Les Canadiens sont là

Continuing a saga that began with his previous, 1978 film, Vautours director Jean-Claude Labrecque returns with the French Canadian, Louis Pelletier and puts him in the context of the growing separatist movement in the late 1960s in Quebec. At that time, supporters of an independent Quebec began to consolidate their power under the Parti Québecois -- and the story of Louis and his wife Claudette are meant to illustrate this watershed in Quebec's history. As the film begins, Claudette and Louis are about to get married -- and their wedding day significantly coincides with preparations for the visit of Queen Elizabeth II. Years later, they are well-established in Montreal and are enjoying visits from their family -- and then their lives start to deteriorate. Louis is suddenly out of work, and as he faces the difficulties of finding another job -- and of living precariously -- he becomes more radical, less accepting of the status quo.

In 1929, Mr. Messier, owner of a small print shop in a village in Quebec became a widower, he lives with his two children, Rachel, 9 years old, and Gaëtan, 7 years old. In this closed universe and in the absence of their mother, a great complicity is established between the children.

Marc, Louis and Gaétan work as doormen in a fictional nightclub called The Manhattan. The new owner wants to give the bar an upscale makeover and the three friends are stuck having to deal with this hip new work environment, with riveting consequences.

Robert Gratton is a small-town shopkeeper. A right-wing man, he has an unbounded devotion to Elvis Presley. He decides to enter an Elvis impersonation contest.

At 20, Donalda is the most beautiful girl in Sainte-Adèle. Young, intelligent, and dynamic, she has always been in love with Alexis, the log driver, a feisty adventurer whose life is a perpetual storm. But Seraphin is also in love with Donalda, and he will do anything to have her.

Justice Robert H. Jackson leads Allied prosecutors in trying 21 Germans for Nazi war crimes after World War II.

Karl, Max and their friend Yvon see their destiny forever shatter when they discover a bag containing a gun and lots of money! By taking the decision to keep the loot of 2.6 million, they will be propelled into a world to which they don’t belong, caught up in a race for millions with the organized crime.

Seasoned drug smuggler and thief François “Chico” Tremblay is tired of his modest lifestyle. Given the opportunity to earn $50,000 killing a prominent New York City gangster, he leaps at the opportunity, ignoring the warnings of Montreal’s leading mob boss, who has forbidden local criminals from taking the assignment. Upon his return, Chico discovers he is being pursued from all sides, prompting an unlikely response: he calls a local talk radio show and starts revealing the mafia’s most carefully guarded secrets. As his revelations get more shocking, so do the tactics of his adversaries, culminating in a devastating gut punch of a finale.

It's summer in Pin-Ponville! Pin-Pin, Pon-Pon and Pouet-Pouet, the firefighters of the city are going to the Happiness Camping for their summer vacation to accomplish their long time dreams. Pin-Pin wants to build the most beautiful sand castle, Pon-Pon wants to catch the biggest fish in the world and Pouet-Pouet wants to catch the most beautiful butterfly there is. Hilarity ensues.

Dramatic reenactments of major Quebec trials.

Robin et Stella was a youth TV show aired on Radio-Québec from 1988 to 1992 featuring France Chevrette as Robin and Lorraine Auger as Stella. The main plot was split into stories which lasted 3 episodes. Robin et Stella was aired 3 times a week.

Images and sounds are spliced together in this journey to the heart of the political, economic and cultural oppression of the Quebec people. A reflection on neo-colonial exploitation and the cancer of alienation. To the very Canadian multiculturalism of Trudeau and the métissage of the multinationals, celebrated by the high priests of the dominant ideology, is contrasted the idea of acculturation, even deculturation. A way of resisting as good as any other.