mamafilm Season 2 is happening in Downtown Wichita at The Lux (120 E 1st St N, Wichita, KS 67202.)
Tickets: Tickets are $10 and advanced purchase for all shows is highly recommended as seating is limited. CASH ONLY for tickets at the door.
Concessions: You may continue to BYO food/drinks to the cinema; unlimited popcorn will be available for $2.
Parking: Most of our events will take place in the evenings and on weekends. There is ample FREE parking on Market Street & in surrounding lots on these off-hours.
Doors: The Lux Doors & Theater Door will open 30 minutes before showtime. The main building doors will close 30 minutes after the start of the film. Arrive on time!
Other questions? Feel free to email us!
SEASON 2: COMING SOON
HONEYLAND | Thursday, February 20, 7:00pm / Sunday, February 23, 2:00pm
Directed by Ljubomir Stefanov and Tamara Kotevska, Republic of Macdeonia, 2019, 87m.
Oscar 2020 nominee Best Documentary Feature
Hatidze lives with her ailing mother in the mountains of Macedonia, making a living cultivating honey using ancient beekeeping traditions. When an unruly family moves in next door, what at first seems like a balm for her solitude becomes a source of tension as they, too, want to practice beekeeping, while disregarding her advice. The most awarded film out of the 2019 Sundance Film Festival, HONEYLAND is an epic, visually stunning portrait of the delicate balance between nature and humanity that has something sweet for everyone.
ANTIGONE | Thursday, February 21, 6:30pm / Sunday, March 1, 2:00pm
Directed by Sophie Deraspel, Canada, 2019, 109m.
Gripping, powerful, and of-the-moment, Antigone loosely adapts Sophocles’ Greek tragedy and situates it in contemporary Montreal. The latest from critically acclaimed Québécois writer-director Sophie Deraspe (The Wolves, The Amina Profile) is a compassionate family drama that doesn’t hold back on its indictment of the current refugee and immigrant experience in North America.
THE WOMAN WHO LOVES GIRAFFES | Thursday, March 5, 6:30pm / Sunday, March 8, 2:00pm
Directed by Alison Reid, Canada, 2019, 83m.
In 1956, four years before Jane Goodall ventured into the world of chimpanzees and seven years before Dian Fossey left to work with mountain gorillas, 23-year-old biologist Anne Innis Dagg made an unprecedented solo journey to South Africa to study giraffes in the wild. In THE WOMAN WHO LOVES GIRAFFES Anne (now 85) retraces her steps, and with letters and stunning, original 16mm film footage offers an intimate window into her life as a young woman, juxtaposed with a first hand look at the devastating reality that giraffes are facing today. Both the world’s first ‘giraffologist’, whose research findings ultimately became the foundation for many scientists following in her footsteps, and the species she loves have each experienced triumphs as well as setbacks. THE WOMAN WHO LOVES GIRAFFES gives us a moving perspective on both
SEASON 2: PAST FILMS
WE ARE THE RADICAL MONARCHS | Sunday, February 16, 2:00pm
Directed by Linda Goldstein Knowlton, USA, 2019, 95m.
Meet the Radical Monarchs, a group of young girls of color on the front lines of social justice, started by two fierce, queer women of color. Set in Oakland, CA, a city with a deep history of social-justice movements, the film documents the journey of the group as they earn badges for completing units such as being an LGBTQ ally, preserving the environment, and promoting disability justice. Filmed over three years, WE ARE THE RADICAL MONARCHS follows this mission-driven troop as they face the challenge of growing their organization, both before and after the 2016 election.
AFTER PARKLAND | Wednesday, February 12, 7:00pm
Directed by Emily Taguchi & Jake Lefferman, USA, 2019, 92m.
In the days after the shooting at Marjory Stoneman Douglas High School in 2018 that killed 17 people and launched a nationwide student movement, filmmakers Emily Taguchi and Jake Lefferman embedded with students and families whose lives were forever transformed. Weaving together candid, in-depth interviews, vérité footage, and personal videos, the film chronicles moments both intimate and defining – from the quiet hours of grief and reflection, to those of political awakening, and onto milestones on the public stage – creating a moving portrait of one community’s crusade to turn tragedy into progress.