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. ⁣⁣
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)




Inspired by too many true stories.

News reports of Ireland’s housing crisis play over the opening of Rosie, but Paddy Breathnach’s moving drama about a suddenly homeless family isn’t interested in lecturing. Focusing on its tireless title character (magnificently played by Sarah Greene), this modest, working-class story distills the uncertainties of many into the challenges of a few.

Poster for the Irish working-class drama RosieUnfolding in Dublin over a harrowing 36 hours, Roddy Doyle’s urgent screenplay never asks for our sympathy as the fiercely proud Rosie, her loyal partner, John Paul (Moe Dunford), and their four children search for lodging after a landlord sells their longtime home. While John Paul works in a restaurant, Rosie, armed with a housing list and credit card from the City Council, frantically searches for a room for the night. Finding a permanent address will have to wait.

With its quiet realism and almost unbearably intimate camera work, Rosie holds our hands to a flame of desperation. Constantly in motion, cellphone clasped tight to her ear, Rosie is driven by a stress that’s never visited on her children. The only time we see her close to breaking is when little Alfie, 6, must be forcibly dragged from the family’s trampoline, abandoned forlornly in the garden of their former home.

Giving the movie a much-needed warmth, the kids, aged 4 to 13, are marvelous, the family’s interactions patient and loving. At the same time, Doyle’s screenplay is brutally specific about the overwhelming demands under these circumstances, and Rosie’s efforts to keep up appearances with relatives and school officials are heartbreaking.

“We’re not homeless, we’re just lost,” Rosie says at one point, as the movie follows its heroine into a loop of diminishing options and dying hope.

– Jeannette Catsoulis, The New York Times


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