It’s the day of the entrance exam. Aspiring filmmakers step through the heavy gates of La Fémis for the first time. Each of them dreams of cinema, but also of success. Every hope is allowed, every anxiety as well. The juries deliberate, searching for their worthy successors. From the arrival of the candidates to the final deliberations, the film explores the confrontation between two generation...
Noriko Oi, a Japanese Canadian who has lived in Montreal for more than 20 years, is preparing to return to Nagasaki, her hometown, to help her siblings clear out the family home that will soon be sold. Within the walls of this old house lie fragments of the Oi family’s history. Noriko decides to reconstruct the past of her mother, Mitsuko, an atomic bomb survivor, in the hope of coming to terms...
In the summer of 1982, the Israeli army invaded Beirut. During this time it raided the Palestinian Research Center and looted its entire archive. The archive contained historical documents of Palestine, including a collection of still and moving images. Taking this as a premise, _A Fidai Film_ explores the visual memory of this looting and appropriates images now in the hands of Israeli archives.
In 1982, Jocelyne Saab's 150-year-old family home burns down. In tandem with the Lebanese playwright Roger Assaf, she decided to travel through her city, which was under siege by the Israelis, and to report on the situation in Beirut, the departure of the Palestinians and the incomprehension of the civilians who were suffering from the war.
Nous sortirons de nos cuisines - Épisode 1 - Nous aurons les enfants que nous voulons (1968-74)
Duration: 1h02Montreal, 1973. Canadian law now permits abortion. But the criteria are very restrictive, and women depend on the goodwill—more often the ill will—of the men sitting on the committees that approve or deny them. Quebec is the province where it is most difficult to terminate an unwanted pregnancy, and clandestine abortions are common: they are the leading cause of hospitalization among women. Yet...
Filmmaker Xun Sero grew up as a Tzotzil Mexican among the sacredness of the Virgin of Guadalupe and Mother Earth. As the son of a single mother, he grew up between mockery for not having a father and blaming his mother for it. _Mom_ is a dialogue between a mother and a son who explore their contradictions, who know and recognize each other, and reflect on the perpetuation of naturalized violence.
Their names are Anne-Charlotte, Joohee, Céline, Niyongira and Mathieu. They are 25- to 52-year-old, hailing from Brazil, Sri Lanka, Rwanda, South Korea, or Australia. These five individuals have something in common: they are adopted. Separated from their family and country from childhood, they grew up in French families. Their life stories and home movies tell an intimate, political story about...
At the dawn of their teenage years, Raphaël and Rémi are twins who see their fusional attachment crumble while one of them, suffering from an increasingly marked disability, remains a prisoner of childhood. During one last summer surrounded by nature, time seems to want to stand still.
An ethnographic comedy showing people at leisure in the setting of their "sommerhus", a sort of summer residence popular in Denmark. Among the cast: a teenage girl who treads water in an indoor swimming pool, two old sisters bemused by a TV system, some drunken friends indulging in a risky game of darts, a man in underpants hooked on virtual reality and a woman with a nervy Shih Tzu who narrate...
It’s summer in Montreal and everyone is in love… except you. Late at night, on the mountain that overlooks the city, couples lay in the grass and linger in after-hours picnics, bodies move in closer towards one another, glances are exchanged. You roam from gathering to gathering, from budding couple to budding couple, never able to feel this fever, nor to embrace it. You want to feel their wond...
It’s the day of the entrance exam. Aspiring filmmakers step through the heavy gates of La Fémis for the first time. Each of them dreams of cinema, but also of success. Every hope is allowed, every anxiety as well. The juries deliberate, searching for their worthy successors. From the arrival of the candidates to the final deliberations, the film explores the confrontation between two generation...
Noriko Oi, a Japanese Canadian who has lived in Montreal for more than 20 years, is preparing to return to Nagasaki, her hometown, to help her siblings clear out the family home that will soon be sold. Within the walls of this old house lie fragments of the Oi family’s history. Noriko decides to reconstruct the past of her mother, Mitsuko, an atomic bomb survivor, in the hope of coming to terms...
In the summer of 1982, the Israeli army invaded Beirut. During this time it raided the Palestinian Research Center and looted its entire archive. The archive contained historical documents of Palestine, including a collection of still and moving images. Taking this as a premise, _A Fidai Film_ explores the visual memory of this looting and appropriates images now in the hands of Israeli archives.
In 1982, Jocelyne Saab's 150-year-old family home burns down. In tandem with the Lebanese playwright Roger Assaf, she decided to travel through her city, which was under siege by the Israelis, and to report on the situation in Beirut, the departure of the Palestinians and the incomprehension of the civilians who were suffering from the war.
Nous sortirons de nos cuisines - Épisode 1 - Nous aurons les enfants que nous voulons (1968-74)
Duration: 1h02Montreal, 1973. Canadian law now permits abortion. But the criteria are very restrictive, and women depend on the goodwill—more often the ill will—of the men sitting on the committees that approve or deny them. Quebec is the province where it is most difficult to terminate an unwanted pregnancy, and clandestine abortions are common: they are the leading cause of hospitalization among women. Yet...
Filmmaker Xun Sero grew up as a Tzotzil Mexican among the sacredness of the Virgin of Guadalupe and Mother Earth. As the son of a single mother, he grew up between mockery for not having a father and blaming his mother for it. _Mom_ is a dialogue between a mother and a son who explore their contradictions, who know and recognize each other, and reflect on the perpetuation of naturalized violence.
Their names are Anne-Charlotte, Joohee, Céline, Niyongira and Mathieu. They are 25- to 52-year-old, hailing from Brazil, Sri Lanka, Rwanda, South Korea, or Australia. These five individuals have something in common: they are adopted. Separated from their family and country from childhood, they grew up in French families. Their life stories and home movies tell an intimate, political story about...
At the dawn of their teenage years, Raphaël and Rémi are twins who see their fusional attachment crumble while one of them, suffering from an increasingly marked disability, remains a prisoner of childhood. During one last summer surrounded by nature, time seems to want to stand still.
An ethnographic comedy showing people at leisure in the setting of their "sommerhus", a sort of summer residence popular in Denmark. Among the cast: a teenage girl who treads water in an indoor swimming pool, two old sisters bemused by a TV system, some drunken friends indulging in a risky game of darts, a man in underpants hooked on virtual reality and a woman with a nervy Shih Tzu who narrate...
It’s summer in Montreal and everyone is in love… except you. Late at night, on the mountain that overlooks the city, couples lay in the grass and linger in after-hours picnics, bodies move in closer towards one another, glances are exchanged. You roam from gathering to gathering, from budding couple to budding couple, never able to feel this fever, nor to embrace it. You want to feel their wond...
With the help of a sketch, a little girl illustrates how space and games are divided up during recess at school, especially between boys and girls, and explains how this is a daily problem for her. Despite her various attempts to change things, she cannot find a solution—especially since the issue remains invisible to others, children and adults alike, who don’t seem to be concerned. What emerg...
Medical students in their early twenties and experienced care workers take part in medical simulations. Faced with comedians portraying patients, they learn to speak the right words, reflect on their reactions, and build a caring practice. But in an increasingly liberal hospital system, which itself exerts violence on medical staff, is this relational ideal really possible?
It’s the day of the entrance exam. Aspiring filmmakers step through the heavy gates of La Fémis for the first time. Each of them dreams of cinema, but also of success. Every hope is allowed, every anxiety as well. The juries deliberate, searching for their worthy successors. From the arrival of the candidates to the final deliberations, the film explores the confrontation between two generation...
An endless ride from one taxi to another in 1990s Lima. So many people, so few ways to make a living in the country in crisis; each person tries their luck with a car on the verge of collapse. Life itself is there—condensed and somehow enchanted.
In the village of Saint-Casimir, a seniors’ residence houses five people. At the heart of this confined space shaped by daily routines, a parallel world unfolds. Hours pass slowly in an endless waiting, punctuated by the presence of a local community TV station that intrudes into their universe through the television screen. Alternating between the sweetness of childhood memories and the presen...
Simon is living with an inoperable brain tumor that casts a shadow over his remaining days. The time for major decisions is approaching. Supported by his partner Marianne, Simon stands at the threshold of two worlds—fragile, lucid, fully present to everything around him. Filmed almost entirely at night and in black and white, the documentary captures their final summer together.
Noriko Oi, a Japanese Canadian who has lived in Montreal for more than 20 years, is preparing to return to Nagasaki, her hometown, to help her siblings clear out the family home that will soon be sold. Within the walls of this old house lie fragments of the Oi family’s history. Noriko decides to reconstruct the past of her mother, Mitsuko, an atomic bomb survivor, in the hope of coming to terms...
Within the troupe, the wave of departures that began around _As-tu vu? Les maisons s’emportent!_ continues, and paths diverge. Activism is a never-ending task: sometimes, it’s exhausting. In 2006, thirty years after the March 8, 1976 speech that closes the first episode of _Nous sortirons de nos cuisines_, Québécois women won their battle for free access to abortion: from then on, voluntary ter...
Nous sortirons de nos cuisines - Épisode 3 - As-tu vu? Les maisons s’emportent! (1979-81)
New product!The premiere of _As-tu vu? Les maisons s’emportent!_ takes place 10 days before the first referendum on Quebec sovereignty. A wave of conservatism is sweeping the West: privatization policies benefit those who already have everything, and we witness the gradual dismantling of the state and the common good. Carole Fréchette suggests: “What if we made a play? But this time, we should make a play ...
In the summer of 1982, the Israeli army invaded Beirut. During this time it raided the Palestinian Research Center and looted its entire archive. The archive contained historical documents of Palestine, including a collection of still and moving images. Taking this as a premise, _A Fidai Film_ explores the visual memory of this looting and appropriates images now in the hands of Israeli archives.
With the help of a sketch, a little girl illustrates how space and games are divided up during recess at school, especially between boys and girls, and explains how this is a daily problem for her. Despite her various attempts to change things, she cannot find a solution—especially since the issue remains invisible to others, children and adults alike, who don’t seem to be concerned. What emerg...
Medical students in their early twenties and experienced care workers take part in medical simulations. Faced with comedians portraying patients, they learn to speak the right words, reflect on their reactions, and build a caring practice. But in an increasingly liberal hospital system, which itself exerts violence on medical staff, is this relational ideal really possible?
It’s the day of the entrance exam. Aspiring filmmakers step through the heavy gates of La Fémis for the first time. Each of them dreams of cinema, but also of success. Every hope is allowed, every anxiety as well. The juries deliberate, searching for their worthy successors. From the arrival of the candidates to the final deliberations, the film explores the confrontation between two generation...
An endless ride from one taxi to another in 1990s Lima. So many people, so few ways to make a living in the country in crisis; each person tries their luck with a car on the verge of collapse. Life itself is there—condensed and somehow enchanted.
In the village of Saint-Casimir, a seniors’ residence houses five people. At the heart of this confined space shaped by daily routines, a parallel world unfolds. Hours pass slowly in an endless waiting, punctuated by the presence of a local community TV station that intrudes into their universe through the television screen. Alternating between the sweetness of childhood memories and the presen...
Simon is living with an inoperable brain tumor that casts a shadow over his remaining days. The time for major decisions is approaching. Supported by his partner Marianne, Simon stands at the threshold of two worlds—fragile, lucid, fully present to everything around him. Filmed almost entirely at night and in black and white, the documentary captures their final summer together.
Noriko Oi, a Japanese Canadian who has lived in Montreal for more than 20 years, is preparing to return to Nagasaki, her hometown, to help her siblings clear out the family home that will soon be sold. Within the walls of this old house lie fragments of the Oi family’s history. Noriko decides to reconstruct the past of her mother, Mitsuko, an atomic bomb survivor, in the hope of coming to terms...
Within the troupe, the wave of departures that began around _As-tu vu? Les maisons s’emportent!_ continues, and paths diverge. Activism is a never-ending task: sometimes, it’s exhausting. In 2006, thirty years after the March 8, 1976 speech that closes the first episode of _Nous sortirons de nos cuisines_, Québécois women won their battle for free access to abortion: from then on, voluntary ter...
Nous sortirons de nos cuisines - Épisode 3 - As-tu vu? Les maisons s’emportent! (1979-81)
New product!The premiere of _As-tu vu? Les maisons s’emportent!_ takes place 10 days before the first referendum on Quebec sovereignty. A wave of conservatism is sweeping the West: privatization policies benefit those who already have everything, and we witness the gradual dismantling of the state and the common good. Carole Fréchette suggests: “What if we made a play? But this time, we should make a play ...
In the summer of 1982, the Israeli army invaded Beirut. During this time it raided the Palestinian Research Center and looted its entire archive. The archive contained historical documents of Palestine, including a collection of still and moving images. Taking this as a premise, _A Fidai Film_ explores the visual memory of this looting and appropriates images now in the hands of Israeli archives.