Travelling to the Arctic for the first time, Carmen arrives in Iqaluit to tend to her husband, Gilles, a construction worker who has been seriously injured. Trying to get to the bottom of ...
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Aïcha est une adolescente de 14 ans qui a une relation tendue avec sa mère depuis que celle-ci a chassé de la maison son petit copain algérien que la jeune femme adorait. Quand Aïcha ... See full summary »
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Montreal, October 1970. Twelve-year-old Manon's family is on the verge of collapse; she and her little brother Mimi are about to be placed in Foster Care. Manon is incensed. Inspired by the... See full summary »
A recent widow living in a small Quebec town goes to Montreal to visit her busy adult son and daughter, and then on a whim decides to travel to the town of her childhood, where she hadn't set foot in decades.
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Antoine Olivier Pilon,
Fidèle au roman, le film relate le dernier été du jeune Félix Leclerc dans la maison familiale de La Tuque, au Québec, tout juste avant qu'il quitte la région pour aller étudier à Ottawa. ... See full summary »
One tipsy evening, Charlotte, the recently heartbroken, Megan, the anti-love anarchist, and Aube, the shy romantic, stumble into the 'Toy Depot'. Charmed by the male employees, the girls ... See full summary »
Hakeem and A-Mac are like brothers. Together facing immigrant life in Montreal, while 'spotting' cars after school. Boost gives us a glimpse into the awkward adventures of teenage boyhood, then the jolt, when that innocence ends abruptly.
Travelling to the Arctic for the first time, Carmen arrives in Iqaluit to tend to her husband, Gilles, a construction worker who has been seriously injured. Trying to get to the bottom of what happened, she strikes up a friendship with Noah, Gilles' Inuk friend, and realizes they share a similar story. Together, Carmen and Noah head out on the Frobisher Bay - she, looking for answers to her questions; he, trying to stop his son from committing what can't be undone.
Iqaluit is a unique creature. Director Benoit Pilon has blended Quebec cinema and the fledgling Inuit film industry before in his 2008 The Necessities of Life, shortlisted for the Oscar for Foreign Film, but Iqaluit goes a step even further in adding a substantial amount of English to the French and Inuktitut dialogue. Unfortunately, that turns out to be a weakness- the English dialogue, only spoken between French Canadian and Inuit characters who don't know each other's first language, is often awkward and clumsy, and the performances also suffer in English. It's not just that it's broken English- even broken English doesn't have to sound unnatural if written right.
The good news is that the performances are otherwise good, particularly in the first half where Marie-Josée Croze plays the grieving widow. Anyway, the performances and dialogue aren't all there is to Iqaluit- stunning cinematography, cold but vast, with blues and greys being particularly important to the colour scheme. The score is lyrical, and most important, the overall plot structure carries an impact. The racial conflict is understated and brief, but underlies much of the drama.
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