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Brigitte Poupart – Over My Dead Body (2012)

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Dancer and choreographer Dave St-Pierre is adored by critics and audiences alike. His subversive, innovative works are taking Europe by storm. But his own body is failing him.

Dave is 34 and has cystic fibrosis. The average life expectancy for sufferers is 37. His doctors have given him two years to live unless he has a lung transplant. With the sense of urgency growing, his best friend and creative partner, director and actress Brigitte Poupart, turns her camera on the daily life of a man who is waiting for a life-or-death call from the doctor. A call that could come at any moment.

United by art and friendship, the two create a space in which creativity emerges as a vital act. Over My Dead Body is an engrossing private diary that accepts neither taboos nor fate. It features testimonials from Dave’s friends, loved ones and collaborators, as well as excerpts from his works.
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Malena Szlam – Altiplano (2018)

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Malena Szlam’s magnificent follow-up to Lunar Almanac employs superimpositions and other effects to recast the lakes, salt flats, and volcanic deserts of Northern Chile and Northwest Argentina as psychedelic, otherworldly landscapes. Read More »

Philippe Falardeau – La Moitié Gauche Du Frigo AKA The Left-Hand Side of the Fridge (2000)

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Christophe, a 30-year-old unemployed engineer, gets a proposition by his roommate to do a documentary on his job searching. Amused by the idea, Christophe accepts to be filmed daily. But what was initially conceived as a short-term project stretches into months with tensions mounting as Christophe’s employment prospects diminish and Stephane turns the documentary into full-time work.

The Left-Hand Side of the Fridge is a funny and engaging look on how unemployment affects our lives.
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Yves Pelletier – Les Aimants AKA Love and Magnets (2004)

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Montreal Mirror wrote:

People tend to be cynical and derisive towards romantic comedies. Personally, I’m a softie and seeing people fall in love on screen always touches me. Then again, I’m aware that most entries in the rom-com genre are derivative and idiotic. But once in a blue moon, you find one that’s surprisingly original and intelligent. Les Aimants is such a film.

After five years abroad, Julie (Isabelle Blais) comes back to Montreal and crashes with her sister Jeanne (Sylvie Moreau), a woman who lies as she breathes. Jeanne is engaged to Noël (David Savard), a workaholic who’s never home, so they communicate through messages they leave on the refrigerator. When Jeanne leaves for a week of adultery with theremin virtuoso Manu (Emmanuel Bilodeau), she asks Julie to cover up for her by responding to Noël’s fridge notes. But Julie decides to get “positive revenge” on her seemingly heartless sister by making the messages she leaves more romantic… Read More »

Clint Enns & Denys Gareau – Botched Eyeball Operation (2007)

A modern day homage to Un chien andalou deemed unviewable and exploitative by the Winnipeg Short Film Massacre.

–DogmaToDisco Read More »

Noël Mitrani – Sur La Trace d’Igor Rizzi AKA On the Trail of Igor Rizzi (2006)

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BRENDAN KELLY, The Gazette, Published: Monday, January 15 2007 wrote:
In film and life, all roads lead to Montreal.
Filmmaker Noel Mitrani returned to his place of birth and found home; French actor Laurent Lucas – and the character he portrays in Sur la Trace d’Igor Rizzi – followed their hearts

Sur la trace d’Igor Rizzi, the remarkable first feature from Montreal-based filmmaker Noel Mitrani, is a poetic look at a former French soccer star living in self-imposed exile in snow-covered Montreal. So it’s only appropriate that the film, which opens this Friday, is the result of a collaboration between two guys who, like the film’s anti-hero, made the decision to abandon France and come live here in Quebec. Read More »

Denys Arcand – On est au coton AKA Cotton Mill, Treadmill (1976)

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From the Film Reference Library:

One of the most controversial films in Canadian history, On est au coton is an examination of the exploitation and repression of textile workers in Quebec. This National Film Board production, more social inquiry than documentary, contrasts the lives of textile workers and their bosses and places their situation in an historical context by employing footage from old films about the industry. (The title is a pun which literally means “we are in cotton,” but it also connotes “we are fed up.”) Read More »