Sylvain L'Espérance

Animal Macula is the result of in-depth archaeological work into the depiction of animals in world cinema over the past 125 years. From the bulk of this sometimes memorable and sometimes forgotten work, Sylvain L’Espérance provides a thoughtful compilation that highlights the complex, troubled, and often violent relationship between humans and animals. The masterful editing presents a sprawling network imbued with meaning, letting the images speak for themselves and interact freely with each other. With this fascinating film, L’Espérance continues a cinematic exploration that opens up new avenues in his work. Despite a tendency toward abstraction, the filmmaker seems increasingly anchored in reality, showcasing an admirably lucid creativity.

An unconventional activist epic, filmed in Greece over several years among the many refugees and amidst some of the mass demonstrations that have rocked the country. The film is at once an essay, guerrilla journalism and poetic portrait. It tackles the socio-political upheavals of a country that stands alone in bringing down the western neoliberal model.

An unconventional activist epic, filmed in Greece over several years among the many refugees and amidst some of the mass demonstrations that have rocked the country. The film is at once an essay, guerrilla journalism and poetic portrait. It tackles the socio-political upheavals of a country that stands alone in bringing down the western neoliberal model.

The life of a family of fishermen, in the inland delta of the Niger river in Mali, is stricken by the effects of globalization: the rise of the price of oil and basic goods, the collapse of fish stocks and the signs of global warming. The film reflects the passage of traditions, a relation to history and memory in a region where persist traces of the origins of things.

From cinema-verite; pioneers Albert Maysles and Joan Churchill to maverick movie makers like Errol Morris, Werner Herzog and Nick Broomfield, the world's best documentarians reflect upon the unique power of their genre. Capturing Reality explores the complex creative process that goes into making non-fiction films. Deftly charting the documentarian's journey, it poses the question: can film capture reality?

Nestor, Lei, Pierrette, Mohamed, Hafida, Marius, Marc, Galina, Genady, Mike and Lala: through their presence, Le temps qu’il fait weaves a mosaic of stories in which dreams and disappointments, hopes and worries intertwine with the life that is before them. In counterpoint, there are these new landscapes of financial centers, abandoned industrial spaces and wasteland from which we hear the echo of speeches that call to take the train of the new economy. By their simple attachment to a profession which gives them a living, the men and women of the film put up resistance to these slogans. Little by little, a radical rupture is emerging between economic thought and the movement of life. A break that shapes the present time.

Emerging from the multiple perspectives of this film, a memory of a neighbourhood is recreated which tells of the fragility of working class habitats residents and workers from southwest Montréal recount its tragic history: The immigration and settling of the Irish in the 19th century the expropriation of Griffintown the destruction of Goose village. The industrial decline of Pointe-Saint-Charles and surroundings.

Emerging from the multiple perspectives of this film, a memory of a neighbourhood is recreated which tells of the fragility of working class habitats residents and workers from southwest Montréal recount its tragic history: The immigration and settling of the Irish in the 19th century the expropriation of Griffintown the destruction of Goose village. The industrial decline of Pointe-Saint-Charles and surroundings.