Jean-Marc E. Roy

Against the voracious concrete and a ruthless developer, a poet stands tall, the last bulwark against oblivion, like a Gaul defying Caesar. He gathers voices from the past, revives memories, and weaves an ode to Ville Jacques-Cartier's working-class heritage, a haven where hopes and struggles once echoed.

Jura Department, France. A judge orders the re-enactment of a crime scene in order to shed some light on inconsistencies in a murder case. Under the eye of Lady Justice, the accused, a family of three women from Quebec, have to thoroughly relive the day of the crime.

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Bruno, in his thirties and in desperate need of a purpose, ends up homeless after a breakup. Without despairing and under the watchful eye of his motherly big sister, this sawmill worker will find the drive to put his beloved blue suit back on and to rekindle an old flame.

In this short documentary, an ordinary working day in the heart of a granite quarry surreptitiously turns into a spectacular industrial symphony.

There is only the rain to recall my anguish. And sometimes I cry your name.

Following the death of her father, Renée goes back home to Saguenay for the funeral. Forced to empty her late father’s house, she finds a gigantic mess, the result of years of hoarding. In the following six days, Renée will seek her significance, a trace of herself, in the clutter.

A documentary film that can best be described as a portrait of an author about and featuring André Forcier. It is the story of an extraordinary and undeniable filmmaker in the landscape of Canadian national cinema and a pillar at the heart of its identity. It is an opportunity to relive his work, known for its strong dose of magical realism, through the reenactment of scenes from his entire filmography. It is a walk through his world, which sometimes appears like a memory, a footprint, or a recollection.

Documentary on Atikamekw craftsmanship that switches to documentary on the challenges of transmission within the community, the preservation of traditional indigenous knowledge and especially its protection from the various assaults of the world. There will be no moccasin movie. This is how the director's grandmother, Eden Awashish, decides to respond to the granddaughter project. The film will therefore speak to us about transmission but without revealing secrets that do not belong to us.