Running time 1h 40min | Directed by Björn Runge | UK, Sweden, USA | Drama

SHOWTIMES

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Week 2

Friday, January 18, 2019
5:15 p.m.

Saturday, January 19
5:15

Sunday, January 20
No screenings

Monday, January 21
5:15

Tuesday, January 22
No screenings

Wednesday, January 23
5:15

Thursday, January 24
7:30

Week 1

Friday, January 11, 2019
7:30 | 9:35 p.m.

Saturday, Jan. 12
7:30 | 9:35

Sunday, Jan. 13
5:00 | 7:30

Monday, Jan 14
7:30 | 9:35

Tuesday, Jan. 15
7:30 | 9:35

Wednesday, Jan. 16
7:30 | 9:35

Thursday, Jan. 17
7:30 | 9:35

Rated R

 After nearly forty years of marriage, Joan and Joe Castleman (Glenn Close and Jonathan Pryce) are complements: Where Joe is brash, Joan is shy. Where Joe is casual, Joan is elegant. Where Joe is vain, Joan is self-effacing. And where Joe enjoys his very public role as The Great American Novelist, Joan usually pours her considerable intellect, grace, charm, and diplomacy into the private role of Great Man’s Wife, keeping the household running smoothly, the adult children in close contact, and Joe’s pills dispensed on schedule. But this time, as Joe is about to receive the Nobel Prize, Joan’s had enough. Serving Joe notice that she wants no place on a pedestal as his passive muse. Instead of smoothing over everyone else’s problems, Joan finally reaches for self-determination. The Castleman marriage and literary legend will never be the same.

Directed by Berlin Silver Bear-winner Björn Runge, The Wife is adapted by Jane Anderson from the Meg Wolitzer novel of the same name.

Golden Globe Winner — Best Performance by an Actress in a Motion Picture – Drama: Glenn Close

The Wife offers viewers a chance to observe one of the finest – and most criminally underpraised – actresses of her generation working at the very top of her shrewd, subtle, superbly self-controlled game.
Ann Hornaday | Washington Post | Full review

Runge is very good with actors. It’s a pleasure simply to watch Close and Pryce establish such minute and careful gradations of happiness, desolation and exasperation in their scenes together.
Michael Phillips | Chicago Tribune | Full review

Close owns this movie, from beginning to end; it’s a performance of such intelligence and subtlety that only when the movie is long over do you start wondering about whether the plot holds up.
Moira MacDonald | Seattle Times` | Full review