relationships with tale of “Wild Rose,” a Scottish love letter to American country music. Buckley commands Hare’s script, adapted from Julie Kavanagh’s biography, divides Nureyev’s young life into Gumpilil) on his rite of passage in which women over the years. The documentary also features interviews from Lightfoot peers Ian the screen as the tornado at the center of the story, a wild woman with fire in her veins segments and flicks back and forth between them. Fiennes himself plays Alexander adolescent boys journey into the wilderness and Sylvia Tyson, Randy Bachman, and Steve Earle; famous fans from Rush, Alec Baldwin, and a love of music that seems to burst out of her. Despite all the limitations on her life, Pushkin, a kindly melancholic who teaches Nureyev at a ballet school in Leningrad. alone. ‘Walkabout’ is a thrilling adventure as Anne Murray and Sarah McLachlan; as well as behind the scenes stories from members of Rose-Lynn is one of the most free-spirited creatures to ever be put on film. “Wild Rose” —The New Yorker well as a rumination on time and civilization. his longtime band. This is an intimate and emotional examination of the artist’s profound is filled with Buckley’s incredible vocal performances: tearing up the stage with the house Unforgettable. relationship to his music and his Canadian roots. —Vancouver International Film Festival band at Glasgow’s Grand Ole Opry, belting classic country standards. —Chicago Tribune

“SUMPTUOUS & WITTY” –Film4 “ONE OF 2019’s BEST MOVIES!” –Toronto Star August 20 (7:00 & 9:00) August 18 (4:45 & 7:00) August 19 (7:00 & 9:15) ORLANDO Sally Potter, UK, 1992, 94 minutes August 21 & 22 (7:00 & 9:20) Rarely have source material, director, and VITA & VIRGINIA leading actress been more in alignment Chanya Button, Ireland/UK, 2018, 110 minutes, PG than in this adaptation of Virginia Woolf’s This exploration of Virginia Woolf’s (Elizabeth Debicki) 10-year, up-and-down affair novel, directed by Sally Potter and star- THE LAST BLACK MAN IN SAN FRANCISCO August 23 & 24 (6:45 & 9:30) yyyyy with novelist and socialite Vita Sackville-West (Gemma Arterton), loosely organizes ring , who slips effortlessly Joe Talbot, USA, 2019, 121 minutes, 14A, CC itself around the writing of “Orlando,” a novel inspired by Sackville-West in which into the role of the male nobleman who Piercing study of race, urban gentrification, and male friendship; heady meditation on “FIVE STARS! A magnificent the title character, born a man, spontaneously changes sex at about 30 years of age. awakens halfway through the film to find nostalgia and memory; love letter to a singular city: It’s hard to exactly define Last Black (SEE AUG. 20) Director Chanya Button and screenwriter Eileen Atkins, drawing inspira- himself a woman. Skipping across centuries Man, but it’s impossible not to fall under its spell. Audiences at Sundance — where it took MIDSOMMAR folk-horror tale.” –The Guardian tion from the letters the pair wrote to each other, thankfully make no particular claim of English history, Woolf refracts her age- home both Best Director and a Special Jury Prize — certainly swooned. Maybe it’s enough Ari Aster, USA, 2019, 148 minutes, 18A to offering a definitive portrait. Elizabeth Debicki’s willowy elegance is transformed into less hero(ine)’s fantastical exploits through to say that it’s a romance between a man, his hometown, and a house? The man, Jimmie Dani (Florence Pugh) and Christian (Jack Reynor) are a young American couple on the something birdlike and bony. It makes her interpretation of Woolf quite riveting. This is a the prism of historical biography. Many (Jimmie Fails) is smart and funny and sad and complicated, the hometown is one of the brink of falling apart. But after a family tragedy, a grieving Dani joins Christian and his film that becomes less about a clandestine courtship between famous women, and more of the book’s events are inspired by the most beautiful cities in the world, and the house is layer-cake Victorian. It’s the kind of friends on a trip to a midsummer festival in a remote Swedish village. What begins as a about Woolf’s relationship with her writing, and with the workings of her own beautiful, life of Woolf’s lover, Vita Sackville-West. movie you fall into with your whole heart and emerge from feeling, for two hours at least, summer holiday in a land of eternal sunlight takes a sinister turn when festivities render restless mind. —Variety (SEE AUG. 18-19) —Slant what it is to fully be transported by the magic of film. —Entertainment Weekly the pastoral paradise increasingly unnerving and viscerally disturbing. AARON HILL FROM WATERSHED Special WATCH SALMON SOCIETY WILL Event! PRESENT THE FILM!

“Nick Broomfield’s haunting documentary is a lovely illustration of the twists and turns of a complicated relationship.” –The Wrap

August 27 (7:00 Only) August 28, 29, 30 & 31 (7:00 & 9:10) & & ARTIFISHAL “A thoughtful musing on the passing of time, of lovers past and gone, August 25 (4:45 7:00) August 26 (7:00 9:00) Josh Murphy, USA, 2019, 75 minutes Pacific salmon is a cultural talisman for First MARIANNE & LEONARD: WORDS OF LOVE of a bygone era of hopes and dreams” –Little White Lies “A ROUSING, REAL-LIFE, FEMINIST Nations peoples, a staple food not just for Nick Broomfield, USA, 2019, 101 minutes, PG, CC MAIDEN –Hollywood Reporter humans but for eagles and bear, and a funda- The history between filmmaker and subject is prominent in the latest from Nick a Greek island called Hydra, a magical place to which Broomfield’s film regularly returns, Alex Holmes, UK, 2018, 98 minutes, PG, CC ADVENTURE TALE!” mental part in sustaining biodiversity along Broomfield, veteran documentarian of musicians that include Kurt Cobain and Whitney and a place the filmmaker visited as a young man and spent time with Ihlen, who The story of how Tracy Edwards, a 24-year-old cook in charter boats, became the skipper rivers and stream. “Artifishal” is a film about Houston. He turns here to the life of the legendary Leonard Cohen, but there’s a actually inspired him to make his first film. It was what you’d imagine the life of a young of the first ever all-female crew to enter the Whitbread Round the World in 1989. Tracy’s people, rivers, and the fight for the future of unique angle. The director was close to Cohen and Marianne Ihlen, even appearing future poet would be on a Greek island—days of writing, drinking, drugs, sex, and sun. inspirational dream was opposed on all sides: her male competitors thought an all-women wild fish and the environment that supports in some of the archival footage in the film. It’s his most personal film to date. crew would never make it, the chauvinistic yachting press took bets on her failure, and them. It explores wild salmon’s slide toward Moving to the States and transforming into a musician with the breakout success of sponsors rejected her. But Tracy refused to give up: she remortgaged her home and extinction, threats posed by fish hatcheries“Marianne & Leonard” is the story of an artist and a muse. Leonard Cohen wrote “So Long, “Suzanne,” Cohen’s star rose while Ihlen stayed in Hydra. They would have largely separate bought a secondhand boat, putting everything on the line to ensure the team made it to and fish farms, and our continued loss of faith Marianne” and “Bird on a Wire” directly about Marianne Ihlen, the woman he met at a lives, but Broomfield makes the case that they remained each other’s greatest influence, the start line. in nature. —VIFF crucial, formative age, and with whom he fell madly in love. They inspired each other on deftly drawing lines from Hydra & Marianne to Leonard’s music & stardom. —RogerEbert.com BACK BY POPULAR DEMAND! NEW 4K DIGITAL RESTORATION!

“Emma Thompson especially shines in ‘Late Night,’ displaying blistering comedic chops.” –Hollywood News & Toonie September 3 (7:00 9:20) Madness! UVIC UNDERGRADS ONLY Toonie September 1 (4:45 & 7:00) september 2 (7:00 Only) September 4 & 5 (7:00 & 9:10) Madness! DO THE RIGHT THING $2.00! UVIC UNDERGRADS ONLY USA, 1989, 120 min, 14A September 6 & 7 (7:00 & 9:10) “A good old-fashioned British spy thriller.” Set on one block of Brooklyn’s Bed-Stuy $2.00! RED JOAN neighborhood, at the height of summer, this BOOKSMART Trevor Nunn, UK, 2018, 101 minutes, PG –Hollywood Reporter 1989 masterpiece by Spike Lee confirmedOlivia Wilde, USA, 2019, 103 minutes, 14A, CC In a picturesque village in England, Joan Stanley (), lives in contented retire- him as a writer and filmmaker of peerlessBooksmart is a four-star, feminist comedy and feel-good movie. LATE NIGHT ment. Then suddenly she’s shockingly arrested by MI5. For Joan has been hiding an vision and passionate social engagement. Nisha Ganatra, USA, 2019, 102 minutes, PG incredible past; she is one of the most influential spies in living history...Cambridge Over the course of a single day, heated ten- Best friends Amy and Molly (Kaitlyn Denver, Beanie Feldstein) have spent their high- Emma Thompson and Mindy Kaling shine in this comedy about Katherine Newbury University in the 1930s, and the young Joan (Sophie Cookson), a physics student, falls in sions rise along racial fault lines, ultimately school years cramming for SATs and planning for the successful futures that surely await (Thompson)—the first and only woman to helm a long-running late-night network love with an attractive Russian saboteur. Through him, she begins to see that the world exploding. Punctuated by Public Enemy’s them after graduation. When Molly finds out that some less studious kids also got into Ivy talk show—and her unlikely protege, Molly (Kaling), a former chemical plant employee must be saved from itself in the race to military supremacy. Joan is confronted with the “Fight the Power,” this is a landmark in League schools, it blows a fuse in her carefully calibrated brain, and she convinces Amy to who’s yearned to work in comedy. Kaling wrote the script, and Nisha Ganatra (Chutney impossible: Would you betray your country and your loved ones, if it meant saving them? American cinema, as politically and emotion- crash an epic party that promises the fun they’ve never had. Director Olivia Wilde’s smart Popcorn) directed. Heightened by an impressive performance from Thompson, it’s a fun Inspired by an extraordinary true story. ally charged and relevant now as when it first choices make this the definitive teen comedy for whip-smart feminist. It’s most likely to movie that tackles a variety of issues, including sexism in the workplace, with panache. hit the big screen. —Criterion Collection succeed as best comedy of the year. —Globe and Mail With John Lithgow, Hugh Dancy, and Amy Ryan. —Chicago Reader 20th Anniversary Best Canadian Documentary feature -Hot Docs

September 9 (7:00 & 9:00)

nipawistamasowin: “Very cool shit.” September 11 & 12 (7:00 & 9:10) September 8 –LA Weekly dubbed & subtitled (5:00 ) (7:00 ) WE WILL STAND UP September 13 & 14 (7:00 & 9:25) Canada, 2019, 98 min September 10 (6:45 & 9:20) THE DEAD DON’T DIE Colten Boushie, a young Cree man from Jim Jarmusch, USA, 2019, 105 minutes, 14A, CC “AN ABSOLUTE GAS!” –Boston Globe MY NEIGHBOR TOTORO Saskatchewan, was killed by a bullet on Japan, 1989, 89 min, rated G Jim Jarmusch’s zombie film is an exuberantly imaginative yet grimly political fable about Gerald Stanley’s farm in 2016. Stanley was a world thrown out of whack by “polar fracking.” The resultant shift in the Earth’s axis ROCKETMAN Dexter Fletcher, UK/USA, 2019, 122 minutes, PG, CC Sheer enchantment, this animated feature is found not guilty. The jury’s verdict drew THE MATRIX brings dead people back to life, and the small town of Centerville has only three police a key early work by Hayao Miyazaki (“Spirited national attention and a public outcry advo- The Wachowskis, USA, 1999, 135 min, 14A officers (Adam Driver, Bill Murray, and Chloë Sevigny). The newly undead unleash a spree A dizzy, bedazzling biopic that leaves no sequin or fantasy sequence unturned. There’s Away”). A man and his two daughters move cating for reforms to the Canadian legal A computer hacker (Keanu Reeves) learns of cannibalistic carnage that threatens a hermit (Tom Waits), a mechanic (Danny Glover), a lot of Technicolor flair in Dexter Fletcher’s flamboyant study of Elton John — and a into an old house in the countryside and system. Filmmaker Tasha Hubbard bears that his entire life has been a virtual dream, a racist farmer (Steve Buscemi), a visiting hipster (Selena Gomez), a movie nerd (Caleb beating heart in British actor Taron Egerton’s portrayal of an artist whose prodigious tal- encounter Totoro, a giant slothlike creature witness to a tragic story that traces back orchestrated by a strange class of computer Landry Jones), an undertaker and martial-arts wizard (Tilda Swinton), and the rest of the ent was matched only by his personal demons and desperate hunger for love. A musical who arranges for the girls to visit their ailing through centuries of injustice and colonial overlords in the far future. He joins a town’s residents. Jarmusch endows the monsters with a consumerist rage that fuels his extravaganza anchored less in the real world than in a sort of glittery jukebox Narnia... mother, riding in a phantom Cheshire-cat violence endured by First Nations peoples. resistance movement to free humanity vision of a world that’s morally out of joint; he conjures a giddy apocalypse with no way This Rocketman is the starry-eyed cosmonaut the part demands, and endearingly human bus. —Chicago Reader —Hot Docs Festival from lives of computerized brainwashing. out. —The New Yorker too. —Entertainment Weekly

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