Before Simon (Théodore Pellerin) struts out on stage every night in his drag regalia, he prepares backstage by lip-syncing to Chaka Khan’s “I’m Every Woman.” His persona, Glory Gore, isn’t fully formed at this point — she’s only been half-painted into existence — but when Chaka belts out the lyrics to her signature anthem, something physically shifts within Simon as he begins to inhabit the words and the woman inside him alike. Although the other drag queens roll their eyes and tease Simon for always playing the same song each night, it’s not long before everyone joins him for a communal singalong that speaks to the uniquely queer connection these queens have bonded through.
Yet “Solo” isn’t so much about belonging as it is the desperate need to belong, and it’s this pain that Simon is forced to work through when his life twists into...
Yet “Solo” isn’t so much about belonging as it is the desperate need to belong, and it’s this pain that Simon is forced to work through when his life twists into...
- 5/28/2024
- by David Opie
- Indiewire
Winners of the 2016 Whistler Film Festival were announced at the Awards Celebration this morning on the final day of the 16h annual Festival.Before The Streets (Avant Les Rues) Canadian director Chloé Leriche’s first feature, won the $15,000 cash prize sponsored by the Directors Guild of Canada, British Columbia and the $15,000 post-production prize sponsored by Encore Vancouver in the 13th edition of the coveted Borsos Competition for Best Canadian Feature Film. The moving story of Shawnouk, a young First Nations man who banishes himself into exile after committing a horrible crime during a routine break-in at one of the local summer homes. The first feature film ever shot in the Atikamekw language is an accomplished first film by filmmaker Chloé Leriche.
The Borsos Jury chose Before The Streets for the Best Canadian Feature because “this surprising, unexpected film grips you from its powerful, intense opening chant, to well beyond the final credits,...
The Borsos Jury chose Before The Streets for the Best Canadian Feature because “this surprising, unexpected film grips you from its powerful, intense opening chant, to well beyond the final credits,...
- 12/7/2016
- by Sydney Levine
- Sydney's Buzz
Sowing the Seed of Love: Émond Prescribes Depression Medicine for Two
In Zizekian logic, there are the unknown knowns, that is to say, there are things that we fail to admit to knowing. In Anne Émond’s subtly devised, multi-decade spanning family drama, there is a general and generational sentiment that the unknown is best kept secret in order to protect the next of kin. While her boldly truculent debut Nuit #1 delved into urban solitudes and wore all feelings on its sleeveless sleeves, set in a caring and loving family nucleus in a rural backdrop, the French Canadian helmer’s sophomore feature (known internationally as Our Loved Ones) is more curious about the unexplained and what is not being said. While some of the coming-of-ager sequences tucked in the denouement are a tad too overreaching, it’s with an assured, sensitive, sympathetic hand that Les êtres chers deftly explores the...
In Zizekian logic, there are the unknown knowns, that is to say, there are things that we fail to admit to knowing. In Anne Émond’s subtly devised, multi-decade spanning family drama, there is a general and generational sentiment that the unknown is best kept secret in order to protect the next of kin. While her boldly truculent debut Nuit #1 delved into urban solitudes and wore all feelings on its sleeveless sleeves, set in a caring and loving family nucleus in a rural backdrop, the French Canadian helmer’s sophomore feature (known internationally as Our Loved Ones) is more curious about the unexplained and what is not being said. While some of the coming-of-ager sequences tucked in the denouement are a tad too overreaching, it’s with an assured, sensitive, sympathetic hand that Les êtres chers deftly explores the...
- 9/28/2015
- by Eric Lavallee
- IONCINEMA.com
Xavier Dolan tied contemporaries Philippe Falardeau and Denis Villeneuve by winning his second Best Feature award at the 17th annual Jutra Awards. Quebec’s answer to the Oscars was a rather suspense-less affair as Mommy claimed nine (plus the top box office award honor) awards winning in all major categories with the exclusion of Best Supporting Actor category win, which would only end up going to Dolan’s other nominated film, Tom at the Farm. Pierre-Yves Cardinal was sublime in his predatory type role and as was the case for several nominees, was hard at work on another project and therefore not on hand for trophyware. Ricardo Trogi’s throwback to awkward teen years tale 1987 did win a trio of awards, but if there were any surprises in the Dolan camp it was the acceptance speeches: Dolan delivered a keynote speech type quality for the last win of the night...
- 3/16/2015
- by Eric Lavallee
- IONCINEMA.com
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