Documentary
This early work from Pierre Perrault, made in collaboration with René Bonnière, chronicles summer activities in the Innu communities of Unamenshipu (La Romaine) and Pakuashipi. Shot by noted cinematographer Michel Thomas-d’Hoste, it documents the construction of a traditional…
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December 6, 1989. Sylvie Gagnon was attending her last day of classes at the University of Montreal's École Polytechnique, when Marc Lépine entered the building. Separating the women from the men, he opened fire on the women students, yelling 'You're all a bunch of feminists.' Sylvie survived, while fourteen other women were murdered. This video makes the connection between the massacre and male violence against women, setting the stage for an exploration of misogyny and sexism.
This film is about the francization of Québec that has taken place since the Parti Québécois won power from the Liberals in 1976. It shows how the once powerful anglophone community is now questioning its very survival. It discusses some of the motivating forces behind Québécois nationalism. The film concludes by asking if the Canadian nation can survive if neither of its major language groups is welcome in the territory of the other.

Shot during the first ever Innu circus festival in Labrador, Canada, Tricksters gives the viewing audience a positive glimpse into these troubled native communities. The artistry of international performers is combined with the native tradition of drumming and dancing offering a wider appreciation for the Innu way of life. Tricksters features Beni Malone's Wonderbolt Circus, as well as two time world champion hoop dancer Lisa Odjig who interacts with Innu Elders and children in workshops. Interviews with Innu elders inspire a greater appreciation for the Innu way of life. Tricksters offers an emergence of art and native culture, rarely seen on the screen.

Filmed in Victoriaville, the film uses images from various sources to paint a cynical portrait of the violent boredom that reigns in rural areas. Quiet sequences of people sharing joints by the river are followed by a lone car speeding along wooded roads, as if seeking speed on the brink of accident. Thuya abandons technical mastery in favor of intimate and spontaneous filming, composing a raw self-documentation of daily stagnation. Filmed mainly in a single day of improvisation, based on chance encounters and found footage.

William Friedkin attends an exorcism with Father Gabriele Amorth, as he treats an Italian woman named Cristina for the ninth time. Prior to filming, Cristina had purportedly been experiencing behavioural changes and “fits” that could not be explained by psychiatry, and which became worse during Christian holidays.