Michka Saäl
Born in Tunisia, Michka Saäl arrived in Quebec in the 1980s where she completed her studies in cinema after studying art history and sociology in Paris. Between 1989 and 2017, she directed 13 films, both fiction and documentary. Her first feature documentary, L'arbre qui dort rêve à ses racines (1992), was selected in several festivals and awarded in Jerusalem. In 1993, she was chosen as filmmaker-in-residence at the Canadian Film Center in Toronto and directed the fiction Tragédia. After several award-winning dramas and documentaries, she directed Prisonniers de Beckett (2006), a feature film that oscillates between documentary and theatrical fiction, which received two Gemini Award nominations and was selected for the Cannes ACID Festival in 2007. After a long period of working on several projects at the same time, she directed China Me (2013), Spoon (2015), A Great Day in Paris (2017) and New Memories (2018). In July 2017, during post-production of New Memories, she passed away suddenly. Her partner, Mark Foss, and his team have completed the film, and are also finishing The Adventurers, in 2019. A book of unpublished stories, La lune des coiffeurs is coming out in 2019.
Related to this realisator
New Memories
In the circus-like atmosphere of Kensington Market in Toronto, the camera of Anne J. Gibson is a silent witness, a potential threat, and an offer of human connection, sometimes all at once.
Spoon
A dialogue between a Black American poet imprisoned for life and the filmmaker, imprinted on the dunes of his beloved Mojave desert and her own interior landscapes. Spoon's journey begins with sleepwalking through the first 19 years of his life before his conviction, and ends with his discovery of poetry and writing. As Spoon says, if he didn't write, he would be a shadow boxing death.
New Memories
In the circus-like atmosphere of Kensington Market in Toronto, the camera of Anne J. Gibson is a silent witness, a potential threat, and an offer of human connection, sometimes all at once.
Spoon
A dialogue between a Black American poet imprisoned for life and the filmmaker, imprinted on the dunes of his beloved Mojave desert and her own interior landscapes. Spoon's journey begins with sleepwalking through the first 19 years of his life before his conviction, and ends with his discovery of poetry and writing. As Spoon says, if he didn't write, he would be a shadow boxing death.
