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Meditation Drop-in

Interested in meditating but don’t know where to start? Already have a mediation practice but want [ ... ]

Speak–Easy Toastmasters

Speak–Easy Toastmasters meet the first and third Wednesday of the month from 6:00–8:15 pm a [ ... ]

February 20–25
City Cinema

14A, sexual content, violence
Dir: Albert Dupontel, France/Canada, 117 min. Albert Dupontel, Nahuel Pérez Biscayart, Laurent Lafitte. In French with English subtitles

See You Up There (Au revoir lŕ-haut) is a visually spectacular adaptation of Pierre Lemaitre’s Goncourt-winning novel that follows three surviving soldiers of the Great War. Albert Dupontel delivers a film that mixes high craft, surrealist humour and dark themes of trauma, death, corruption and manipulation. Dupontel stars as Albert Maillard, a soldier who’s caught in the trenches as World War I comes to a murderous end in November 1918. Just before the Armistice, Maillard and fellow grunt Édouard Péricourt are sent by their sadistic lieutenant on one last sortie over the wall. The result is an absolute bloodbath, with Maillard nearly buried alive  and Péricourt’s face blown half off by mortar fire. Maillard spends months by his wounded buddy’s bedside, administering morphine shots and learning about the latter’s life. Far from a common man, Péricourt is in fact a talented artist who has never found grace in the eyes of his father. Now that he’s gravely wounded, Péricourt prefers to play dead, switching identities with a corpse and creating an array of elaborate masks to hide his disfigurement. Dupontel’s script, which was written with the help of author Lemaitre, allows the director several flights of fancy as he examines the aftermath of the conflict and its effect on the three soldiers. While Maillard tries to earn an honest living doing odd jobs around Paris, the opium-addled Péricourt only wants to wreak havoc, and hatches a scheme to sell phony monuments to honour the war dead… Péricourt’s masks are among many technical highlights and jaw-dropping moments in a production that showcases Dupontel’s talent for staging organized mayhem and clever bits of visual comedy, even in the tragic wake of the war. The mood it leaves you with is a welcome mix of the gloomy and the giddy—a spectacle of darkness with flashes of light.”—Jordan Mintzer, Hollywood Reporter

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Legends

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