The lights will come on again!


The ByTowne is now closed. But there's good news!

After the pandemic has been brought under control,
new management will take over the space and the ByTowne will re-open.

It may take a while for pandemic restrictions to be eased enough
that a feasible number of patrons can be allowed to watch a movie again,
but the new owners are working towards that day.

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Two Lovers And A Bear

By the director of Rebelle (War Witch)

In Two Lovers And A Bear, Kim Nguyen (director of the Oscar-nominated Rebelle (War Witch) sets a deeply resonant romance just about as far north as human beings can stand to live.

Poster for the Arctic romance Two Lovers And A BearLucy (Tatiana Maslany, of tv’s ‘Orphan Black’) and Roman (Dane DeHaan, The Place Beyond The Pines) find themselves in the remote northern community of Apex for opposite reasons, but come together because they have so much else in common – they’re both damaged souls, seeking stability and protection in someone else’s arms. The two look far too young to be carrying so much angst on their shoulders, and yet, when not bonding over ice fishing or snowmobile racing, they’re all but crippled by memories of their past.

Roman and Lucy need more from one another than they’re willing to admit. Therapy would probably help, but instead they play the game of pretending that no one exists in the world but them – a strategy they eventually take literally, hopping on their snowmobiles and buzzing off into the wide blue yonder.

And that’s when the movie really kicks in. As the lovers set out on their snowmobiles to reconnect with one another, Nguyen constructs a series of astonishing set pieces, ranging from melancholy (Lucy points out a herd of reindeer that followed one another to their icy deaths) to downright exhilarating (a white-knuckle survival sequence every bit as gripping as 127 Hours).  Faced with a massive storm, they take shelter in a giant, abandoned bunker that clearly dates back to the Cold War (filmed at Carp’s own Diefenbunker).  Inside, they explore its forbidden spaces – including a control room that appears capable of launching nuclear missiles at Russia – like two naughty children.

Here, in this incredible location, Nguyen encourages our imaginations to run wild. Given the surreal run-ins Roman has had with a polar bear earlier in the film (to say more would be to spoil the film’s greatest surprise), anything seems possible.

In the end, Nguyen transforms what initially felt like a relatively generic love story into something totally unpredictable, taking full advantage of gorgeous widescreen cinematography to convey the magic of his locations (including breathtaking footage of the Aurora Borealis). The film’s final image is one of incredible, heart-catching poignancy, making the entire experience virtually impossible to forget.

– Peter Debruge, Variety

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