Gabrielle, Canada's Submission for the Academy Award Nomination for Best Foreign Language Film. U.S. : Entertainment One Films U.S. International Sales Agent: Entertainment One Films International
Québécoise filmmaker Louise Archambault's sophomore feature Gabrielle is an incredibly touching film that radiates joy and presents a singularly honest take on the subject of mentally challenged individuals. Committed to portray these individuals in the most realistic manner she cast non-professional actors from the very center where the film takes place, by doing this she gave these talented, but often dismissed people a chance to be seen as self-sufficient and capable. Furthermore, Archambault's film is definitely about love, a feeling often thought too complex for people born with certain syndromes or handicaps, but in her story, she exalts their ability to love and be loved in the purest way possible. The director talked to us about the challenges during the casting process, the chemistry between the protagonists Gabrielle Marion-Rivard and Alexandre Landry, and the touchy issues surrounding her decision of showing her characters' sensual desires for one another.
Read the Review for Gabrielle Here
Carlos Aguilar: How did you develop this idea for the film? Did anyone in your life inspire you particularly to make a film about this subject matter?
Louise Archambault: It would be a long answer but to make it short, because it’s a really long process, I guess I wanted to talk about happiness and outcast people, invisibles. The first woman who inspired me was in my neighborhood; she is more mentally challenged than what we see in the film. We used to swim in the same public pool. In the changing room she always had someone assisting her. She had a strong personality, she never wanted to put on her bathing cap on. She yelled, and she made people uneasy. Once in the water she would just float and sing really well. It was so beautiful, but people felt uneasy with it still. At the same time I became acquainted with that organization Young Musicians of the World, which I really shot in India. One French woman founded that school for deprived children, and it specializes in music. For a long time, half of my script happened in India, and the sister was already there, but it was huge and very expensive for a second feature, so at some point I just cut it in half and focused on one thing. Music and choir singing came instantly in the equation, then a lot of people inspired me.
Aguilar: Was the casting process trickier for this film in particular than for other projects you have worked on? How did you go about choosing the members of the choir?
Archambault: Yeah. For sure I had the wish of making a film with mentally challenged people, and not only on them. At some point I became acquainted with that center called Les Muses. That’s where Gabrielle has singing classes. They do theater, singing, and dance and they want for their students to work professionally ideally. A lot of people in the film came from there. I created a choir for the film, some of them I chose because of their singing and some because they have great personalities. For all the non-professional actors I knew I wanted to keep their real first name so I could improvise during the shoot. Like Gabrielle, I didn’t know if she could do the par. She was not an actress, but she is a good singer, and she has a magical presence. For a year I worked with her, in her syndrome she has a trait that is called theatrical behavior so she is very expressive. But in film, it could look false and not good, and I didn’t want that, so I had to find a way to work with that. I had to forget perfection, let go, and know them well so their personality would come out, and their strength would come out. The other professional actors, are also good, but above all they are very human, they are not into their ego. Everyday was about finding solutions because things didn’t necessarily worked out, but everybody was so involved in the film and worked hard. Gabrielle worked hard, she wanted to. I just wanted to get the best out of them.
Aguilar: Speaking of acting, how difficult was it to portray the relationship between Gabrielle and Martin and finding the right chemistry?
Archambault: First, Martin (Alexandre Landry) he is a professional actor. He won three prizes in festivals already. I did audition some mentally challenged actors for the part, super good actors, but the love chemistry didn’t work out. At some point one actor stopped and looked at me and said “I really want a part in your film. I really want to be an actor, but I cannot fall in love with her, it doesn’t work” [Laughs]. Then Alexandre came and auditioned, and he is a very gifted actor, but I also think he is a very special guy. He never judges, he is very curious of people and very generous, and that helped a lot. When he met Gabrielle, they were giggling, and it was something else. He was intimidated because he is not a singer. Yes, these are mentally challenged people, but they are good singers. But eventually Alexandre felt part of them, he asked a lot of questions and Gabrielle helped him. She gave him techniques. I think they developed like a brother/sister relationship, very strong. It was special because Gabrielle had never made love in her life, so how do you act that if you don't know? [Laughs] So it was special.
Aguilar: This is a very special coming-of-age story, you don’t portray these individuals in a patronizing way. They are presented as complex and self-sufficient individuals. They have talents and dreams. Was this something you wanted to explore from the beginning?
Archambault: Absolutely, I didn’t want to go into “miserablism”, it’s a feel-good, but I didn’t want to go too sugary either. If I would have taken only actors and all of it was make-believe, I’m not sure the feeling would be the same. I knew I wanted to be in the frontier of fiction film, it’s scripted, but the way it’s done is very documentary-oriented. When I shot the dance scene, it was a real dance, and they were real people who were there in their real world. The combination of both reality and fiction adds - at least for those characters, I’m not saying all challenged people are like that - more realism. It is a delicate subject, but I didn’t want to suck it down emotionally, so there is singing, and I think a lot of people can relate. It is a love story with challenges. It’s a film about love. That’s it.
Aguilar: Most films about mentally challenged people never delve into their sexual desires. Did you ever feel that portraying that was a bit risqué or touchy?
Archambault: We talked a lot about that with the producer and investors, “To what extent can I go? Can I go that far or not?” I had Gabrielle as well, and I had to abide by her limits as well. I wanted to give it sensuality, like you mentioned, it is a coming-of-age story. At the beginning she is a child and at the end she is a woman. That’s what I wanted to say, and I wanted something very sensual, it is like pure love, like the first time, but a beautiful first time.
Aguilar: How did you develop the other characters, the “normal” people who sometimes seem to have more issues with the mentally challenged people's limitations than themselves?
Archambault: Gabrielle’s sister Sophie (Mélissa Désormeaux-Poulin), for examples, she wants to go to India, but she can’t because Gabrielle is trying to live out her independence and she rebels. They have to let go, because if they continue to be too connected they will not live their own lives. Maybe if they trust each other and let go, it would help them have a better relationship later on between them.
The mothers are only in about 3 scenes, so I had to be very efficient. Martin’s mother, I think she forgot herself at some point because she wanted the best for her son. She doesn’t know better, she would love for him to have a “normal” girlfriend. Hopefully at some point she will open her perception. I say to myself “I hope that character falls in love after the film and has her own life.” The other one [Gabrielle’s mother], she couldn’t let go of her job. She doesn’t have a husband, at some point Sophie left and she has Gabrielle, what can she do? Should she leave her job to take care of Gabrielle? It makes no sense. Therefore, she chose the best place for Gabrielle, maybe she should visit her more, but then again we all have issues like that in our families. We are all imperfect, but Gabrielle has to develop from that and be resilient, her mother loves her, not perfectly, but she still can have a great life.
Aguilar: Did your cast get to see the film after it was done? How did they react?
Archambault: It was very touching. During the premier in Montreal in September the crew, the cast, and their families were there. They are the real inspiration for the film. The parents, and the people from the organizations, they were crying and saying, “Wow, you understood what we do”. That happened that time, but it happened in other countries as well.
Aguilar: Overall, what would you like people to take from the film?
Archambault: I want them to want to sing and hug the people they love when they come out of the theater [Laughs]. Be open to difference; don’t give in to judgment or appearances. If you are on the bus and there is someone who talks to himself or herself and you feel uncomfortable, just give them a chance. You probably have as much weirdness in you but it doesn’t show, because we are educated for it not to show in society. Be warm, we just want to love, and be loved.
Aguilar: How does it feel to represent Canada at the Academy Awards, is there any sort of pressure or too much attention on you because of this?
Archambault: I don’t feel any pressure because it is already an honor. Specially with this subject and this type of film. I think it is great that Canada chose this one. It makes me believe more in human beings, makes me less cynic. It is great to shine a light on these people, and specially people who work to help people like Gabrielle, they never get the attention they deserve. They always struggle to get funding, they are not actors, just for that I think more people will see the film. I hope.
Aguilar: Do you have any upcoming projects you are working on now?
Archambault: I have a few projects. The scrip that is finished now it’s called After The End it’s in English. It’s an adaptation of a British play. It is set mostly in a nuclear bunker [Laughs].
"Gabrielle" Opens in NYC and L.A on Friday July 4th.
Québécoise filmmaker Louise Archambault's sophomore feature Gabrielle is an incredibly touching film that radiates joy and presents a singularly honest take on the subject of mentally challenged individuals. Committed to portray these individuals in the most realistic manner she cast non-professional actors from the very center where the film takes place, by doing this she gave these talented, but often dismissed people a chance to be seen as self-sufficient and capable. Furthermore, Archambault's film is definitely about love, a feeling often thought too complex for people born with certain syndromes or handicaps, but in her story, she exalts their ability to love and be loved in the purest way possible. The director talked to us about the challenges during the casting process, the chemistry between the protagonists Gabrielle Marion-Rivard and Alexandre Landry, and the touchy issues surrounding her decision of showing her characters' sensual desires for one another.
Read the Review for Gabrielle Here
Carlos Aguilar: How did you develop this idea for the film? Did anyone in your life inspire you particularly to make a film about this subject matter?
Louise Archambault: It would be a long answer but to make it short, because it’s a really long process, I guess I wanted to talk about happiness and outcast people, invisibles. The first woman who inspired me was in my neighborhood; she is more mentally challenged than what we see in the film. We used to swim in the same public pool. In the changing room she always had someone assisting her. She had a strong personality, she never wanted to put on her bathing cap on. She yelled, and she made people uneasy. Once in the water she would just float and sing really well. It was so beautiful, but people felt uneasy with it still. At the same time I became acquainted with that organization Young Musicians of the World, which I really shot in India. One French woman founded that school for deprived children, and it specializes in music. For a long time, half of my script happened in India, and the sister was already there, but it was huge and very expensive for a second feature, so at some point I just cut it in half and focused on one thing. Music and choir singing came instantly in the equation, then a lot of people inspired me.
Aguilar: Was the casting process trickier for this film in particular than for other projects you have worked on? How did you go about choosing the members of the choir?
Archambault: Yeah. For sure I had the wish of making a film with mentally challenged people, and not only on them. At some point I became acquainted with that center called Les Muses. That’s where Gabrielle has singing classes. They do theater, singing, and dance and they want for their students to work professionally ideally. A lot of people in the film came from there. I created a choir for the film, some of them I chose because of their singing and some because they have great personalities. For all the non-professional actors I knew I wanted to keep their real first name so I could improvise during the shoot. Like Gabrielle, I didn’t know if she could do the par. She was not an actress, but she is a good singer, and she has a magical presence. For a year I worked with her, in her syndrome she has a trait that is called theatrical behavior so she is very expressive. But in film, it could look false and not good, and I didn’t want that, so I had to find a way to work with that. I had to forget perfection, let go, and know them well so their personality would come out, and their strength would come out. The other professional actors, are also good, but above all they are very human, they are not into their ego. Everyday was about finding solutions because things didn’t necessarily worked out, but everybody was so involved in the film and worked hard. Gabrielle worked hard, she wanted to. I just wanted to get the best out of them.
Aguilar: Speaking of acting, how difficult was it to portray the relationship between Gabrielle and Martin and finding the right chemistry?
Archambault: First, Martin (Alexandre Landry) he is a professional actor. He won three prizes in festivals already. I did audition some mentally challenged actors for the part, super good actors, but the love chemistry didn’t work out. At some point one actor stopped and looked at me and said “I really want a part in your film. I really want to be an actor, but I cannot fall in love with her, it doesn’t work” [Laughs]. Then Alexandre came and auditioned, and he is a very gifted actor, but I also think he is a very special guy. He never judges, he is very curious of people and very generous, and that helped a lot. When he met Gabrielle, they were giggling, and it was something else. He was intimidated because he is not a singer. Yes, these are mentally challenged people, but they are good singers. But eventually Alexandre felt part of them, he asked a lot of questions and Gabrielle helped him. She gave him techniques. I think they developed like a brother/sister relationship, very strong. It was special because Gabrielle had never made love in her life, so how do you act that if you don't know? [Laughs] So it was special.
Aguilar: This is a very special coming-of-age story, you don’t portray these individuals in a patronizing way. They are presented as complex and self-sufficient individuals. They have talents and dreams. Was this something you wanted to explore from the beginning?
Archambault: Absolutely, I didn’t want to go into “miserablism”, it’s a feel-good, but I didn’t want to go too sugary either. If I would have taken only actors and all of it was make-believe, I’m not sure the feeling would be the same. I knew I wanted to be in the frontier of fiction film, it’s scripted, but the way it’s done is very documentary-oriented. When I shot the dance scene, it was a real dance, and they were real people who were there in their real world. The combination of both reality and fiction adds - at least for those characters, I’m not saying all challenged people are like that - more realism. It is a delicate subject, but I didn’t want to suck it down emotionally, so there is singing, and I think a lot of people can relate. It is a love story with challenges. It’s a film about love. That’s it.
Aguilar: Most films about mentally challenged people never delve into their sexual desires. Did you ever feel that portraying that was a bit risqué or touchy?
Archambault: We talked a lot about that with the producer and investors, “To what extent can I go? Can I go that far or not?” I had Gabrielle as well, and I had to abide by her limits as well. I wanted to give it sensuality, like you mentioned, it is a coming-of-age story. At the beginning she is a child and at the end she is a woman. That’s what I wanted to say, and I wanted something very sensual, it is like pure love, like the first time, but a beautiful first time.
Aguilar: How did you develop the other characters, the “normal” people who sometimes seem to have more issues with the mentally challenged people's limitations than themselves?
Archambault: Gabrielle’s sister Sophie (Mélissa Désormeaux-Poulin), for examples, she wants to go to India, but she can’t because Gabrielle is trying to live out her independence and she rebels. They have to let go, because if they continue to be too connected they will not live their own lives. Maybe if they trust each other and let go, it would help them have a better relationship later on between them.
The mothers are only in about 3 scenes, so I had to be very efficient. Martin’s mother, I think she forgot herself at some point because she wanted the best for her son. She doesn’t know better, she would love for him to have a “normal” girlfriend. Hopefully at some point she will open her perception. I say to myself “I hope that character falls in love after the film and has her own life.” The other one [Gabrielle’s mother], she couldn’t let go of her job. She doesn’t have a husband, at some point Sophie left and she has Gabrielle, what can she do? Should she leave her job to take care of Gabrielle? It makes no sense. Therefore, she chose the best place for Gabrielle, maybe she should visit her more, but then again we all have issues like that in our families. We are all imperfect, but Gabrielle has to develop from that and be resilient, her mother loves her, not perfectly, but she still can have a great life.
Aguilar: Did your cast get to see the film after it was done? How did they react?
Archambault: It was very touching. During the premier in Montreal in September the crew, the cast, and their families were there. They are the real inspiration for the film. The parents, and the people from the organizations, they were crying and saying, “Wow, you understood what we do”. That happened that time, but it happened in other countries as well.
Aguilar: Overall, what would you like people to take from the film?
Archambault: I want them to want to sing and hug the people they love when they come out of the theater [Laughs]. Be open to difference; don’t give in to judgment or appearances. If you are on the bus and there is someone who talks to himself or herself and you feel uncomfortable, just give them a chance. You probably have as much weirdness in you but it doesn’t show, because we are educated for it not to show in society. Be warm, we just want to love, and be loved.
Aguilar: How does it feel to represent Canada at the Academy Awards, is there any sort of pressure or too much attention on you because of this?
Archambault: I don’t feel any pressure because it is already an honor. Specially with this subject and this type of film. I think it is great that Canada chose this one. It makes me believe more in human beings, makes me less cynic. It is great to shine a light on these people, and specially people who work to help people like Gabrielle, they never get the attention they deserve. They always struggle to get funding, they are not actors, just for that I think more people will see the film. I hope.
Aguilar: Do you have any upcoming projects you are working on now?
Archambault: I have a few projects. The scrip that is finished now it’s called After The End it’s in English. It’s an adaptation of a British play. It is set mostly in a nuclear bunker [Laughs].
"Gabrielle" Opens in NYC and L.A on Friday July 4th.
- 7/3/2014
- by Carlos Aguilar
- Sydney's Buzz
Gabrielle, Canada's Submission for the Academy Award Nomination for Best Foreign Language Film. U.S. : Entertainment One Films U.S. International Sales Agent: Entertainment One Films International
It's easy to admit that everyone, and that should really mean everyone, deserves to be loved. Not only to be loved, but to fall in love. Unjustifiably society still makes exceptions, and sadly deems certain individuals unfit to experience that deep connection with another person. Rarely portrayed in film as self- sufficient beings, handicapped people are indeed like everyone else when it comes to matters of the heart. Bravely and with heartwarming tact Québécois director Louise Archambault blends a fictional storyline with documentary-like elements in Gabrielle to construct one of the most moving films of the year, and unquestionably one that honors the differences and special qualities of those often kept in the sidelines.
For Gabrielle (Gabrielle Marion-Rivard), the cheerful protagonist, every day seems to be a wondrous adventure. She is a young woman who lives with an infectious happiness for life which shines though her beautifully charming smile. She works at a regular office job and also sings in a local choir, and her days are filled with excitement. Yes, Gabrielle falls into the category of handicapped, but although born with Williams syndrome and living in a facility for individuals with a variety of conditions, she has dreams, aspirations, and wants to one day form a family with her boyfriend Martin (played marvelously by Alexandre Landry), who is not handicapped in real life. He is also an intellectually challenged young man who is part of her singing group at the Les Muses center. As their romance progresses from a simply platonic friendship into their sexual awaking, his mother decides they cannot be together as she believes their condition disqualifies them from the hardships of a romantic relationship.
Heartbroken Gabrielle seems not to be able to concentrate in any of her activities. She is in love. In an effort to bring back her beloved Martin into her life she attempts to be fully independent and demands her own apartment, but her own limitations get in her way. Her sister Sophie (Mélissa Désormeaux-Poulin), her most reliable moral support, has the decided to follow her fiancé to India, a situation that heightens Gabrielle’s distress at that same time that she must prepare for an important live performance with her choir without Martin’s support.
Like few other directors, Archambault’s filmmaking convictions are utterly inspirational. She cast most of her actors directly from the actual educational center where the story takes place. Not only does this provide her film with remarkable authenticity, something that could not have happened with actors playing make-believe versions of their experience, but it also highlights the talent of these amazing people who are often dismissed as incapable of complex understanding. The director strongly positions the viewer to see them as tridimensional characters full of nuances. They dance, sing, and show their emotions without the societal inhibitions that prevent all others living a “normal” existence, from experiencing every moment to the fullest. Untainted by judgment, Gabrielle, Martin, and their comrades are essentially the purest, most loyal characters one can encounter, and Archambault captures their endless willingness to accept and love others gracefully.
One of the crucial numbers the colorful choir members work on for their show with Robert Charlebois (who actually appears in the film) is his song “Ordinaire” (Ordinary), which Gabrielle has designated as Martin’s song, and what a fitting tune it is. Regardless of their differences, their special needs or particular shortcomings, these fantastically loving individuals are ordinary where it counts. Yet, their circumstances force them to achieve their goals in unordinary ways, which really makes them exemplary and special. Gabrielle Marion-Rivard embodies happiness and perseverance, her performance is sure to transfer that to the audience. Surely an amazingly unique love story, Gabrielle is a joyous and touching portrayal of a singular kind of love, one that is not ruled by vanity or lust, but just exists with all-welcoming open arms. Above all, one thing is made clear, the only disability that can really prevent anyone from being happy is not being able to love, and in that field Gabrielle is above average, if not gifted.
'Gabrielle' Opens in NYC (Village East Cinemas) and L.A (Laemmle's Music Hall 3) on Friday July 4th, 2014
Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards...
It's easy to admit that everyone, and that should really mean everyone, deserves to be loved. Not only to be loved, but to fall in love. Unjustifiably society still makes exceptions, and sadly deems certain individuals unfit to experience that deep connection with another person. Rarely portrayed in film as self- sufficient beings, handicapped people are indeed like everyone else when it comes to matters of the heart. Bravely and with heartwarming tact Québécois director Louise Archambault blends a fictional storyline with documentary-like elements in Gabrielle to construct one of the most moving films of the year, and unquestionably one that honors the differences and special qualities of those often kept in the sidelines.
For Gabrielle (Gabrielle Marion-Rivard), the cheerful protagonist, every day seems to be a wondrous adventure. She is a young woman who lives with an infectious happiness for life which shines though her beautifully charming smile. She works at a regular office job and also sings in a local choir, and her days are filled with excitement. Yes, Gabrielle falls into the category of handicapped, but although born with Williams syndrome and living in a facility for individuals with a variety of conditions, she has dreams, aspirations, and wants to one day form a family with her boyfriend Martin (played marvelously by Alexandre Landry), who is not handicapped in real life. He is also an intellectually challenged young man who is part of her singing group at the Les Muses center. As their romance progresses from a simply platonic friendship into their sexual awaking, his mother decides they cannot be together as she believes their condition disqualifies them from the hardships of a romantic relationship.
Heartbroken Gabrielle seems not to be able to concentrate in any of her activities. She is in love. In an effort to bring back her beloved Martin into her life she attempts to be fully independent and demands her own apartment, but her own limitations get in her way. Her sister Sophie (Mélissa Désormeaux-Poulin), her most reliable moral support, has the decided to follow her fiancé to India, a situation that heightens Gabrielle’s distress at that same time that she must prepare for an important live performance with her choir without Martin’s support.
Like few other directors, Archambault’s filmmaking convictions are utterly inspirational. She cast most of her actors directly from the actual educational center where the story takes place. Not only does this provide her film with remarkable authenticity, something that could not have happened with actors playing make-believe versions of their experience, but it also highlights the talent of these amazing people who are often dismissed as incapable of complex understanding. The director strongly positions the viewer to see them as tridimensional characters full of nuances. They dance, sing, and show their emotions without the societal inhibitions that prevent all others living a “normal” existence, from experiencing every moment to the fullest. Untainted by judgment, Gabrielle, Martin, and their comrades are essentially the purest, most loyal characters one can encounter, and Archambault captures their endless willingness to accept and love others gracefully.
One of the crucial numbers the colorful choir members work on for their show with Robert Charlebois (who actually appears in the film) is his song “Ordinaire” (Ordinary), which Gabrielle has designated as Martin’s song, and what a fitting tune it is. Regardless of their differences, their special needs or particular shortcomings, these fantastically loving individuals are ordinary where it counts. Yet, their circumstances force them to achieve their goals in unordinary ways, which really makes them exemplary and special. Gabrielle Marion-Rivard embodies happiness and perseverance, her performance is sure to transfer that to the audience. Surely an amazingly unique love story, Gabrielle is a joyous and touching portrayal of a singular kind of love, one that is not ruled by vanity or lust, but just exists with all-welcoming open arms. Above all, one thing is made clear, the only disability that can really prevent anyone from being happy is not being able to love, and in that field Gabrielle is above average, if not gifted.
'Gabrielle' Opens in NYC (Village East Cinemas) and L.A (Laemmle's Music Hall 3) on Friday July 4th, 2014
Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards...
- 7/3/2014
- by Carlos Aguilar
- Sydney's Buzz
Pouise Archambault's sensitive second feature tells the story of Gabrielle (Gabrielle Marion-Rivard), a young woman with Williams syndrome who is passing into adulthood, and all the trials and tribulations — living alone, taking care of yourself, finding love — that accompany that journey.
Twenty-two-year-old Gabrielle lives in a group housing unit in Montreal and is a member of Les Muses, a choir for singers with cognitive disabilities. Rehearsing at a local community center, she gravitates toward Martin (Alexandre Landry), and the two quickly join in a laser-focused and euphoric relationship.
Marion-Rivard, along with most of the choir members we see in the film, is a non-professional actor; Archambault cast her while developing the story after a period o...
Twenty-two-year-old Gabrielle lives in a group housing unit in Montreal and is a member of Les Muses, a choir for singers with cognitive disabilities. Rehearsing at a local community center, she gravitates toward Martin (Alexandre Landry), and the two quickly join in a laser-focused and euphoric relationship.
Marion-Rivard, along with most of the choir members we see in the film, is a non-professional actor; Archambault cast her while developing the story after a period o...
- 7/2/2014
- Village Voice
The 61st Sydney Film Festival today announced 32 films to be featured in this year.s event (June 4-15) in advance of the full program launch on May 7.
The line-up includes the world premiere of The Redfern Story, 19 Australian premieres, 13 features, 11 documentaries and an eight-film retrospective on maverick American filmmaker Robert Altman. Altman.s son, filmmaker Michael Altman, will attend festival and introduce several of the Altman screenings.
Darlene Johnson.s The Redfern Story chronicles the volatile birth of the first all-Indigenous theatre company, the National Black Theatre. It features interviews with indigenous media pioneer Lester Bostock, writer Gerry Bostock, actor Lillian Crombie, activist-academic Gary Foley, academic Marcia Langton, actors Rachael Maza, Bryan Brown and Bindi Williams. .We are pleased to present this sneak preview of 32 of the 180-plus films in this year.s program,. said Festival Director Nashen Moodley. .We have gathered a selection of the best films from the...
The line-up includes the world premiere of The Redfern Story, 19 Australian premieres, 13 features, 11 documentaries and an eight-film retrospective on maverick American filmmaker Robert Altman. Altman.s son, filmmaker Michael Altman, will attend festival and introduce several of the Altman screenings.
Darlene Johnson.s The Redfern Story chronicles the volatile birth of the first all-Indigenous theatre company, the National Black Theatre. It features interviews with indigenous media pioneer Lester Bostock, writer Gerry Bostock, actor Lillian Crombie, activist-academic Gary Foley, academic Marcia Langton, actors Rachael Maza, Bryan Brown and Bindi Williams. .We are pleased to present this sneak preview of 32 of the 180-plus films in this year.s program,. said Festival Director Nashen Moodley. .We have gathered a selection of the best films from the...
- 4/1/2014
- by Staff writer
- IF.com.au
In a year that saw François Delisle’s Le météore (Sundance and Berlin Film Festival accepted film) receive no love (zero nominations), and Denis Côté’s critically well-received Vic + Flo Saw a Bear was perhaps too askew for the voting clique (it did grab best Actress for Quebec’s “Melissa Leo” in Pierrette Robitaille), it was a bigger than life biopic by helmer Daniel Roby that flexed its muscles, beating out the comp. The high gloss Louis Cyr won in several tech categories and it’s strongman Antoine Bertrand won for Best Actor. Considered the favorite to win the top prize, Gabrielle was awarded the Best Director and Screenplay awards for Louise Archambault. Oddly, that film received no Best Actress consideration while it did net Gabrielle Marion-Rivard a Best Actress win at Canadian Screen Awards. Here are the noms and winners of the 16th edition.
Best Film
Catimini
Le démantèlement...
Best Film
Catimini
Le démantèlement...
- 3/24/2014
- by Eric Lavallee
- IONCINEMA.com
Despite not being nominated for Best Director, Louise Archambault’s Gabrielle managed to pull off what we thought was the impossible (our Leora Heilbronn has pegged the drama as the film that should win, but favored Denis Villeneuve’s Enemy as the best bet) winning Best Motion Picture at the 2014 Canadian Screen Awards (a.k.a Canadian Oscars). If the out of synch supposed “live” telecast wasn’t bad enough (all awards including the winning film were announced almost one hour prior to on twittersphere), the show’s producers gave Gabrielle winning producers Luc Déry and Kim McCraw the equivalent of end of toilette paper roll in terms of time.
The voters also choose Gabrielle‘s Gabrielle Marion-Rivard as Best Actress in a Leading Role, while the heavily favored Enemy grabbed five awards, Best Direction for Villeneuve, Best Original Score for the excellent Danny Bensi/Saunder Jurriaans pairing , Best Editing,...
The voters also choose Gabrielle‘s Gabrielle Marion-Rivard as Best Actress in a Leading Role, while the heavily favored Enemy grabbed five awards, Best Direction for Villeneuve, Best Original Score for the excellent Danny Bensi/Saunder Jurriaans pairing , Best Editing,...
- 3/10/2014
- by Eric Lavallee
- IONCINEMA.com
Producers Kim MCraw and Luc Déry collected the best motion picture prize at the 2014 Canadian Screen Awards (9) and Gabrielle Marion-Rivard was named best lead actress. Louise Archambault directed Gabrielle.
On a big night for Enemy, Denis Villeneuve was named best director and Sarah Gadon best supporting actress.
The psychothriller also won awards for editing, original score and cinematography.
Gabriel Arcand was named best lead actor for The Auction (Le Démantelement) while Gordon Pinsent claimed the best supporting actor prize for The Grand Seduction.
The F-Word writer Elan Mastai won best adapted screenplay and The Ted Rogers Best Feature Length Documentary prize was awarded to Watermark.
“Tonight we gather in the company of our country’s brightest and most glamorous talent to celebrate the best in Canadian film and television,” said Academy chair Martin Katz.
“I am honoured to celebrate and applaud this year’s outstanding nominees and winners. Their work brings us together, around screens...
On a big night for Enemy, Denis Villeneuve was named best director and Sarah Gadon best supporting actress.
The psychothriller also won awards for editing, original score and cinematography.
Gabriel Arcand was named best lead actor for The Auction (Le Démantelement) while Gordon Pinsent claimed the best supporting actor prize for The Grand Seduction.
The F-Word writer Elan Mastai won best adapted screenplay and The Ted Rogers Best Feature Length Documentary prize was awarded to Watermark.
“Tonight we gather in the company of our country’s brightest and most glamorous talent to celebrate the best in Canadian film and television,” said Academy chair Martin Katz.
“I am honoured to celebrate and applaud this year’s outstanding nominees and winners. Their work brings us together, around screens...
- 3/10/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
With the dust fully settled on the Academy Awards, we point our attention northward with tonight’s 2014 Canadian Screen Awards. Many of the television winners have already been announced in glitzy fashion during this Canadian Screen Week, but with baited breath, we’re more keen on seeing how the film award honors will pan out. Last year’s Tiff saw Denis Villeneuve bring not one (Prisoners), but a pair of feature films and it is the offbeat, doppelgänger delight Enemy that should reap in the top awards of the evening. Here are my predictions of who will win, who should win, and who should have been nominated in each of the most anticipated film categories.
Best Motion Picture:
The nominees are: Enemy, The Dismantlement, Empire of Dirt, The F Word, Gabrielle, The Grand Seduction, Maina, Tom at the Farm
Screenie voters tend to favor Canada’s yearly submission for the...
Best Motion Picture:
The nominees are: Enemy, The Dismantlement, Empire of Dirt, The F Word, Gabrielle, The Grand Seduction, Maina, Tom at the Farm
Screenie voters tend to favor Canada’s yearly submission for the...
- 3/9/2014
- by Leora Heilbronn
- IONCINEMA.com
The Academy Of Canadian Cinema & Television has announced the Canadian Screen Awards nominees.
“We are exceedingly proud today to reveal the nominees for the 2014 Canadian Screen Awards,” said Academy chair Martin Katz.
“This was a year marked by a record-breaking number of submissions, reflecting a robust level of activity in the screen-based industries in Canada which we will celebrate during Canadian Screen Week, March 3-9. Congratulations to all.”
David Cronenberg will receive the lifetime achievement award. For the full list of winners invcluding television, digital and special awards click here.
The feature nominees in full:
Best Motion Picture
The Dismantlement (Le Démantèlement) – Bernadette Payeur, Marc Daigle
Empire Of Dirt – Jennifer Podemski
Enemy – Kim McCraw, Luc Déry, Miguel A Faura, Niv Fichman, Sari Friedland
The F-Word – Andre Rouleau, David Gross, Macdara Kelleher
Gabrielle – Kim McCraw, Luc Déry
The Grand Seduction – Barbara Doran, Roger Frappier
Maïna – Karine Martin, Michel Poulette, Yves Fortin
Tom At The Farm (Tom À La Ferme) – [link...
“We are exceedingly proud today to reveal the nominees for the 2014 Canadian Screen Awards,” said Academy chair Martin Katz.
“This was a year marked by a record-breaking number of submissions, reflecting a robust level of activity in the screen-based industries in Canada which we will celebrate during Canadian Screen Week, March 3-9. Congratulations to all.”
David Cronenberg will receive the lifetime achievement award. For the full list of winners invcluding television, digital and special awards click here.
The feature nominees in full:
Best Motion Picture
The Dismantlement (Le Démantèlement) – Bernadette Payeur, Marc Daigle
Empire Of Dirt – Jennifer Podemski
Enemy – Kim McCraw, Luc Déry, Miguel A Faura, Niv Fichman, Sari Friedland
The F-Word – Andre Rouleau, David Gross, Macdara Kelleher
Gabrielle – Kim McCraw, Luc Déry
The Grand Seduction – Barbara Doran, Roger Frappier
Maïna – Karine Martin, Michel Poulette, Yves Fortin
Tom At The Farm (Tom À La Ferme) – [link...
- 1/13/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The Academy Of Canadian Cinema & Television has announced its nominees.
“We are exceedingly proud today to reveal the nominees for the 2014 Canadian Screen Awards,” said Academy chair Martin Katz. “This was a year marked by a record-breaking number of submissions, reflecting a robust level of activity in the screen-based industries in Canada which we will celebrate during Canadian Screen Week, March 3-9. Congratulations to all.”
David Cronenberg will receive the lifetime achievement award. For the full list of winners invcluding television, digital and special awards click here.
The fearure nominees in full:
Best Motion Picture
The Dismantlement (Le Démantèlement) – Bernadette Payeur, Marc Daigle
Empire Of Dirt (pictured) – Jennifer Podemski
Enemy – Kim McCraw, Luc Déry, Miguel A Faura, Niv Fichman, Sari Friedland
The F-Word – Andre Rouleau, David Gross, Macdara Kelleher
Gabrielle – Kim McCraw, Luc Déry
The Grand Seduction – Barbara Doran, Roger Frappier
Maïna – Karine Martin, Michel Poulette, Yves Fortin
Tom At The Farm (Tom À La Ferme) – [link...
“We are exceedingly proud today to reveal the nominees for the 2014 Canadian Screen Awards,” said Academy chair Martin Katz. “This was a year marked by a record-breaking number of submissions, reflecting a robust level of activity in the screen-based industries in Canada which we will celebrate during Canadian Screen Week, March 3-9. Congratulations to all.”
David Cronenberg will receive the lifetime achievement award. For the full list of winners invcluding television, digital and special awards click here.
The fearure nominees in full:
Best Motion Picture
The Dismantlement (Le Démantèlement) – Bernadette Payeur, Marc Daigle
Empire Of Dirt (pictured) – Jennifer Podemski
Enemy – Kim McCraw, Luc Déry, Miguel A Faura, Niv Fichman, Sari Friedland
The F-Word – Andre Rouleau, David Gross, Macdara Kelleher
Gabrielle – Kim McCraw, Luc Déry
The Grand Seduction – Barbara Doran, Roger Frappier
Maïna – Karine Martin, Michel Poulette, Yves Fortin
Tom At The Farm (Tom À La Ferme) – [link...
- 1/13/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Update: Entertainment One has scooped up Us rights to Canada's official Oscar entry, "Gabrielle." The film, which is the second feature film by director Louise Archambault, centers on a Quebecois young woman (played by Gabrielle Marion-Rivard) with Williams syndrome, which slows cognitive abilities while often increasing gregariousness and heightening musical talent. Gabrielle is in the throes of first love with a man who sings in her choir, but his mother has concerns about the two, both disabled, being able to carry on a healthy relationship. Entertainment One plans a theatrical release later this winter. Earlier: A record 76 countries have submitted films for Oscar consideration in the Foreign-Language Film category this year. Saudi Arabia and Moldova are first-time entrants, while Montenegro is submitting for the first time as an independent country. A complete and alphabetical list of all 76 countries' selections is here. Zeitgeist Films has acquired Us rights to Romania's...
- 10/18/2013
- by Beth Hanna
- Thompson on Hollywood
eOne has picked up Us distribution rights to Canada’s foreign-language Oscar submission Gabrielle and plans to release this winter.
Gabrielle marks the second feature by Louise Archambault and stars Gabrielle Marion-Rivard in the lead as a fiercely independent young woman with the rare genetic disorder Williams syndrome.
micro_scope produced and funding came from Telefilm Canada, Sodec, Radio-Canada, Cogeco, Super Ecran and Artv as well as provincial and federal tax credits.
eOne / Les Films Séville subsidiary Les Films Christal holds Canadian rights and eOne Films International handles worldwide sales.
Gabrielle marks the second feature by Louise Archambault and stars Gabrielle Marion-Rivard in the lead as a fiercely independent young woman with the rare genetic disorder Williams syndrome.
micro_scope produced and funding came from Telefilm Canada, Sodec, Radio-Canada, Cogeco, Super Ecran and Artv as well as provincial and federal tax credits.
eOne / Les Films Séville subsidiary Les Films Christal holds Canadian rights and eOne Films International handles worldwide sales.
- 10/17/2013
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Entertainment One Films Us announced today that they have acquired the Us distribution rights to Gabrielle , which was selected to represent Canada as a possible nominee in the Best Foreign Language Film category for the Academy Awards. It is slated for a domestic theatrical release this winter. Gabrielle is the second feature film by director Louise Archambault and stars Gabrielle Marion-Rivard in the title role, a young woman with Williams syndrome who has a contagious joie de vivre and an exceptional musical gift. Since she met her boyfriend Martin at the recreation center where they are choir members, they have been inseparable. However, because they are "different," their loved ones are fearful of their relationship. As the choir prepares for an important music...
- 10/17/2013
- Comingsoon.net
Toronto – Canada has chosen Louise Archambault's Gabrielle as its contender in the best foreign language film category at the upcoming Academy Awards. The drama about a about a developmentally challenged woman’s quest for independence and sexual freedom bowed in Locarno, where it won an audience award. The Quebec film then had a North American premiere in Toronto. The French language romancer stars newcomer Gabrielle Marion-Rivard in a semi-autobiographical role where she performs opposite Alexandre Landry as her lover. Telefilm Canada executive director Carolle Brabant unveiled Canada's Oscar choice during a press conference in Montreal. The Canadian film
read more...
read more...
- 9/24/2013
- by Etan Vlessing
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.