Sortie 234

A day in the life of a Quebec magazine writer - his fortieth birthday - from his dream before waking to his last act before sleeping. He looks back over his life, his thoughts, and his loves.

A documentary portrait of aspiring actors from the Conservatoire d’art dramatique de Montréal. Over an extended period, Bachir Bensaddek followed ten students subjected to a rigorous workload and drawn into the endless cycle of auditions. We watch them live their lives as they struggle to carve out a difficult path in a world where solidarity exists alongside competition, and where the playful joy of theatre collides with the urgent need to build a career.

Heritage Minutes, also known officially as Historica Minutes: History by the Minute, are a series of sixty-second short films, each illustrating an important moment in Canadian history. They appear frequently on Canadian television and in cinemas before movies and are now also sold on DVD. The Minutes were first introduced on March 31, 1991 as part of a one-off heavily-promoted history quiz show hosted by Rex Murphy. The thirteen original short films were broken up and run between shows on CBC Television and CTV Network. The continued broadcast of the Minutes and the production of new ones was pioneered by Charles Bronfman's CRB Foundation, Canada Post Power Broadcasting, and the National Film Board. They were devised, developed and largely narrated by noted Canadian broadcaster Patrick Watson, while the producer of the series was Robert Guy Scully. In 2009 Historica merged with The Dominion Institute to become The Historica-Dominion Institute. While the foundations have not paid networks to air Minutes, they have made them freely available, and in the early years paid to have them run in cinemas across the country. The Canadian Radio-television and Telecommunications Commission has ruled that Heritage Minutes are an "on-going dramatic series" thus each minute counts as ninety-seconds of a station's Canadian content requirements.

Marianne, a young Canadian nurse living as an expatriate in Switzerland, is traumatized by a violent incident and becomes lost in the Alps. In time, a Swiss engineer working in the mountains discovers her; he gives her a place to stay and slowly gains her trust as she regains her health. However, he soon discovers she's wanted by the law, and circumstances become difficult for him as he tries to hide her from the authorities.

Even though the protagonist of the Canadian Femme De L'Hotel is a female filmmaker, one would think twice before suggesting that this effort by Swiss-born director Lea Pool is autobiographical. Paule Baillargeon portrays a well-known director who returns to her home town of Montreal to film a high-budget musical drama. At her hotel, Paule has a brief but unsettling encounter with a suicidal elderly woman (Louise Marleau). This element of the plot is briefly forgotten as we get to know the actors in Paule's current project. Then she meets the old lady again, and with mounting incredulity Paule discovers that the actual events in the woman's life mirror the fictional events in the director's film.

Alex has a deeply troubled mind. He also has a seriously dysfunctional - not to say incestuous - family. Why then, has he returned from his merchant seaman job to the rocky coasts of his home? Perhaps he couldn't cut manage to march in his father's footsteps in that job. His mother doesn't seem to mind, and lets him stay at her bed and breakfast hotel. His sister still seems to have the hots for him, just as she does for his (and her) old boyfriend Jean-Louis, who has just shown up. Even his mother seems to find him sexy. All these people appear eager to get their hands on his body, but he's too wrapped up in what's going on inside his head to notice.

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.

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.

Montreal was initially the dream of people who believed in the possibility of creating a better world in New France. Who were those people? Which ideal did they pursue, and why? The answers can be found in a 17th century manuscript, allegedly the hidden memoir of Jeanne Mance. The filmmaker revisits this story in an original, personal way, highlighting how the past echoes the still current yearning to create a world with more humanistic values. —Annabel Loyola

One of Canada's most remarkable families works tirelessly to aid displaced persons and refugees during the Second World War.

Constructed from Canadian prairie archival images taken between 1920 and 1940, this film lyrically explores a transgender son's relationship with his father and the family's relationship to their land.