For over thirty summers, Mrs. Fife, an exceptional woman of our time, lived in the village of Baie-Johan-Beetz, where her great gentleness and generosity left their mark on people. This documentary is therefore intended as a tribute: it brings together both numerous testimonies and a collection of archival films and photos, signed by Mary Fife.
Mary Febiger Fife
Lisanne Boudreault
(Narration)
Raymonde Bourque
Renée Harvey
Jean-Marie Tanguay
Denise Devost
For over thirty summers, Mrs. Fife, an exceptional woman of our time, lived in the village of Baie-Johan-Beetz, where her great gentleness and generosity left their mark on people. This documentary is therefore intended as a tribute: it brings together both numerous testimonies and a collection of archival films and photos, signed by Mary Fife.
A documentary on the expletive's origin, why it offends some people so deeply, and what can be gained from its use.
The film is a panorama shot-scene lasting just under a minute. The panorama film, as coined by Lumière, is a moving-camera shot--usually accomplished by placing the camera on a moving transport, such as a boat or train.
A paralysingly beautiful documentary with a global vision—an odyssey through landscape and time—that attempts to capture the essence of life.
An intimate portrait of the small shops and shopkeepers of the Rue Daguerre in Paris, a picturesque street that has been the filmmaker’s home for more than 50 years.
Filmmaking icon Agnès Varda, the award-winning director regarded by many as the grandmother of the French new wave, turns the camera on herself with this unique autobiographical documentary. Composed of film excerpts and elaborate dramatic re-creations, Varda's self-portrait recounts the highs and lows of her professional career, the many friendships that affected her life and her longtime marriage to cinematic giant Jacques Demy.
A visual montage portrait of our contemporary world dominated by globalized technology and violence.
This character-driven film considers the evolving sex trafficking landscape as seen by the main players: the exploited, the pimps, the johns that fuel the business, and the cops who fight to stop it.
A woman narrates the thoughts of a world traveler, meditations on time and memory expressed in words and images from places as far-flung as Japan, Guinea-Bissau, Iceland, and San Francisco.
As a visually radical memoir, CAMERAPERSON draws on the remarkable footage that filmmaker Kirsten Johnson has shot and reframes it in ways that illuminate moments and situations that have personally affected her. What emerges is an elegant meditation on the relationship between truth and the camera frame, as Johnson transforms scenes that have been presented on Festival screens as one kind of truth into another kind of story—one about personal journey, craft, and direct human connection.
เมื่อนักสร้างสารคดีพบว่ามหาสมุทรต่างๆ บนโลกกำลังล้นปริ่มไปด้วยขยะพลาสติก เขาจึงออกสืบสวนเพื่อค้นหาผลกระทบของมลพิษต่อสิ่งแวดล้อม