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“Hunting Daze” begins with a premise familiar from many a past exploitation movie: Comely but tough lone woman finds herself having to beg assistance from a bunch of boozed-up, back-slapping bros having a dudes-only weekend in a remote rural setting. Suspense formula would decree that they’ll turn their rifle sights from wild game to this fresh prey, though not before some preliminary “sport” with her.

That is the expectation, but not what writer-director Annick Blanc’s debut feature actually delivers. Instead, she serves up an unpredictable allegory whose message is sometimes cloudy, but whose striking confidence and bold stylistic gambits are never less than impressive. This French-language Canadian production is many things — some aspects less than fully developed — but most of all an announcement of a precociously assured new talent whose future moves will be worth charting.

Introduced as a disgruntled outsider already, Nina (Nahema Ricci) is first seen...

"She agrees to live like a wolf... according to the laws of the pack." A festival promo trailer has debuted for an intriguing new indie film from Canada titled Hunting Daze, made by the Montreal filmmaker Annick Blanc as her feature directorial debut. This unsettling thriller is premiering at the 2024 SXSW Film Festival in the Midnighter section. Nina, an exotic dancer, is stranded in the far North. She persuades five men on a hunting trip to host her. In this masculine microsociety, by turns hilarious and philosophical, Nina starts to feel a sense of belonging she never has before. But a mysterious stranger’s arrival changes the course of this improvised holiday forever. Nahéma Ricci stars as Nina, with Bruno Marcil, Frédéric Millaire-Zouvi, Marc Beaupré, Alexandre Landry, Maxime Genois, and Noubi Ndiaye as Dudos. There are a couple of serious "whoaaaa what?!" shots in this trailer, making me extra curious...

This year’s SXSW Film Festival, taking place in Austin, TX, just unveiled their lineup, and what a massive year for horror.

The 2024 SXSW Film & TV Festival’s Opening Night TV Premiere is the highly anticipated Netflix series 3 Body Problem created, executive produced and written by Emmy Award winners David Benioff and D. B. Weiss and Emmy Award nominee Alexander Woo. But that’s only the tip of the iceberg for what’s in store.

The fest unveiled its Midnight lineup, which includes the Samara Weaving-starring Azrael. Elsewhere, look for Neon’s highly anticipated Cuckoo set to make its premiere.

Read on for the genre titles included in SXSW 2024’s lineup, and stay tuned for additional programming announcements.

Narrative Spotlight

Unforgettable features receiving their World, North American, or U.S. premieres.

Cuckoo (Germany)

Director/Screenwriter: Tilman Singer, Producers: Markus Halberschmidt, Josh Rosenbaum, Maria Tsigka, Ken Kao, Thor Bradwell, Ben Rimmer...

Left to right: Alexandre Landry as Pierre-Paul Daoust, Maripier Morin as Aspasie/Camille Lafontaine. Photo by Jaime Eduardo Urrutia Acuna, Courtesy of Sony Pictures Classics

Despite the title, writer/director Denys Arcand’s film is actually a French Canadian satiric crime thriller/comedy about a delivery driver with a PhD in philosophy who finds himself in an ethical dilemma when a bag of stolen loot literally falls at his feet. But then again, maybe it is about the fall of the American empire, as income inequality and the fuzzy boundary between international high finance and high crimes are at the core of this social satire.

The title follows those of Arcand’s previous films, The Decline Of The American Empire and Barbarians At The Gate, but while those films focused on the same group of academics, this one starts anew with a new group of characters. At the center is...

Relatively few new limited releases are launching against the likes of Rocketman and Godzilla this weekend. Sony Pictures Classics is rolling out The Fall Of The American Empire, from French-Canadian filmmaker Denys Arcand and starring Alexandre Landry, in New York and Los Angeles, and after more than a decade of very limited screenings at a few film festivals, British filmmaker Gerald Fox’s doc Leaving Home, Coming Home: A Portrait of Robert Frank is finally getting a regular theatrical release. Indie Rights is heading out with satirical comedy Loners in Los Angeles, and Strand Releasing is launching Cannes 2018 title Yomeddine by Abu Bakr Sawky in New York.

Among other limited release titles headed to theaters this weekend are Mouthpiece from Crucial Things and First Generation Films, and Dogwoof’s For The Birds and Vertical Entertainment’s Rich Boy, Rich Girl.

The Fall Of the American Empire

Director-writer: Denys Arcand

Cast: Alexandre Landry,...

You could be forgiven for confusing the title of Canadian filmmaker Denys Arcand’s latest, the capitalist crime lark “The Fall of the American Empire,” with his 1986 battle-of-the-sexes talkathon, “The Decline of the American Empire.” Though they’re different stories, they’re cut from the same Arcand-ian cloth of sophisticated moral handwringing, with barbed lessons about society’s ills pouring from the mouths of cynical characters.

“Fall” has a broader entertainment canvas, however, with its commentary on avarice, inequality and charity sharing space with wry caper elements straight out of an Ealing Studios comedy. The mix is, for the most part, a welcome one, save one unappealing character, a retrograde love story, and an air that’s almost too blasé for its own good.

The set-up feels a little like something Woody Allen would have given his schlemiel persona in the early ’70s: Pierre-Paul (Alexandre Landry) is a mopey delivery service driver (with a Ph.

Charged with alternating currents of droll wit, sardonic cynicism, and socialist-tinged idealism, writer-director Denys Arcand’s “The Fall of the American Empire” is a richly amusing rumination on the excesses and amorality of capitalism that plays like an ingeniously contrived mashup of film noir melodrama and Ealing Studios comedy. Despite the title, the new film has nothing to do with “The Decline of the American Empire,” Arcand’s classic 1986 roundelay about the lusty lives and endless conversations of eight self-regarding French Canadian intellectuals. But it does share at least a few thematic threads with that movie’s Oscar-winning sequel, “The Barbarian Invasions” (2003), which suggested that, in times of crisis, even a die-hard socialist might appreciate the value of having a great deal of money at his disposal.

Of course, you don’t have to have seen either of those earlier works to enjoy “Fall of the American Empire.” It’s very much a stand-alone work,...

This year’s Canadian feature slate — 25 in all — can be seen in six Tiff sections including Discovery, Tiff Docs and Wavelengths.

Among the selected features are highly anticipated films from fest alumni including Denys Arcand, Barry Avrich and the late Rob Stewart.

Arcand’s “The Fall of the American Empire” stars Alexandre Landry as Pierre-Paul Daoust, who faces a moral dilemma after discovering two bags of money. Sony Classics bought the North American rights to the film during the Cannes Film Festival in May. The film, which will play in Tiff’s special presentations section, is a thematic cousin to Arcand’s Oscar-nominated “The Decline of the American Empire” and the Oscar-winning “The Barbarian Invasions” (2003).

Avrich returns to Tiff’s docu section with “Prosecuting Evil: The Extraordinary World of Ben Ferencz,” a portrait of the United States’ chief prosecutor during the Nuremberg trial. Stewart’s final film, “Sharkwater Extinction” will...

Completing the thematic trilogy that Denys Arcand began in 1986 with “The Decline of the American Empire,” and continued in 2002 with the Oscar-winning “The Barbarian Invasion,” “The Fall of the American Empire” is another of the Quebecois auteur’s playful and damning philosophical excoriations of societal values. Less of a sequel than it is a spiritual successor — there are no returning characters, and Arcand newcomers won’t have any trouble following the action — this thoroughly modern financial caper finds that America’s corruptive influence is still creeping up North, infecting its closest neighbor like a gangrenous rot that needs to be cut off at the knees.

What else is new? But if Arcand’s worldview hasn’t changed, his angle continues to grow more acute. Where “The Decline of the American Empire” focused on social ills, and “The Barbarian Invasions” was preoccupied with ideology, “The Fall of the American Empire” finds...

The Toronto Intl. Film Festival has added Denys Arcand’s crime thriller “The Fall of the American Empire” and 18 other Canadian films to its lineup.

Nine of the films are directed by women and 14 are world premieres.

“We’re especially proud to present such a diverse group of films,” said Steve Gravestock, senior programmer. “Ranging from science fiction to fantasy, myth to documentary, and romance to a dystopic vision of our neighbours to the south, this year’s Canadian films come from every region in the country, stretching from east to west and north to south.”

“The Fall of the American Empire” stars Alexandre Landry, Maxim Roy, Yan England, and Rémy Girard and centers Landry’s character discovering two bags of money and facing a moral dilemma. Arcand was inspired to make the film after learning about the 2010 murder of two people in a Montreal boutique.

Sony Classics bought the...

Sony Pictures Classics has picked up U.S. rights to Oscar winner Denys Arcand’s upcoming The Fall of the American Empire. This is a follow-up of sorts to the Canadian helmer’s 1986 Oscar nominee The Decline Of The American Empire. Spc has also acquired all rights in Latin America, Australia and New Zealand.

The film explores the predominance of capitalism in a society where all other values seem to have crumbled. It centers on Pierre-Paul, a 36-year-old intellectual with a PhD in philosophy who is forced to work as a deliveryman to earn a decent living. One day, while delivering a parcel, he gets caught in a hold-up gone terribly wrong. With two dead and millions in money bags laying on the ground, Pierre-Paul is confronted with a dilemma: leave empty-handed, or take the money and run?

Alexandre Landry (Gabrielle) stars as Pierre-Paul with newcomer Maripier Morin, Louis Morissette...

Sony Pictures Classics has acquired U.S. and Latin American rights to Canadian director Denys Arcand's comedy The Fall of the American Empire.

The French-language film, now in postproduction, is the follow-up to Arcand's Oscar-nominated The Decline of the American Empire. That 1986 film completed a trilogy by Arcand, a Cannes veteran, that includes The Barbarian Invasions, which won the Oscar for best foreign-language film in 2005.

Thirty years after the original film, Fall of the American Empire explores the dominant role capitalism plays in society when other values appear to have crumbled. Pierre-Paul Daoust, an intellectual played by Alexandre Landry, is ...

Sony Pictures Classics is in exclusive negotiations to buy “The Fall of the American Empire,” Variety has learned.

The Canadian crime thriller was written and directed by Denys Arcand and stars Alexandre Landry, Maxim Roy, Yan England and Rémy Girard. It centers on a man (Landry) who discovers two bags of money and is faced with a moral dilemma. Arcand was inspired to make the film after learning about the 2010 murder of two people in a Montreal boutique.

No deal for the film is in place, so a pact could fall through. However, it appears increasingly likely that the indie distributor will land distribution rights. The film is a thematic cousin to Arcand’s Oscar-nominated “The Decline of the American Empire” and the Oscar-winning “The Barbarian Invasions” (2003).

Sony has a strong track record with art house fare. The company scored a best picture Oscar nod last year for “Call Me by Your Name,...

Seville International will handle international sales on Denys Arcand’s (The Barbarian Invasions) upcoming comedy The Fall Of The American Empire, a follow of sorts to his 1986 Oscar-nominee The Decline Of The American Empire.

The French-language film, which is currently in post-production, was written and directed by Arcand and produced by regular collaborator Denise Robert. In 2004, the duo teamed on The Barbarian Invasions which won the Oscar for Best Foreign Language Film and was nommed for Best Original Screenplay.

According to the production, the movie “takes a witty and touching look at the predominance of money in a society where all other values seem to have crumbled.” The protagonist, Pierre-Paul Daoust, 36, an intellectual with a PhD in philosophy is forced to work as a deliveryman to afford a decent living. One day, while delivering a parcel, he gets caught in a hold up gone terribly wrong: two dead and millions...

New Form Digital announced today the start of production and casting for the original musical series Pulse. Actress and Canadian native Katie Findlay How to Get Away with Murder, The Killing has been cast as Hannah Cooper, the main character in the series. Other cast includes Craig Stickland, Calum Worthy, Melissa O'Neil and Alexandre Landry, with Meg DeAngelis and Harley Morenstein guest starring.

While Canadians are days away from hitting the polls to determine the next government, Chloé Robichaud, the filmmaker who broke out with her Cannes Un Certain Regard selected Sarah Prefers to Run is trading the athletic podium for….the political one. Among the new generation of French Canadian female filmmakers, her sophomore effort entitled Pays has its cast in place and is ready to roll. First-timer Nathalie Doummar is joined by Macha Grenon, Yves Jacques, Rémy Girard and Alexandre Landry (Louise Archambault’s Gabrielle) are among those to join the project. To be readied for 2016, the pic is produced by La Boîte à Fanny’s Fanny-Laure Malo (Sarah préfère la course), Item 7’s Pierre Even et Marie-Claude Poulin (Brooklyn) and Morag Loves Company’s Barbara Doran (The Grand Seduction).

Gist: Not imagining herself as a candidate in the federal election, 25 year-old Félixe (Nathalie Doummar) has more difficulty coming to terms after winning her riding.

Tiff may be a showcase for cinema from around the world, but it’s also an exhibition place to show off our homegrown talent to the rest of the world.

At the Toronto International Film Festival’s Canadian press conference, the festival programmers unveiled the impressive line-up of Canadian films as well as the Canucks who are the ones to watch in their Rising Star programme.

In its fourth year, the Tiff Rising Stars programme recognizing emerging Canadian talent who are charting their own trajectory within Canadian cinema and beyond. Past Rising Stars have included Sarah Gadon, Megan Park, andTatiana Maslany.

This year’s crop of new talent includes Sophie Desmarais who you may have seen as a young track star in last year’s festival pick Sarah Prefers to Run (Sarah préfère la course) and Shannon Kook who appeared in a supporting role inThe Conjuring and next appears in...

The luxurious banquet hall in Toronto’s Royal York hotel was electric with excitement as Tiff senior programmers including Steve Gravestock and Agata Smoluch Del Sorbo announced the robust lineup of Canadian films (several world preems) at this year’s Tiff plus the 40+ short titles (out of an astounding 840 short films — an increase of over 200 titles from last year) that will screen at the prestigious festival. With features populating almost every section at the fest, among the headliner items from English Canada, Cairo Time‘s Ruba Nadda returns to the fest with October Gale, while also world preeming is Bang Bang Baby — Jeffrey St. Jules marks his feature film debut with a film that is equal parts Rocky Horror Picture Show and early Cronenberg. Starring Jane Levy of the recent About Alex, it revolves around a small-town teenager in the ’60s whose dream of becoming a famous singer is dashed...

Films by Xavier Dolan, Sturla Gunnarsson, Ruba Nadda, Jacob Tierney, Denys Arcand and other Canadian filmmakers have been added to the lineup of the Toronto International Film Festival, running this year from September 4 through 14. What's more, Ramin Bahrani, Claire Denis, Sandra Oh and Jim Stark "will guide 20 emerging filmmakers in group discussions that focus on creativity, the artistic process and independent voices." And four actors will be participating in the Rising Stars program: Sophie Desmarais, Shannon Kook, Alexandre Landry and Julia Sarah Stone. » - David Hudson...

Films by Xavier Dolan, Sturla Gunnarsson, Ruba Nadda, Jacob Tierney, Denys Arcand and other Canadian filmmakers have been added to the lineup of the Toronto International Film Festival, running this year from September 4 through 14. What's more, Ramin Bahrani, Claire Denis, Sandra Oh and Jim Stark "will guide 20 emerging filmmakers in group discussions that focus on creativity, the artistic process and independent voices." And four actors will be participating in the Rising Stars program: Sophie Desmarais, Shannon Kook, Alexandre Landry and Julia Sarah Stone. » - David Hudson...

New work by Sturla Gunnarsson, Denys Arcand, Ruba Nadda and Xavier Dolan are among the selection set to premiere at the Toronto International Film Festival (Tiff) next month.

“These are filmmakers at the top of their craft, bringing fresh perspectives to traditional genres like comedies and less traditionally Canadian genres, such as musicals,” said Toronto International Film Festival (Tiff) senior programmer Steve Gravestock. “This year’s slate truly showcases the diversity of talent in our country, featuring films from coast to coast.”

“We are inspired by the number of exceptional debut features from Canadian directors, reflecting the depth of talent in this country,” said Tiff’s Canadian features programmer Agata Smoluch Del Sorbo.

“Extremely exciting is also the fact that female-driven narratives play a significant part in this year’s programming, highlighting the strong, rich tapestry of our storytelling.”

The Canada Goose Award for Best Canadian Feature Film is up for grabs, as is the...

Gabrielle, Canada's Submission for the Academy Award Nomination for Best Foreign Language Film. U.S. : Entertainment One Films U.S. International Sales Agent: Entertainment One Films International

Québécoise filmmaker Louise Archambault's sophomore feature Gabrielle is an incredibly touching film that radiates joy and presents a singularly honest take on the subject of mentally challenged individuals. Committed to portray these individuals in the most realistic manner she cast non-professional actors from the very center where the film takes place, by doing this she gave these talented, but often dismissed people a chance to be seen as self-sufficient and capable. Furthermore, Archambault's film is definitely about love, a feeling often thought too complex for people born with certain syndromes or handicaps, but in her story, she exalts their ability to love and be loved in the purest way possible. The director talked to us about the challenges during the casting process, the chemistry between the protagonists Gabrielle Marion-Rivard and Alexandre Landry, and the touchy issues surrounding her decision of showing her characters' sensual desires for one another.

Read the Review for Gabrielle Here

Carlos Aguilar: How did you develop this idea for the film? Did anyone in your life inspire you particularly to make a film about this subject matter?

Louise Archambault: It would be a long answer but to make it short, because it’s a really long process, I guess I wanted to talk about happiness and outcast people, invisibles. The first woman who inspired me was in my neighborhood; she is more mentally challenged than what we see in the film. We used to swim in the same public pool. In the changing room she always had someone assisting her. She had a strong personality, she never wanted to put on her bathing cap on. She yelled, and she made people uneasy. Once in the water she would just float and sing really well. It was so beautiful, but people felt uneasy with it still. At the same time I became acquainted with that organization Young Musicians of the World, which I really shot in India. One French woman founded that school for deprived children, and it specializes in music. For a long time, half of my script happened in India, and the sister was already there, but it was huge and very expensive for a second feature, so at some point I just cut it in half and focused on one thing. Music and choir singing came instantly in the equation, then a lot of people inspired me.

Aguilar: Was the casting process trickier for this film in particular than for other projects you have worked on? How did you go about choosing the members of the choir?

Archambault: Yeah. For sure I had the wish of making a film with mentally challenged people, and not only on them. At some point I became acquainted with that center called Les Muses. That’s where Gabrielle has singing classes. They do theater, singing, and dance and they want for their students to work professionally ideally. A lot of people in the film came from there. I created a choir for the film, some of them I chose because of their singing and some because they have great personalities. For all the non-professional actors I knew I wanted to keep their real first name so I could improvise during the shoot. Like Gabrielle, I didn’t know if she could do the par. She was not an actress, but she is a good singer, and she has a magical presence. For a year I worked with her, in her syndrome she has a trait that is called theatrical behavior so she is very expressive. But in film, it could look false and not good, and I didn’t want that, so I had to find a way to work with that. I had to forget perfection, let go, and know them well so their personality would come out, and their strength would come out. The other professional actors, are also good, but above all they are very human, they are not into their ego. Everyday was about finding solutions because things didn’t necessarily worked out, but everybody was so involved in the film and worked hard. Gabrielle worked hard, she wanted to. I just wanted to get the best out of them.

Aguilar: Speaking of acting, how difficult was it to portray the relationship between Gabrielle and Martin and finding the right chemistry?

Archambault: First, Martin (Alexandre Landry) he is a professional actor. He won three prizes in festivals already. I did audition some mentally challenged actors for the part, super good actors, but the love chemistry didn’t work out. At some point one actor stopped and looked at me and said “I really want a part in your film. I really want to be an actor, but I cannot fall in love with her, it doesn’t work” [Laughs]. Then Alexandre came and auditioned, and he is a very gifted actor, but I also think he is a very special guy. He never judges, he is very curious of people and very generous, and that helped a lot. When he met Gabrielle, they were giggling, and it was something else. He was intimidated because he is not a singer. Yes, these are mentally challenged people, but they are good singers. But eventually Alexandre felt part of them, he asked a lot of questions and Gabrielle helped him. She gave him techniques. I think they developed like a brother/sister relationship, very strong. It was special because Gabrielle had never made love in her life, so how do you act that if you don't know? [Laughs] So it was special.

Aguilar: This is a very special coming-of-age story, you don’t portray these individuals in a patronizing way. They are presented as complex and self-sufficient individuals. They have talents and dreams. Was this something you wanted to explore from the beginning?

Archambault: Absolutely, I didn’t want to go into “miserablism”, it’s a feel-good, but I didn’t want to go too sugary either. If I would have taken only actors and all of it was make-believe, I’m not sure the feeling would be the same. I knew I wanted to be in the frontier of fiction film, it’s scripted, but the way it’s done is very documentary-oriented. When I shot the dance scene, it was a real dance, and they were real people who were there in their real world. The combination of both reality and fiction adds - at least for those characters, I’m not saying all challenged people are like that - more realism. It is a delicate subject, but I didn’t want to suck it down emotionally, so there is singing, and I think a lot of people can relate. It is a love story with challenges. It’s a film about love. That’s it.

Aguilar: Most films about mentally challenged people never delve into their sexual desires. Did you ever feel that portraying that was a bit risqué or touchy?

Archambault: We talked a lot about that with the producer and investors, “To what extent can I go? Can I go that far or not?” I had Gabrielle as well, and I had to abide by her limits as well. I wanted to give it sensuality, like you mentioned, it is a coming-of-age story. At the beginning she is a child and at the end she is a woman. That’s what I wanted to say, and I wanted something very sensual, it is like pure love, like the first time, but a beautiful first time.

Aguilar: How did you develop the other characters, the “normal” people who sometimes seem to have more issues with the mentally challenged people's limitations than themselves?

Archambault: Gabrielle’s sister Sophie (Mélissa Désormeaux-Poulin), for examples, she wants to go to India, but she can’t because Gabrielle is trying to live out her independence and she rebels. They have to let go, because if they continue to be too connected they will not live their own lives. Maybe if they trust each other and let go, it would help them have a better relationship later on between them.

The mothers are only in about 3 scenes, so I had to be very efficient. Martin’s mother, I think she forgot herself at some point because she wanted the best for her son. She doesn’t know better, she would love for him to have a “normal” girlfriend. Hopefully at some point she will open her perception. I say to myself “I hope that character falls in love after the film and has her own life.” The other one [Gabrielle’s mother], she couldn’t let go of her job. She doesn’t have a husband, at some point Sophie left and she has Gabrielle, what can she do? Should she leave her job to take care of Gabrielle? It makes no sense. Therefore, she chose the best place for Gabrielle, maybe she should visit her more, but then again we all have issues like that in our families. We are all imperfect, but Gabrielle has to develop from that and be resilient, her mother loves her, not perfectly, but she still can have a great life.

Aguilar: Did your cast get to see the film after it was done? How did they react?

Archambault: It was very touching. During the premier in Montreal in September the crew, the cast, and their families were there. They are the real inspiration for the film. The parents, and the people from the organizations, they were crying and saying, “Wow, you understood what we do”. That happened that time, but it happened in other countries as well.

Aguilar: Overall, what would you like people to take from the film?

Archambault: I want them to want to sing and hug the people they love when they come out of the theater [Laughs]. Be open to difference; don’t give in to judgment or appearances. If you are on the bus and there is someone who talks to himself or herself and you feel uncomfortable, just give them a chance. You probably have as much weirdness in you but it doesn’t show, because we are educated for it not to show in society. Be warm, we just want to love, and be loved.

Aguilar: How does it feel to represent Canada at the Academy Awards, is there any sort of pressure or too much attention on you because of this?

Archambault: I don’t feel any pressure because it is already an honor. Specially with this subject and this type of film. I think it is great that Canada chose this one. It makes me believe more in human beings, makes me less cynic. It is great to shine a light on these people, and specially people who work to help people like Gabrielle, they never get the attention they deserve. They always struggle to get funding, they are not actors, just for that I think more people will see the film. I hope.

Aguilar: Do you have any upcoming projects you are working on now?

Archambault: I have a few projects. The scrip that is finished now it’s called After The End it’s in English. It’s an adaptation of a British play. It is set mostly in a nuclear bunker [Laughs].

"Gabrielle" Opens in NYC and L.A on Friday July 4th.

Gabrielle, Canada's Submission for the Academy Award Nomination for Best Foreign Language Film. U.S. : Entertainment One Films U.S. International Sales Agent: Entertainment One Films International

It's easy to admit that everyone, and that should really mean everyone, deserves to be loved. Not only to be loved, but to fall in love. Unjustifiably society still makes exceptions, and sadly deems certain individuals unfit to experience that deep connection with another person. Rarely portrayed in film as self- sufficient beings, handicapped people are indeed like everyone else when it comes to matters of the heart. Bravely and with heartwarming tact Québécois director Louise Archambault blends a fictional storyline with documentary-like elements in Gabrielle to construct one of the most moving films of the year, and unquestionably one that honors the differences and special qualities of those often kept in the sidelines.

For Gabrielle (Gabrielle Marion-Rivard), the cheerful protagonist, every day seems to be a wondrous adventure. She is a young woman who lives with an infectious happiness for life which shines though her beautifully charming smile. She works at a regular office job and also sings in a local choir, and her days are filled with excitement. Yes, Gabrielle falls into the category of handicapped, but although born with Williams syndrome and living in a facility for individuals with a variety of conditions, she has dreams, aspirations, and wants to one day form a family with her boyfriend Martin (played marvelously by Alexandre Landry), who is not handicapped in real life. He is also an intellectually challenged young man who is part of her singing group at the Les Muses center. As their romance progresses from a simply platonic friendship into their sexual awaking, his mother decides they cannot be together as she believes their condition disqualifies them from the hardships of a romantic relationship.

Heartbroken Gabrielle seems not to be able to concentrate in any of her activities. She is in love. In an effort to bring back her beloved Martin into her life she attempts to be fully independent and demands her own apartment, but her own limitations get in her way. Her sister Sophie (Mélissa Désormeaux-Poulin), her most reliable moral support, has the decided to follow her fiancé to India, a situation that heightens Gabrielle’s distress at that same time that she must prepare for an important live performance with her choir without Martin’s support.

Like few other directors, Archambault’s filmmaking convictions are utterly inspirational. She cast most of her actors directly from the actual educational center where the story takes place. Not only does this provide her film with remarkable authenticity, something that could not have happened with actors playing make-believe versions of their experience, but it also highlights the talent of these amazing people who are often dismissed as incapable of complex understanding. The director strongly positions the viewer to see them as tridimensional characters full of nuances. They dance, sing, and show their emotions without the societal inhibitions that prevent all others living a “normal” existence, from experiencing every moment to the fullest. Untainted by judgment, Gabrielle, Martin, and their comrades are essentially the purest, most loyal characters one can encounter, and Archambault captures their endless willingness to accept and love others gracefully.

One of the crucial numbers the colorful choir members work on for their show with Robert Charlebois (who actually appears in the film) is his song “Ordinaire” (Ordinary), which Gabrielle has designated as Martin’s song, and what a fitting tune it is. Regardless of their differences, their special needs or particular shortcomings, these fantastically loving individuals are ordinary where it counts. Yet, their circumstances force them to achieve their goals in unordinary ways, which really makes them exemplary and special. Gabrielle Marion-Rivard embodies happiness and perseverance, her performance is sure to transfer that to the audience. Surely an amazingly unique love story, Gabrielle is a joyous and touching portrayal of a singular kind of love, one that is not ruled by vanity or lust, but just exists with all-welcoming open arms. Above all, one thing is made clear, the only disability that can really prevent anyone from being happy is not being able to love, and in that field Gabrielle is above average, if not gifted.

'Gabrielle' Opens in NYC (Village East Cinemas) and L.A (Laemmle's Music Hall 3) on Friday July 4th, 2014

Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards...

Pouise Archambault's sensitive second feature tells the story of Gabrielle (Gabrielle Marion-Rivard), a young woman with Williams syndrome who is passing into adulthood, and all the trials and tribulations — living alone, taking care of yourself, finding love — that accompany that journey.

Twenty-two-year-old Gabrielle lives in a group housing unit in Montreal and is a member of Les Muses, a choir for singers with cognitive disabilities. Rehearsing at a local community center, she gravitates toward Martin (Alexandre Landry), and the two quickly join in a laser-focused and euphoric relationship.

Marion-Rivard, along with most of the choir members we see in the film, is a non-professional actor; Archambault cast her while developing the story after a period o...

In a year that saw François Delisle’s Le météore (Sundance and Berlin Film Festival accepted film) receive no love (zero nominations), and Denis Côté’s critically well-received Vic + Flo Saw a Bear was perhaps too askew for the voting clique (it did grab best Actress for Quebec’s “Melissa Leo” in Pierrette Robitaille), it was a bigger than life biopic by helmer Daniel Roby that flexed its muscles, beating out the comp. The high gloss Louis Cyr won in several tech categories and it’s strongman Antoine Bertrand won for Best Actor. Considered the favorite to win the top prize, Gabrielle was awarded the Best Director and Screenplay awards for Louise Archambault. Oddly, that film received no Best Actress consideration while it did net Gabrielle Marion-Rivard a Best Actress win at Canadian Screen Awards. Here are the noms and winners of the 16th edition.

Best Film

Catimini

Le démantèlement...

With the dust fully settled on the Academy Awards, we point our attention northward with tonight’s 2014 Canadian Screen Awards. Many of the television winners have already been announced in glitzy fashion during this Canadian Screen Week, but with baited breath, we’re more keen on seeing how the film award honors will pan out. Last year’s Tiff saw Denis Villeneuve bring not one (Prisoners), but a pair of feature films and it is the offbeat, doppelgänger delight Enemy that should reap in the top awards of the evening. Here are my predictions of who will win, who should win, and who should have been nominated in each of the most anticipated film categories.

Best Motion Picture:

The nominees are: Enemy, The Dismantlement, Empire of Dirt, The F Word, Gabrielle, The Grand Seduction, Maina, Tom at the Farm

Screenie voters tend to favor Canada’s yearly submission for the...

The Academy Of Canadian Cinema & Television has announced the Canadian Screen Awards nominees.

“We are exceedingly proud today to reveal the nominees for the 2014 Canadian Screen Awards,” said Academy chair Martin Katz.

“This was a year marked by a record-breaking number of submissions, reflecting a robust level of activity in the screen-based industries in Canada which we will celebrate during Canadian Screen Week, March 3-9. Congratulations to all.”

David Cronenberg will receive the lifetime achievement award. For the full list of winners invcluding television, digital and special awards click here.

The feature nominees in full:

Best Motion Picture

The Dismantlement (Le Démantèlement) – Bernadette Payeur, Marc Daigle

Empire Of Dirt – Jennifer Podemski

Enemy – Kim McCraw, Luc Déry, Miguel A Faura, Niv Fichman, Sari Friedland

The F-Word – Andre Rouleau, David Gross, Macdara Kelleher

Gabrielle – Kim McCraw, Luc Déry

The Grand Seduction – Barbara Doran, Roger Frappier

Maïna – Karine Martin, Michel Poulette, Yves Fortin

Tom At The Farm (Tom À La Ferme) – [link...

The Academy Of Canadian Cinema & Television has announced its nominees.

“We are exceedingly proud today to reveal the nominees for the 2014 Canadian Screen Awards,” said Academy chair Martin Katz. “This was a year marked by a record-breaking number of submissions, reflecting a robust level of activity in the screen-based industries in Canada which we will celebrate during Canadian Screen Week, March 3-9. Congratulations to all.”

David Cronenberg will receive the lifetime achievement award. For the full list of winners invcluding television, digital and special awards click here.

The fearure nominees in full:

Best Motion Picture

The Dismantlement (Le Démantèlement) – Bernadette Payeur, Marc Daigle

Empire Of Dirt (pictured) – Jennifer Podemski

Enemy – Kim McCraw, Luc Déry, Miguel A Faura, Niv Fichman, Sari Friedland

The F-Word – Andre Rouleau, David Gross, Macdara Kelleher

Gabrielle – Kim McCraw, Luc Déry

The Grand Seduction – Barbara Doran, Roger Frappier

Maïna – Karine Martin, Michel Poulette, Yves Fortin

Tom At The Farm (Tom À La Ferme) – [link...

Black Nights Film Festival kicks off 17th edition with Canadian Oscar submission Gabrielle.

This year’s Industry@Tallinn programme (Nov 25-29) will welcome 36 industry speakers from a dozen countries.

The event will also include the signing of Memorandum of Mutual Interest between Estonian Film Institute and Korean Film Council (Kofic).

The panelists on the Hollywood panel include Garrick Dion of Bold, Gloria Fan of Mosaic, Kyle Franke of Xyz and Jeff Barry of ICM. The future festivals/distribution panel will feature Jarod Neece of SXSW, Tim League of Alamo Drafthouse and Daniel Kim of Busan.

The Canadian panel includes Fantasia’s Stephanie Trepanier, Toronto’s Natalie Lue and filmmaker Malcolm Sutherland.

A South Korean panel will include producers Ellen Kim and Tae-joon Park and will be moderated by Screen’s Deputy Asia Editor Jean Noh.

There are also discussions devoted to Japanese co-production, film music, tarnsmedia and animation.

Meanwhile the festival kicked off Friday with director [link=nm...

Toronto – Canada has chosen Louise Archambault's Gabrielle as its contender in the best foreign language film category at the upcoming Academy Awards. The drama about a about a developmentally challenged woman’s quest for independence and sexual freedom bowed in Locarno, where it won an audience award. The Quebec film then had a North American premiere in Toronto. The French language romancer stars newcomer Gabrielle Marion-Rivard in a semi-autobiographical role where she performs opposite Alexandre Landry as her lover. Telefilm Canada executive director Carolle Brabant unveiled Canada's Oscar choice during a press conference in Montreal. The Canadian film

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