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Sous le signe du lion is a Quebec television series comprising thirty 30-minute episodes, directed by Jean-Pierre Sénécal and broadcast in 1961. A two-season remake was broadcast in 1997 and in 2000. The original screeplay was written by Françoise Loranger. Hélène Pedneault adapted it in 1997 and Guy Fournier in 2000. The 1997 adaptation was directed by Maude Martin, and the 2000 by Yvon Trudel.
Faced with the daring and modern script, Radio-Canada refused to broadcast it at first, but changed its mind a few years later.
Kelvan describes his daily life as a deaf person in Montreal, with one small detail: he's part of the puppy community. Puppy-Play is a kind of role-playing game in which you adopt the personality and mentality of an animal, and is present in the LGBTQueer+ community.
France and Germany are at war. Adolf Hitler challenges the Allies to seal the fate of the war by playing a football match.
A group of young people are trapped in an evil village.
Unwilling to marry, Silvia poses as a maid in order to meet the man she is to marry incognito. This will allow her to study the character and behaviour of her fiancé. But the young man resorts to the same stratagem...
While researching their subject’s life for their feature My Life and Times With Antonin Artaud, co-directors/writers Gerard Mordillat and Jerome Prieur made a documentary on the famed French actor/writer/poet that died in 1948 at the age of 51.
Five romantic characters share their lives in a vast castle. Each in his own way is looking for an absolute: J. wanders in the graveyard, B. hacks, C. causes love adventures, A. walks the forest on his horse, and F. repeats in a rock band . A. and J. nourish an idyll that leads them on an "initiatory" journey. Different states of mind pass through them, a sweet mixture that will make them rediscover the world of childhood and haunted castles ... Sonorized with the voice of Antonin Artaud, shot with a very contrasting photographic process, Le rouge de chine refers to the origins of cinematograph.
Martial lost his father after the Ispeguy Pass. Since that day, he strangely persists in repairing the damaged vehicle. Maybe to keep him close, just a little more before growing up.
Series of tales. The framing story: a group of women are doing their laundry and begin to tell lusty tales.
Le déjeuner sur l’herbe is simultaneously perceived from four different camera positions in a work which engages with the pro-filmic in order to question documentation, illusion and the film viewing process.
The life of a Middle-East family of immigrants in Europe. The father carries the heavy burden of banishment. To rescue his culture, his traditions, is mandatory, so he remains faithful to his past, his origins, to himself. His daughter is now a grown-up. He worries and wishes she would get married soon. The young woman leaves the family home every morning, but changes her clothes in a bar before she goes to work, her hair down. She puzzles the young boss of the company that employs her. He fell in love and is ready to do anything to marry her. But the young woman keeps her freedom of choice, just like her mother had done with her father. She won’t have time to introduce the only man for her to her parents. A friend of her father’s catches them. In a cafe.
Delphine is twenty years old. She is too young to have experienced the activism of the seventies, but for her it is not something that belongs to the past. She decides to find something that will allow her to act and which, she claims, is owed to her.