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NYPD cop John McClane goes on a Christmas vacation to visit his wife Holly in Los Angeles where she works for the Nakatomi Corporation. While they are at the Nakatomi headquarters for a Christmas party, a group of robbers led by Hans Gruber take control of the building and hold everyone hostage, with the exception of John, while they plan to perform a lucrative heist. Unable to escape and with no immediate police response, John is forced to take matters into his own hands.

Top London cop PC Nicholas Angel is good. Too good. To stop the rest of his team looking bad, he is reassigned to the quiet town of Sandford. He is paired with Danny Butterman, who endlessly questions him on the action lifestyle. Everything seems quiet for Angel until two actors are found decapitated. It is called an accident, but Angel won’t accept that, especially when more and more people turn up dead. Angel and Danny clash with everyone while they try to uncover the truth behind the mystery of the apparent “accidents”.

Beast Beast has the clout of Gus Van Sant’s Elephant given a fresh overhaul that encompasses social media culture and an insightful look at the allure of guns.


There are three exuberant intersecting stories. Krista (Shirley Chen) is a drama geek; Nito (Jose Angeles) is the new kid, who eventually hooks up with Krista; and Adam (Will Madden) is Krista’s neighbour, who loves guns and dreams of going viral with his gun videos. There is a sense of something about to go wrong, which is reminiscent of Ian McEwan’s novel Saturday. No matter how well life is going, you have an uneasy feeling that things can change in an instant.


Director Madden isn’t judgmental as he, in turn, focuses on each essentially likeable character.

The actors, primarily newcomers, are remarkably adept at conveying emotions without words, or through their body language.


Beast Beast explores the repercussions of needing so much validation, which is as valid today as it was 30 years ago.

“Sauvage,” says Joséphine Bacon, “means to be wholly free.” When elders leave us, a link to the past vanishes along with them. Innu writer Joséphine Bacon exemplifies a generation that is bearing witness to a time that will soon have passed away. With charm and diplomacy, she leads a charge against the loss of a language, a culture, and its traditions. On the trail of Papakassik, the master of the caribou, Call Me Human proposes a foray into a people’s multi-millennial history in company with a woman of great spirit who has devoted her life to passing on her knowledge and that of her ancestors. In her language, Innu means “human.”


(FR Version)

« Sauvage » dit Joséphine Bacon, « ça veut dire être libre entièrement. » Lorsque les anciens nous quittent, un lien avec le passé disparaît avec eux. La femme de lettres innue Joséphine Bacon incarne cette génération témoin d’une époque bientôt révolue. Avec charisme et sensibilité, elle mène un combat contre l’oubli et la disparition d’une langue, d’une culture et de ses traditions, qu’elle a elle-même apprit de ses ancêtres. Sur les traces de Papakassik, le maître du caribou, Je m’appelle Humain propose une incursion dans l’Histoire d’un Peuple multimillénaire aux côtés d’une femme libre qui a consacré sa vie à transmettre son savoir et celui de ses ancêtres. Dans sa langue, innu veut dire « humain ».


Cookie – Chocolate

Driftwood – Fat Tug

Driftwood – White Bark Witbier