Michel La Veaux

태어나자마자 헤어진 쌍둥이 형제 도미닉과 다니엘은 20여년만에 재회한다. 서로의 존재에 매혹된 둘은 죽은 줄로만 알았던 어머니와 그녀가 묻어둔 가족의 비밀을 파헤치기 위해 나선다.

Maria Chapdelaine tells the story of a young woman having to choose between three suitors promising each a different life. Faced with events that jostle her, Maria must then take his destiny into her own hands and decide what her future will be.

세상 돌아가는 일부터 모든 게 못마땅한 곧 죽어도 마이웨이의 열일곱 소녀 ‘레오니’. 우연히 방구석 기타리스트 ‘스티브’를 만나게 된 후 과묵하지만 따뜻한 그에게 위안을 받기 시작한다. 하지만, 졸업 후 마을을 떠날 계획이 무산되고 가족에 대한 충격적인 비밀까지 알게 된 ‘레오니’는 방황하게 되고, 이제는 ‘스티브’도 믿을 수 없다.

A genuine encounter with filmmaker Jean-Claude Labrecque, this feature-length doc underscores not only the importance of his work (especially in the documentary medium) but also his passion for film. The bond between Labrecque and director Michel La Veaux allows us to see beyond the images and discover the smaller story hidden within the larger one. La Veaux shares with us his own love for film and the humanistic perspective from which Labrecque has used his camera to etch the great moments of Quebec’s culture and history into Quebecers’ collective memory.

Hôtel La Louisiane is, at its core, a film about freedom and dignity. Freedom for those who wish to live in a place where they are able to feel inspired. Dignity for the hotel owner to stand by his promise to his father and keep their mission alive: to provide an affordable sanctuary for artists and students in search of fulfilling employment, which they certainly won’t find at other hotels. Freedom, too, to be in an environment of tolerance and rid of prejudice. This film is not just a story about a mythical setting in Paris; it portrays the microcosm of a lifestyle in which collective values reign supreme. A film where what’s real and true is placed above national borders or cultural barriers.

Hôtel La Louisiane is, at its core, a film about freedom and dignity. Freedom for those who wish to live in a place where they are able to feel inspired. Dignity for the hotel owner to stand by his promise to his father and keep their mission alive: to provide an affordable sanctuary for artists and students in search of fulfilling employment, which they certainly won’t find at other hotels. Freedom, too, to be in an environment of tolerance and rid of prejudice. This film is not just a story about a mythical setting in Paris; it portrays the microcosm of a lifestyle in which collective values reign supreme. A film where what’s real and true is placed above national borders or cultural barriers.

Hôtel La Louisiane is, at its core, a film about freedom and dignity. Freedom for those who wish to live in a place where they are able to feel inspired. Dignity for the hotel owner to stand by his promise to his father and keep their mission alive: to provide an affordable sanctuary for artists and students in search of fulfilling employment, which they certainly won’t find at other hotels. Freedom, too, to be in an environment of tolerance and rid of prejudice. This film is not just a story about a mythical setting in Paris; it portrays the microcosm of a lifestyle in which collective values reign supreme. A film where what’s real and true is placed above national borders or cultural barriers.

Devastated but furious after his girlfriend dumps him on a metro platform, 23-year-old Cedric takes off with his unfinished novel in his bag. Fate leads him to a large, rundown house owned by Isabelle, a onetime star pianist and faded beauty. Isabelle, now a lonely 76-year-old alcoholic, passes her days at her piano and with her group of eccentric boarders. From their first meeting, Cedric knows that Isabelle is the love of his life, and Isabelle realizes he is her last chance for love. Driven by their intoxicating passion for one another, they plunge headlong into a love affair where they are pushed to the brink of hate and death, even escaping reality to keep their love alive.

데뷔작 으로 퀘벡 영화의 기대주로 떠오른 세바스티앙 피요테의 두 번째 연출작 는 두 딸을 도시로 보내고 양떼 농장에서 여생을 보내는 고독한 아버지의 이야기이다.

"Barbers - A Men's Story" takes us into barbershops, a haven where men can talk freely among themselves. The film features barbers who describe their love and passion for their work. These endearing and dedicated men, who have been their customers' trusted confidants for decades, are approaching the twilight of their careers in a trade that is slowly dying out.

In a quest to rediscover the spiritual values of his own people, an African filmmaker from the Gourmantche tribe of Burkina Faso visits an Aboriginal band, the Atikamekw of northern Quebec. The resulting documentary is a dialogue between those who divine the future in the sand with those who use snow-encased sweat lodges to reconnect with the spiritual world.

In a quest to rediscover the spiritual values of his own people, an African filmmaker from the Gourmantche tribe of Burkina Faso visits an Aboriginal band, the Atikamekw of northern Quebec. The resulting documentary is a dialogue between those who divine the future in the sand with those who use snow-encased sweat lodges to reconnect with the spiritual world.

The curtains of a theatre open onto a smaller puppet theatre presided over by Marianne. The ringmaster waves her baton at three shadowy acrobats that climb one by one out of her hat. Each performs his number, although not without some difficulty. The clumsiness of the first, the mischievousness of the second, and the fieriness of the third trigger a few clashes that ultimately lead to chaos. How can Marianne create harmony without losing control? Will her show flop? Who's really calling the shots, the little puppet or her acrobats?

The curtains of a theatre open onto a smaller puppet theatre presided over by Marianne. The ringmaster waves her baton at three shadowy acrobats that climb one by one out of her hat. Each performs his number, although not without some difficulty. The clumsiness of the first, the mischievousness of the second, and the fieriness of the third trigger a few clashes that ultimately lead to chaos. How can Marianne create harmony without losing control? Will her show flop? Who's really calling the shots, the little puppet or her acrobats?

In this feature documentary, Aboriginal filmmaker and artist Alanis Obomsawin chronicles the determination and tenacity of the Listuguj Mi'gmaq people to use and manage the natural resources of their traditional lands. Our Nationhood provides a contemporary perspective on the Mi'gmaq people's ongoing struggle and ultimate success, culminating in the community receiving an award for Best Managed River from the same government that had denied their traditional rights.

In the summer of 2000, federal fishery officers appeared to wage war on the Mi'gmaq fishermen of Burnt Church, New Brunswick. Why would officials of the Canadian government attack citizens for exercising rights that had been affirmed by the highest court in the land? Alanis Obomsawin casts her nets into history to provide a context for the events on Miramichi Bay.

A blend of drama and documentary, this film follows several people caught up in the turmoil of the modern world. The drama centres on a woman who has burned out and who holds up her own despair – and her attempts to rebuild her life – as a mirror to the rest of us. With a blend of gravity and humour, Sylvie Groulx's film shows the absurdity of a society dedicated to the cult of speed at all costs.

A blend of drama and documentary, this film follows several people caught up in the turmoil of the modern world. The drama centres on a woman who has burned out and who holds up her own despair – and her attempts to rebuild her life – as a mirror to the rest of us. With a blend of gravity and humour, Sylvie Groulx's film shows the absurdity of a society dedicated to the cult of speed at all costs.

In the Shadow of Hollywood examines this assault on our senses through interviews with directors, producers, writers and other experts in the film industry.