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Parler avec quelqu'un d'aussi grand que Guy Lafleur est toujours une expérience extraordinaire. Mais lorsqu'on permet à Réjean Tremblay de mener la conversation, on entreprend un fantastique voyage d'une ampleur insoupçonnée.

This documentary, shot during the 2002-2003 school year, takes us to Harnes, in the former mineral field in the Pas-de-Calais region. In November, the start of the new school year already seems like a long time ago. The grey sky has replaced the blue and green of the summer. However, for the pupils of the primary and secondary schools, dullness is not on the agenda! Artists have come in town. They go into the classrooms with colours, stories and rhythms coming from somewhere else in their luggage. Things that can fill out the imagination, things that make anyone dream. We go with them, and on the way, we talk to them. We meet teachers and parents who are delighted to give free rein to the dream part that lies dormant in everyone of us. Image

The coalmine…. it literally swallowed generations of workers, among whom were many migrants. Felipe's parents left Spain in 1914 and settled in Raismes-Sabatier. Felipe was born in 1916. In 1936, hearing the Passionaria's call : "Spaniards from all countries, come and defend your homeland!", he joined the republican army. In 1941, he took part to the miners' strike against the occupation forces - he was then arrested on September 13 (after being denounced) for his activities in the Resistance and was imprisoned in Valenciennnes to be later sent to Mauthausen concentration camp. Through this portrait, we are given the opportunity to give back to history its human dimension ; it shows that such notions as resistance or solidarity are not merely words but that they are truly incarnated in men or women who could be our neighbours or our parents.

Ritual sacrifice and oppression of individuals by society. After Norman Jewison’s Rollerball.

A couple sensually kiss in a bedroom, to Billie Holiday’s sound.

Paul is a social worker, he would like to carry on helping people. Fifi would like to become a nursery nurse and live in Algeria. Avant-Poste is the meeting between two persons that don't understand each other any more, the failure of the eighties, its hopes of tolerance and equality.

Reverie on an annual collective celebration at the winter solstice. Bacchanals lead to rounds and races through the city before the winter night.

In Gordorak the Fleshmaker vs. Zombies, a guy massacres zombies that cross his path.

It is the first time that Leïla Shahid has agreed to a portrait. At a time when news images blind us and fuel debate, this film takes a step back and looks at the history of a land torn apart, through the personal story of a unique ambassador. Hope and peace are still the key words of the woman who has, for over 30 years, pleaded the cause of the Palestinian people in Europe.

A Love During the War is a docudrama following the experiences of Aziza, a journalist who is separated from her husband when the Democratic Republic of Congo erupts into civil war. Aziza reunites with her husband in Kinshasa, but the memory of the horrors suffered by other women during the war still haunts her. Despite her husband’s protests, she returns to Eastern Congo to find that the legacy of violence continues to infect the lives of women young and old. However, not everyone remains a victim as women have started denouncing the abuses they suffered.

Short film by Ivora Cusack

An old story of love and the circus. Lucy...And Those Eyes was created during the winter in Montreal. Photography and dance, moving under melancholic rhythms.

July, 14th, 1789, then 1989 and its media coveraged bicentenary. Here a 16mm July 14th in order to wake up the sleepers and to tell them that the revolution is not only a party... This film has to be screened while assistants, projectionists, usherettes, cashiers, festivals directors, audience... throw big and little firecrackers everywhere in the room... regardless of safety rules, security rules... The filmmaker declines to be responsable for any possible accident. Watch out: explosive film.

Commerciale, taking the form of a still sequence shot, could at first sight be mistaken for video surveillance footage of the entrance to a shopping centre. People walk in and out, pushing the glass panels of the revolving door of one of these temples of consumption that invade every suburban area worldwide. Alone, in couples, wandering past or rushing in, trolleys empty or full, mothers and children, hundreds of people push this revolving door day in, day out in an unrelenting and dizzying ballet. The effects of superimposition and transparency applied to the video heighten this sensation of a ghostly, indifferent and endless flow.

Short animation from Merwan Chabane

Road movie, traveling through France and Italy at the time of World Pride and the Christian Jubilee year in Rome. Along the way we meet some fascinating characters, the stunning Imma from World Pride, lesbian movies, activists for gay marriages, and a host of women talking about sex, life, and their experience of being lesbians in Europe today.

The lens of the camera captures the port of Le Havre during a chaotic way, a trip whose rhythm is given by the process of shooting, frame by frame. The film edited directly into the camera then takes the form of a travelling front, subject to a continuous jump-cut which imposes its frantic pace. Docks, quays, warehouses, cranes, tractors, container architecture and men at work, present and future ruins parade such fleeting impressions.

Arman is the last person left working in the office of "E-Net Communication" one night. He is answering the phone as usual when he receives an e-mail with an attachment that will change the course of his life.

Tabula Rasa is the second chapter of a three part project, where its central element, which follows Nocte, is a performance continuing the same plan: a double screen where images of a black and white reel unwind and a third beam where matter is invented for every projection. An imaginary journey throughout Europe tracing cartography of the ruin, a melancholic voyage through time, a look at fingerprints and trace, absence, stone and dust. To experience the silver film as wall experiences the passing of men and time, in search of fracture, a breach where only it survives, among the ashes and the debris, a blind light wave travels a wasted land. There is no bond that time does not erase.