Notizie

Exclusive: Los Angeles-based sales and distribution company Level 33 Entertainment has taken U.S. rights to Canadian-Salvadorean director Patricia Chica’s feature directorial debut Montréal Girls.

Newcomer Hakim Brahimi stars as Ramy, a conservative young man who embarks on a journey of self-discovery as he navigates the free-spirited subcultures of Montréal in search of love and enlightenment.

Montréal Girls is produced by Bahija Essoussi and Samuel Gagnon of Objectif 9 in association with Patricia Chica’s production company Flirt Films. Chica also co-wrote the screenplay with U.S. writer and director Kamal John Iskander.

The deal for the film was negotiated between Canadian distributor and executive producer Paul Cadieux of Filmoption International and Andreas Olavarria, president and CEO of Level 33 Entertainment.

“Patricia Chica’s unique voice seamlessly delivers emotion and entertainment value in her independent feature debut. Level 33 is privileged to be entrusted with introducing this inspiring film to U.

Among authors who didn’t live to witness their own success, Louis Hemon is a particularly unfortunate case — his novel “Maria Chapdelaine” was published in 1913, the same year as his train-struck death. Thus he didn’t see it become an early Quebec-lit classic taught to generations of schoolchildren, published in translation worldwide or adapted into many other media over the past century. Among prior screen versions were two made in his native France, the 1934 one notable as Julien Duvivier’s first collaboration with Jean Gabin.

The slim book, drawing on adventure-seeking Hemon’s own experiences briefly working as a farmhand in the Lac Saint-Jean region, has been treated with less-than-strict fidelity by previous dramatists. Sebastien Pilote’s new film is probably the most faithful to date by far — though that isn’t entirely a plus. . It’s a well-produced episodic tale whose incidents and personalities remain too modest to sustain nearly three hours’ illustration,...

Skipping school certainly contains its perks. First time actress (and climate change activist) Sara Montpetit has landed the lead role in Sébastien Pilote‘s fourth feature film, Maria Chapdelaine. The young thesp beat out about one thousand plus hopefuls for the role; she’ll be surrounded by Hélène Florent, Sébastien Ricard, Émile Schneider, Antoine-Olivier Pilon (Xavier Dolan’s Mommy), Robert Naylor (Denis Côté’s Ghost Town Anthology), Gilbert Sicotte (who played the lead in Pilote’s Cannes selected Le Vendeur), Gabriel Arcand with additional parts going to Henri Picard, Martin Dubreuil, Danny Gilmore, Arno Lemay, Charlotte St-Martin, Thomas Haché, and Xavier Rivard-Désy.…...

From working with a text about a path that is crossed with improbable odds in Felix et Meira, to the alienating, but nonetheless road most traveled in The Great Darkened Days, with his fourth feature, Maxime Giroux moves into an allegorical space delving into the direct cause (and possible the cycle of the collapse) that is capitalism. Featuring a cast of shadowy, subversive characters who derail Philippe’s plans (once again working with Martin Dubreuil), the geographically potent nightmarish world presented here is spatially more encompassing and yet as I discovered in my interview with the filmmaker, very much a sign of our current times — Charlie Chaplin included.…...

Other titles on slate include Firecrackers, and Toronto world premiere The Death And Life Of John F. Donovan.

Anick Poirier’s Montreal-based Seville International arrives in Toronto with a sales roster comprising the previously unannounced The Great Darkened Days and Broken Mirrors, as well as Firecrackers, and Toronto world premiere The Death And Life Of John F. Donovan.

The world premiere of Maxime Giroux’s The Great Darkened Days receives its first public screening on September 10 and hails from the director of former Canadian Oscar submission Felix And Meira. The P+I screening is set for September 8.

Martin Dubreuil, Sara Gadon,...

Exclusive: Here’s the first trailer for Maxime Giroux’s Tiff-bound absurdist allegory The Great Darkened Days, starring Martin Dubreuil, Romain Duris, Reda Kateb and Sarah Gadon.

Seville International is selling the drama, which follows a draft-dodger from Quebec who during a world war takes refuge in the American West, surviving by competing in Charlie Chaplin impersonation contests. On his long journey home, he encounters various characters under the sway of a fascist leader.

Metafilms’ Sylvain Corbeil and Nancy Grant produced the pic. Grant is also at Tiff with Xavier Dolan’s The Death And Life Of John F. Donovan. Giroux’s well-traveled previous film Felix & Meira won Toronto’s Best Canadian Feature Film Award in 2014 and scored five Canadian Screen Award nominations.

Fascinating is the best way to describe the process by which the final five nominated for the Academy Award in the Best Foreign Language Film are selected. Each year dozens of countries send their Oscar hopeful to Hollywood for AMPAS to consider. This work should, at least in theory, be the best representation of the national cinematic achievements of that year. This usually makes for a crowded field of storytelling marvels.

Since each country, via its national film academy or a special cultural committee, can only submit one candidate, there are always “snubs” even at the selections stage. These often happens because a film doesn’t meet the requirements or simply because the selecting body didn’t regard them as highly. While there are numerous detractors regarding AMPAS rule of only one entry per country, in a sense this helps level the playfield given that smaller territories might have very choices in comparison to European powerhouses. The other perspective argues that because of this process sometimes the real standouts don’t get a chance to compete.

Once a film becomes the official entry the next, and most arduous step, is to get into the 9-film shortlist. Six of them are chosen by popular within the AMPAS’ Foreign Language Film committee and the other three by an executed committee. These nine finalists are then watched by 30 randomly selected members from different Academy branches over one weekend. This is where the five nominees are chosen. This year 80 accepted submissions (noting that Afghanistan’s entry was disqualified) are vying for the trophy, and that means that 75 of the world’s best films will have to cherish the exposure given by process.

Nevertheless, making the shortlist is more than a commendable feat itself. This list will be revealed next week, and though there are always unexpected surprises, there are of course a few favorites and films that have garnered lots of positive attention throughout the season. After watching over three quarters out of the colossal list of entries in contention I’d like to share my observations on the 25 films that seem like the strongest bets to make the coveted shortlist and eventually become Academy Award nominees. Granted, other films could easily sneak in if they manage to impress the right people, but I feel confident that most of those that will advance will come from the least below.

Argentina

"The Clan" (El Clan)

Dir. Pablo Trapero

Isa: Film Factory Entertainment

U.S. Distribution: Fox International

Trapero’s sordid crime drama based on the real life story of the Puccio family, which became national news when authorities discovered they were behind a series of kidnapping and murders, is a compelling work that uses Argentina’s historical context as backdrop. . Almodovar’s El Deseo, the company behind the Oscar-nominated “Wild Tales”, produced the film.

Read More: 'The Clan Wins' Audience Award At Miami Dade College’s Miami International Film Festival’s Gems

Austria

"Goodnight Mommy" (Ich seh, ich seh)

Dirs. Severin Fiala & Veronika Franz

Isa: Films Distribution

U.S. Distribution: Radius-twc

One of the most daring selections is also one the most acclaimed horror films of the year. This art house chiller confronts a pair of mischievous twin boys with their convalescent mother who recently underwent a facial surgery. The thematic and aesthetic elegance that co-directors Severin Fiala and Veronika Franz employed elevates “Goodnight Mommy” beyond the usual gruesome fare.

Belgium

"The Brand New Testament" (Le tout nouveau testament)

Dir. Jaco Van Dormael

Isa: Le Pacte

U.S. Distribution: None Yet

This fantastical take on religion is yet another unique vision from director Jaco Van Dormael, the filmmaker behind such films as “Mr. Nobody.” With a humorous tone, “The Brand New Testament” explores what would happen if God himself lived in a regular apartment in Brussels pretending to be a mortal and finding pleasure in the little things that annoy human life - all of which are orchestrated by him.

Brazil

"The Second Mother" (Que Horas Ela Volta?)

Dir. Anna Muylaert

Isa: The Match Factory

U.S. Distribution: Oscilloscope Pictures

Anna Muylaert’s crowd-pleasing, yet thematically complex gem delves into the intricacies of class in Brazilian society through the eyes of an endearing live-in maid. Regina Casé, in an Oscar-worthy performance, becomes Val, a diligent and humble housekeeper that has worked with the same wealthy family in Sao Paulo for many years and who only questions her role within this environment when her strange daughter comes to visit.

Read More: Anna Muylaert on Why the Protagonist of 'The Second Mother' is a Super Hero

Canada

"Felix & Meira"

Dir. Maxime Giroux

Isa: Urban Distribution International

U.S. Distribution: Oscilloscope Laboratories

A clandestine romance and the yoke of religion are at the center of Maxime Giroux’s delicate debut feature. Meira (Hadas Yaron is a Hasidic woman who feels trapped by the expectations and limitations imposed her, but when she meets Felix (Martin Dubreuil), a secular man who is equally lost, her vision of the world widens.

Rea More: 'Felix and Meira' Director Maxime Giroux on Understanding Hasidim and Quebecois Isolation

Chile

"The Club" (El Club)

Dir. Pablo Larraín

Isa: Funny Balloons

U.S. Distribution: Music Box Films

Larrain's latest work follows a group of priests and nuns who live in an isolated beachside town after committing a score of heinous crimes. Though they have the church's protection, there are people out there who are not willing to let impunity prevail. Magnificently written and acted, this dark and piercing drama ranks up there with the director’s best work

Colombia

"Embrace of the Serpent" (El Abrazo de la Serpiente)

Dir. Ciro Guerra

Isa: Films Boutique

U.S. Distribution: Oscilloscope Laboratories

Strikingly beautiful and laced with poetic mysticism, Ciro Guerra’s most accomplished work to date follows the journey of two European explores at particular times in history as they are guided through the Amazon by Karamakate, an imposing local shaman man who is wary of their intentions.

Czech Republic

"Home Care" (Domácí péce)

Dir. Slávek Horák

Isa: M-Appeal

U.S. Distribution: None Yet

This very low-key dramedy from first-time director Slávek Horák about a a middle-aged home care nurse, who not only has to look after her patients but also her own family, hasn’t had as much exposure as other films on this list; however, the quality of the performances and the nuanced screenplay have resonated with those who have seen it.

Denmark

"A War" (Krigen)

Dir. Tobias Lindholm

Isa: Studiocanal

U.S. Distribution: Magnolia Pictures

Director Tobias Lindholm follow up to “A Hijacking,” blends gritty action with a courtroom drama in a searing study on guilt and the collateral damage of armed conflicts from the point of view of conflicted family man and company commander Claus M. Pedersen (Pilou Asbæk). Subtle observations and intricate moral complexity are once again Lindholm's greatest strengths.

Estonia

"1944"

Dir. Elmo Nüganen

Isa: Eyewell Ab

U.S. Distribution: None Yet

After earning its first-ever Academy Award nomination earlier this year, the Eastern European country returns to the race with an impressive historical epic about Estonian soldiers fighting on different sides against their own. The film was directed, who starred in the Oscar-nominated “Tangerines.”

Finland

"The Fencer" (Miekkailija)

Dir. Klaus Härö

Isa: The Little Film Company

U.S. Distribution: None Yet

Finnish filmmaker Klaus Härö takes on an Estonian story about a professional fencer who becomes a physical education teacher in his homeland after leaving Russia to escape the Kgb. This classically executed and elegant period drama offers uplifting moments, romance, and exquisite cinematography.

France

"Mustang"

Dir. Deniz Gamze Ergüven

Isa: Kinology

U.S. Distribution: Cohen Media Group

Through traditional gender roles and expectations in Turkish society, adults attempt to tame the blossoming womanhood in Deniz Gamze Ergüven's five teenage protagonists. Delicately shot and cast to perfection, this peculiar coming-of-ager is an empowering breath of fresh air that honors freedom and femininity in equal measures.

Read More: 'Mustang' Director Deniz Gamze Ergüven on Femininity in Cinema and French Multiculturalism

Germany

"Labyrinth of Lies" (Im Labyrinth des Schweigens)

Dir. Giulio Ricciarelli

Isa: Beta Cinema

U.S. Distribution: Sony Pictures Classics

In the aftermath of WWII German authorities and the majority of the population refused to acknowledge the magnitude of their involvement in the Holocaust until a driven young prosecutor begins uncovering the truth. Ricciarelli film is a compelling historical drama with a fantastic lead performance by Alexander Fehling at its core.

Read More: Dir. Giulio Ricciarelli and Star Alexander Fehling on the Historical Relevance of 'Labyrinth of Lies' and Germany's Open Wound

Guatemala

"Ixcanul"

Dir. Jayro Bustamante

Isa: Film Factory Entertainment

U.S. Distribution: Kino Lorber

Bustamante’s Silver Bear-winning ethereal masterpiece in indigenous language is an intimate look at the lives of the country’s Mayan population. Told through the eyes of a teenage girl destined to an arranged marriage, this marvelously photographed film speaks of tradition, modernity, mysticism, male chauvinism, and cultural isolation.

Read More: 'Ixcanul' Director Jayro Bustamante on the Strength of Mayan Women and Guatemala's Indigenous Majority

Hungary

"Son of Saul" (Saul fia)

Dir. László Nemes

Isa: Films Distribution

U.S. Distribution: Sony Pictures Classics

By far the most incredible debut of the year and one of the best films about the Holocaust ever made, this year’s Grand Prix winner takes the viewer inside the Nazi killing machine from the perspective of the Sonderkommando, a group of Jewish men chosen to carry out all horrific manual labor within the gas chambers. Immersive and devastating, Nemes' stunner is a powerful cinematic statement.

Iceland

"Rams" (Hrútar)

Dir. Grímur Hákonarson

Isa: New Europe Film Sales

U.S. Distribution: Cohen Media Group

A humorous look at brotherhood and pastoral life, this Un Certain Regard-winning dark comedy pays homage to the importance of sheep in the Icelandic cultural identity. When a disease wipes out the entire town’s flock, two estrange siblings, who haven’t spoken to each other in decades, are forced to collaborate in order to save their livelihood.

Ireland

"Viva"

Dir. Paddy Breathnach

Isa: Mongrel International

U.S. Distribution: Magnolia Pictures

Jesus, a young gay man in Havana, only finds relief from his daily struggles when he transforms into a drag performer in front of an eager audience, but when his macho father returns after decades away his dreams are jeopardized. This Irish production set in Cuba is a delightful work that thrives on authenticity and emotionally layered performances.

Read More:'Viva' Director Paddy Breathnach on Making an Irish Film in Cuba and Visceral Transformation

Jordan

"Theeb" (ذيب)

Dir. Naji Abu Nowar

Isa: Fortissimo Films

U.S. Distribution: Film Movement

Adapting the sensibilities of classic Westerns into a uniquely Middle Eastern setting, this period piece touches on the complicated relationship between the region and the colonial powers via the experiences of a young Bedouin boy who embarks on a mission across the desert. Top-notch filmmaking that twists conventions to depict a singular worldview.

Mexico

"600 Miles" (600 Millas)

Dir. Gabriel Ripstein

Isa: Ndm

U.S. Distribution: Pantelion Films

By focusing on two characters from opposite sides of the border, Gabriel Ripstein’s debut Starring Tim Roth delves into the U.S/Mexico conflictive, yet unavoidable codependency and share responsibility in the fight against organized crime. Guns are at the center of this realist tale in which everyone’s morality is tinged with shades of grey.

The Netherlands

"The Paradise Suite"

Dir. Joost van Ginkel

Isa: Media Luna New Films

U.S. Distribution: None Yet

In this profound multi-narrative film the tumultuous stories of characters from diverse latitudes collide in Amsterdam in unexpected and heartbreaking ways. An Eastern European girl dragged into prostitution, an African man desperate to stay afloat, a war criminal in disguise, a woman seeking revenge, and famous musician and his son struggling to connect, all, in their own way, looking fro redemption.

Norway

"The Wave" (Bølgen)

Dir. Roar Uthaug

Isa: TrustNordisk

U.S. Distribution: Magnolia Pictures

Besides its spectacular, Hollywood-worthy visual effects, what sets this Scandinavian disaster movie apart from less sophisticated American efforts is its interesting character development. While the chaos and destruction on screen is an exhilarating feast, the human aspect is never forgotten and it’s crucial to the Norwegian specificity of the plot.

Romania

"Aferim!"

Dir. Radu Jude

Isa: Beta Cinema

U.S. Distribution: Big World Pictures

Thematically fascinating and visually impeccable, this black-and-white historical adventure set in the early 19th century solidifies Romanian cinema as one of the most exciting and innovative currents in Europe. Radu Jude’s film centers on the mostly unknown history of Gypsy slavery and how this shaped Romanian society by using a tragicomic tone and timeless aesthetics.

Spain

"Flowers" (Loreak)

Dirs. Jon Garaño & Jose Mari Goenaga

Isa: Film Factory Entertainment

U.S. Distribution: Music Box Films

The country’s firs Basque-language entry is a soft-spoken drama that juxtaposes the grieving processes of three women after the tragic death of man that touched their lives directly and indirectly. Unpretentious in its concept, yet unexpectedly philosophical, the power of the narrative lies on the actresses that flourish and decay in varying degrees throughout the film.

Sweden

"A Pigeon Sat on a Branch Reflecting on Existence" (En duva satt på en gren och funderade på tillvaron)

Dir. Roy Andersson

Isa: Coproduction Office (Paris)

U.S. Distribution: Magnolia Pictures

As brilliant as anything Andersson has ever created, the final chapter in his trilogy about the absurdity of what it means to be human is one of the most unconventional cinematic experiences in recent memory. Without the constraints of la traditional plot, this nonlinear treasure uses clever vignettes to talk about death, humor, and the mundane things that define our existence.

Read More: 7 Reasons Why Roy Andersson's Latest Film is a Must-See Philosophical Wonder

Taiwan

"The Assassin" (聶隱娘)

Dir. Hsiao-hsien Hou

Isa: Wild Bunch

U.S. Distribution: Well Go USA Entertainment

Armed with breathtaking cinematography, lavish costumes and production design, and an ancient legend about betrayal and retribution, master Hsiao-hsien Hou obliterates our expectations and delivers a one-of-a-kind martial arts epic that’s more concerned with sensory transcendence than narrative clarity, but is no less of an enthralling experience because of it.

Jose here. In the sensitive romance, Félix and Meira, Hadas Yaron and Martin Dubreuil, play the title characters, two lovers who bond through their loneliness, but must struggle with their very different backgrounds, and the fact that she’s married to someone else. An insightful look at Montreal’s Hasidic community, the film is peculiar for its restraint and might be one of the most memorable romantic films in recent years. Director Maxime Giroux paints a unique portrait of people seeking connections that go beyond typical “movie love”. I spoke to him about the film’s origins, casting his leading lady, and being in the race for Oscar.

Jose: At the beginning of the year I spoke to Luzer Twersky who told me the film originally was supposed to be a comedy. How did you end up with such a subdued romantic drama instead?

Maxime Giroux:It’s funny, when...

"Felix and Meira " is Canada's Official Submission in the Best Foreign Language Film category at the 88th Academy Awards. Isa: Udi. U.S. Distributor: Oscilloscope Laboratories

United by spatial closeness yet separated by an ocean of cultural distance, the two doomed lovers in Maxime Giroux‘s “Felix and Meira” embody a romance caught between the clutches of strict religious mandates and the refreshing air of freedom. Sumptuously intimate and permeated with seductive melancholy, Giroux film follows a secular French Canadian man and a married Hasidic woman as they find comfort, even if temporary, from the quiet turmoil in their lives.

Read More: Review: 'Felix and Meira' is a Delicate Portrait of a Uniquely Forbidden Romance

Felix (Martin Dubreuil) is no longer a young man, but his life is far from being stable. His lack of interest in following his father’s footsteps has turned him into an outcast in our success-driven society. Bound to exist under the shadow of the Hasidic community’s expectations, Meira’s only respite from her duties as a wife are music and her occasional walks around the neighborhood. Once Felix and Meira (Hadas Yaron) cross paths and their tender desperation to be someone else takes over them, her husband, Shulem (Luzer Twersky), becomes the collateral victim. Is it Shulem’s fault that Meira feels trapped? Or are they both victims of the only lifestyle they’ve ever known? Is Felix offering an escape or destroying a family? It’s in the intricate search for these answers that Giroux finds moments of human truth for all the affected parts in this emotional triangle.

Read More: Whistler Film Festival 2015 Unveils First 18 Films Plus Other Highlights

Giroux is not a Jewish man and knew nothing about this community and their faith prior to the making of the film, but living in a community where the secular and the religious shared space but never connected inspired him to dive into the unknown. Though he was fearful of the risk he was taking, the result is elegantly executed and unassumingly affecting. He proves that melodrama rarely has a place where there is truth.

Here is our conversation with Giroux on understanding the Hasidic community he only knew from afar before, on the identity Quebecois people, and why he enjoys making films about things he is against.

Aguilar: Both Felix and Meira's world's coexist without ever touching each other. What prompted you to delve into these parallel lifestyles, in particular that of the Hasidic community, which is foreign to most of us?

Maxime Giroux: I have to say I was a little like Felix, the character. I was a bit naïve about the Hasidic community. I didn’t know anything about it and I was living, like him, in the same neighborhood as the Hasidic people. I don’t know why, but for some reason I wasn’t really interested in them. My community and their community live together, but we don’t talk to them and they don’t talk to us. At one point I was searching for an idea to make a movie. I was outside this cafe everyday and they would walk by in front of me. I talked to my co-writer Alexandre Laferrière and said, “Why don’t we make a film about this community? We don’t know anything about them. We should do research and try to learn more about them. We should try to be in contact with them.”

It was as simple as that. The reason why I made this movie was to get to know them a little bit more. I was naïve because I didn’t know it would be so complex to write a movie about them. The movie is simple in a way. It’s a simple love story or a normal love story, but it was tough to write it because there were things we couldn’t say and there were other things we could say but only in a certain way. We had to be careful. Our goal was to say a lot of things about this community but when we wrote it, I realized that it was too much and that we couldn’t show it all in the movie. It was really difficult. It took like two and a half years to write the script, to rewrite it, and to figure it all out.

What sort of research did you do or what kind of interaction did you have with this community in order to portray them accurately or in an honest manner? You are not part of the community, so in a sense, like Felix, you were an outsider looking at them from afar.

Maxime Giroux: That was the main complexity of making the film. Alex was more into the books. He was reading books about the Hassidic community and Judaism. We are not Jewish, so we were starting to learn from the beginning. We knew nothing. We started to write the script and while he was more into the books, I was more on the field. I was riding my bicycle, walking the neighborhood, going into synagogues and community centers, and talking to them. I discovered that every time I started to talk about how I was going to make a movie about their community they stop talking about the subject of the film. They said, “No, you can’t make a movie about that. Forget about it.” Some people among them were curious and asked me, “What’s your story about?” I would say, “It’s a love story between a French Canadian man and a Hasidic woman. ” They would say, “That’s impossible.” I would asked them, “Why do you say it’s impossible I’ve heard stories?” They would always reply, “No, it’s impossible.” At one point I thought, “Oh my God, it’s going to be impossible for me to make this movie because I need some of these people to help me make it. I can’t do it myself. I don’t know this community.” The only way for me to make the movie was to talk to people who have left the Hasidic community.

How difficult was it to find them and how willing were they to help you tell this story?

Maxime Giroux: I found Luzer, who plays Meira’s husband Shulem, on the Internet. I also found other ex-Hasidic people who lived in New York. I went there to talk to a lot of people who had left the community and all of them told me to go see Luzer. I already knew that I wanted to meet him because I thought he was the best prospect for the role, but everybody in New York confirm it and said, “You should go see this guy, he is amazing and he wants to act in movies.” I met him and he was such a character in real life and then I decided to work with him. He helped us translate the script into Yiddish. It was super important for me to make the film in Yiddish. He also helped us be accurate in terms of the set decorations, the props, and the costumes. He really helped us. Without him it would have been impossible to make the movie.

In the film there are also four other ex-members of the Hasidic community. All of them really helped me. A few months before making the film I thought, “I’m not going to make this film. It’s impossible. I don’t have the key to make this film even if I have the script,” but when I met these people they really helped us. That’s why I think that the ex-Hasidic people who saw the film really liked it because they feel it’s accurate. Just yesterday a guy from the U.K, an ex-member of the community, wrote to me because the film played in London a few days ago. He saw it and said, “Oh my God. It’s like my life.”

When you talked to them what were some of the reasons they gave you for leaving the Hasidic community?

Maxime Giroux: There are a lot of reasons. Just like in every community bad things happen. For example, I heard stories that in Brooklyn there have been cases of boys being sexually abused by adults in the community. Some people want to leave the community because of that. Others just don’t accept this way of living and others just don’t believe in religion. They were born into it but then at 8 or 9-years-old they start asking questions and by 14 they want to quit. There are a lot of different reasons depending on the person.

In your film Meira wants to leave because she wants freedom and she is loves, or at least is interested in Felix. Tell me about writing this beautifully complex character. She a woman living a double life.

Maxime Giroux: For me the main thing is that she wants freedom. We discovered that when you are a Hasidic woman you are first a child and then at 12-years-old instantly you become a woman. At 12-years-old they tell you, “Ok, now you have to learn to be a woman in order to become a mother.” They don’t have teenage years. For me, Meira wants to have those teenage years. She never had them but she wants to live them. She wants that freedom when you have when are teenager and you start to listen to music and to define yourself with art. She wants those years where you find a path for yourself. I think she wants freedom. Is she really in love with Felix? He is there and she is perfect for him. I think love in life is like that most of the time. We fall in love with someone that’s at the same place and the same moment of his or her life. You need that person so you can grow for a certain period of time. Sometimes this growth is for 10, 20 or 30 years, and sometimes it’s only for a few months. So is she really in love with him? Maybe.

The ending is also very ambiguous. It doesn’t give us a straight answer or a perfectly wrapped happy ending. There is uncertainty in both of their faces.

Maxime Giroux: Yes, it was very important for a lot of reasons. Even us, in our society, when we leave someone, like if you have two children and a wife or a husband, we are not sure about doing it. After a few months you might think, “Did I do the right thing? Maybe I was wrong. Maybe my life with my wife and children was wonderful but I fucked it up." There was also the fact that when Hassidic people leave the community they don’t have family anymore, they don’t have friends anymore, they don’t have education anymore.

Are they sort of like the stories we hear about people who leave Scientology or cults?

Maxime Giroux: I don’t know much about scientology, but at least some of those people have something before that and they have an education. Hasidic people don’t have an education, some of them barely speak English. When they leave their community they arrive in this society like if they were an immigrant from another country without a job, without money, without friends, and without family. They have nothing. There is a high suicide rate among them because you can’t quit religion in one day. That’s why the ending of the film is like that. Religion was so strong for 20-something years in Meira's life, so when you try to quit everything you feel lost and you feel alone even if there is someone there. She doesn’t really know Felix and he doesn’t know her. It’s going to be a new life for him too. He will have to take care of her and of a child that he doesn’t know. In turn, Meira's daughter will never see her father again, even if he was a good guy and love both of them. It was impossible for me to write a happy ending.

Through small details we see that when Meira is with Felix, outside of her real life her self-image change. The beauty that she’s been hiding comes out and there is a certain glow about her. She rediscovers herself when she is outside of her religious world.

Maxime Giroux: Yes. Something like this happened to me. I was with a woman for years. She was always a beautiful woman, but when she left me everyone was telling her, “You look great!” It's not that I was a bad guy to her, but we were not happy together at the end of the relationship. Once someone leaves a relationship where he or she feels trapped, there is like a new light about that person. That’s what freedom gives you. Hadas Yaron was perfect for this role. She doesn’t have to say anything. It’s all in her eyes and the way she moves. When she puts jeans on for the first time it’s an incredible moment.

Those moments, which we take for granted and consider mundane, are revelatory experiences for her.

Maxime Giroux: When we wrote the scene with the jeans we didn’t really know what it meant. We wrote it thinking, “Probably for her, since she has never had the chance to wear pants in her life, this will mean something.” Jeans are a symbol of freedom. In the 1950s young people would wear casual jeans as a “fuck you” to their parents. Still today they represent something casual and free. For most Hasidic people, men or women, the first time they put jeans on is one of their most memorable experiences. The first time they wear them is like, “Oh my God, what’s happening!” It’s something they’ve never experienced. Something so tight on their skin. It’s a pretty sensual sensation. We discovered what it meant after we did the film. Hasidic people who watched the film would say, “The scene with the jeans is perfect.” Those are great little details, but without a good actress it would have been impossible.

Tell me about your decision to cast Hadas Yaron. This is a challenging role in terms of the languages spoken and the delicate vulnerability required to play a woman divided between two lives.

Maxime Giroux: As you know she was in film called “Fill the Void,” which is also about the Hasidic community, because of that I didn’t want her in my movie at first. I said, “She already acted in a movie about the Hasidic community, and she doesn’t speak Yiddish or French.” I started doing research here in the U.S. to find an actress. I found a few Hasidic women but they were two tall for my two actors who are short and thin. I didn't really find someone that was good. Then my two producers, who are also Xavier Dolan's producers, without my permission, asked her to audition. I saw the video in my computer and she was speaking French and 15 seconds after I thought, "That's Meira. That's totally her." She is very different from her role in "Fill the Void" where she is more reserved. I said, "Yes she is Meira but she needs to learn Yiddish and French," and she did. She was really good.

Speaking about language, although there is dialogue in the film, this is a very quiet story. Silences and gazes are really powerful between the protagonists.

Maxime Giroux: I think that really represents who I am. Even if I talk a lot with you right now, I'm not a really intellectual person. I'm more introspective. My world is more inside of me. I think this comes from my culture, from the Quebecois culture. We are really instinctive people. We don’t talk much. We are not like French people from France who talk and talk and who are really intellectual when they speak. I think this is one of the reasons why my characters not talk a lot. It’s more about little actions and little details. That’s because of who I am. In a way I see myself in Meira too, even if I didn’t live that life. When I was young I was a little bit like her in way. I was trying to get out of the community I grew up in, which was uneducated and where there was no art. Even if I loved those people I wanted to have more than. I see myself in Meira maybe more than in Felix. I think Felix is more like my co-writer.

Felix is going through his own problems after his father's death. He is a mess. He acts like a young man who hasn’t figured himself out. I feel that's what makes him connect with Meira, the fact that he is also, despite his age, still discovering who he wants to be.

Maxime Giroux: He represents a lot of people I know, but I also think he represents my society, the French Canadian society, which is getting older. We are a new country like the U.S. We are a young country unlike France or Germany. In those terms French-Canadian society is really like a teenager in a way. We are a little bit lost. In the 1950s, 60s, and 70s we decided to remove everything religious. Before that we were a very religious society, but not anymore. We lost our sense of family and community. I think in that sense Felix really represents my community. These are two communities that are living together. One is really about community and family values and the other one is like, “I don’t give a shit about my father, mother or my neighbor.” It’s a bit like in America too. We care about ourselves: the individual. It was really important for us two have these two communities. He is lost in this community because we have to perform. To be a good citizen in our society you need to be successful and make money, and he doesn’t want to do that. His father did that and he was not happy. Felix is more like, “I don’t give a shit about being that.” He doesn’t want to be part of the system and she is not part of the system either.

Does he love Meira?

Maxime Giroux: I think he loves her more than she loves him, but she loves him too in a way too.

Do you think this sense of isolation in your film also comes from the idea that Quebec and French Canadians are an island within Canada?

Maxime Giroux: Yes. Right now we are a little bit lost in terms of who we are. In the 70s and 80s we were like, “Yes, we are French-Canadian! Quebecois!" We were proud of it. Now we are more like, “Yes, we are French-Canadian but at the same we want to make money and we want the same things as other Canadians. We don’t give a shit about who are. We just want to make money. “

Something that really makes the film emotionally poignant is that you don’t make Shulem, Meira’s husband, a villain. He is a man who loves his wife and child but who has chosen to live by the parameters of his faith.

Maxime Giroux: That was incredibly important. I’m an atheist. I don’t believe in religion, but at the same time the goal of the film was to try to understand people who need religion. I didn’t understand them before making this movie. There are so many people who believe in and who need religion. It was important for me to represent them, which is why Meira's husband is very important. We had to see his humanity, not only the religion behind him but also the human. Most humans on this planet are good people. Most of them. I don’t have a number, but everywhere I've traveled most people are good. When you spend time with people you see most of them are good. Society or religion sometimes makes them bad.

In life, I hate police. In Montreal whenever there is a student protest I’m always on the student’s side, not the police. But I know that there are good people in the police force. That’s why I want to make a movie about police at some point, because I don’t like them and I want to like them a little bit more. I want to say to myself at the end of the journey, “You were wrong. There are some fucking good people in the police.”

Is there a reason why you don’t like police?

Maxime Giroux: I don’t like people with that kind of power. I feel like they are often on a power trip. Not all of them, but in my head I generalize them, just like I did with religion. After making “Felix and Meira” I understood that some people need religion and others simply don’t.

It’s very interesting and admirable that you make films about things you don’t understand in order to understand them better.

Maxime Giroux: Not only that I don’t understand, but that at the beginning of the process I’m against. I know that at the end I’ll change my ideas and that's the reason why I’m making a film on the subject. I want to understand those people and I want to prove to myself that humans and life are more complex and more beautiful than I thought.

Shulem is just doing what his religion mandates. It's definitely his choice, but we know that he doesn't have may options.

Maxime Giroux: He is also a victim. It was important for me to show that in the movie even if it’s subtle. Religion can be good, but in this case the problem is that if you don’t act like you are supposed to in that community people will slap your hand. They tell Meira, “You have to be like this. You have to have children and you have to take care of your children.” That’s the bad thing about this religion, and I wanted to show that. This guy is a victim of that because if the community would give women more space and freedom, he would still be with her. He would still be the father of that child and the husband to that woman.

Regarding the film's cinematography, what kind of references or specific styles did you discuss with your Dp? There is a classic, almost tender quality to the images.

Maxime Giroux: I've worked with Sara Mishara, the director of photography, before. I started working with her in university. We don’t have to talk a lot, but the few things we said to ourselves before starting the movie was that we wanted it to look a little bit like the immigrant movies of the 70s. Not “The Godfather” but all those movies about immigrants that took place in Brooklyn. For me Meira is an immigrant living in North America in a sense. We wanted the 70ish look or Gordon Willis-ish. I had the chance to visit some Hasidic households in Brooklyn and Montreal and all of the colors felt like if I was in the 70s. The color palette was really toned down and there were not bright colors. There might be bright colors sometimes in their clothing but not in the house. We decided to get some lenses that are not very good to avoid having a perfectly sharp image. We decided to make a very simple movie in terms of how we were going to shoot it and let the characters talk. We weren’t trying to do too much. We wanted to be humble like the characters and the subject. At the same we didn’t have a big budget, which I think was good for us because Sara didn’t really have the chance to light the scenes so we were playing with the sun and the available light. I think it gives the film a special quality.

The scenes in New York City, particularly those in Time Square, are incredibly beautiful and intimate. You found a very intimate moment between these two people in a crowded place full of lights.

Maxime Giroux: I thought the scene we shot in Time Square could turn out to be really cheesy, but it didn't. We didn’t have a lot of references for that scene, but I found a screen test that Natalie Wood and James Dean did for a movie. In that test they were doing what Felix and Meira do in the film. I don't know why, but I just did the same scene but in Time Square. I decided not to actually show Time Square but let the lights fall on them. We are in their bubble. It's funny because we had the camera but no lights, nobody saw or noticed us shooting there. The camera wasn't too big or high and there were so many people there that nobody thought we were shooting a movie. You can feel it in the scene, that they are in their bubble and the lights are just falling on them. For Meira, the character, this is special. Most Hasidic people in New York or Brooklyn have never gone to Time Square. They don't know what's there. For her is like, "Wow! There is also things like this out in the world," when for us it might like, "It's only Time Square." I think you can feel that for her it's not only Time Square, it's something more. It's something open, a big world has opened for her. I really like that scene and the music on it too.

Now that you mention music, that's one of the things Meira enjoys the most and that is also prohibited. She enjoys these classic pop songs but is not allowed to listen to them.

Maxime Giroux: Yes. She can't listen to that kind of music. Like I said, for me, and I think also for most people, music defines you or shapes you when you are young, especially when you are on your teens. That's why people still listen to U2 at 40-years-old, because when they discovered who they were that music was there. At 40-years-old you still the same person, you'll probably stay the same person all your life, and you still listen to U2. I don't understand that but that's how it is. She defined herself and found herself with this music, which is music by Black American singers from a particular time period. They were probably not slaves, but their mothers were slaves, they might feel like they are also slaves in a different way and they decide to take the fucking guitar and play music in a rebellious way.

Why did you decide to include that particular clip of this Black woman playing the guitar? It's also placed mostly without context within the narrative, a bold decision on your part because it break the cinematic grammar we are used to.

Maxime Giroux: That's the reason. For me this woman took this guitar in a man's world and said, "Fuck you! I'm gonna play the guitar and I'm gonna do whatever I want." That's what Meira wants, to do whatever she wants. At the beginning I was not supposed to put it in the movie but I decided to bring my computer on the set and I said to my Dp, Sara, "Can you film this clip on YouTube?" I started the clip and she started to shoot. Then the entire crew gathered around the computer saying, "Oh my God, what's that? It's so great" I knew it was great, and everyone was amazed by this woman, so I said, "I have to put this in the movie." I didn't know where, but during the editing process I needed a transition. I placed somewhere where you feel like something happened at that moment even if you don't see it. I thought, "Ok, I'm not supposed to do that as a filmmaker. It's a transgression, but I don't give shit. I just love this scene. I'm going to put it in and I know that some people will ask me why and I understand, but most people will like it. They will enjoy watching this big black woman emancipate herself by taking this guitar." Is the same idea during the scene at the Hispanic bar. This woman is dancing and she says to Meira, "Come dance with us." It was important for me that some women embraced Meira.

"Felix and Meira" is a great film, but it's a small. Did the positive reactions around the world surprise you? It did very well in the U.S. for a film its size.

Maxime Giroux: For sure. You are always surprised when you have success. It's not a huge success, but is still a success. The film cost nearly half a million dollars, so we were very surprised. At the same time I knew that the subject was interesting. Every time someone asked me, "What's your next movie?" I would say, "We'll it's a love story between a French Canadian man and a Hasidic woman who is married and has a daughter." Everyone was like, "Oh that's interesting." I knew that before shooting the movie but I was really afraid. I'm not Jewish, and it's difficult to make a movie about this subject. Telefilm Canada gave me money, but the Quebec government didn't give me money. They said, "How can you talk about them? You are not a Jew." I was really afraid and I knew that I had to be careful, but I also knew that people were interested in this story - even if it's a classic story. Also, when you put music like that in the movie you know that people will be easily touched. In cinema you can put a song like that and a plate of fruit on the screen and people will be touched. Let's be honest. Music is the easiest way to manipulate the audience in a movie. The director has to manipulate the audience in a good way, but music is the easiest way to manipulate the audience. You put a David Bowie song and people from that era will be touched because they will remember, "Oh that was the song that I liked when I was 16."

Now that "Felix and Meira" is traveling on its own two feet and is out there in the world, what are you working on next? Another small character study perhaps or something bigger?

Maxime Giroux: My next project will involve music. I was a drummer before and I did a lot of music videos. For my first film I refused to use music because I thought it was too easy. On "Felix and Meira" I said, "Fuck it, I'm doing whatever I want. I'm doing it for me." But the next one is about a female singer who is not very famous but everywhere around the world some people know about her. Sort of like Grimes, she can walk down the street and most people wont recognize her, but everywhere in the world some people do know her. The character is French Canadian but she sings in English. She has some money problems and to solve this problems she is going to do a concert in China with a cover band at a hotel. However, the real reason why she is doing it is to do some industrial spying in China

"Felix and Meira" is now available on DVD and on digital platforms.

"Félix and Meira" gets under your skin. A behind-closed-doors romance in the vein of "Madame Bovary" and "Anna Karenina," Canadian director Maxime Giroux's film is set in the Hasidic Jewish world of Montreal's Mile End district, where a young orthodox mother (Israeli actress Hadas Yaron) falls for an atheist loner (Martin Dubreuil) grieving the death of his father. A self-described atheist, Giroux was inspired to make the film after living in this neighborhood and seeing how difficult Jewish life was for women. "It's way more difficult for women to leave the community without their children," he told me. "We ask so much of our women in every society. For men, it's so easy. We have children, get divorced, go away and take care of those children but not too much. For these women, being a good mother is their role. Yes, they can have their own personality but if you don't make children,...

Telefilm Canada announced on Friday afternoon that Maxime Giroux’s film will fly the flag as the country’s foreign-language Academy Award submission.

Félix et Meira premiered at Toronto 2014 and tells of the improbable love affair between a Francophone Quebecer and a young Hasidic Jewish mother. Martin Dubreuil and Hadas Yaron star along with Luzer Twersky and Anne-Élizabeth Bossé.

Telefilm Canada was among the film’s funders and Nancy Grant and Sylvain Corbeil of Metafilms served as producers.

“Félix et Meira, a love story about two people from vastly different worlds, has moved Canadian and international audiences,” said Carolle Brabant, executive director of Telefilm Canada, which chairs the pan-Canadian Oscar selection committee.

“Screened at more than 50 festivals around the world, this story with universal themes has also picked up many awards. It’s now in the running for an Oscar nomination, and on behalf of Telefilm Canada, I wish the film’s talented crew the best of...

A committee of 23 made "Félix and Meira" its Foreign Language Oscar entry today. Told in French, English and Yiddish, Canadian director Maxime Giroux's film is set in the Hasidic Jewish world of Montreal's Mile End district, where a young orthodox mother (Israeli actress Hadas Yaron) falls for an atheist loner (Martin Dubreuil) grieving the death of his father. That makes three foreign Oscar entries for Oscilloscope, which released "Felix" theatrically this past April. Brazil's "The Second Mother" and Colombia's "Embrace of the Serpent" are also on the distrib's slate. Read More: Foreign Oscar Submissions So Far A self-described atheist, Giroux was inspired to make the film after living in this neighborhood and seeing how difficult Jewish life was for women. "It's way more difficult for women to leave the community without their children," he told us. "We ask so much of our women in every society. For men,...

This new French-Canadian drama explores the relationship between two people from vastly different backgrounds. The title couple are not from different countries, social status, or races. And not religions, either. They were both raised in the Jewish faith, but their cultures truly seem to clash more than mesh. He’s a somewhat lapsed Jew who’s aware of the teachings and traditions, but doesn’t seem to attend services with any frequency. She’s part of a very strict Hasidic household, married to a husband who adheres very strictly to the teachings and traditions, always clothed in his black prayer garments while spending much of his time with the rabbis and scholars at his local synagogue. And they have a young daughter, perhaps 10 to 15 months old. The title lady tries to be the good, quiet wife, but something seems to be missing, something that her new acquaintance exudes, perhaps. The...

Concealed under subtle gestures, comfortable silences, and the mutual reassurance that one’s imperfections are insignificant, lies the foundation for our romanticized idea of love. One that cares little for consequence and that offers relief from the burdens of routine. This is exactly the kind of ferocious emotion director Maxime Giroux presents his characters with in “Felix and Meira,” his alluring portrayal of an improbable relationship between a married Hasidic woman and a secular middle-aged man going through a crisis.

Tales of forbidden romance between people from opposing worlds are evidently commonplace, but here Giroux handles the strong yearning for tangible connection afflicting both parties with utmost sincerity never asking for his protagonists to reveal more or to give more than they can within their strictly defined boundaries.

Taking care of her daughter and being and active and honorable member of the Hasidic community is all that’s expected of Meira (Hadas Yaron), a beautiful young woman who is clearly dissatisfied with the restrictive expectations of her religious existence. Her husband Shulem (Luzer Twersky) is by no means a perfectly devotee, but he strives to please his fellow men by showing he can manage his household and conform to the defined norms. There is affection in their marriage, but it can only be perceived through cracks in the walls of a fortress made of rules and regulations that separates them.

Nearby, Felix (Martin Dubreuil), a perpetually ambitionless bachelor, is dealing with his father’s imminent death and their irreparable detachment. Although members of the same Montreal neighborhood both Meira and Felix carry out parallel lives unaware of one another. They each enjoy drawing silly creatures, and when they meet at a Jewish deli one morning, this seemingly irrelevant coincidence is enough to ignite their interest.

As Giroux crafts opportunities for the lovebirds to develop intimacy, which go from childishly playing ping pong to enjoying some tunes in silence, he doesn’t forget their particular dilemmas and the risks that the mere idea of hanging out represents for Meira. While mostly quiet, she is an intriguing box of tiny secrets that expose her true personality underneath the oppressive façade she must wear. Small demonstrations of rebellion assert Meira’s individuality even if briefly. Listening to music from a record she must keep hidden, playing with noisy mousetraps despite Shulem’s disapproval, and most importantly, deciding over her own body when those around her pressure her to have more children.

With her captivating and powerfully expressive gaze, Yaron gives Meira a balanced air of innocence and subdued defiance. Slowly, as Felix invites her to discover the sounds and sights beyond the opaque environment she knows, Meira falls for him both because of his kind efforts and because he symbolizes freedom. Yet, Giroux’s film is not concerned with denouncing any particular belief or to depict religion as a paralyzing aspect of Meira’s life, instead he advocates for choice by showing there are other people, Shulem included, that are comfortable with what their faith asks of them. Meira is not, and in this culture straying from the flock has severe repercussions.

Similarly, the men in Meira’s life are confronted with their respective predicaments both as individuals and in relation to her. Felix believes his father was disappointed in him and this becomes a torturous thought, while Shulem can’t fathom the idea of losing his family and being seen as a failure. Giroux refrains from vilifying either of them or judging their reactions, because his three subjects suffer from devastating loneliness that can’t be simply rationalized.

In a marvelously touching scene Felix and Shulem discuss their feelings and, while clarifying they are enemies in the battlefield of love, they also agree that their common goal should be Meira’s happiness. Both Dubreuil’s effortlessly charming demeanor and Twersky’s stern, yet caring, performance capture two distinct versions of romantic love that keep Meira at a crossroads.

Enhancing the strong narrative at hand even further, Giroux makes use of every other storytelling element in a deliberately delicate manner. Even if for some the lack of lengthy dialogue or heavy-handed exposition might appear problematic, these qualities allow the filmmaker to rely, as he should, on the audiovisual aspects. Sara Mishara’s cinematography is brilliantly elegant throughout, but when the couple meets in New York, the shiny lights and crowded streets add a gorgeous exuberance. Colored by neon hues Felix and Meira look even more like two foreigners to the city, to love, and to each other, just trying to make sense of it all.

As an interesting extra touch, Giroux takes the time to momentarily drives away from the central conflict and focuses on singular occurrences like a conversation between a couple of bystanders or to drift into a musical sequence that is equally vibrant and timeless. Music is indeed a fantastic part of “Felix and Meira” whether is classic ballads or themes composed by Olivier Alary.

Unassumingly, Giroux transcended the shackles of familiarity and created a film that is not revolutionary, but definitely remarkable. To love out of choice or to love out of duty is what Meira must decide, but as we see in the film’s perfectly ambiguous conclusion, neither option is faultless. “Felix and Meira” is an exquisite portrait of a possibly futile love that exudes seductive melancholia and delightful nuances.

Now playing in L.A. at the Laemmle Royal and Laemmle's Town Center, and in NYC at the Landmark Sunshine Cinema and Lincoln Plaza Cinemas...

"Félix and Meira" gets under your skin. A behind-closed-doors romance in the vein of "Madame Bovary" and "Anna Karenina," Canadian director Maxime Giroux's film is set in the Hasidic Jewish world of Montreal's Mile End district, where a young orthodox mother (Israeli actress Hadas Yaron) falls for an atheist loner (Martin Dubreuil) grieving the death of his father. A self-described atheist, Giroux was inspired to make the film after living in this neighborhood and seeing how difficult Jewish life was for women. "It's way more difficult for women to leave the community without their children," he told me. "We ask so much of our women in every society. For men, it's so easy. We have children, get divorced, go away and take care of those children but not too much. For these women, being a good mother is their role. Yes, they can have their own personality but if you don't make children,...

Geographically, the title characters of Maxime Giroux’s quiet Canadian drama “Felix and Meira” live in the same neighborhood of Montreal, but their lives couldn’t appear more different. Meira (Hadras Yaron, “Fill the Void”) is a Hasidic Jewish wife and mother, who feels cloistered within the community and its rules. She has a young daughter, Elisheva, but she defies her prescribed role to procreate by taking birth control pills, which she hides from her husband, Shulem (Luzer Twersky). He declares his affection for her, but chastises her when she isn’t the ideal wife and mother, and warns her of the shame she’ll bring to him and their daughter. Read More: Exclusive Trailer And Poster For Tiff Award-Winning 'Felix And Meira' Felix (Martin Dubreuil) struggles after the death of his father, with only his sister as a confidante. Both Felix and Meira feel isolated and alone, and when...

Following the Toronto International Film Festival (Contemporary World Cinema competition) world premiere (it would quickly move onto an Official Selection at the San Sebastian Film Festival) writer-director Maxime Giroux and trio of featured actors Hadas Yaron, Martin Dubreuil and Luzer Twersky took part in a jovial, post-screening Q&A for Félix et Meira. I called this drama romance an “improbability of the hypothetically tinged union arguably makes this akin to science fiction matter, the apolitical, unified titular observational drama moves beyond the losing religious faith template with its moving, lingering anti-loquacious stance“. The multi-language film would quickly get snapped up for distribution via Oscilloscope (lands theatrically today, 04.17) and it swooned the Toronto audience on hand. In the Q&A we gain insight into the production, and the anecdotal complexities and risks involved in shooting exterior shots with actors in character.

Read More: Watch: Eyes (and Windows) are Wide Open in New 'Félix and Meira' Clip The romantic journey of two characters from opposing worlds drawn together stretches back to Shakespeare, but "Felix and Meira" makes no grand gestures about the timelessness of its tale. Instead, Quebecois writer-director Maxime Giroux gentle drama about a young Orthodox Jewish housewife and the secular man who draws her away from her religious life treats its subject matter with a refreshingly humble air. While there's little doubt early on that crestfallen Meira (Hadas Yaron) would do well to leave her domineering Hasidic husband (Luzer Twersky) and embrace the advances of the similarly alienated bachelor Félix (Martin Dubreuil), Giroux's slow-burn narrative — co-written by Alexandre Lafferiere — takes nothing for granted, least of all the prospects of a happy ending. Instead, Girgoux gives weight to the possibilities of kindred spirits from different worlds bonding over...

Music is used sparingly in Felix and Meira, and each song is key to expressing unspoken emotion. After Shulem (Luzer Twersky) leaves his modest home in Montreal's Hasidic enclave to attend prayers, his wife, Meira (Hadas Yaron), puts on a forbidden record, "After Laughter (Comes Tears)," letting Wendy Rene's plaintive voice convey her own longing. But it's Leonard Cohen's "Famous Blue Raincoat" that captures the exquisite melancholy of Maxime Giroux's romantic drama, where loss and resignation are as important as desire and freedom. When a dissatisfied Meira meets the aimless Felix (Martin Dubreuil), they have little in common aside from a love of drawing and a religion they view quite differently. (His version of...

What’s Under the Hat?: Giroux Proposes Unorthodox Paradox

Confectioned with a what makes us different makes us the same counterargument, Maxime Giroux’s third feature is one that finds commonalities between the profiled insular community and those who are lonely while visibly surrounded by others. And while the improbability of the hypothetically tinged union arguably makes this akin to science fiction matter, the apolitical, unified titular observational drama moves beyond the losing religious faith template with its moving, lingering anti-loquacious stance. Worldly in its reach and neighborly in approach, Félix et Meira is thoughtful tableaux that verberates with unabashedly sensitivity — this is Giroux’s most affecting film to date.

While fertility rates of 50’s & 60’s Quebec have plummeted to dismal rates for most French Canadians, comparatively, Montreal’s Orthodox Jewish community maintain old fashion practices of ensuring there is a next of kin. Just one among the many...

Summer blockbuster season is just around the corner, but there's no need to wait until then to see a great movie. April brings us a wide variety of women-centric projects, as well as quite a few films helmed and/or written by women.

The month starts off with "Woman in Gold," starring Helen Mirren as a Jewish woman on a journey to recover her family's heirlooms, which was stolen by the Nazis. It's based on a true story, and Mirren roots the film with her powerful presence. "Closer to the Moon" is another WWII-era drama set for an April release, this one based on the crime capers of a group of Jewish resistance fighters a few years after the end of the war. "Marie's Story" is another period piece, centering around the efforts of a 19th-century nun to help a girl born blind and deaf.

There are a few more women-focused dramas being released in April, including the much-buzzed "Clouds of Sils Maria," which garnered Kristen Stewart the prestigious Cesar Award for supporting actress. Stewart has made waves for being the first American actress to win the French award, and the film looks to capitalize on that with its American release. “Félix & Meira" is another award-winner coming out this month. The Best Canadian Feature from the 2014 Toronto International Film Festival aims to make its mark with the story of an unconventional and radical love affair, one that reaches across racial and religious lines. "About Elly" also confronts cultural biases with its depiction of Iran's upper middle class.

"Effie Gray" tackles the sexual politics of the Victorian era, and with a screenplay from Emma Thompson, it's sure to be intriguing as well as quick-witted. Speaking of intriguing, "The Age of Adaline" follows a woman who mysteriously stopped aging eight decades ago. Blake Lively centers the film as Adaline, struggling with love and trust and all the other things that might follow when one lives seemingly forever.

Courteney Cox makes her big-screen directorial debut (the actress has previously directed episodes of "Cougar Town," which she stars in) with "Just Before I Go," and screenwiter Gren Wells makes hers as well with "The Road Within." Director Mia Hansen-løve ("Goodbye First Love") directs Greta Gerwig in "Eden," a look at the rise of French electronic music in the 90s.

The month will also see the release of a few very different documentaries. "The Hand That Feeds" focuses on undocumented immigrants struggling to form an independent union, while "Iris" follows 93-year-old Iris Apfel, a flamboyant New York City fashion icon. "Antarctic Edge: 70° South" is focused on the changing climate of the Antarctic's Peninsula and was made with the collaboration of Rutgers University students and scientists.

We'll also see comedic projects featuring Mary Elizabeth Winstead ("Alex of Venice") and Rose Byrne ("Adult Beginners"). Nia Vardalos returns to the screen with a role in "Helicopter Mom," which promises an outrageous performance from the "My Big Fat Greek Wedding" star. "Sweet Lorraine" and "Farah Goes Bang" round out the women-centric comedy offerings of the month.

Here are all the women-centric films opening in the month of April. All descriptions are from press materials unless otherwise noted.

April 1

Woman in Gold

"Woman in Gold" is the remarkable true story of one woman’s journey to reclaim her heritage and seek justice for what happened to her family. Sixty years after she fled Vienna during World War II, an elderly Jewish woman, Maria Altmann (Helen Mirren), starts her journey to retrieve family possessions seized by the Nazis, among them Klimt’s famous painting "Portrait of Adele Bloch-Bauer I." Together with her inexperienced but plucky young lawyer Randy Schoenberg (Ryan Reynolds), she embarks upon a major battle, which takes them all the way to the heart of the Austrian establishment and the U.S. Supreme Court, and forces her to confront difficult truths about the past along the way.

April 3

The Hand That Feeds (doc) - Co-Written and Co-Directed by Rachel Lears

At a popular bakery café, residents of New York’s Upper East Side get bagels and coffee served with a smile 24 hours a day. But behind the scenes, undocumented immigrant workers face sub-legal wages, dangerous machinery, and abusive managers who will fire them for calling in sick. Mild-mannered sandwich maker Mahoma López has never been interested in politics, but in January 2012 he convinces a small group of his co-workers to fight back.

Risking deportation and the loss of their livelihood, the workers team up with a diverse crew of innovative young organizers and take the unusual step of forming their own independent union, launching themselves on a journey that will test the limits of their resolve. In one roller-coaster year, they must overcome a shocking betrayal and a two-month lockout. Lawyers will battle in back rooms, Occupy Wall Street protesters will take over the restaurant, and a picket line will divide the neighborhood. If they can win a contract, it will set a historic precedent for low-wage workers across the country. But whatever happens, Mahoma and his coworkers will never be exploited again.

Effie Gray - Written by Emma Thompson

In her original screenplay “Effie Gray,” Emma Thompson takes a bold look at the real-life story of the Effie Gray-John Ruskin marriage, while courageously exposing what was truly hiding behind the veil of their public life. Set in a time when neither divorce nor gay marriage were an option, “Effie Gray” is the story of a young woman (Dakota Fanning) coming of age and finding her own voice in a world where women were expected to be seen but not heard. “Effie Gray” explores the roots of sexual intolerance, which continue to have a stronghold today, while shedding light on the marital politics of the Victorian era.

April 8

About Elly

As with director Asghar Farhadi's better-known films, “About Elly” concerns the affluent, well-educated, cultured, and only marginally religious members of Iran's upper-middle class. Elly (Taraneh Alidoosti), a pretty young woman invited as a possible romantic interest for one of the newly single men among this group, disappears suddenly without a trace. The festive atmosphere quickly turns frantic as friends accuse one another of responsibility. Plot-wise, Farhadi's drama has been compared to “L’Avventura”; but the film is less concerned with Elly's disappearance per se than with exploring the intricate mechanisms of deceit, brutality, and betrayal which come into play when ordinary circumstances take a tragic turn.

April 10

Clouds of Sils Maria

At the peak of her international career, Maria Enders (Juliette Binoche) is asked to perform in a revival of the play that made her famous twenty years ago. But back then, she played the role of Sigrid, an alluring young girl who disarms and eventually drives her boss Helena to suicide. Now she is being asked to step into the other role, that of the older Helena. She departs with her assistant (Kristen Stewart) to rehearse in Sils Maria; a remote region of the Alps. A young Hollywood starlet with a penchant for scandal (Chloë Grace Moretz) is to take on the role of Sigrid, and Maria finds herself on the other side of the mirror, face to face with an ambiguously charming woman who is, in essence, an unsettling reflection of herself.

The Sisterhood of Night - Directed by Caryn Waechter and Written by Marilyn Fu

Based on the short story by Pulitzer Prize-winning author Steven Millhauser, "The Sisterhood of Night" is a story of friendship and loyalty set against the backdrop of a modern-day Salem witch trial. Shot on location in Kingston, NY, the film chronicles a group of girls who have slipped out of the world of social media into a mysterious world deep in the woods. The tale begins when Emily Parris (Kara Hayward) exposes a secret society of teenage girls. Accusing them of committing sexually deviant acts, Emily’s allegations throw their small American town into the national media spotlight. The mystery deepens when each of the accused takes a vow of silence. What follows is a chronicle of three girls’ unique and provocative alternative to the loneliness of adolescence, revealing the tragedy and humor of teenage years changed forever by the Internet age.

Farah Goes Bang - Directed by Meera Menon, Written by Laura Goode and Meera Menon

A road-trip comedy that centers on Farah (Nikohl Boosheri), a twenty-something woman who tries to lose her virginity while campaigning for John Kerry in 2004. Farah and her friends K.J. and Roopa follow the campaign trail to Ohio, seizing this charged moment in their lives and the life of their country.

April 17

Closer to the Moon

Set in 1959 Bucharest, “Closer to the Moon” opens as the crime is hatched and executed by old friends from the WWII Jewish Resistance, who seek to recapture the excitement of their glory days. Led by a chief police inspector (Mark Strong) and a political academic (Vera Farmiga), the quintet also includes a respected history professor (Christian McKay), a hotshot reporter (Joe Armstrong), and a space scientist (Tim Plester). Their postwar influence fading amid an ongoing Stalinist purge of Jews and intellectuals, the disillusioned gang retaliates by hijacking a van delivering cash to the Romanian National Bank, staging the robbery to make it look like a movie shoot. Caught and convicted in a kangaroo court, the culprits, with help from an eyewitness (Harry Lloyd) to the robbery, are forced to reenact their crime in a devious anti-Semitic propaganda film.

Felix & Meira

Winner of Best Canadian Feature at the 2014 Toronto International Film Festival, “Félix & Meira” is the story of an unconventional romance between two people living vastly different realities mere blocks away from one another. Each lost in their everyday lives, Meira (Hadas Yaron), a Hasidic Jewish wife and mother, and Félix (Martin Dubreuil), a Secular loner mourning the recent death of his estranged father, unexpectedly meet in a local bakery in Montreal's Mile End district. What starts as an innocent friendship becomes more serious as the two wayward strangers find comfort in one another. As Felix opens Meira's eyes to the world outside of her tight-knit Orthodox community, her desire for change becomes harder for her to ignore, ultimately forcing her to choose: remain in the life that she knows or give it all up to be with Félix.

Alex of Venice - Co-Written by Jessica Goldberg and Katie Nehra

In “Alex of Venice,” workaholic environmental attorney Alex Vedder (Mary Elizabeth Winstead) is forced to reinvent herself after her husband (Chris Messina) suddenly leaves the family. Dealing with an aging father (Don Johnson) who still aspires to succeed as an actor, an eccentric sister (Katie Nehra), and an extremely shy son (Skylar Gaertner), Alex is bombarded with everything from the mundane to hilariously catastrophic events without a shoulder to lean on. Realizing she will thrive with or without her husband, Alex discovers her hidden vulnerability as well as her inner strength as she fights to keep her family intact in the midst of the most demanding and important case of her career.

Cas & Dylan - Written by Jessie Gabe

When 61-year-old self-proclaimed loner and terminally ill Dr. Cas Pepper (Richard Dreyfuss) reluctantly agrees to give 22-year-old social misfit Dyland Morgan (Tatiana Maslany) a very short lift home, the last thing he anticipates is that he will strike her angry boyfriend with his car, find himself on the lam, and ultimately drive across the country with an aspiring young writer determined to help him overcome his own bizarre case of suicide-note writer's block. But as fate would have it, that is exactly what happens. Suddenly Cas's solo one-way trip out West isn't so solo. With Dylan at his side, the two take off on an adventure that will open their eyes to some of life's lessons -- both big and small.

Antarctic Edge: 70° South (doc) - Directed by Dena Seidel

Dena Seidel’s documentary not only offers rare, beautifully shot footage of West Antarctic Pennisula's rapidly changing environment, studying the connections that reveal the concrete impact of climate change; it is also a one-of-a-kind collaboration between the Rutgers University Film Bureau and the Rutgers Institute for Marine and Coastal Sciences and contains interviews and insights from some of the world’s leading ocean researchers. It is a fascinating look at their life’s work trying to understand how to maintain our planet.

The Road Within - Written and Directed by Gren Wells

Vincent (Robert Sheehan), a young man with Tourette's syndrome, faces drastic changes after his mother dies. Because his politician father is too ashamed of the disorder to have Vincent accompany him on the campaign, Vincent is shuttled off to an unconventional clinic. There he finds unexpected community with an obsessive-compulsive roommate and an anorexic young woman, and romance eventually -- and uneasily -- follows.

One of Variety's "10 Directors to Watch," screenwriter Gren Wells makes her directorial debut with this ambitious yet light-hearted coming-of-age tale about the potent medicine we all carry within ourselves. The film is packed with a talented ensemble, from emerging talents Zoë Kravitz, Dev Patel, and Sheehan to beloved veterans Kyra Sedgwick and Robert Patrick.

April 23

Sweet Lorraine

The double life of a Methodist minister's wife (played by Tatum O'Neal) catches up to her, as her husband campaigns for mayor in a small New Jersey town.

April 24

Just Before I Go - Directed by Courtney Cox

Ted Morgan (Seann William Scott) has been treading water for most of his life. After his wife leaves him, Ted realizes he has nothing left to live for. Summoning the courage for one last act, Ted decides to go home and face the people he feels are responsible for creating the shell of a person he has become. But life is tricky. The more determined Ted is to confront his demons, to get closure, and to withdraw from his family, the more Ted is yanked into the chaos of their lives. So, when Ted Morgan decides to kill himself, he finds a reason to live.

The Age of Adaline

After miraculously remaining 29-years-old for almost eight decades, Adaline Bowman (Blake Lively) has lived a solitary existence, never allowing herself to get close to anyone who might reveal her secret. But a chance encounter with charismatic philanthropist Ellis Jones (Michiel Huisman) reignites her passion for life and romance. When a weekend with his parents (Harrison Ford and Kathy Baker) threatens to uncover the truth, Adaline makes a decision that will change her life forever.

Adult Beginners - Co-Written by Liz Flahive (Simultaneously releasing to VOD)

A young, hipster entrepreneur (Nick Kroll) crashes and burns on the eve of his company’s big launch. With his entire life in disarray, he leaves Manhattan to move in with his estranged pregnant sister (Rose Byrne), brother-in-law (Bobby Cannavale), and three-year-old nephew in the suburbs – only to become their manny. Faced with real responsibility, he may finally have to grow up – but not without some bad behavior first.

Eden - Directed and Co-Written by Mia Hansen-løve

The film follows the life of a French DJ who's credited with inventing "French house" or the "French touch," a type of French electronic music that became popular in the 1990s. Greta Gerwig costars. (IMDb)

24 Days - Co-Written by Emilie Frèche

January 20, 2006: After dinner with his family, Ilan Halimi (Syrus Shahidi) gets a call from a beautiful girl who had approached him at work and makes plans to meet her for coffee. Ilan didn't suspect a thing. He was 23 and had his whole life ahead of him. The next time Ilan's family heard from him was through a cryptic online message from kidnappers demanding a ransom in exchange for their son's life. (IMDb)

Helicopter Mom - Directed by Salomé Breziner

An overbearing mom (Nia Vardalos) decides that college would be more affordable if her son were to win an Lgbt scholarship, so she outs him to his entire high school. However, he might not be gay. (Rotten Tomatoes)

April 29

Iris (doc) (Opening in New York City)

"Iris" pairs legendary 87-year-old documentarian Albert Maysles with Iris Apfel, the quick-witted, flamboyantly dressed 93-year-old style maven who has had an outsized presence on the New York fashion scene for decades. More than a fashion film, the documentary is a story about creativity and how, even in Iris' dotage, a soaring free spirit continues to inspire. "Iris" portrays a singular woman whose enthusiasm for fashion, art, and people are life's sustenance and reminds us that dressing, and indeed life, is nothing but an experiment. Despite the abundance of glamour in her current life, she continues to embrace the values and work ethic established during a middle-class Queens upbringing during the Great Depression.

April 30

Marie’s Story

At the turn of the 19th century, a humble artisan and his wife have a daughter, Marie (Ariana Rivoire), who is born deaf and blind and unable to communicate with the world around her. Desperate to find a connection to their daughter and avoid sending her to an asylum, the Heurtins send fourteen-year-old Marie to the Larnay Institute in central France, where an order of Catholic nuns manage a school for deaf girls. There, the idealistic Sister Marguerite (Isabelle Carré) sees in Marie a unique potential, and despite her Mother Superior's (Brigitte Catillon) skepticism, vows to bring the wild young thing out of the darkness into which she was born. Based on true events, “Marie's Story” recounts the courageous journey of a young nun and the lives she would change forever, confronting failures and discouragement with joyous faith and love. (Film Movement)...

Read More: Exclusive: Oscilloscope Acquires Maxime Giroux's Forbidden Love Story 'Felix and Meira'Sometimes, shutting the blinds is a must. This new clip from Maxime Giroux's "Félix and Meira" is as steamy as it is ominous. The film tells the story of two unsuspecting young lovers, Meira, played by Hadas Yaron, and Félix, played by Martin Dubreuil. Meira is a Hasidic Jewish wife and mother, and Félix is a loner mourning the death of his father. As Félix shows her what she's been missing out on in the world, Meira is forced to choose whether to leave her current life behind. In this clip, Meira gets a glimpse of what a loving partnership could entail. The film won Best Canadian Feature at the 2014 Toronto International Film Festival. It hit theaters in New York on April 17 and in Los Angeles on April 24.  Read More: Exclusive: Trailer And Poster For Tiff-Award...

A casual stroll on the sidewalk turns into a spontaneous dance party in a new clip released from indie drama “Félix & Meira.” After unexpectedly meeting in a local bakery in Montreal’s Mile End district, Meira (Hadas Yaron), a Hasidic Jewish wife and mother, and Félix (Martin Dubreuil), a secular loner mourning the recent death of his estranged father, find romance and she slowly discovers there’s a whole wide world outside of her tight-knit Orthodox community. In the exclusive clip (above), the couple are out at night together for the first time. As he pulls her into a restaurant,...

The awards season is winding down with the Oscars coming up this weekend, but don't think that you'll have to wait until next fall to see a new batch of prize-winning acclaimed films. You may have to look beyond the tentpole titles, but there are plenty of gems to be discovered in the months ahead, and "Felix and Meira" is a picture you'll want to keep on your radar. Today, we'll help you out with the exclusive trailer and poster for the movie. Co-written and directed by Maxime Giroux ("Jo Pour Jonathan," "Demain"), and starring Hadas Yaron, Martin Dubreuil, Luzer Twersky, and Anne-Élisabeth Bossé, the story is set in Montreal's Mile End neighborhood, and tracks the unlikely romance that blossoms between Meira, a Hasidic housewife and mother, and Felix, a secular man reeling from the death of his estranged father. Their chance meeting in a bakery sparks a friendship that becomes something more,...

FÉLIX Et Meira Oscilloscope Reviewed for Shockya by Harvey Karten. Data-based on Rotten Tomatoes. Grade: B+ Director: Maxime Giroux Screenwriter: Maxime Giroux, Alexandre Lafferière Cast: Martin Dubreuil, Hadas Yaron, Luzer Twersky Screened at: Review 1, NYC, 1/22/15 Opens: 2015 Tbd We secular folks without parohocial ties should try not to be smug. There is much to be said for belonging to a group based on religion such as Haredis (Hasidim) or Amish, or what-have-you. There is a feeling of togetherness that’s difficult to find among more urban, cosmopolitan people. There is the paradoxical freedom in knowing exactly what is expected of you, what should constitute your life. However some people [ Read More ]

The post Félix et Meira Movie Review appeared first on Shockya.com.

Félix et Meira

Director: Maxime Giroux

Writer: Maxime Giroux, Alex Laferrière

Producer: Metafilms’ Sylvain Corbeil and Nancy Grant

U.S. Distributor: Rights Available

Cast: Martin Dubreuil, Hadas Yaron

His skillset was in full display in last year’s moody, tonally twisted short La tête en bas. Among Quebec’s most talented auteurs (and perhaps best kept secret), Maxime Giroux (Demain and Jo pour Jonathan) moves back into feature film terrain with Felix and Meira – the tale of how opposites attract and is born takes place in Montreal’s historic Mile-End district but pushes globally into such backdrops as Venice and NYC.

Gist: Montreal, 2013. Félix is a penniless, eccentric francophone. Meira is a married Hasidic Jewish and mother of one child. They fall madly in love; an impossible love.

Release Date: Filmed over the holidays, this could make a splash in Cannes, Locarno or Venice with additional play at Tiff.

More...

Unlike last year's two filmmaker/film horse race between Denis Villeneuve's Polytechnique and Xavier Dolan's J'ai tué ma mere, this year it was all "Villeneuve" and "Incendies". Repeating his wins in all the same categories it won at the Canadian Oscars (Genies) this week (this includes Editing, Screenplay, Best Cinematography by the excellent André Turpin, Best Actress in Lubna Azabal (who forced here co-star Melissa Desormeaux-Poulin to give her own thank you speech). These wins more than makes up for his loss last year when Villeneuve won the Best Director honor for Polytechnique, but lost in the Best Film category to J'ai tué ma mere. The predictable 13th edition also saw a Genie-Jutra winner from Barney's Version and in the Animated Film category, the Nfb (naturally) supported Theodore Ushev added a Jutra to his Genie for Lipsett Diaries. Best Film/meilleur film 10 1/2 - Pierre Gendron (Zoofilms) Les amours imaginaires - Xavier Dolan,...

Yesterday, the nominees for the 13th Jutra Awards ceremony were revealed. The winners of this Quebecker Oscar will be revealed next month. The following is the full list of nominees.

Best motion picture:

* 10 1/2

* Les amours imaginaires

* Curling

* Incendies

* Les signes vitaux

Best director:

* Denis Côté- Curling

* Xavier Dolan- Les amours imaginaires

* Kim Nguyen - La cité

* Podz (Daniel Grou) - 10 1/2

* Denis Villeneuve- Incendies

Best leading actress:

* Lubna Azabal - Incendies

* Suzanne Clément - Tromper le silence

* Mélissa Desormeaux-Poulin - Incendies

* Évelyne Rompré- 2 fois une femme

* Guylaine Tremblay- Trois temps après la mort d'Anna

Best leading actor:

* Jay Baruchel - The Trotsky

* Emmanuel Bilodeau - Curling

* Jacques Godin - La dernière fugue

* Claude Legault - 10 1/2

* François Papineau - Route 132

Best supporting actress:

* Dorothée Berryman - Cabotins

* Marie Brassard - Les signes vitaux

* Geneviève Chartrand - Le journal d'Aurélie Laflamme

* Isabelle Miquelon - La dernière fugue

* Danielle Proulx...

The nominees for the 31st Annual Genie Awards, Canada’s answer to the Oscars, were unveiled at simultaneous press conferences in Montreal and Toronto yeseterday. After being snubbed by the major Hollywood awards, only receiving 1 nomination and win for Paul Giamatti at the Golden Globes, Barney’s Version has been highly recognized by Canadian audiences. This is no surprise as its source material is a novel from beloved Canadian treasure Mordecai Richler and the film was partially shot in Montreal. Barney’s VersionIncendies leads the pack with 11 nominations including Best Motion Picture and populating most of the acting categories including one for Paul Giamatti for a Performace by an Actor in a Leading Role and Performance by an Actor in a Supporting Role for Dustin Hoffman. Following closely is the other Canadian darling this year, Incendies , which garnered 10 nominations such as Adapted Screenplay (Denis Villeneuve) and Performance by an Actress...

Richard J. Lewis’ “Barney’s Version,” a festival favorite and big-screen version of the Mordecai Richler, garnered 11 nominations — including Best Motion Picture and Performance by an Actor in a Leading Role (Paul Giamatti) — to lead the way for the 31st Annual Genie Awards, presented by the Academy of Canadian Cinema & Television.

Denis Villeneuve’s “Incendies,” a contender this year for Best Foreign Film at the Academy Awards, was next with 10 nominations, including Best Motion Picture and Achievement in Direction.

The Genies will be handed out on Thursday, March 10, at the National Arts Centre in Ottawa. The following is a list of nominees in some of the major categories.

Best Motion Picture

“10 ½”

Pierre Gendron

“Les amours imaginaires” (“Heartbeats”)

Xavier Dolan, Carole Mondello, Daniel Morin

“Barney’s Version”

Robert Lantos

“Incendies”

Luc Déry, Kim McCraw

Splice

Steven Hoban

Achievement in Direction

Podz

“10 ½”

Xavier Dolan

“Les amours imaginaires” (“Heartbeats”)

Denis Villeneuve

“Incendies”

Vincenzo Natali...

Richard J. Lewis’ “Barney’s Version,” a festival favorite and big-screen version of the Mordecai Richler, garnered 11 nominations — including Best Motion Picture and Performance by an Actor in a Leading Role (Paul Giamatti) — to lead the way for the 31st Annual Genie Awards, presented by the Academy of Canadian Cinema & Television.

Denis Villeneuve’s “Incendies,” a contender this year for Best Foreign Film at the Academy Awards, was next with 10 nominations, including Best Motion Picture and Achievement in Direction.

The Genies will be handed out on Thursday, March 10, at the National Arts Centre in Ottawa. The following is a list of nominees in some of the major categories.

Best Motion Picture

“10 ½”

Pierre Gendron

“Les amours imaginaires” (“Heartbeats”)

Xavier Dolan, Carole Mondello, Daniel Morin

“Barney’s Version”

Robert Lantos

“Incendies”

Luc Déry, Kim McCraw

Splice

Steven Hoban

Achievement in Direction

Podz

“10 ½”

Xavier Dolan

“Les amours imaginaires” (“Heartbeats”)

Denis Villeneuve

“Incendies”

Vincenzo Natali...

Yesterday, the Academy of Canadian Cinema & Television (Acct) announced the nominees for the 31rst Genie Awards, Canada's own Oscars.

Best Motion picture:

* 10 1/2

* Les amours imaginaires

* Barney's Version

* Incendies

* Splice

Best Actor in a Leading Role:

* Jay Baruchel in The Trotsky

* Paul Giamatti in Barney's Version

* Robert Naylor in 10 1/2

* Timothy Olyphant in High Life

* François Papineau in Route 132

Best Actor in a Supporting Role:

* Martin Dubreuil in 10 1/2

* Dustin Hoffman in Barney's Version

* Alexis Martin in Route 132

* Callum Keith Rennie in Gunless

* Rossif Sutherland in High Life

Best Actress in a Leading Role:

* Lubna Azabal in Incendies

* Tatiana Maslany in Grown Up Movie Star

* Molly Parker in Trigger

* Rosamund Pike in Barney's Version

* Tracy Wright in Trigger

Best Actress In a Supporting Role:

* Sonja Bennett in Cole

* Anne-Élizabeth Bossé in Les amours imaginaires

* Minnie Driver in Barney's Version

* Terra Hazelton in Fubar 2

* Mary Walsh in Crackie

Best Adapted Screenplay:

* Michael Konyves...

After a couple of light on horror weeks, we are finally treated to a bumper crop of new releases. Headlining the week is Frozen, which is just what we in Southern California need to stave off our current heat wave. A couple of oldies but goodies are out, too, as Madman celebrates its Happy 30th Birthday and the original King Kong comes to Blu-ray. Fangoria's eight FrightFest titles bow as well.

Frozen

Directed by Adam Green

In Frozen (review), Adam Green has crafted a potent combination of absolute terror and compelling human drama that will stick with you long after you've left the theatre or turned off the DVD. One thing's for sure: The next time your friends invite you on a ski weekend, odds are you'll try to convince them to head to the beach instead. Frozen stars Shawn Ashmore, Emma Bell and Kevin Zegers.

Buy the Blu-ray or the regular DVD.

A fourth trailer of the upcoming adventure blockbuster Le poil de la bête has arrived online. The film's release is scheduled for October 1rst.

The story, which was penned by Stéphane J. Bureau and Pierre Daudelin, takes place in 1665 in New France at a time when a part of Canada was colonialized by France. Joseph Côté (Guillaume Lemay-Thivierge) escapes from a prison in order to avoid death by hanging. Moreover, while some colonial soldiers are chasing him, Joseph takes the identity of a jesuit and hides in the seigneury of Beaufort where most men are waiting for "daughhters of the king"(French women who were sent to Canada in order to find a husband).

At night, Joseph finds out that there are werewolves that terrorize the village. Besides, things get complicated when he falls in love with Marie Labotte (Viviane Audet), a "daughter of the king" that no one wants to marry.

Director: Daniel Grou. Review: Adam Wing. 90 minutes can feel like a long time, especially if you’re in the company of Dr Bruno Hamel. Daniel Grou takes us on a dark and depressing journey into the heart of retribution with French thriller 7 Days. Dr Hamel (Claude Legault) lives a peaceful existence with his wife (Fanny Mallette) and daughter, but their happy home is turned upside down when the girl is left to walk to school on her own. Choosing instead to spend some ‘quality time’ with his wife, he somewhat typically falls asleep, missing the call from school asking about her whereabouts. It’s only when a classmate shows up at their door with his daughter’s homework that the alarm bells start ringing. Happiness is shattered when her body is discovered, raped and murdered in a nearby field. Bruno struggles to come to terms with the loss, and the...

You might have noticed the coverage of this years ultra-sized Fantasia film festival in the Reviews and Interviews column of the site from a number of contributors taking in the festival:  Mack, Shelagh, Peter, Todd, and myself, as well as a plethora of other Twitch writers hither and yon.  Covering a festival of this size is a massive undertaking and I hope you enjoyed all the updates, interviews, and reviews.  Rest assured there are still a few more to come.  As Fantasia winds down with a screening of Metropolis Extended Edition and full orchestra, it seems to have been a raging success this year across the board.  The festival announced its Jury and Audience awards, and they are below.  It seems that the Subversive Serbia sidebar was a big hit, with controversial A Serbian Film getting one of the big audience awards.

Montreal, Wednesday, July 28, 2010 - As the 14th edition...

Les Films Séville, a Canadian film distributor, has revealed the second poster of the upcoming blockbuster Le poil de la bête. Moreover, this film directed by Philippe Gagnon will be released in Quebec on October 1, 2010.

The story, which was penned by Stéphane J. Bureau and Pierre Daudelin, takes place in 1665 in New France at a time when a part of Canada was colonialized by France. Joseph Côté (Guillaume Lemay-Thivierge) escapes from a prison in order to avoid death by hanging. Moreover, while some colonial soldiers are chasing him, Joseph takes the identity of a jesuit and hides in the seigneury of Beaufort where most men are waiting for "daughhters of the king"(French women who were sent to Canada in order to find a husband).

At night, Joseph finds out that there are werewolves that terrorize the village. Besides, things get complicated when he falls in love with Marie Labotte...

According to Amazon.fr, the Canadian thriller Les 7 jours du talion, an adaptation of Patrick Senécal's acclaimed novel, will be released on DVD in France on September 21.

Here's the description of the synopsis taken from a review I wrote:

Bruno Hamel (Claude Legault) is a surgeon by trade. He happily lives with Sylvie (Fanny Mallette), his wife, and Jasmine (Rose-Marie Coallier), their daughter. During one day, Bruno allows Jasmine to go outside in order to deliver invitation cards for her upcoming ninth birthday. Of course, he'd like to accompany his daughter, but he's too exhausted by his job and neither can Sylvie. However, as times goes by, Jasmine is unaccounted for. In the evening, Jasmine is found dead in the woods after she had been raped.

When Jasmine's killer, Anthony Lemaire (Martin Dubreuil), is arrested and ready to go in court, Bruno has one idea in his mind:...

E1 Entertainment have announced the UK DVD release of 7 Days on 23rd August 2010.

Directed by Daniel Grou (Vampire High; Big Wolf On Campus; The Hunger), aka Podz, and adapted for the screen by author Patrick Senécal (5150 Elm’s Way; Evil Words) from his best-selling novel, ‘Les sept jours du talion’, 7 Days is an intense and disturbing French Canadian thriller in the tradition of the Saw movies, but if they had been directed by Michael Haneke or Lars von Trier.

Middle-aged surgeon Bruno Hamel (Claude Legault), his wife Sylvie (Fanny Mallette) and their eight-year-old daughter Jasmine (Rose-Marie Coallier) are living a happy but fairly uneventful life in the quiet suburban town of Drummondville. That all changes one beautiful autumn afternoon when Jasmine fails to return home from school and is later found to have been raped and murdered by a local man, Anthony Lemaire (Martin Dubreuil). The loss of their daughter...

A few months ago, The Cultural Post introduced you to the teaser of the upcoming film Le poil de la bête. Now, the full-length trailer of this film directed by Philippe Gagnon has surfaced online.

The story, which was penned by Stéphane J. Bureau and Pierre Daudelin, takes place in 1665 in New France at a time when a part of Canada was colonialized by France. Joseph Côté (Guillaume Lemay-Thivierge) escapes from a prison in order to avoid death by hanging. Moreover, while some colonial soldiers are chasing him, Joseph takes the identity of a jesuit and hides in the seigneury of Beaufort where most men are waiting for "daughhters of the king"(French women who were sent to Canada in order to find a husband).

At night, Joseph finds out that there are werewolves that terrorize the village. Besides, things get complicated when he falls in love with Marie Labotte...

Die hard fans of Patrick Senécal and movie goers alike will definitely like Les 7 jours du talion . Indeed, this is by far the best adaptation of a work from Canada's own Stephen King. However, if you have a weak stomach, avoid this film at all cost because of its very graphic scenes of violence.

Bruno Hamel (Claude Legault) is a surgeon by trade. He happily lives with Sylvie (Fanny Mallette), his wife, and Jasmine (Rose-Marie Coallier), their daughter. During one day, Bruno allows Jasmine to go outside in order to deliver invitation cards for her upcoming ninth birthday. Of course, he'd like to accompany his daughter, but he's too exhausted by his job and neither can Sylvie. However, as times goes by, Jasmine is unaccounted for. In the evening, Jasmine is found dead in the woods after she had been raped.

When Jasmine's killer, Anthony Lemaire (Martin Dubreuil), is...

Admit it: You've been waiting for this. The teaser of the upcoming film Le poil de la bête is already online. Moreover, this film directed by Philippe Gagnon will be released on October 1rst, 2010.

The story, which was penned by Stéphane J. Bureau and Pierre Daudelin, takes place in 1665 in New France at a time when a part of Canada was colonialized by France. Joseph Côté (Guillaume Lemay-Thivierge) escapes from a prison in order to avoid death by hanging. Moreover, while some colonial soldiers are chasing him, Joseph takes the identity of a jesuit and hides in the seigneury of Beaufort where most men are waiting for "daughhters of the king"(French women who were sent to Canada in order to find a husband).

At night, Joseph finds out that there are werewolves that terrorize the village. Besides, things get complicated when he falls in love with Marie Labotte (Viviane Audet...

Year: 2009

Directors: Daniel Grou

Writers: Patrick Senécal

IMDb: link

Trailer: link

Review by: agentorange

Rating: 7.3 out of 10

Last summer, a fun little revenge thriller called Law Abiding Citizen was released into theaters. As dumb as it was, it was hard to resist the sweet siren song of a story about an ex-military engineer who uses ingenious booby traps to outwit bumbling lawyers and feckless civil servants. It was fun to revel in some harmless, impotent stick-it-to-the-man fantasy. I ate popcorn.

I did not eat popcorn during 7 Days.

7 Days is the polar opposite of films like Law Abiding Citizen, that gloss over human suffering in favor of the mystery and thrills of revenge. In fact, it's about as dire and as brutally violent as a film can get. It's a tragic story about a man descending into soul-shattering misery after his daughter is violently raped and murdered. A man so desperate to relieve his own guilt,...

[Our thanks to Ryland Aldrich for the following review.]

Daniel Grou has taken a cue from Michael Haneke in the very uncomfortable French Canadian torture film 7 Days.  Grou endeavors to explore the psyche of a man driven to the edge by grief. While it provides plenty of shriek-worthy visuals, the film's protagonist proves just too unsympathetic and the story ultimately disappoints.

Bruno (Claude Legault) is a doctor who works nights at the local hospital. Normally he would return home from work and take his young daughter to school, but one day she decides to walk on her own while mom and dad spend some quality time together. This results in tragedy and Bruno with the police when they discover his daughter's grotesquely brutalized body. A rift forms between Bruno and his wife Sylvie (Fanny Mallette) over the blame and Bruno sinks into a deep depression.  The police quickly catch the killer and things look set for a speedy trial and easy conviction.

There's an epidemic going around during past couple of months. People are killing young women-in the movies. In Peter Jackson's "The Lovely Bones," 14-year-old Susie Salmon played by Saoirse Ronan is raped and murdered near her home. The dead girl is intent on killing the murderer, whose death would release her from the clouds and gain her entrance to heaven. In Pierre Morel's "Taken," Bryan Mills, played by Liam Neeson, suffers the murder of his daughter. His response? "I know who you are. If you let my daughter go now, that'll be the end of it. I will not lok for you. But if you don't, I will look for you, I will find you, and I will kill you." Martin Campbell's "Edge of Darkness" finds Thomas Craven in pursuit of the shotgun slaying of his 24-year-old daughter. Forget the law. Justice is too slow. These survivors want revenge.

Alliance Vivafilm, the distributor of Les sept jours du talion (7 Days), had announced that this thriller directed by Daniel Grou (Minuit, le soir) will have a red-carpet treatment on February 1rst, 2010. Afterwards, the film, which was adapted from an acclaimed novel by Patrick Senécal, will be released in Quebec four days later.

The premiere will be in Montreal at the Cinéma Impérial. Besides, let's hope that Claude Legault, Fanny Mallette, Martin Dubreuil and Rémy Girard, who are all the stars of the film, will be there.

Here's the address of this movie theatre:

1432, Rue De Bleury,

Montreal, Quebec (Canada)

H3A 2J1

View Larger Map

Finally, if you want a description of the film's story, go here. Other than that, here's the trailer:...

Alliance Vivafilm, the distributor of Les sept jours du talion (7 Days), had announced that this thriller directed by Daniel Grou (Minuit, le soir) and adapted from an acclaimed novel by Patrick Senécal will premiere on February 1rst, 2010. Afterwards, the film will be released in Quebec four days later.

The premiere will be in Montreal at the Cinéma Impérial. Besides, let's hope that Claude Legault, Fanny Mallette, Martin Dubreuil and Rémy Girard will be there.

Here's the address of this movie theatre:

1432, Rue De Bleury,

Montreal, Quebec (Canada)

H3A 2J1

View Larger Map

Finally, if you want a description of the film's story, go here. Other than that, here's the trailer:...

The North American premiere of Splice, a France-Canadian co-production, directed by Vincenzo Natali in Toronto, will screen at the 2010 Sundance Film Festival in January, during the Park City At Midnight program. Filmed in Toronto at Black Creek Pioneer Village, Cinespace Film Studios and York University, Splice follows 'Elsa' and 'Clive', two scientists who defy ethical boundaries by conducting a bizarre experiment, splicing together human and animal DNA to create a hybrid, humanoid organism. Named 'Dren', the creature develops from a deformed female into a beautiful winged chimera, forging a bond with both creators. Cast also includes Adrien "The Pianist" Brody, Sarah Polley, Delphine Chaneac and David Hewlett. Cast also includes Adrien "The Pianist" Brody, Sarah Polley, Delphine Chaneac and David Hewlett. Other Canadian features screening at Sundance Midnight include horror spoof Tucker and Dale vs. Evil, directed by Eli Craig, written by Craig & Morgan Jurgenson and 7 Days, directed by Daniel Grou,...

Les Sept Jours du Talion or Seven Days will have a World Premiere at the Sundance Film Festival starting January 22nd, 2010. Les Sept Jours du Talion is a graphic adaption of Patrick Senecal's novel and the first terrifying trailer can be found below. French is spoken in the trailer, but English horror fans will be able to understand the film's message from the horrifying shown in the clip below. A very somber look at murder, rape, and the effects of these two elements on a family, Les Sept du Talion (Seven Days) will surely be one of the highlights of the festival. All the available info' on the film is provided below.

The synopsis for Les Sept Jours de Talion (Seven Days) is below:

"Bruno Hamel is a thirty eight year old surgeon. He lives in Drummondville with his wife Sylvie, and their eight year-old daughter Jasmine. Like many happy people,...

On Wednesday the Sundance Film Festival unveiled the films competing in late January 2010. Yesterday they announced the rest of the line-up of independent films vying for attention for industry types and the curious public.

The entire list of 53 films is below, but here are a few that stood out to me from the premieres alone:

Mumblecore directors the Duplass Brothers, have a new, untitled movie starring an unusually high-profile cast compared to their usual improvisational crew. John C. Reilly, Marisa Tomei, Jonah Hill, and Catherine Keener. Reilly and Keener are actually in two films at the 2010 festival.

The Company Men, starring Ben Affleck, Kevin Costner, Maria Bello, Tommy Lee Jones, Chris Cooper, Rosemarie DeWitt about corporate downsizing.

Rodrigo Cortes’ Buried, starring Ryan Reynolds as a man buried alive in a coffin. I’ve read the script and its great. More on that as soon as I can.

The Runaways, the...