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We feel it in our fingers, we feel it in our toes – the need to come out of hibernation and scream along with this DFF classic of all classics, Love, Actually. Grab your turts and your unrealistic romantic ideals and join us for an evening of rage and revelry. We’ll gather ‘round the yule log with our hosts Bernita Rebeiro and Kyrell Grant and revisit the classic tale of nine intertwined love stories that examine the complexities of the one thing that connects us all: projecting romantic ideals onto near-strangers.

This screening is part of a 2-night double feature—we’re screening The Holiday on Tuesday, November 28. Bring your crew for a festive evening (or two) of laffs, actually over apple cider—spiked or not—and help us prove for once and for all that lols really are all around us.

7:00 PM: Doors
8:00 PM: Show

Tickets: $25 (Students/Seniors: $20)

The film will be screened with captions. Please email us at [email protected] by November 13 if you require ASL interpretation for the commentary, and we will ensure it is available for you!

Masks are encouraged between sips/bites.

The cinema has wheelchair-accessible seats, and there is also an accessible washroom. Ticketholders requiring an accessible seat may email [email protected], and we will ensure cinema staff direct your party to your seat upon arrival.

Please do not wear scented products to DFF screenings. All washrooms on-site will be open to people of any gender at this event. We ask our guests to avoid making assumptions and comments about other guests' bodies or gender identities (e.g. which washroom equipment they use).

We can’t wait to be back in the theatre with you!


About Drunk Feminist Films: Since 2013, Drunk Feminist Films has been producing interactive events that use shouty, snarky & fun-fuelled commentary to tease apart the tropes of mainstream movies. Because we'd rather laugh than cry about representations of gender, race, sexuality, class and other aspects of identity in pop culture. Drinking definitely not required.

Credits

  • Director(s)

    • Richard Curtis

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