Movie Review—Damsel

Damsel

by Peter J. O'Connell

Damsel.Released: June 2018. Runtime: 113 mins. MPAA Rating: R for some violence, language, sexual material, and brief graphic nudity.

Damsel—written/directed/co-produced by and co-starring the Zellner brothers—has a premise that might have been developed into an advenure rescue movie set in the wild West. But that isn't what Damsel is. Damsel is an absurdist take on adventure rescue movies, and its setting is a very wacky West.

Absurdism might be briefly described as a minimalist approach to scenes that conventionally would be presented in a maximalist way and the use of dialogue delivered deadpan or with a different emotive quality than would be usual in a traditional drama. Absurdism treats the bizarre as if it were banal, and anachronisms, seeming non-sequiturs, and incongruities may abound. The aim is to upset expectations and explode cliches.

Damsel starts off with a scene that might almost be a kind of homage to a classical absurdist work, Samuel Beckett's Waiting for Godot. A wornout preacher (Robert Forster) in black garb is sitting next to a young man in long underwear at a sunbaked stagecoach stop in the wilderness—waiting. After some largely monosyllabic exchanges, the preacher suddenly gets up and runs off, shedding his clothes.

The next scene is of an enormously energetic—and entertaining—barn dance featuring a young couple, Samuel Alabaster (Robert Pattinson) and his fiancee, Penelope (Mia Wasikowska). Is this an allusion to the dance scenes in Westerns by John Ford and others?

The third scene gives us another jolt. It shows Samuel traveling in the far, very far West—the Pacific Ocean. He makes his way in a small boat through rough surf to a rugged beach. And he has a miniature golden pony, Daisy (played by Butterscotch), with him!

The fourth scene has Samuel, naïve and nerdy, arriving in a frontier town that looks left over from a spaghetti Wester or Clint Eastwood movie. Samuel enters a bar full of threatening characters, certainly a classic Western trope, except that the characters are physical and mental “misfits”, as the movie dubs them, more reminiscent of, say, the cantina scene in Star Wars than the Jack Palance character and his gunmen in Shane. Samuel explains that he has come to rescue Penelope, who has been kidnapped and taken into the wilderness, and marry her. The pony is to be a wedding gift. 

Samuel leaves the town to continue his odyssey. As he does so, one of the misfits is hanged while a singer yodels. Soon Samuel encounters Parson Henry (David Zellner), dressed like the preacher from the first scene, though he isn't really a parson, just a drunken stumblebum. Samuel hires Parson Henry to accompany him and officiate at the wedding once Penelope is rescued.

Further summarizing of scenes probably isn;t necessary to give you a sense of the tone and techniques of the movie. What is necessary, though, is to highlight that when Samuel and Parson Henry finally reach Penelope, she may be in distress but is not really a “damsel.” Instead, she's become an empowered woman like her namesake in Homer, fending off various men, including: kidnappers; Samuel; Parson Henry; Rufus (Nathan Zellner), a deranged mountain man; and Zachariah (Joseph Billingiere), a Native American. 

Mia Wasikowska brilliantly plays Penelope completely straight and, at times, terrifyingly violent. As she says: “I don't need anyone's saving!” Actually, Wasikowska's playing straight throws into high relief the absurd nature of the other characters—and, perhaps, of male attitudes about women.

Many will find Damsel annoyingly “crazy.” It's definitely not “your grandfather's Western,” whether you're a grandchild or a grandfather yourself. But, perhaps, the movie is crazy like a fox—or a miniature golden pony. 

Movie Review—Ocean's 8

by Peter J. O'Connell

Ocean's 8. Released: June 2018. Runtime: 110 mins. MPAA Rating: PG-13 for language, drug use, and some suggestive content. 

In 1960's Ocean's 11, Frank Sinatra as Danny Ocean masterminded the robbery of Las Vegas casinos. It took 40 years, but the movie eventually became a “franchise” with Ocean's Eleven (2001), Ocean's Twelve (2004), and Ocean's Thirteen (2007)--all directed by Stephen Soderbergh and starring George Clooney as Danny. Now in the era of female empowerment in Hollywood, director/co-writer Gary Ross brings us Ocean's 8, with Sandra Bullock as Danny's sister, Debbie, and an all-woman team recruited by her for a heist. 

The heist that Debbie, newly paroled from a prison term for art fraud, has in mind is both spectacular and particularly suited for an all-female crew. It is the theft of a $150 million Cartier necklace from the year's premier social event, the Costume Gala at New York's Metropolitan Museum of Art. Debbie's plan is to have the Met Gala's co-host, snobbish, airheaded actress Daphne Kluger (Anne Hathaway), wear the necklace but steal it from her and substitute a zircon duplicate.

To carry out the caper, Debbie gathers her diverse, talented team: Lou (Cate Blanchett), her former partner in various crimes; Rose Weil (Helena Bonham Carter), a once noted but now down on her luck fashion designer; Amita (Mindy Kaling), a jewelry maker; Nine Ball (Rihanna), a computer hacker; Constance (Awkwafina), a street hustler and pickpocket; and Tammy (Sarah Paulson), a suburbanite who sells stolen goods out of her home. Later Nine Ball's sister, Veronica (Nathanya Alexander), is brought in to disable a special magnet, carried by bodyguards hired by Carier, that prevents the necklace from being removed without the magnet's being activated. 

Debbie, cool and efficient, gets the heist plan going (as well as a secondary one involving revenge against Claude, played by Richard Armitage, who ratted her out in the art fraud case). Lou is a solid second-in-command, and the remaining six put their skills into play. They get the necklace onto Daphne, whose nearly orgasmic reaction to wearing it is quite amusing, and she attends the Gala, surrounded by various celebrities as themselves, including, of course, Kim Kardashian. And, also of course, a number of highly improbable events have to take place for the caper to succeed. Do they and does it? And, too, there are a number of surprises that will take place. Can you guess what they will be?

Whatever your answers to these questions, Ocean's 8 will provide you with a steady, though not particularly intense, degree of enjoyment from the beauty and stylishness on display by the cast and settings. The movie is an entertaining, though hardly powerful, exercise in female empowerment.      

Movie Review—First Reformed

First Reformed
Theatrical release poster

by Peter J. O’Connell 

First Reformed. Runtime: 113 mins. Released: May 2018. MPAA Rating: R for some disturbing, violent images.   

                                                                                                                                                       As the camera moves slowly up from its steps to its steeple, First Reformed church seems a commanding structure—pristine white; flat surfaces with sharp corners; elegantly simple design. It looks like a perfect manifestation of the predestinarian, puritanical Calvinists who formed the congregation in a small New York town 250 years ago. With this image begins writer/director Paul Schrader’s First Reformed.

But fine as the house of worship appears, the state of its worshippers is not so fine. The congregation has shrunk drastically after decades of dominance in the community. In fact, First Reformed is now, in effect, a satellite of the Abundant Life Church, a megachurch located nearby in a blandly modernist complex and mainly focused on social services and feel-good theology. Abundant Life treats First Reformed mostly as a kind of tourist attraction, complete with gift shop, for school groups, etc. First Reformed’s pastor, Ernst Toller (Ethan Hawke), shows the tourists such sights as the cellar that the church used as a station on the Underground Railroad for fugitive slaves. 

Toller is a troubled man—grief-stricken, guilt-ridden, doubt-plagued. As a military chaplain, he urged his son to enlist—and the youth was killed in combat. That tragedy led to the breakup of Toller’s marriage. In the wake of the breakup, Toller began to drink. A possible relationship with an Abundant Life music director (Victoria Hitt) hasn’t worked out. Yet Toller struggles to fulfill his pastoral role despite his personal demons., and the decline of First Reformed. The situation is deeply ironic for Abundant Life is actually planning a big celebration for the impending 250^thanniversary of the founding of First Reformed. An industrial corporation that now dominates the local economy has agreed to be a benefactor of that celebration—and of Abundant Life.

One day Toller, the troubled pastor, is approached by a pregnant woman named Mary (hmmm . . . played by Amanda Seyfried), who urges Toller to counsel her troubled husband, Michael (Philip Ettinger). Michael is so depressed by the state of the global environment that he thinks the human race itself should perish for what it has done. Michael is even urging Mary to have an abortion. Toller entreats Michael to get his thinking back into balance: “Holding these two ideas in our head is life itself, hope and despair.”

But as their conversations go on, Toller begins to be influenced by Michael more than Michael is influenced by him. Toller becomes particularly concerned by the harm that the benefactor corporation of Abundant Life is doing to the local environment. Sharing his concern with Abundant Life’s Pastor Jeffers (Cedric “the Entertainer” Kyles), Toller is advised that he is spending too much time “in the Garden.” Jeffers is referring to the Garden of Gethsemane, where Christ sweated blood before the Crucifixion, but we may see other possibilities in the phrase as well (Garden of Eden, anyone?).

The Edenic metaphor takes powerful visual form in a kind of “magical realist” episode triggered by an intimate (nonsexual) contact between Toller and Mary. Toller experiences beautiful visions of an unspoiled world, but then the Gethsemane metaphor takes over, and apocalyptic scenes of an overpopulated, overpolluted, overheated world reminiscent of a Hieronymus Bosch painting horrify Toller. 

Toller is also horrified when Mary shows him an explosive suicide bomber vest that Michael has obtained. Toller takes possession of the vest and begins to research radical Islamist Web sites. From this point on, events take on an increasingly intense, suspenseful, violent quality as the 250^th“reconsecration” of First Reformed looms, with the head of the polluting corporation (Michael Gaston) to be prominent in the events and the governor and other politicians invited. 

Paul Schrader wrote and/or directed some of the classic films of the 1970s and 1980s: Taxi Driver, Blue Collar,Hardcore, Raging Bull, American Gigolo,Mishima. The mix of high art and sensationalism that characterizes these films is also fully evident in First Reformed, to a wrenching degree.  

It is hard to imagine a better performance of the ravaged, sensitive Toller than that given by Ethan Hawke. Amanda Seyfried as Mary is tender and moving. Cedric “the Entertainer” Kyles, an African-American performer usually associated with comedy, is perfectly nuanced as Pastor Jeffers. And the film’s cinematography is as austere as the architecture—and theology—of the First Reformed church. 

First Reformedis in some ways a miraculous movie. Shot in the astonishingly short time, for a feature film, of 15 days, it has a fine cast enact a script that brings together, powerfully if not perfectly, vitally important themes of different types. Blessings on Paul Schrader, raised in the Calvinist Christian Reformed Church, who did not see his first film until he was 17. Schrader may have left the church at an early age, but, we might say, the church never left him! 

                                                                                                                                       

Movie Review—Hereditary

Hereditary

by Peter J. O'Connell

Hereditary. Released: June 2018. Runtime: 127 mins. MPAA Rating: R for horror violence, disturbing images, language, drug use, and brief graphic nudity.

“All happy families are all alike; every unhappy family is unhappy in its own way.” So wrote Tolstoy. In Hereditary, written and directed by Ari Aster, Annie Graham's family is definitely an unhappy one, and in some sui generis ways.

Annie (Toni Collette) is a miniaturist artist who makes houses and fills them with furnishings and people, all in small scale. But it is as if some malignant force has been manipulating Annie's own household and family life for years. 

The movie begins with the funeral of Annie's mother. In a eulogy Annie relates that she had a difficult relationship with her mother, who was extremely secretive and, along with other members of her family, suffered from a variety of mental illnesses that resulted in their deaths. Annie will have a number of haunting visions of her mother during the course of events.

As for Annie's own immediate family: husband Steve (Gabriel Byrne) is well-meaning but rather ineffectual; daughter Charlie (Milly Shapiro) is an odd 13-year-old who has visions of her grandmother, makes clucking noises, and cuts the heads off birds; son Peter (Alex Wolff), struggling in high school, is more interested in girls and pot than his classes. And Peter's relationship with his mother is a difficult one, too. That may be because Annie never wanted to give birth to him and tried several times to induce a miscarriage. And the fact that once, while she was sleepwalking, Annie seemed about to immolate Peter didn't warm things up between the two. 

When Annie tries to bring Charlie and Peter closer together by having Peter take his sister to a party, tragedy results. Charlie dies a horrible death. Peter then begins to have visions, including “auditory” ones, of his dead sister.

After this tragedy, Annie resumes attending a grief-counseling support group that she attended following her mother's death. There she becomes involved with a friendly seeming but somewhat mysterious woman named Joan (Ann Dowd). Joan teaches Annie how to conduct a séance to connect with Charlie. This actually doesn't turn out well and leads to a variety of visions, levitations, immolations, and attempted murders.

Annie eventually learns of a longstanding connection between Joan and Annie's mother, and Peter learns that the forces influencing his family's life—and deaths—may be from Hell itself, and are male chauvinist!

Molly Shapiro provides a fairly pedestrian odd girl performance. Toni Collette goes over the top as Annie—but the character herself is pretty much over the top. Alex Wolff is just right as Peter. And Ann Dowd is topnotch as Joan. Hereditary proceeds in segments, so to speak, each of which in isolation is somewhat gripping, but what do they all add up to? Is it really a coherent story of supernatural horror, such as Rosemary's Baby or The Exorcist? Or is Hereditary simply a collection of supernatural horror tropes gathered from those movies and their successors and thrown onto the screen to see what sticks? But, of course, each moviegoer will have to decide personally if Hereditary has been put together in a way that makes him/her happy or unhappy after viewing. 

   

Movie Review—Solo

Solo: A Star Wars Story

by Peter J. O'Connell                                                                                                      

Solo. Runtime: 135 mins. Released: May 2018. MPAA Rating: PG-13 for sequences of sci-fi action/violence.

Solo stands alone. This movie, with Ron Howard credited as director, is considered a “Story in the Stars Wars Anthology,” not an “Episode in the Star Wars Saga.” As such, it has some characters, settings, and situations from the Saga, but is essentially an independent work, free (mercifully), for example, from the magical, mystical mumbo-jumbo about the Force, etc., that shapes the Saga.

What Solo has is Han, Han Solo, that is, the insouciant rogue introduced in the very first Star Wars movie long, long ago in 1977, now known as Star Wars, Episode IV: A New Hope. Han was played, memorably, by Harrison Ford then. Now Alden Ehrenreich is the dashing pilot in a film that provides backstory for Han.

That story proceeds in segments. The first is a kind of sci-fi Dickensian one. As the opening scroll puts it: “It is a lawless time. Crime Syndicates compete for resources—food, medicine, and hyperfuel. On the shipbuilding planet Corellia, the foul Lady Proxima forces runaways into a life of crime in exchange for shelter and protection. On these mean streets, a young man fights for survival, but yearns to fly away among the stars . . . . “ The young man is Han, and his girlfriend is Qi'ra (Emilia Clarke). Together they attempt to flee Corellia, but only Han succeeds. He vows to return for Qi'ra.

The next segment is set in the military. Han made it into the Imperial Flight Academy but was expelled for insubordination. Now he fights as an infantryman in a World War I-type of setting. Eventually, after first clashing with them, he links up with a gang of criminals posing as Imperial soldiers led by Tobias Beckett (Woody Harrelson) and a Wookie named Chewbacca (Joonas Suotomo). 

The third segment depicts an attempted heist. Beckett and his gang and Han and Chewie seek to gain control of a speeding train carrying hyperfuel high in the snowclad mountains of the planet Vandor. The sequence is one of the most exciting and spectacular in the whole Star Wars cinematic universe. Acting, stunt work, traditional special effects, and computer-generated imagery all work together brilliantly.  

The heist attempt fails, and the fourth and longest segment of the film begins. It is a kind of gangster tale and opens with a cocktail party on the yacht of Dryden Vos (Paul Bettany), a high-ranking boss in the Crimson Dawn syndicate. The atmosphere of this opening is somewhat reminiscent of that in fancy parties from 1940s noir films, though the guests are all types of creatures. 

Among the guests is Qi'ra, who has joined Crimson Dawn and become Vos' top lieutenant. This is her way of escaping the “mean streets” (hat tip to Martin Scorsese) mentioned in that scroll at the beginning of the first segment. To make up for the failure of the train heist, Han suggests a risky plan to steal hyperfuel from a distant planet. Vos has Qi'ra accompany Han and Beckett and their team. Oi'ra leads them to Lando Calrissian (Donald Glover), a smuggler with a ship named Millennium Falcon, which Han covets. 

Various adventures follow, including, of course, ones that show the piloting skills of Han. Twists and turns abound and are well summarized in Beckett's saying: “Let me give you some advice. Assume everyone will betray you. And you will not be disappointed.” 

Solo is an entertaining, though not enthralling, film. There is a certain “check off the box” quality to it with an eye to the 1977 classic—Han meets Chewie (check); Han plays cards with Lando (check); etc. Alden Ehrenreich has shown himself to be a fine actor in Hail, Caesar! and other films, but he lacks the panache of Harrison Ford. Part of that is due to the fact that Hollywood's current desire to be seen as promoting female empowerment often renders Han an observer of female humans, space aliens, even robots kicking ass rather than doing it himself. Donald Glover is a sly Lando Calrissian, but Paul Bettany as Dryden Vos is more a collection of personal tics than the embodiment of evil. And Woody Harrelson as Beckett is solid but, somewhat surprisingly, doesn't really add the kind of “just enough over the top” quality that he usually provides to movies.   

Maritime Aquarium's debut car show on June 16 features 11 great models named for fish

NORWALK, CT  –  On Sat., June 16 – the day before Father’s Day – bring dad to check out some of the finest rides ever named for fish in The Maritime Aquarium Auto Show: “Barracudas, Sting Rays & More Show Cars from the Sea.”

Appropriately, The Maritime Aquarium’s first-ever Auto Show will feature 11 rare and exquisite cars all named for marine animals, including a 1956 Bangert Manta Ray, a 1962 Tiburon (Shark) Roadster, plus classic Marlins, Barracudas, Sting Rays and more.

“The ocean inspires us all – even car-makers – and we are excited to present examples of the best vehicles named for creatures of the sea,” said Aquarium spokesman Dave Sigworth. “The cars in this exhibit aren’t cars off the street. They’re rare and beautiful show cars, some of which are coming from Florida and New Hampshire just for the day.”

Must-“sea” cars expected to be on hand are:

•  a 1956 Bangert Manta Ray, a fiberglass-bodied kit car, one of only four that still exist.

•  a 1962 Covington Tiburon (Shark) Roadster, another fiberglass-bodied vehicle that has been called “the most streamlined car in the world.” It has an engine and transmission from a 1971 Renault R10.

•  a 1965 Rambler Marlin and a 1966 AMC Marlin “Sport Fastback.”

•  a 1970 Plymouth Barracuda 440, an original black on black and one of only 334 440 4-speed ’cudas built that year.

•  a 1973 Porsche “Viper Green” 911 Carrera, known for its froggish appearance.

•  a 1979 Porsche 930 Whale Tail, one of only 1,200 made that year. •  a 1987 BMW M6 E24 Shark. •  a 1994 Porsche “964 generation” 911 Whale Tail, one of only 1,400 made.

•  and a 2014 and a 2016 Corvette Sting Ray.

The vehicles will be displayed outside on The Maritime Aquarium’s riverfront courtyard.

“Barracudas, Sting Rays & More Show Cars from the Sea” will run from 10 a.m. to 5 p.m., and is free with Maritime Aquarium admission: $24.95 for adults, $22.95 for seniors (65+), and $17.95 for children ages 3-12. Kids under 3 are admitted for free. (Aquarium admission also includes an IMAX movie, showing in Connecticut’s largest IMAX Theater, with a screen that’s six stories high. Playing daily in June are “Backyard Wilderness” and “Pandas.”)

Learn more about the car show – and all of the popular Norwalk family attraction’s exhibits, programs and IMAX movies – at www.maritimeaquarium.org.

2018 Farmers markets schedules

Connecticut has over 100 farmers’ markets and can be found in virtually any town, seven days a week. The popularity of the markets mirrors the benefits - fresh, local products, friendly farmers that are the face behind the food you’re buying, and a community gathering place for everyone to enjoy.  Here is a list of area farmers markets provided by the Connecticut Department of Agriculture.

Bridgeport ‐ Black Rock
Saturdays, 9 a.m. ‐ 1 p.m.
June 9 ‐ Oct. 6
St. Ann Church, 481 Brewster St. blackrockfarmersmarket.com

Bridgeport ‐ Downtown
Thursdays, 10:30 a.m. ‐ 2 p.m. July 12 ‐ Oct. 11
McLevy Green, Bank St.
Bridgeport ‐ East End
Saturdays, 12 p.m. ‐ 4 p.m.
Aug. 4 ‐ Oct. 6
Kings Pantry on the Corner of Connecticut Ave. & Florence St.
eastendfarmersmarket.org

Darien
Wednesdays, 11 a.m. ‐ 4 p.m.
June 6 ‐ Nov. 21
Goodwives Shopping Center, 25 Old Kings Hwy North

East Haven
Sundays, 8:30 a.m. ‐ 12 p.m.
July 8 ‐ Oct.14
East Haven Town Hall, 250 E. Main St.

Fairfield ‐ Greenfield Hill
Saturdays, 10 a.m. ‐ 2 p.m. May 26 ‐ Oct. 27
65 Hillside Rd.

Greenwich
Saturdays, 9:30 a.m. ‐ 1 p.m.
May 19 ‐ Dec. 22
Commuter Lot, Arch St. & Horseneck Ln. greenwichfarmersmarketct.com

Hamden
Thursdays, 4 p.m. ‐ 7:30 p.m.
June 28 ‐ Oct. 4
Town Center Park, 2901 Dixwell Ave. hamden.com/market

Madison
Fridays, 3 p.m. ‐ 6 p.m.
May 4 ‐ Oct. 26
Madison Historic Town Green, Meeting House Ln.
madisonfarmersmarket.com

Meriden
Saturdays, 8:30 a.m. ‐ 12 p.m. July7‐Oct.20
Meriden Park Green, 46 Pratt St. meridenfarmersmarket.org

Milford
Saturdays, 9 a.m. ‐ 1 p.m.
June2‐Oct.13
River Street Parking Lot, 58 River St. downtownmilfordfarmersmarket.co

Milford ‐ Village of Devon
Sundays, 9 a.m. ‐ 2 p.m.
July1‐Oct.28
Municipal Parking Lot, 120 Bridgeport Ave. https://www.facebook.com/Village‐of‐Devon‐ Farmers‐Market‐
Monroe
Fridays, 3 p.m. ‐ 6 p.m.
June 22 ‐ Oct. 26
Town Hall Green, 7 Fan Hill Rd. monroefarmersmarket.org

New Canaan
Saturdays, 10 a.m. ‐ 2 p.m.
April 28 ‐ Dec. 15
Old Center School Parking Lot, South Ave./Maple St./Main St. newcanaanfarmersmarket.net

New Haven ‐ Downtown
Wednesdays, 11 a.m. ‐ 2 p.m.
June 27 ‐ Oct. 31
New Haven Green, Corner of Church & Elm St. cityseed.org/farmers‐markets
New Haven ‐ Edgewood Park
Sundays, 10 a.m. ‐ 1 p.m.
May 6 ‐ Dec. 16
Edgewood Park, Corner of Whalley & West Rock Ave.
cityseed.org/farmers‐markets
New Haven ‐ Fair Haven
Thursdays, 3 p.m. ‐ 6 p.m.
July 5 ‐ Oct. 25
Quinnipiac River Park, Corner of Front St. & Grand Ave.
cityseed.org/farmers‐markets

New Haven ‐ Wooster Sq.
Saturdays, 9 a.m. ‐ 1 p.m.
April 7 ‐ Dec. 15
Russo Park, Corner of Chapel & DePalma Ct. cityseed.org/farmers‐markets

North Guilford
Saturdays, 9 a.m. ‐ 12:30 p.m.
May 12 ‐ Oct. 27
Dudley Farm Museum ‐ Corner of Rtes. 77 & 80, N. Guilford, 2351 Durham Rd. https://www.dudleyfarm.com/market.htm

Norwalk
Wednesdays, 11 a.m. ‐ 3 p.m. May 9 ‐ Oct. 31
Rainbow Plaza, 205 Main St. gazybrothersfarm.net

Old Greenwich
Wednesdays, 2:30 p.m ‐ 6 p.m in May ‐ Oct.; 2 p.m ‐ 5 p.m. in Nov.
May30‐Nov.14
Church Parking Lot, 38 West End Ave. oldgreenwichfarmersmarket.com

Orange
Thursdays, 3:30 p.m ‐ 7 p.m.
June 28 ‐ Sept. 27
High Plains Community Center, 525 Orange Center Rd.
FarmMarketOrange.com

Shelton ‐ Saturday Market
Saturdays, 9 a.m. ‐ 1 p.m.
May 7 ‐ Nov. 17
Shelton Farm & Public Market Bldg., 100 Canal St.
sheltonfarmersmarket.org
Shelton ‐ St Paul's Church
Thursdays, 3:30 p.m. ‐ 7 p.m.
June 7 ‐ Oct. 25
St. Paul's Church Parking Lot, 25 Church St. sheltonfarmersmarket.org
Shelton ‐ Wednesday Market
Wednesdays, 3 p.m. ‐ 6:30 p.m.
June 6 ‐ Oct. 31
Shelton Farm & Public Market Bldg., 100 Canal St.
sheltonfarmersmarket.org

Stamford ‐ Downtown
Saturdays, 9 a.m. ‐ 3 p.m.
June 23 ‐ Oct. 27
Bedford St. Parking Lot, Latham Park stamford‐downtown.com
Stamford ‐ Museum & Nature Center
Sundays, 10 a.m ‐ 2 p.m.
June 24 ‐ Sept. 30
Museum & Nature Center, 39 Scofieldtown Rd. stamfordmuseum.org

Stratford
Mondays, 2 p.m. ‐ 6 p.m.
June 26 ‐ Oct. 30
Paradise Green, Main St.

Trumbull
Thursdays, 3:30 p.m. ‐ 6:30 p.m.
May 17 ‐ Oct. 11
Nichols Improvement Assoc., 1773 Huntington Tpke. https://www.facebook.com/Trumbull‐Farmers‐ Market‐722779127844709/

Woodbridge
Tuesdays, 5:30 p.m. ‐ 8 p.m.
July3‐Aug.28
Woodbridge Town Green, 11 Meetinghouse Ln. www.woodbridge.lioninc.org/events/farmers‐ market/