OTTAWA’S CINEMA FOR INTERNATIONAL AND INDEPENDENT MOVIES

COVID-19 Update

Based on the latest recommendations re: Novel Coronavirus/COVID-19 from the⁣⁣ Chief Medical Officer of Ottawa Public Health, the ByTowne is closed. ⁣⁣
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If you have tickets to any of our upcoming events, we will be offering refunds or exchanges. More info as soon as we work out some details.

For updates, we will notify movie fans on this web site, and via Cinemail, our e-mail 'reminder'.
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We're not going anywhere, so we encourage you to spend some of your movie budget on supporting local charities, like food banks and shelters. (Though, we are selling still vouchers by mail/e-transfer; please see our 'Gift Voucher' section on our 'About Us' page.)

Thank you all for your support and we hope to see you very soon!

(Updated April 20)

 

 

Albert Nobbs

Nominated for three 2011 Academy Awards, including Best Actress (Glenn Close) and Best Supporting Actress (Janet McTeer)

'I think you’re the strangest man I’ve ever met,' someone remarks at one point to our hero, and they’ve got a point. Albert Nobbs seems a deeply weird – perhaps even too freaky – chap, with his odd appearance and titchy figure and strangled voice and unwillingness to socialise.
Poster art for  Albert NobbsReason being: he’s a she – something discovered by a jobbing painter who’s forced to share Nobbs’s garret attic at the Dublin hotel where he’s employed. But as luck would have it, the painter has a similar secret, and Nobbs, desperate for a bosom buddy, takes inspiration from his/her story, in particular the fact that he/she appears to have found a wife. So he embarks on a mission to woo unwitting maid Mia Wasikowska – an enterprise that seems doomed to disaster given Nobbs’s lack of obvious charms.

Close is, obviously, terrific, and the gradual stripping off of her layers of artifice is highly affecting and artistically justified, as well as machine-tooled for the awards showreel. What makes Rodrigo García’s movie more than the sum of just one part is the space and time devoted to the supporting cast, from Pauline Collins’s flirt of a landlady to Brendan Gleeson’s boozy hotel doctor. Janet McTeer is astonishing as the painter, and Mia Wasikowska adds more heart to the dimpled maid role than it requires. This is a gripping ensemble piece, good-humoured even at the end of its tether.

– Catherine Shoard, The Guardian

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