Paule Baillargeon

L'Amour avec un Grand A is a French-Canadian television series which aired from 1988 to 1995. The series explores different complex sexual and taboo issues. Some notable subjects include: Rape, Teen Obsession, Age Difference in love, Homosexuality and Married, Schizophrenia, Spousal Abuse. The series lasted 7 years and was very popular in Quebec. It was written by Janette Bertrand.

Although he is something of a layabout, and is still living with his mother, her death comes as something of a shock to Louis Pelletier (Gilbert Sicotte). Still, he has hopes of some sort of legacy and believes that his relatives will help him find a job. All his hopes are dashed when, before the funeral, his three aunts come to Quebec City to settle their sister's estate. As grasping and efficient a crew as ever strode a parlor, by the time they leave, the estate has been cleaned to the bones, as if by vultures.

A stage director learns of his young actors' fears as they are setting up a new play.

A group of actors putting on an interpretive Passion Play in Montreal begin to experience a meshing of their characters and their private lives as the production takes form against the growing opposition of the Catholic church.

No description available.

Jean-Marc is a man without qualities living in times that are out of joint. His wife and children ignore him; he's a mid-level government functionary in Montreal doing his job without care. He has an active imagination of sexual conquest, but his only real feelings come when he visits his aged mother, whose health is failing. When his wife leaves abruptly to work in Toronto, Jean-Marc sets out to reorder things with his daughters, his social life, and at work. In a world that at best is a farce, does he stand a chance?

A two-part in-depth exploration of the evolution of the private film industry, seen through the eyes of more than 50 industry professionals. Part One (1939-1979) : Artists and professionals from the social and commercial film sectors recount the struggle to build a film industry that is privately operated yet publicly funded. Part Two (1980-2010) : Executives, policymakers, and industry professionals trace the origins of the major funding institutions and discuss the unintended consequences of building a cultural industry around performance metrics, revenue generation, and private profit.

After escaping unscathed from a car accident, photo model Simone decides that having a baby is the only way to give her vacant life some meaning. She asks her best friend Philippe to get her pregnant, and he reluctantly agrees, on the condition that they conceive somewhere in a desert, so they leave Montréal on a 24-hour round-trip to Salt Lake City to find a suitable spot.

A lonely divorced woman spends her evening in her apartment listening to a phone-in radio show. As she listens to strangers talk candidly about their personal problems, she has to come to terms with her own.

A beautiful stripper hires renowned criminals to exact revenge on those who raped her in her motel room.

The film consists largely of a series of interviews with female filmmakers from several different countries and filmmaking eras. Some, such as Agnès Varda and Catherine Breillat (both from France), have been making films for decades in a conscious effort to provide an alternative to the male filmmaking model; others, such as Moufida Tlatli (Tunisia) and Carine Adler (England), are relative newcomers to directing, and their approaches seem more personal and less political. The film as a whole manages to cover some important topics in the feminist debate about film -- how does one construct a female gaze, how can one film nude bodies without objectifying the actors (of either sex), what constitutes a strong female role -- while also making it clear that “women’s film” comprises as many different approaches to filmmaking as there are female filmmakers.

A revealing look at the great Quebecois director who gave us such classic films as Mon Oncle Antoine, A toute prendre and Kamouraska: Power of Passion. Amidst the rise of French-Canadian identity and the political struggles of the '60s, Jutra was at the forefront of a group of artists dedicated to social change and attacking taboo.

Un homme seul. Une femme seule. Lui, à l'aide de son ordinateur, voudrait désormais pouvoir gérer ses relations amoureuses; elle, de son côté, désire continuer à mener une vie autonome. Philippe et Hélène vivent donc dans une bulle, en solitaires, soignant les blessures d'une relation précédente, jusqu'au jour où ils se rencontrent. C'est le coup de foudre! Mais ils ont si peu en commun, sinon la peur de se faire mal, de décevoir et d'être déçus, de se tromper à nouveau... A single man. A single woman. Him, only wanting to interact with romantic relationships through his computer screen. Her, wanting to have an autonomous life. Phillipe and Hélène live their lives in a solitary bubble, healing their wounds from a previous relationship, until they meet. It's love at first sight! but they have so little in common, except the fear of being hurt, of dissapointing or be dissapointed, of being wrong again...

Two strangers have a fateful one-night stand in Montréal.

Scatterbrained Polly gets a job as a secretary in Gabrielle's art gallery. Polly aspires to be a professional photographer, and idolizes Gabrielle for her artistic ability. When Gabrielle rekindles an old romantic relationship with the younger painter Mary, Polly becomes jealous, and discovers Gabrielle isn’t exactly who she claims to be.

Even though the protagonist of the Canadian Femme De L'Hotel is a female filmmaker, one would think twice before suggesting that this effort by Swiss-born director Lea Pool is autobiographical. Paule Baillargeon portrays a well-known director who returns to her home town of Montreal to film a high-budget musical drama. At her hotel, Paule has a brief but unsettling encounter with a suicidal elderly woman (Louise Marleau). This element of the plot is briefly forgotten as we get to know the actors in Paule's current project. Then she meets the old lady again, and with mounting incredulity Paule discovers that the actual events in the woman's life mirror the fictional events in the director's film.

No description available.

Six stories about Montreal. 1: A young housewife from Toronto samples the nightlife using basic French. 2: The tale of a painting of Montreal's first mayor, Jacques Viger. 3: During a hockey game, Madeleine tries to tell Roger she wants a divorce after forty years of marriage. 4: A visitor to a conference on pictographs arrives at the airport, where the female customs officer steals a momento from each person. 5: As she is being driven to the hospital in an ambulance after an auto accident, Sarah recalls her life. 6: At a diplomatic reception, an older woman reminisces about her grand love in Montreal.

A 12-year-old girl faces a father she hardly remembers after his transition into a woman.

Set on an ice-encircled island in the St. Lawrence, this is a drama of passion and violence. An old man, attached to his ancestral home and traditions, is confronted by his son, an immature young man who has no time for these values. The outcome is tragic as the father refuses to let his home fall into the hands of outsiders.