Craque la vie!

The story of a Polish family during the Second World War.

A professional race car driver's obsession with winning races causes communication problems between him and his wife that threaten to separate them.

A psychedelic journey that follows young disillusioned and hedonistic people who are seeking escape in sex and drug use.

Tommy is bitten by a werewolf during a camping trip a week before the start of his senior year. After becoming a werewolf, he fights against supernatural entities to keep his hometown of Pleasantville safe.

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.

In a little village at the end of the 1890's, a young woman offends all the 'right-thinking' villagers by allowing men in her house in the absence of her husband. When he is found dead, all of the suspicion is directed towards the liberal woman. She is judged more for her morality then for the crime she is accused of. Her culpability is still a subject of debate today.

At the turn of the century, Rose-Aimée, the hard working wife of photographer J.A. Martin, decides to leave her children with an aunt to go with him on his annual tour of the Québec countryside. She hopes the intimacy will rekindle their marriage.

A classic Québécois historical drama about Émilie Bordeleau, a strong-willed woman in late 19th/early 20th century rural Quebec who defies expectations by becoming a teacher, then faces challenges in her passionate but tumultuous marriage to the restless lumberjack Ovila Pronovost, exploring their struggles and the evolving society.

In the mid-18th Century, as England and France battle over control of Canada, an epic romance between a peasant woman and a trapper unfurls

The Hunger is a British/Canadian television horror anthology series, co-produced by Scott Free Productions, Telescene Film Group Productions and the Canadian pay-TV channel The Movie Network. Though it shares a title with the feature film The Hunger the series has no direct plot or character connection to the film, and was created by Jeff Fazio. Originally shown on the Sci Fi Channel in the UK, The Movie Network in Canada and Showtime in the US, the series was broadcast from 1997 to 2000, and is internally organized into two seasons. Each episode was based around an independent story introduced by the host; Terence Stamp hosted each episode for the first season, and was replaced in the second season by David Bowie. Stories tended to focus on themes of self-destructive desire and obsession, with a strong component of soft-core erotica; popular tropes for the stories included cannibalism, vampires, sex, and poison.

The story, in three stages, of a friendship between three guys. They have taken different paths, but find themselves equally faced with the failure of their lives. The parody is not exempt from what remains a fine analysis of behavior and environment. For these three Quebecers are, in a way, us, as we have been rendered by a society in search of itself.

In this French Canadian drama, the life of a paraplegic painter implodes when an old girlfriend comes back into his life and accuses him of raping her 15 years earlier.

The detective Maud Graham hides her sensibility behind the image of a strong and independant woman. She frequently offers her hospitality to a 16-year-old prostitute, Grégoire, a young man who became her friend. But when the teenager decides to invite a 12-year-old boy who is running away from home, Maud is near illegality. In addition, the detective has to deal with a serial killer who had already killed and mutilated many women. When she understands that the killer is very intelligent and organized, she elaborates a strategy to arrest him. There starts a dangerous game where the two teenagers that Graham is protecting will be implied. The killer is getting closer, revealing more and more of his madness.

The relationship between lovers Yves and Claude comes to an abrupt conclusion when, as the couple are making love, Yves slices Claude's throat, killing him. After being taken into custody for his crime, the police inspector demands to know the reason behind Yves' actions. Yves then weaves the tale of his life with Claude, explaining the origins of their relationship and how it reached a point where murder was the only possible conclusion.

Set during summer in the Îles-de-la-Madeleine of Quebec, Mario and Simon are two brothers living in a fishing village with their mother, who runs a grocery story, and their father, who runs a fishing business. Mario is ten years old, mute and autistic. He is withdrawn from reality and living in a surreal world that only his older brother Simon and his stuffed coyote share. Mario is very close with and deeply admires his 18 year old brother, whom he depends upon for love and attention. Simon reads Arabian Knights stories to Mario, dresses him in sheik's clothing and they play out imaginary wars in an Arabian style fortress that they built. Everything changes when Helene, a beautiful young tourist comes between the two brothers. Simon falls in love and begins to neglect his brother to spend time with her. Mario feels rejected and discovers what hate and jealously are. He sets about a chain of events that lead to tragedy.

Edited from almost 100 km of film footage shot during the Games, this feature documentary is a breathtaking portrait of the 1976 Montreal Olympics. Much more than a simple record of the Games, the film approaches each event with the intention of revealing the athlete - whether winner or loser - as a unique individual.