DOCSLIB.ORG

CFDC Is Having a Good Year . . . Quadrant Films Announces Shoot

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

FunnEUJs CFDC is having a good year . duced in Vancouver by Werner Aellen Voluntary quota system an­ At least as far as recouping goes. The for Image Flow Productions in 16mm nounced by Secretary of State Corporation is only one-third through color. As for A Quiet Day in Belfast, "it Secretary of State Hugh Faulkner, the fiscal year, yet it has already gotten Famous Players, Odeon and Canadian- back more than half of the money it looks shaky" according to the CFDC; and they have yet to reach a decision on owned distribution companies an­ expected to. (Figures are confiden­ nounced a voluntary quota system in tial . .) Ted Rouse of the Toronto Patrick Loubert's Amusement Season in Red. He is still working on the rewrite. late July. The agreement has four major office estimates that almost 95 per cent parts: of the money coming back is from the Deadlines for submissions are as fol­ 1. Canadian 35 mm feature films pro­ French sector. Kamouraska, J'ai Men lows: duced or dubbed in English are guaran­ Voyage, La Mort d'un Biicheron and — September 10th for the October teed two weeks' theatre time in Mont­ Rowdyman are already in the recouping meeting real, Toronto and Vancouver. The res- stage. Wedding In White may join them — October 12th for the November ponsiblity for this is divided by Famous // it gets a television sale; and the films meeting Players (2/3 proportion) and Odeon the CFDC is very hopeful about are — December 7th for low-budget cat­ (1/3 proportion). Paperback Hero, The Pyx and Get Back. egory with a meeting in January. 2. If the releases are successful, the Neptune Factor, of course, is looking Forms are available at the Corporation's films are assured of further distribution good — it has already reached $2 milhon offices in Montreal and Toronto (Suite in 18 to 20 cities across Canada served at the box-office. 2220, P.O.Box 71, Tour de la Bourse, by the two chains. And a good audience Three films assured of investments at Montreal 115 - (514) 283-6363 and Suite 18, Lothian Mews, 96 Bloor Street response in those will get the film the last meeting are The Apprenticeship screened widely across Canada. of Duddy Kravitz, Bingo, and II Etait West, Toronto M5S 1M6 - (416) 3. Canadian-owned distributors have une Fois dans L'est. (See Le Cinema 966-6436.) agreed to provide special publicity pro­ Quebecois in this issue for details on II grammes in support of these films. Etait. .) 4. The CFDC has agreed to increase Duddy Kravitz has started shooting Quadrant Films announces shoot­ its investments to share the costs of with 3 weeks in the Laurentians and a ing on new feature publicity/promotion.. house on St. Urbain Street as the This gentlemen's agreement was Co-producer of The Neptune Factor, primary locations. Mordecai Richler reached through the Secretary of State's wrote the screenplay as well as the Quadrant Films Ltd, recently started Advisory Committee on Film who are book, and has collaborated before with shooting on their new film A Day In The "to keep an eye on the development of director Ted Kotcheff in 1966 for Life Country, an action thriller starring this agreement." At the Top. John Kemeny is producing Ernest Borgnine, Michael J. Pollard and (No comment - see Editorial.) this $650,000 feature 'in period'. The Hollis McLaren. The all-Canadian sup­ crew has been frantically searching for porting cast includes Louis Zorich, Cec costumes and memorabilia from the late Linder, Al Waxman, Ratch Wallace, 40's/early 50's - they even had an ad Vladimir Valenta and Sue Petrie. running asking people to rummage Based on an original story by David through their attics! Main, the script was written by Robert Bingo is being directed by Jean- Maxwell and John Trent. Producer is Claude Lord and produced by Pierre David M. Perlmutter and director John On the production scene .. David of Les Productions Mutuelles. Trent. Quadrant executive producer is Peter James. Other than the films Usted with CFDC The story is based on two students and news, Robbie Malenfant just finished their adventures in the CEGEP world. A Day In The Country will be filmed at Toronto International Film Studios, directing the shooting of his $100,000 One of the stars will be Alexandra feature, Moss Tarts, with Eric Till pro­ Stewart, who recently came back to Kleinberg and on location in and around Bolton, Ontario. ducing. Patsy Rahn and Lyn Griffin Canada from France and starred in The starred, with Paul Vanderlinden on Heat Wave Lasted Four Days with Jack Darcus and Vladimir Valenta camera. And Jacques Godbout is pre- Gordon Pinsent and Larry Dane. producing his next feature at the NFB. It seems that Only God Knows, Larry Dane's second feature production, La Gammick is based on a 1952 news has gotten the go-ahead. Gordon Pinsent item which resulted in Godbout, Jean- will be starring and Al Waxman pro­ Marie Poupart and Pierre Turgeon's ducing this film written by Paul Wayne. script about a little Montreal gunman Other CFDC investments are in L'lle used by the American Mafia to kill the Jaune and Ya toujours moyen de all-powerful head of Murder Incorp­ moyenner (seeZe Cinema Quebecois for orated. Shooting is to begin this fall, with Godbout directing, Thomas Vamos both) and Jack Darcus' low-budget fea­ on camera and Marc Beaudet producing ture, Wolf Pen Principle. This is Darcus' for the National Film Board third feature film, and it's being pro­ 6 Cinema Canada The rest of the films are either Cinevideo; Killing Time by Morley The CCFM is still going strong released or nearing completion. Recent­ Markson; Marichka by Walter Back- ly released films include Chez Nous, zynski/Canukr Films; Nuits en The Council of Canadian Film­ C'est Chez Nous by Marcel Carriere/ Amerique by Jean Chabot/ makers, formed so recently (see Issues 7 Challenge for Change, NFB; Tu L'Association Cooperative de Pro­ and 8) is still doing quite well. Briiles . Tu Brules ... by Jean-Guy ductions Audio-Visuelles; Peep by Jack Its last general meeting was held on Noel/L'Association Cooperative de Pro­ Cunningham/Image Control Production; June 27th in Toronto with guest speak­ ductions Audio-Visuelles; Sensations by Race Home to Die produced by Jim ers Michel Brault from the Syndicat Robert Seguin/Sedel Films; Le Grande McAmmon; and Stompin' Tom Connors National du Cinema and Robert Des- Sabordage by Alain Perisson/Prisma by John Saxton/Kit films. jardins from the Secretary of State's Films; Mourir Pour Vivre by Frangois Film Office. Liant/Planete Films; and Les AUees de Although not as exciting as past la Terre by Andre Theberge/NFB. meetings and having poorer attendance Completed films include the follow­ (many members were out of town — ing: Master of Images by Byron Black/ working or on vacation) the meeting Infinity Studio; Ou L'lnvisible Enfants accomplished a lot. by Raoul Duguay/NFB {see interview Quebec directors form union A brief to the Ontario Government with Roger Frappier in this issue); L'Association des Reahsateurs de offering a serious critique and partial Paperback Hero by Peter Pearson/ Film du Quebec was formed in April by endorsement of the Basset Brief (see Agincourt Productions; and L'Infonie a group of 75 directors including in­ Issue no. 6) was discussed and passed. Inachevee by Roger Frappier/ dependents, those from the private sec­ Kirwan Cox was elected Executive Dir­ L'Association Cooperative de Prod­ tor, and from the government (NFB, ector, and — as usual — discussion on uctions Audio-Visuelles {see interview CBC). The purpose of this group is to unions dominated the evening. this issue). defend the interests of directors in all For a detailed discussion on what the CCFM has accomplished and what its Paperback Hero parts of the industry and to protest the freedom and rights of its membership. plans are for the future, see Opinion in One of the foremost aims of the this issue. Association of Quebec Film Directors is to fight political censorship of films. The Executive Committee consists of: Denis Heroux - President; Jacques Gagne, Jean-Pierre Lefebvre — Vice- Meanwhile — at Uncle Tom's Presidents; Roger Frappier, Jacques igloo . Leduc — Secretaries; Guy Dufaux — Treasurer; and Alain Chartrand, Claude The Canada Week Committee, "not Fournier, Louis Portuguais, - Directors. to be confused with the Committee for For further information, and details an Independent Canada" recently held a The following are in post-production on the groups activities contact: gala ball at $100 per couple to present stages: Ah Si Mon Moine Voulait by L'Association des Realisateurs de Film an award to Gordon Stulberg, President Claude Pierson/Citel (Montreal) and du Quebec, 3466 rue St. Denis, Mont of 20th Century Fox, for "being an Pierson Films (Paris); Alien Thunder by real 130, (514) 844-2457 or 844-6265. outstanding Canadian." Claude Fournier/Onyx Films {see Le Cinema Quebecois); Bar-Salon by Andre Forcier/Les Ateliers du Cinema Quebec­ ois; Blanc Noel by Michel Bouchard/ L'Association Cooperative de Pro­ AUCdAddidA AAMHcriAi toYiM ductions Audio-Visuelles; Les Corps Celestes by Gilles Carle/Carle-Lamy and Pare Films {see Le Cinema Quebecois); Les Dernieres Fiancailles, Ultimatum and On n'engraisse pas les cochons a I'eau claire by Jean-Pierre Lefebvre/ Cinak {see Le Cinema Quebecois); ;'^f ^« 964*6959 m Floralie Ou Es-Tu? by Jean Dansereau/ Les Atehers du Cinema Quebecois; The Hard Part Begins by Paul Lynch/ THE FILM ARTISTS "EXCHANGE" Odyssey Films; The Holy Assassin by A NEW CONCEPT Bob Turner, Terry Loychuck, Joan FAST, RELIABLE, SLICK Maclntyre and Lulu McMovie/Infinity Inquire about our special discount rates to freelancing Studio; Je T'Aime by Pierre Duceppe/ film artists Cinema Canada 7 "Are you in touch with your Can­ The Committee exists to — Jesus Christ Superstar is the $3.5 adian colleagues working in the USA?" 1.
Recommended publications
  • NATIONAL FILM BOARD of CANADA FEATURED at Moma

    NATIONAL FILM BOARD of CANADA FEATURED at Moma

    The Museum off Modern Art 50th Anniversary NO. 16 ID FOR IMMEDIATE RELEASE March 3, 1981 DOCUMENTARY FILMS FROM THE NATIONAL FILM BOARD OF CANADA FEATURED AT MoMA NATIONAL FILM BOARD OF CANADA: A RETROSPECTIVE is a three-part tribute presented by The Museum of Modern Art in recog­ nition of NFBC's 41 years Of exceptional filmmaking. PART TWO: DOCUMENTARY FILMS, running from March 26 through May 12 in the Museum's Roy and Niuta Titus Auditorium, will trace the develop­ ment of the documentary form at NFBC, and will be highlighted by a selection of some of the finest films directed by Donald Brittain, whose work has won wide acclaim and numerous awards. PART TWO: DOCUMENTARY will get off to an auspicious start with twelve of Donald Brittain's powerful and unconventional portraits of exceptional individuals. Best known in this country for "Volcano: An Inquiry Into The Life and Death of Malcolm Lowry" (1976), Brittain brings his personal stamp of creative interpretation to such subjects as America's love affair with the automobile in "Henry Ford's America" (1976) ; the flamboyant Lord Thompson of Fleet Street (the newspaper baron who just sold the cornerstone of his empire, The London Times) in "Never A Backward Step" (1966); Norman Bethune, the Canadian poet/ doctor/revolutionary who became a great hero in China when he marched with Mao ("Bethune" 1964); and the phenomenal media hysteria sur­ rounding the famous quintuplets in "The Diorme Years" (1979) . "Memo­ randum" (1965) accompanies a Jewish glazier from Tcronto when he takes his son back to the concentration camp where he was interned, an emotion­ al and historical pilgrimage of strong impact and sensitivity.
  • Film Reference Guide

    Film Reference Guide

    REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld.
  • A SALUTE to the NATIONAL FILM BOARD of CANADA Includes Sixteen Films Made Between

    A SALUTE to the NATIONAL FILM BOARD of CANADA Includes Sixteen Films Made Between

    he Museum of Modern Art 1^ 111 West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Mo, 38 FOR IMMEDIATE RELEASE Tuesday, April 25, 1967 On the occasion of The Canadian Centennial Week in New York, the Department of Film of The Museum of Modem Art will present A SALUTE TO THE NATIONAL FILM BOARD OF CANADA. Sixteen films produced by the National Film Board will be shown daily at the Museum from May U through May V->, except on Wednesdays. The program will be inaugu­ rated with a special screening for an invited audience on the evening of May 3j pre­ sented by The Consul General of Canada and The Canada Week Committee in association with the Museum. The National Film Board of Canada was established in 1939, with John Grierson, director of the British General Post Office film unit and leading documentary film producer, as Canada's first Government Film Commissioner, Its purpose is-to Jjiitdate and promote the production and distribution of films in the-uational int^rest^ \i\ par« ticular, films designed to interpret Canada to -Canadians and to other nations. Uniquely, each of its productions is available for showing in Canada as well as . abroad* Experimentation in all aspects of film-making has been actively continued and encouraged by the National Film Board. Funds are set aside for experiments, and all filmmakers are encouraged to attempt new techniques. Today the National Film Board of Canada produces more than 100 motion pictures each year with every film made in both English and French versions.
  • Building Resilience Through Partnership

    Building Resilience Through Partnership

    BUILDING RESILIENCE THROUGH PARTNERSHIP 2019-2020 ANNUAL REPORT TABLE OF CONTENTS 1 HIGHLIGHTS 9 ACHIEVEMENTS 11 ABOUT US 14 MESSAGES MANAGEMENT DISCUSSION 18 AND ANALYSIS INDUSTRY AND 19 ECONOMIC CONDITIONS CORPORATE 28 PLAN DELIVERY ATTRACT ADDITIONAL FUNDING 29 AND INVESTMENT EVOLVE OUR FUNDING 33 ALLOCATION APPROACH OPTIMIZE OUR 45 OPERATIONAL CAPABILITY ENHANCE THE VALUE 50 OF THE “CANADA” AND “TELEFILM” BRANDS 57 FINANCIAL REVIEW 64 RISK MANAGEMENT CORPORATE SOCIAL 66 RESPONSIBILITY 70 TALENT FUND 81 GOVERNANCE FINANCIAL 95 STATEMENTS ADDITIONAL 117 INFORMATION TELEFILM CANADA / 2019-2020 ANNUAL REPORT 1 The Canadian industry and audiences embraced female voices and HIGHLIGHTS Indigenous expression in fiscal year 2019-2020. Telefilm remained committed to greater representation in the films we support and to bringing Canadian creativity to the world. LOOKING TO THE FUTURE, our vision is for Telefilm and Canada to strengthen their role of Partner of Choice—creating and building ties, expanding opportunities and deepening impact. BRINGING CANADIAN CREATIVITY TO THE WORLD The Canada-Norway coproduction THE BODY REMEMBERS WHEN THE WORLD BROKE OPEN, directed by KATHLEEN HEPBURN and ELLE-MÁIJÁ TAILFEATHERS, received praise around the world— premiering at the Berlin Film Festival in 2019, selected as “REMARKABLE” a New York Times Critic’s Pick and being called “remarkable” by the Los Angeles Times. The film went on to be picked up ★★★★★ by Ava DuVernay’s ARRAY releasing for U.S and international. levelFilm distributed the film in Canada, while Another World LOS ANGELES TIMES Entertainment handled Norway. TELEFILM CANADA / 2019-2020 ANNUAL REPORT 2 HIGHLIGHTS BRINGING CANADIAN CREATIVITY TO THE WORLD MONIA CHOKRI’s debut feature filmLA FEMME DE WINNER MON FRÈRE (A Brother’s Love), which she both wrote COUP DE CŒUR AWARD and directed, premiered at the Cannes Film Festival CANNES opening the Un Certain Regard section, bringing home FILM FESTIVAL the jury’s Coup de Cœur award.
  • Canadian Films: What Are We to Make of Them?

    Canadian Films: What Are We to Make of Them?

    Canadian Films: What Are We to Make of Them? By Gerald Pratley Spring 1998 Issue of KINEMA This technically fine picture was shot in British Columbia, but care seems to have been taken toeradicate any sign of Canadian identity in the story’s setting, which is simply generic North American. Film critic Derek Elley in his review of Mina Shum’s Drive, She Said in Variety, Dec. 22, 1997. NO MATTER to what segment of society individuals may belong within the public at large most of those interested in the arts are contemplating what to make of Canadian cinema. Among indigent artists, out- of-work actors, struggling writers, publishers and bookshop proprietors, theatregoers and movie enthusiasts, the question being asked is, what do we expect from Canadian movies? The puzzle begins when audiences, after being subjected to a barrage of media publicity and a frenzy of flag waving, which would have us believe that Canadian movies and tv programmes are among the best in the world, discover they are mostly embarrassingly bad. Except that is, films made in Québec. Yet even here the decline into worthlessness over the past twoyears has become apparent. It is noticeable that, when the media in the provinces other than Québec talk about Canadian films, they are seldom thinking of those in French. This means that we are forced, whentalking about Canadian cinema, into a form of separation because Québec film making is so different from ”ours”, making it impossible to generalize over Canadian cinema as a whole. If we are to believe everything the media tells us then David Cronenberg, whose work is morbid, Atom Egoyan, whose dabblings leave much to be desired, Guy Maddin, who is lost in his own dreams, and Patricia Rozema, who seldom seems to know what she is doing, are among the world’s leading filmmakers.
  • Literary Translation As a Vehicle of Assimilation in Quebec

    Literary Translation As a Vehicle of Assimilation in Quebec

    SPEAKING WHITE Literary Translation as a Vehicle of Assimilation in Quebec Kathy Mezei IIN GILLES ARCHAMBAULT'S 1970 novel, Parlons de moi (Le Cercle du Livre de France ), the disaffected narrator says : Puisque depuis que j'ai des opinions politiques définies, je me refuse à parler cette langue [anglais] à moins d'y être obligé. (13) How ironie then that this poor narrator is forced twelve years later to speak entirely in English when the novel is translated (betrayed?) -1 In her November 9, 1985, Le Devoir article, "Speak White: de l'accusation à la nécessité," Natalie Petrowski describes how speaking white — English — has become both chic for young people, and a financial necessity for rock and other art groups. To speak English, to speak white, "parlez avec l'accent de Milton et Byron et Shelley et Keats," as Michèle Lalonde wrote in her famous 1968 poème-affiche, has long been a sensitive issue in Quebec : a sign of the contamination of racial purity in the 1920's and 1930's, of Quebec's awareness of her colonized status in the 1960's and 1970's, a marker of the ambitions and economic realities of the 1980's.2 Note the difference in Roch Carrier's use of English in the title of his 1968 satire of French-English relations during World War II, La Guerre, Yes Sir! and in René-Daniel Dubois's contemporary play, Being at Home with Claude ( 1985). In the above Le Devoir article, Dubois is quoted as saying : Je sais que le пес plus ultra jeunesse outremontoise, c'est de parler anglais et de refuser tout ce qui est français.
  • 06952 Acadiensis Cover

    06952 Acadiensis Cover

    06952-07 Frank Review 02 8/27/03 10:19 AM Page 120 Public History and the People’s History: A View from Atlantic Canada IT IS SEVERAL YEARS NOW SINCE those Sunday evenings at the dawn of the new century when Canadians gathered around their television screens to watch the unveiling of their multi-million dollar millennium gift. It came in the form of a sustained, full-dress presentation of Canadian history, as prepared by the Canadian Broadcasting Corporation and Radio Canada to celebrate the arrival of the new millennium. By the time the second season was completed in 2002, 17 separate episodes had been broadcast, filling a total of 30 hours of primetime television. The cost of the series was about $25 million, an unprecedented expenditure for the popularization of Canadian history on film – though hardly an extraordinary amount in an international industry where the same budget can be assembled for the production of a single feature film. The audience numbers were remarkable too, clocking in at more than two million viewers for the first episode.1 It was a surprise to the advertising industry, as numerous sponsors had passed over the opportunity to support the series, their marketing departments claiming that there was no consumer appetite for Canadian history on this scale.2 In a country where the public sector had been under attack for years on end, Canada: A People’s History was a triumph for public broadcasting. Executive producer Mark Starowicz later wrote that the evening of the first broadcast on 22 October 2000 was the moment when “the myth that Canadians are not interested in their history died a well-deserved death”.3 Even if it was true that Canadians did not know much about their history, as various polls had been telling them for years, it seemed clear that Canadians were interested and wanted to know more about it.
  • The Film Imagine an Angel Who Memorized All the Sights and Sounds of a City

    The Film Imagine an Angel Who Memorized All the Sights and Sounds of a City

    The film Imagine an angel who memorized all the sights and sounds of a city. Imagine them coming to life: busy streets full of people and vehicles, activity at the port, children playing in yards and lanes, lovers kissing in leafy parks. Then recall the musical accompaniment of the past: Charles Trenet, Raymond Lévesque, Dominique Michel, Paul Anka, Willie Lamothe. Groove to an Oscar Peterson boogie. Dream to the Symphony of Psalms by Stravinsky. That city is Montreal. That angel guarding the sights and sounds is the National Film Board of Canada. The combined result is The Memories of Angels, Luc Bourdon’s virtuoso assembly of clips from 120 NFB films of the ’50s and ’60s. The Memories of Angels will charm audiences of all ages. It’s a journey in time, a visit to the varied corners of Montreal, a tribute to the vitality of the city and a wonderful cinematic adventure. It recalls Wim Wenders’ Wings of Desire in which angels flew over and watched the citizens of Berlin. It has the same sense of ubiquity, the same flexibility, the sense of dreamlike freedom allowing us to fly from Place Ville- Marie under construction to the workers in a textile factory or firemen at work. Underpinning the film is Stravinsky’s music, representing love, hope and faith. A firefighter has died. The funeral procession makes its way up St. Laurent Boulevard. The Laudate Dominum of the 20th century’s greatest composer pays tribute to him. Without commentary, didacticism or ostentation, the film is a history lesson of the last century: the red light district, the eloquent Jean Drapeau, the young Queen Elizabeth greeting the crowd and Tex Lecor shouting “Aux armes Québécois !” Here are kids dreaming of hockey glory, here’s the Jacques-Cartier market bursting with fresh produce, and the department stores downtown thronged with Christmas shoppers.
  • GILLES CARLE Président D’Honneur Du Comité Canadien Des Auteurs

    GILLES CARLE Président D’Honneur Du Comité Canadien Des Auteurs

    GILLES CARLE Président d’honneur du comité canadien des auteurs Réalisateur, né en 1929 à Maniwaki au Canada. Gilles-Carle est diplômé de l’École des Beaux-arts de Montréal en publicité et marketing, peinture et histoire de l’art, est titulaire de certificat d’études en belles- lettres à l’Université de Montréal, d’un certificat d’études en imprimerie, gravure et photographie à l’École des Arts graphiques de Montréal. Il a effectué des stages d’études en histoire de l’art à Paris, Rome et Bruges. Il fonde plusieurs revues et collabore à plusieurs journaux en tant que critique littéraire, cinématographique et chroniqueur de télévision. Il est Chevalier des Arts et Lettres, Chevalier de la Légion d’Honneur. FILMOGRAPHIE 1953 - Police Coréalisation avec Roland Trucheon 1961 - Dimanche D’Amérique Manger - en collaboration avec Louis Portugais. Scénariste : Arthur Lamothe 1962 - Patinoire 1963 - Natation Un air de famille (Documentaire) Comment mourir au cinéma? - Film annonce du Festival International de Montréal, Scénariste de quelques épisodes 1964 - Solange dans nos campagnes Percé on the rocks Lees Enquêtes Jobidon - un des principaux scénaristes de la série télévisée, tournée par Pierre Gavreau et Roland Guay Pattes mouillées 1965 - La vie heureuse de Leopold Z Grand prix du cinéma canadien 1 de 4 1966 - Place à Olivier Guimond Début d’une collaboration avec le producteur Pierre Lamy qui durera 10 ans 1967 - Place aux Jérolas spectacle à écrans Québec à l’heure de l’expo documentaire industriel 1968 - Le viol d’une jeune fille douce Sélection à la Quinzaine des réalisateurs, Prix spécial du jury au Festival d’Hyères, sélection au Festival international des films de Berlin 1969 - Red 1970 - Les mâles Stéréo 1971 - Un hiver brûlant (série) Les Chevaliers 1972 - La Vraie Nature de Bernadette - Sélection officielle au Festival de Cannes, Six Genie Awards au Canadian Film Awards de Toronto dont celui du meilleur réalisateur, meilleur scénariste, étidé à l’Avant-Scène.
  • Reference Guide This List Is for Your Reference Only

    Reference Guide This List Is for Your Reference Only

    REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA ACT OF THE HEART BLACKBIRD 1970 / Director-Writer: Paul Almond / 103 min / 2012 / Director-Writer: Jason Buxton / 103 min / English / PG English / 14A A deeply religious woman’s piety is tested when a Sean (Connor Jessup), a socially isolated and bullied teenage charismatic Augustinian monk becomes the guest conductor goth, is falsely accused of plotting a school shooting and in her church choir. Starring Geneviève Bujold and Donald struggles against a justice system that is stacked against him. Sutherland. BLACK COP ADORATION ADORATION 2017 / Director-Writer: Cory Bowles / 91 min / English / 14A 2008 / Director-Writer: Atom Egoyan / 100 min / English / 14A A black police officer is pushed to the edge, taking his For his French assignment, a high school student weaves frustrations out on the privileged community he’s sworn to his family history into a news story involving terrorism and protect. The film won 10 awards at film festivals around the invites an Internet audience in on the resulting controversy. world, and the John Dunning Discovery Award at the CSAs. With Scott Speedman, Arsinée Khanjian and Rachel Blanchard. CAST NO SHADOW 2014 / Director: Christian Sparkes / Writer: Joel Thomas ANGELIQUE’S ISLE Hynes / 85 min / English / PG 2018 / Directors: Michelle Derosier (Anishinaabe), Marie- In rural Newfoundland, 13-year-old Jude Traynor (Percy BEEBA BOYS Hélène Cousineau / Writer: James R.
  • Gilles Carle Le Point Sur Un Cinéaste Modèle Gérard Boulad

    Gilles Carle Le Point Sur Un Cinéaste Modèle Gérard Boulad

    Document generated on 09/29/2021 5:31 a.m. Séquences La revue de cinéma Gilles Carle Le point sur un cinéaste modèle Gérard Boulad Numéro 200 Number 200, January–February 1999 URI: https://id.erudit.org/iderudit/49120ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this article Boulad, G. (1999). Gilles Carle : le point sur un cinéaste modèle. Séquences, (200), 26–28. Tous droits réservés © La revue Séquences Inc., 1999 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ ! U M E R O 200 PROJETS: «Je suis rendu au bout d'une certaine étape et je continue Gilles Carie différemment. Je viens de terminer un document de cinq heures sur la Révolution tranquille, panorama d'une vingtaine d'années pour la télévision (prod. Imavision). J'y montre que le Québec, c'était avant Le point 6ur un cinéaste modèle tout des gens — comme toi, comme moi —, des gens qui s'inventent une culture et qui la vivent. Dès le début, j'ai senti que parler de soi, c'est d'abord parler des autres..
  • La Région Vibre Pour Gilles Carle La Région Vibre

    La Région Vibre Pour Gilles Carle La Région Vibre

    Notre hebdo… PUISSANCE notre force locale ! DEPUIS 1955 48e ANNÉE, NO 33 - MANIWAKI, LE 13 AOÛT 2004 MANOEUVRABILITÉ LALA RÉGIONRÉGION VIBREVIBRE À PARTIR DE 19999$ FINI POURPOUR GILLESGILLES CARLECARLE LES VIBRATIONS • COURROIES • LAMES • BATTERIES • ETC… POUR TOUTES MARQUES DE TRACTEURS ET TONDEUSES Anatole Gagnon & Fils inc. Depuis 1972 Tél.: 449-4000 DÉBUT DU FIL OUVERT TOUS LES SOIRS Photo de Darlene Lannigan, PAGES 4-8-9-11 364, boul. Desjardins, Maniwaki autorisée par le OTTAWA CITIZEN DEPUIS 1955 La grève à Notre hebdo… notre force locale! Vous avez une nouvelle Low perdure Des milliers de à nous communiquer ? Contactez-nous au Page 2 (819) 449-1725 personnes au Un jeune homme perd Fabienne Lachapelle Hubert Roy Pag.: 441-5680 Pag.: 441-5681 la vie en VTT Ou par courriel : rassemblement [email protected] Page 2 Et par télécopieur : (819) 449-5108 Notre 3500 canards nagent spirituel journaliste sur la rivière Désert Page 10 international à part à l’aventure Succès pour la Kitigan Zibi Page 15 « Poker-Run » Page 13 Page 5 REGARDEZ BIEN ! Meubles MEUBLESCouvre plancher Le 1er chalet 2005 est arrivé! Des super Électroménagers Électronique vedettes dans Informatique Satellite nos circulaires Centre de Tout meublé ISO 9001:2000 liquidation Grandeur MANIWAKI cette semaine MANIWAKI GATINEAU AMOS VAL-D’OR ROUYN-NORANDA 52, Route 105 Nord 12' X 40' (819) 449-2610 52, Route 105 Nord 586, boul. Maloney est 471, 6e Rue Ouest e 1560, chemin Sullivan 159, 8 Rue VAL-D’OR (819) 449-2610 (819) 663-8557 (819) 732-6558 à la page 6 (819) 874-2610 (819) 764-2610 1560, chemin Sullivan www.branchaud.qc.ca (819) 874-2610 10 LA GATINEAU - MANIWAKI, VENDREDI 13 AOÛT 2004 SUCCÈS POUR LA COURSE DE CANARDS Tous les mercredis : Maniwaki – La 12e course de canards à l’aide de la population et des • Bingo à Gracefield, à 18h45, 3, rue organisée par le Club Optimiste de commerces», a indiqué M.