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poster

79

43

8.0

/1256/

74

/19/

74

/22/

3.9

/2003/

92

/24/

A fact-based account of ordinary citizens who found themselves arrested and imprisoned without charge for weeks during the October Crisis in 1970 Quebec.

poster

66

28

6.5

/602/

60

/9/

53

/19/

3.4

/226/

88

Once a successful dancer, Miriam has abandoned her career to bring up her son, Serge, after her boyfriend walked out of her.

poster

57

10

5.9

/329/

54

/14/

52

/15/

3.2

/234/

Revealing women, showing men Dermatology professor Marie-Claire is embarking on a new project linking skin cells and sexuality, when unexpected events disrupt her professional, family and intimate life.

?

10

/1/

N/A

poster

?

8.5

/27/

N/A

poster

?

7.3

/57/

10

/1/

50

/2/

Fictional character played by 24 different actresses, Françoise Durocher is altogether small time waitress, hostess and barmaid. Together, according to the author, they represent the archetypical Québec waitress that everyday waits on us with a smile, despite whatever problems she faces in her personal life. First cinematographic experience of the Brassard-Tremblay tandem, this film full of ironic joy details all the nuances of the waitress living conditions.

poster

?

6.7

/40/

70

/1/

70

/1/

In the vestibule of a hospital room, a young boy waits to see his dying mother. The clamor and spiralling movements of bodies around him intensify, forming a grotesque circus—a cacophonous circle that pushes the child back, depriving him of one final touch of his mother's hand. Using rotoscoped drawings suggestive of charcoal sketches, as well as 3D and object animation techniques, The Circus compels viewing with its unsettling realism. Colour is employed metaphorically to subtly express the promise and the memory of maternal affection. Nicolas Brault's highly personal film, suffused with poetic modesty, casts a poignantly sincere gaze on the heartbreak of a child facing the fearful, mysterious experience of his mother's death.

?

10

/1/

One of a series of short, open-ended dramas designed to stimulate discussion of values and ethics in relation to modern medical technology. This film considers the chronic patient's right to quality care, and the acutely ill patient's right to a hospital bed. Jean is suffering from multiple sclerosis and is almost completely paralyzed. It seems that the only ones who care about her are the nurses. With the arrival of a patient in need of an operation, it becomes apparent that chronic patients have little priority.

poster

62

?

6.3

/172/

60

/7/

57

/9/

3.4

/470/

As a civil war shakes the Quebec province of Canada, Valerie is the sole survivor of a mass execution where her boyfriend is killed. Years later, she’s in a close relationship with her new partner, Gabriel. At the Long Term Care Center where she works as an orderly, she befriends Jeanne, an erudite and funny woman, dealing with an important physical handicap. Mixing realism and worrying strangeness, The Laugh presents a humane exploration of the survivor’s syndrome, the grieving process, the distance of time, the power of love, and the joy of being alive.

poster

58

?

6.8

/220/

54

/5/

49

/8/

Two women and a transvestite gay man cross paths in this French Canadian drama. The transvestite is preparing for a drag-queen beauty pageant, and has decided to present himself as Cleopatra. Of the two women, one was just fired from her waitressing job and seeks to go back to work at the nightclub where the beauty pageant is to be held. The other woman's mother has just won one million food stamps.

poster

?

6.9

/90/

10

/1/

A down-and-out man who got separated, gets his second chance in a boarding house, thanks to a friend who is a con man, and falls in love with a roommate. However, when he gets a job, his ego gets over and might lose everything he got.

poster

66

?

7.2

/215/

63

/3/

58

/6/

3.6

/278/

In a poor neighborhood, teenagers plot an assassination while a party is being organized for the local usurer.

poster

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N/A

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poster

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Family Crisis Series short directed by John N. Smith

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