Martin Fournier

"La Course destination monde" is a Canadian reality television series, which aired on Télévision de Radio-Canada from 1988 to 1999. The series was a filmmaking competition which sent young, emerging filmmakers from Quebec around the world to make short films about their destinations, with prizes awarded at the conclusion of each season to the best films coming out of the competition. The show premiered in 1988 as "La Course des Amériques", sending filmmakers to destinations in North and South America. The second season, "La Course Amérique-Afrique", continued to highlight destinations in the Americas as well as opening to destinations in Africa, while the third season, "La Course Europe-Asie", centred on destinations in Europe and Asia. From the fourth season onward, the show was titled "La Course destination monde", and permitted filmmakers to travel to anywhere in the world.

Suffering from a deep depression, actor Serge Thériault has isolated himself for seven years. With sensitivity and respect, the filmmakers focus their camera on Thériault’s wife Anna, his daughter, and a neighbour couple. The friendship inspires touching, beneficial solidarity, as well as a coordinated and patient attempt to help the popular actor emerge from his isolation and embark on a sustainable healing process.

Like thousands of student from everywhere in America, six young Quebecers will spend a week during Spring Break in Daytona hoping to find the opportunity to party. But their trip will not be as exciting as they hoped.

A heartrending portrait of a couple who face the ultimate test: the consequences they face when Simon, a writer, discovers he has an incurable form of cancer. Lucidly approaching the processes in place to deal with the end of a life – what it means for those faced with their own mortality and for those left behind.

Since the 1990s, the old Gaulin Manor has housed erstwhile residents of Saint-Hyacinthe psychiatric hospital. Some thirty inhabitants occupy this alternative lodging space, their salvation after the wave of deinstitutionalization that one day threw them into the streets with no resources. Profit rules, and so this motel at the world's end will be destroyed to fill the pockets of promoters. The film captures this turning of the page, where each lost character reshuffles their daily life in moving on to the next chapter. Lending an ear to these forgotten outcasts, Manor is careful in framing these shadowy figures, bringing them to life in the light of our attention.