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After spending a decade in prison, Annie returns to her hometown, and tries to reconnect with her now-adolescent daughter Sophie.
Newly-arrived Ahmed tries to integrate his family to the canadian society, while attempting to control his son's life orientation.
A dark and claustrophobic film, this brutal, tragic, gut-wrenching drama is set almost totally within the confines of a ship's cargo container that is only 25 square meters in size. It is the grim story of six ill-fated refugees trying to get to Canada from a port in France. The police are in hot pursuit when the septet of strangers are stowed away in the huge metal box. The refugees -- two men, two women and two children -- are of various backgrounds including Gypsy, Russian and Arab. The first of many problems occurs when a mother and daughter arrive with no food (they lost it during a chase). The one Russian refugee, Roman, declares that they should not be allowed to board the ship, but the other three refugees allow them in. Their ordeal begins when the ship breaks down in Liverpool.
This short documentary film is a fascinating portrait of urban and rural Quebec in the late 1960s, as the province entered modernity. The collective work produced for the Quebec Ministry of Industry and Commerce calls on several major Quebec figures.
The story of a young university student who deals with love in the midst of the Quebec separatist movement in the 1960s.
A road movie whose journey intersects with and extends the events of the International Counter-Culture Meeting that took place in 1975 in Montreal. This meeting, at the heart of the film, features several important figures of the counterculture in Quebec. Throughout the film, these individuals, often through their creative endeavors, question the evolution of their society and counterculture itself.
Trying to describe oneself is a movie about representation. How it is possible, through film, to describe oneself and describe others. With the camera as mirror and third eye. At first, a collage-like combination of letter-writing, investigation and journey, something between documentary and feature film. Finally, a portrait of Boris Lehman from 1989 to 1995, part II of BABEL.
An unpredictable documentary from a fascinating storyteller, Agnès Varda’s last film sheds light on her experience as a director, bringing a personal insight to what she calls "cine-writing," traveling from Rue Daguerre in Paris to Los Angeles and Beijing.
As a visually radical memoir, CAMERAPERSON draws on the remarkable footage that filmmaker Kirsten Johnson has shot and reframes it in ways that illuminate moments and situations that have personally affected her. What emerges is an elegant meditation on the relationship between truth and the camera frame, as Johnson transforms scenes that have been presented on Festival screens as one kind of truth into another kind of story—one about personal journey, craft, and direct human connection.