Patricia Rozema

Based on a stage play of the same name by Amy Nostbakken and Norah Sadava, the story follows Cassandra, who is portrayed by the two women, expressing the opposing voices that exist inside the modern woman's head, during a 48-hour period as she tries to organize the affairs for her mother's funeral.

Based on a stage play of the same name by Amy Nostbakken and Norah Sadava, the story follows Cassandra, who is portrayed by the two women, expressing the opposing voices that exist inside the modern woman's head, during a 48-hour period as she tries to organize the affairs for her mother's funeral.

Based on a stage play of the same name by Amy Nostbakken and Norah Sadava, the story follows Cassandra, who is portrayed by the two women, expressing the opposing voices that exist inside the modern woman's head, during a 48-hour period as she tries to organize the affairs for her mother's funeral.

En un futuro próximo, un apagón masivo precipita a la humanidad hacia su final. En este escenario encontramos a Nell (Elliot Page) y Eva (Evan Rachel Wood), dos hermanas que viven con su padre en una casa a cuarenta kilómetros del pueblo más cercano. Apremiadas por las dificultades para sobrevivir, las dos chicas tendrán que ingeniárselas para luchar contra el hambre y los saqueadores.

En un futuro próximo, un apagón masivo precipita a la humanidad hacia su final. En este escenario encontramos a Nell (Elliot Page) y Eva (Evan Rachel Wood), dos hermanas que viven con su padre en una casa a cuarenta kilómetros del pueblo más cercano. Apremiadas por las dificultades para sobrevivir, las dos chicas tendrán que ingeniárselas para luchar contra el hambre y los saqueadores.

Women Who Act is a project that will take an in depth look at the careers of some of the biggest actresses in Canadian film and television. Patricia Rozema (Director, Screenwriter) will thoroughly explore the careers of some of Canada's most famous actresses, including Andrea Martin, Elliot Page, Sandra Oh, and Tatiana Maslany.

Women Who Act is a project that will take an in depth look at the careers of some of the biggest actresses in Canadian film and television. Patricia Rozema (Director, Screenwriter) will thoroughly explore the careers of some of Canada's most famous actresses, including Andrea Martin, Elliot Page, Sandra Oh, and Tatiana Maslany.

Las protagonistas, una tía y una prima de Jackie Kennedy, son dos mujeres excéntricas que viven aisladas y rodeadas de toneladas de basura en Grey Gardens, la ruinosa mansión de verano que los Bouvier, una aristocrática familia de origen francés, tenía cerca de Long Island. En 1973, a raíz de la orden de desahucio de la casa por razones sanitarias, un equipo de cine se dispuso a rodar allí un documental. Las dos mujeres vieron en ello una oportunidad de mostrar sus dotes artísticas. Su situación, aireada por la prensa amarilla, afectó tanto a la imagen pública de la viuda de Kennedy que fue a visitarlas.

EE:UU. Gran Depresión. Kit Kittredge (Breslin), una inteligente e ingeniosa niña de diez años, sueña con escribir y publicar sus textos en el periódico local. Además, si su sueño se hiciera realidad, podría ayudar a su familia, sacándola de la precaria situación en la que se encuentra.

This compelling documentary explores Canadian film culture and tries to discover what defines Canadian film through interviews with notable filmmakers.

Commissioned by the Toronto International Film Festival to mark the event's 25th anniversary in September 2000, the "Preludes" program consisted of ten short films by Canadian directors which were inspired in some way by the festival. Each film screened as a prelude to a feature film in the 2000 Toronto International Film Festival program. The full "Preludes" anthology was screened on the web in November 2000, and was given theatrical retrospectives at the TIFF Lightbox in the subsequent years.

A festival is a concentration of hope. Audiences hungering for something startingly new, famously familiar or just plain "good". Actors hoping their well-conceived sincerity and ritual entrances have that special glow. Press and critics poised to love or hate lucidly. And proud, desperate filmmakers looking for that little blessing on their latest self-projection. All squeezing together for a few days, in a few rooms wondering whether this will truly be the perfect place at the perfect time. Of course, it rarely is. Mostly it's just a collection of almosts. Delicious, shared almosts.

A festival is a concentration of hope. Audiences hungering for something startingly new, famously familiar or just plain "good". Actors hoping their well-conceived sincerity and ritual entrances have that special glow. Press and critics poised to love or hate lucidly. And proud, desperate filmmakers looking for that little blessing on their latest self-projection. All squeezing together for a few days, in a few rooms wondering whether this will truly be the perfect place at the perfect time. Of course, it rarely is. Mostly it's just a collection of almosts. Delicious, shared almosts.

The film consists largely of a series of interviews with female filmmakers from several different countries and filmmaking eras. Some, such as Agnès Varda and Catherine Breillat (both from France), have been making films for decades in a conscious effort to provide an alternative to the male filmmaking model; others, such as Moufida Tlatli (Tunisia) and Carine Adler (England), are relative newcomers to directing, and their approaches seem more personal and less political. The film as a whole manages to cover some important topics in the feminist debate about film -- how does one construct a female gaze, how can one film nude bodies without objectifying the actors (of either sex), what constitutes a strong female role -- while also making it clear that “women’s film” comprises as many different approaches to filmmaking as there are female filmmakers.

An adaptation of Samuel Beckett's absurdist drama. An ordinary woman lives her humdrum life half-buried in a pile of dirt; her husband is partially visible behind her. She goes through her daily routines, ever hopeful that this is going to be a happy day.

A los diez años, Fanny se va a vivir a Mansfield Park con sus tíos ricos aunque nunca es tratada como una más de la familia. La historia narra el retrato de una heroína de fuerte carácter que se enfrenta a las estrictas normas de su época para no comprometer sus ideales o sus propios sentimientos. Adaptación de una novela de Jane Austen.

A los diez años, Fanny se va a vivir a Mansfield Park con sus tíos ricos aunque nunca es tratada como una más de la familia. La historia narra el retrato de una heroína de fuerte carácter que se enfrenta a las estrictas normas de su época para no comprometer sus ideales o sus propios sentimientos. Adaptación de una novela de Jane Austen.

A post-modern documentary about the meaning and nature of love from a gay perspective.

Camille es una bella profesora de teología en una universidad protestante de Toronto, y está comprometida con Martin, también teólogo, llevando ambos una ejemplar vida cristiana. Pero Camille no está del todo satisfecha con su vida, y cuando pierde a su mascota en un trágico accidente de coche Camille se siente devastada. En una lavandería, todavía deprimida, conoce a Petra, una joven que trabaja en un circo y de la que Camille se siente atraída, cambiando la visión convencional del mundo y del amor que tenía hasta ese momento. (FILMAFFINITY)

Camille es una bella profesora de teología en una universidad protestante de Toronto, y está comprometida con Martin, también teólogo, llevando ambos una ejemplar vida cristiana. Pero Camille no está del todo satisfecha con su vida, y cuando pierde a su mascota en un trágico accidente de coche Camille se siente devastada. En una lavandería, todavía deprimida, conoce a Petra, una joven que trabaja en un circo y de la que Camille se siente atraída, cambiando la visión convencional del mundo y del amor que tenía hasta ese momento. (FILMAFFINITY)

The ghost of "patient zero", who allegedly first brought AIDS to North America - materialises and tries to contact old friends. Meanwhile, the Victorian explorer Sir Richard Burton, who drank from the Fountain of Youth and now works as Chief Taxidermist at the Toronto Natural history Museum, is trying to organise an exhibition about the disease for the museum's "Hall of Contagion".

Six stories about Montreal. 1: A young housewife from Toronto samples the nightlife using basic French. 2: The tale of a painting of Montreal's first mayor, Jacques Viger. 3: During a hockey game, Madeleine tries to tell Roger she wants a divorce after forty years of marriage. 4: A visitor to a conference on pictographs arrives at the airport, where the female customs officer steals a momento from each person. 5: As she is being driven to the hospital in an ambulance after an auto accident, Sarah recalls her life. 6: At a diplomatic reception, an older woman reminisces about her grand love in Montreal.

Norm, a confused young man, lives two lives, one in and one out of reality. One night, he witnesses the murder of rock video star Madelaine X and feels guilty, as he did nothing to prevent it. At Madelaine’s funeral, he meets a mysterious woman in black. Norm then gets a job at a news stand through a Cindy Lauper like girl called Zelda. They discuss the mystery around Madelaine’s death.

Norm, a confused young man, lives two lives, one in and one out of reality. One night, he witnesses the murder of rock video star Madelaine X and feels guilty, as he did nothing to prevent it. At Madelaine’s funeral, he meets a mysterious woman in black. Norm then gets a job at a news stand through a Cindy Lauper like girl called Zelda. They discuss the mystery around Madelaine’s death.

Norm, a confused young man, lives two lives, one in and one out of reality. One night, he witnesses the murder of rock video star Madelaine X and feels guilty, as he did nothing to prevent it. At Madelaine’s funeral, he meets a mysterious woman in black. Norm then gets a job at a news stand through a Cindy Lauper like girl called Zelda. They discuss the mystery around Madelaine’s death.

Norm, a confused young man, lives two lives, one in and one out of reality. One night, he witnesses the murder of rock video star Madelaine X and feels guilty, as he did nothing to prevent it. At Madelaine’s funeral, he meets a mysterious woman in black. Norm then gets a job at a news stand through a Cindy Lauper like girl called Zelda. They discuss the mystery around Madelaine’s death.

Polly consigue trabajo como sectretaria en la galería de arte de Gabrielle. Gabrielle tiene una relación de pareja con la pintora Mary. Polly cuelga un cuadro de Mary, pensando que lo hizo Gabrielle.

Polly consigue trabajo como sectretaria en la galería de arte de Gabrielle. Gabrielle tiene una relación de pareja con la pintora Mary. Polly cuelga un cuadro de Mary, pensando que lo hizo Gabrielle.

Polly consigue trabajo como sectretaria en la galería de arte de Gabrielle. Gabrielle tiene una relación de pareja con la pintora Mary. Polly cuelga un cuadro de Mary, pensando que lo hizo Gabrielle.

Polly consigue trabajo como sectretaria en la galería de arte de Gabrielle. Gabrielle tiene una relación de pareja con la pintora Mary. Polly cuelga un cuadro de Mary, pensando que lo hizo Gabrielle.

Polly consigue trabajo como sectretaria en la galería de arte de Gabrielle. Gabrielle tiene una relación de pareja con la pintora Mary. Polly cuelga un cuadro de Mary, pensando que lo hizo Gabrielle.

The film takes the form of an extremely intimate Letter in 16mm from Anna, normally a documentary filmmaker, to her unidentified lover. From the first 'exquisite ache' of romantic passion to her final drunken and solitary dance with success, Anna struggles with an all-too-prevalent problem in this achievement-oriented age: Is it possible to balance a passion for excellence with a passion for intimacy?Are obsessions mutually exclusive?

The film takes the form of an extremely intimate Letter in 16mm from Anna, normally a documentary filmmaker, to her unidentified lover. From the first 'exquisite ache' of romantic passion to her final drunken and solitary dance with success, Anna struggles with an all-too-prevalent problem in this achievement-oriented age: Is it possible to balance a passion for excellence with a passion for intimacy?Are obsessions mutually exclusive?

The film takes the form of an extremely intimate Letter in 16mm from Anna, normally a documentary filmmaker, to her unidentified lover. From the first 'exquisite ache' of romantic passion to her final drunken and solitary dance with success, Anna struggles with an all-too-prevalent problem in this achievement-oriented age: Is it possible to balance a passion for excellence with a passion for intimacy?Are obsessions mutually exclusive?

The film takes the form of an extremely intimate Letter in 16mm from Anna, normally a documentary filmmaker, to her unidentified lover. From the first 'exquisite ache' of romantic passion to her final drunken and solitary dance with success, Anna struggles with an all-too-prevalent problem in this achievement-oriented age: Is it possible to balance a passion for excellence with a passion for intimacy?Are obsessions mutually exclusive?