MWFF 2016: Tatara Samurai

TATARA SAMURAI

WORLD COMPETITION

DIRECTOR: Yoshinari Nishikori

SCRIPT: Yoshinari Nishikori

LEAD ACTOR: Sho Aoyagi

COUNTRY: Japon; 135 min.
LANGUAGE: Japanese, English subtitles

Official Synopses:

"When the Amago samurai withdraw their protection of the village of Tatara, famous for their manufacture of the legendary swords, the younger generation - erroneously - believe that guns will suffice."

The film's story line is set in the 16 century, during the Japan's Age of Wars, a time of social upheaval and constant military conflict. The guns are introduced to Japan, and the era of the Lord Oda's supremacy comes to the end. The Samirai lords begin to covet the guns and battle over the numbers of guns they posses.

There is a small village in the mountains making steel from ancient times. Their steel is made by Tatara-buki, a secret ancient method known as supreme steel. Tatara does not rust for a thousand years. Since the best Japanese swards cannot be made without Tatara steel, everybody, not only swordsmiths, but also traders associated with Samurais, strive to get this steel. With the introduction of the guns, the traders further attempt to usurp the steel production into their hands.

Gosuke, the leading character in the film, is the eldest son of the Murage Family, the only person in the village to inherit the Tatara steel making production. He has the obligation to guard the Tatara-buki steel making method inherited from his ancestors. In order to guard the village, he concentrates on martial arts training. He also decides to become a samurai to advance his fighting and defence skills, but gets disillusioned when he sees the power of the guns. The young village men then decide to protect their village with the guns, which leads to tragic results.

The film has a complex story line which weaves through the Japanese realities and shows the horrors and devastation caused by the embattling social strata. The film's director, who is also its script writer, stated that he drew a parallel in this film between the old era fighting to control the steel production and the issues behind the global oil demand in our days. The fighting will never solve the problems we face today. The peace has to be achieved without drawing out the sword.

The film shows beautiful and very peaceful Japanese sceneries which contrast with the aggression of the warring men. The cast is superb, and the film touches on some core issues of our collective existence.

This film won the Best Artistic Contribution prize at the Montreal World Film Festival 2016.

MWFF 2016: Contribution

CONTRIBUTION

WORLD COMPETITION

DIRECTOR: Sergey Snezhkin
COUNTRY: Russia; 100 min
LANGUAGE: Russian, English subtitles

Loosely based on the story by Leonid Yuzefovich "Contribution".


Official Synopses:

"In Siberia, in 1918, an investigator of the Red Army sentenced to death must find a precious diamond that has mysteriously disappeared for a chance to be pardoned by the White Army."

This is a suspense film set in a historical period of the Russian Revolution and the ensuing Civil War. It takes place in 1918 in the city of Perm as it had just been captured from the Reds by the Central Siberian White Guard Corps under the command of a young General Anatoly Pepelyaev. His army is exhausted, it has no supplies, ammunition, uniforms, or food. To resolve the problem, the General invites the Perm merchants to ask them for the money for his army. Each is ordered to provide a specific sum in gold, refereed to (in a psychological twist of the meaning) as a contribution rather than an expropriation.

A rich widow Chagin brings her "contribution", an expensive 140 carats diamond. The next day, the diamond mysteriously disappears. In order to solve this mystery, the Red Army investigator Andrei Murzin, condemned to death by a firing squad, is asked to find the precious stone by a certain hour in exchange for a pardon. 

The film's suspense line, and the type of an arrangement where all the suspects are kept together at the same location for questioning, resemble Agatha Crystie stories, this likeness further intensified by the lavish palace-like setting and some similar period costumes. But then the similarities part. This film's plot also shows some horrors and excesses of the Russian Civil war and the senseless ideas-based imprisonment and executions.

The filmography uses brownish, at times black and white tones, especially at the beginning of the film, as to resemble old, faded photographs. This also helps to create the sense of the historical past, and a certain mood of the old-era memory reflections. The plot has a few intriguing twists and a keen sense of suspense that many spectators will find compelling to watch.

MWFF 2016: The Bear Skin

THE BEAR SKIN / LA PELLE DELL’ORSO
WORLD COMPETITION

DIRECTOR: Marco Segato
COUNTRY: Italy; 86 min.
LANGUAGE: Italian with French subtitles

Based on the book by Matteo Righetto  La pelle dell'orso.


Official Synopses:

"In a village in the Dolomites, a father and his young son have become near strangers, seldom talking to each other. It takes an excursion into the woods to hunt a bear, that erodes the wall of silence."

The spectacular landscape of the Italian Dolomite mountains makes a breathtaking backdrop in this film. The spirit of the mountains, their raggedness, power, and danger outline the main characters of this film and the drama they go through.

The main plot centres on the relationship between a father, who lives in a mountainous village, and his son Domenico, in his early teens. Their relationship is defined by the past and the present. Past circumstances led to Domenico's mother death when he was still a small child, and in the present, there is father's alcohol addiction and tensions between him and other villagers. The father-son relationship is silent, abrupt and cold on the father's side. And though Domenico faces the absence both of his mother and of father's love, the spectators are shown small but revealing of his concern and carrying for his rejecting father. 

One day, a bear known as "The Devil - El Diàol”, named so for the gigantic size, ferocity and aggression, attacks Domenico's uncle barn and kills a cow. Another villager looses a goat. This is when Domenico's father shows his true character, rises to the challenge, and states he will kill the bear. A bet is made, and a local entrepreneur promises a large sum of money if he brings him back the bear's skin.  

For Domenico's father, it is a way to gain the villagers' respect. For Domenico's uncle who hands Domenico a hunting rifle without attempting to dissuade his underage nephew from going alone into the ragged mountains, this represents a bigger assurance to get the promised replacement cow if the bet is won. The only person who acts from pure love for his father without any ulterior motives is Domenico.

This trip becomes for Domenico the rights of passage to become a man. This ritual, common to the indigenous people and those who live close to earth, is completely forgotten in the civilized world of the city dwellers. Yet Domenico's father understands this instinctively, and this is why he does sent his son back to the village when they finally meet.

This is a very powerful film, touching on the depths of the human nature. The mountain shots are spectacular, and the scenes are choreographed visually and played by the actors with the most of skill.
  

MWFF 2016: Jury

Montreal World Film Festival
40th Edition
August 25 - Septemeber 5, 2016

JURY

Members of two MWFFJury teams were revealed to the public today.

WORLD COMPETITION JURY

SERGEI BODROV

Born in Khabarovsk, Russia in 1948, Sergei Bodrov studied screenwriting before becoming a journalist. His work for the satirical magazine, Crocodile, won him numerous literary prizes. After a lengthy career as a screenwriter, he made his directorial debut in 1985 with Sweet Dreams in the Grass, which won a silver prize at the Moscow Festival. He has since directed I Hate You (1986), Non-Professionals (1987), Freedom is Paradise (Grand Prize of the Americas at the 1989 MWFF), The Gambler (1990), The Man in Red Square (1991), I Wanted to See Angels (1992), White King, Red Queen (1992), Prisoners of the Mountains (1996), which was nominated for the Best Foreign Film Oscar, Nomad (2004), Mongol (2007), also nominated for an Oscar. His last film, The Seventh Son, with Jeff Bridges, Julianne Moore and Alicia Vikander,  was released in 2015. He is currently working on projects in Germany and China.

CLAUDE GAGNON

 Born in Sainte-Hyacinthe, Quebec, in 1949, Claude Gagnon spent a decade in Japan in the 1970s. With his first feature, Keiko (1978), he became the first and only foreigner to receive the Japanese Film Directors' Association best film award. Returning to Canada in the 1980s, Gagnon and his wife Yuri Yoshimura founded their own company, Aska Film. With The Kid Brother (1986), he won the MWFF's Grand Prize of the Americas as well as prizes at Berlin and other international festivals. Among his other films: Larose ,Pierrot et la Luce (1981), Pale Face (1985, winner of the FIPRESCI prize at the MWFF), The Pianist (1991), Pour l’amour de Thomas (1994), Revival Blues (2003),Kamataki (2005), winner of five prizes at the MWFF, and Karakara (2012), shown at the 36th MWFF and winner of the Prix de la Cinémathèque québécoise as  audience favourite and honoured for its window to the world.

 GORAN MARKOVIC

Belgrade-born Goran Marcovic studied film directing in Prague at FAMU and then started working for television, directing documentaries and over fifty TV movies. His first theatrical feature was the critically acclaimed and financially successful Special Education (1976). Most of his following features have been screened in various Yugoslavian and international festivals. One of the best known of the “Czech School” of Yugoslav directors, he has been teaching in the Faculty of Dramatic Arts in Belgrade since 1979. Besides making movies, Markovic staged two plays and wrote three more and he also directs for the theatre. His films have screened in festivals around the world and won numerous prizes. Selected filmography: Special Education (1976), National Class (1978), Jack of All Trades (1980), Variola Vera(1981), Taiwan Canasta (1985), Déjà Vu (1987), Meeting Point (1989), Tito and Me (1992), Burlesque Tragedy (1995), Serbia Year Zero (2001), The Cordon (2003), winner of MWFF’s Grand Prize, andFalsifier (2013).

Donald Ranvaud

Anglo-Italian with a French name and a marked tendency toward the Brazilian, Donald Ranvaud taught at universities ofWarwickand East Anglia, where he became chairman of the film department. He founded the independent film magazine Frameworkin 1975, which he edited until 1988 and freelanced for MFB, Sight and Sound, The Guardian, La Repubblica, Les Cahiers du Cinéma,American Film as well published books on Italian cinema. During this period he directed documentary items for Channel Four and RAI Uno, including portraits of Paul Schrader, Raul Ruiz, Cui Jian, Laurie Anderson and David Mamet as well as co-directed a feature, Visioni Private. In 1989 he helped start the European SCRIPTFund. Since then he embarked on production full time, with directors and in countries before they become fashionable, particularly China: 1989-1993(especially Life on a Stringand including Farewell my Concubine); and Latin America, 1994 - today(Central do Brasil, Familia Rodante, Xango, Lavoura Arcaica, Babilonia 2000, Madame Sata, Cidade de Deus, nominated for four Oscars in 2004). Most recently he was executive producer on The Constant Gardener by Fernando Meirelles.

ELISEO SUBIELA

Born in Buenos Aires in 1944, Eliseo Subiela graduated in philosophy and literature and studied film at La Plata. He made his first short in 1963, Un largo silencio, apprenticed with several established Argentinian directors and worked for many years in commercials before making his debut in features with La conquista del Paradiso (1981). His 1986 feature, Man Facing Southeast brought him to international attention and he followed that with Last Images of the Shipwreck (1989), which won best script at the MWFF,  and The Dark Side of the Heart  (1992, Grand Prize of the Americas at the MWFF). Among his other films: Don’t Die Without Telling Me Where You’re Going (1995, People’s Choice at the MWFF), Wake Up Love (1996), Little Miracles (1997), The Adventures of God (2000),The Dark Side of the Heart 2 (2001), Lifting de corazon (2005), El Resultado del amor (2007). He is was named Knight of the Order of Arts and Letters by the French government in 1990.

LEE TAMAHORI

Born to a Maori father and a European mother, Lee Tamahori began his career as a commercial artist and photographer, then joined the New Zealand film industry in the late 1970s as a boom operator. Tamahori had directed a number of shorter dramas for television before he made his feature film debut in 1994 with Once Were Warriors, a gritty depiction of a violent Maori family. The film had had problems finding funding, but it won the Grand Prize of the Americas at the Montreal World Film Festival, went on to break box office records in New Zealand. Overseas it sold to many countries and won rave reviews. Tamahori moved to Hollywood and directed the period thriller Mulholland Falls(1996), followed by the successful wilderness film The Edge (1997), Along Came a Spider (2001) and the Bond thriller Die Another Day (2002). Among his subsequent films:  XXX: State of the Union  (2005) starring Ice Cube and Willem Dafoe, Next (2007) and The Devil's Double (2011). In 2015 Tamahori directed Mahana, his first feature made in New Zealand since Once Were Warriors.

JURY OF THE FIRST FEATURE PRIZE

MARIANGIOLA CASTROVILLI

 Mariangiola Castrovilli was born in Rome where she attended the International University of Journalism Pro Deo, now Luiss. She worked for RAI as a journalist and programmer- director, and for the newspaper Il Giornale, then contributed to leading European newspapers. A member of FIPRESCI, she served on numerous juries including  those at Karlovy Vary and San Sebastian. She is a member of the National Union of Italian Film Journalists, which each year awards the Nastri D'Argento, the Italian equivalent of the Oscar. In the 1980s she was the first woman in the world to fly at twice the speed of sound for direct radio and television on the Aermacchi MB-339PAN and she did all the stunts of the Frecce Tricolori, the Italian Air Force aerobatic team. Auto legend Enzo Ferrari invited her to ride in his new Ferrari 40 and she reached 324 km/hr on the track in Maranello, always live on air. These exploits earned her the title: “The butterfly with iron wings”.

MAURIE ALIOFF

Montreal film critic Maurie Alioff writes about movies for publications off and online. He is also a screenwriter collaborating on a documentary featuring Bob Marley’s granddaughter that is now filming.  A longtime faculty member of the English Department at Vanier College, Alioff is researching and developing other Jamaica-related projects, including a magical-realist crime film drawing on stories he hears on the island. He has written for radio and television, programmed films for the Just for Laughs comedy festival, taught screenwriting, and been a contributing editor for various magazines. Alioff’s articles have appeared in POV Magazine, Canadian Cinematographer, Take One, Salon l.l,CTVM.Info, northernstars.ca, The New York Times, and many other publications.

Pierre-Henri Deleau

Pierre-Henri Deleau began his career as an assistant director to Jacques Doniol-Valcroze and Pierre Kast and then as a director in educational television. He directed a short, Virginie ou la double rupture, in 1969.  He is the co-founder of the FILMOBLIC production house which produced or co-produced films by Hugo Santiago, Jean-Louis Comolli, Jean-François Dion, Claude Miller, Edouardo de Gregorio and Jean-Pierre Lefebvre. In 1969, he co-founded the Directors’ Fortnight at the Cannes Film Festival and was its director for three decades. In 1996, he co-founded the Forum of European Cinema in Strasbourg, and in 1987 co-founded FIPA  and directed the event in Cannes, Nice and Biarritz until 2009. That year he became member of the selection committee for first works at the European Film Academy. As director of the Cinéma and Littérature collection of Les Éditions Jean-Claude Lattès, he has published books on Michelangelo Antonioni, Groucho Marx, Andrezj Zulawski and Yilmäz Güney, among others.

Visit the Montreal World Film Festival's website for more information, program and film scheduling.

Festival information courtesy of  MWFF.

Montreal First Peoples Film Festival 2016

100 TIKIs film still

Présence autochtone

Montreal First Peoples Film Festival
26th Edition

CELEBRATING FIRST NATIONS CULTURE
August 3 -10, 2016

Yesterday was the opening night of the Montreal's annual Présence autochtone festival. The festival comprises of several venues, one of which is the film festival.

The festival opened with the film 100 TIKIs (see a still from the film above). It was introduced by the creator of the film Dan Taulapapa McMullin, an artist based in Hudson, New York. He is a native Samoan, born and raised on American Samoa. As he told the audience, one day the American officials arrived on the island and started distributing television boxes to the local schools, including the one where he was a pupil. The TV sets were placed in classrooms as an “Education Tool” but the education proper did not last long, being replaced by Hollywood films. No other people on the island had a television set at the time.

100 TIKIs represents a collage based on mainly decades-old images, most of them created by Hollywood. It shows how ridiculous was the infringement of the Hollywood standards into the native cultural expression and values, and how disruptive. Beneath the rapidly changing imagery, one senses a rising wave of anger for the demeaning of the Pacific Island’s native culture and their ways of life.

100 TIKIs interrogates the colonialism of the Pacific islands' peoples from Hawaii to West Papua, through the examination of tiki kitsch, tourism, militarism, sexism and the subjugation of indigenous peoples and their culture. It reveals a vulgarization process that took place, where common values became mundane, trivial and even inhuman.

Incidentally, and it appears quite unintentionally, the film also exposes in a short clip how Hollywood managed to demean and sexualize a highly intelligent, actually a brilliant woman like Hedy Lamarr, who discovered and patented the cornstone physical principle of Frequency Hoping, used both for military and internet electronic signal guidance and encryption still to this day. She gifted her patent to the USA government. Had she not done so, and had she been renewing her patent, her descendants would have now possessed, I read in an article several years ago, a fortune larger than that of Bill Gates.

The film was conceived as a 45 min. loop. This is why it ends quite unexpectedly, without any proper cinematic ending and credits.

To find out more about the Montreal First Peoples Film Festival and to consult the film scheduling, visit the Présence autochtone festival website.

You can also read more about the festival here.

Animaze 2016

ANIMAZE - 3rd Edition

August 18 - 21, 2016

Animaze is an international film festival and conference exploring the world of animation in all its diversity. This August, film makers and animation professionals from over 40 countries will be gathering in Montreal for this annual event. 

ANIMAZE's Vision and Mission statement:

"To unite and converge animation film, gaming, digital arts and related industries in the vibrant international city of Montreal, Quebec, Canada."

ANIMAZE's festival major venues:

•Screenings of over 160 films at the Montreal Museum of Fine Arts,

• Free outdoor screenings on Boulevard St-Laurent August 19 and 20.

• An outdoor 360º dome courtesy of the Animaze partner Fulldome.pro and the Virtual Reality Cinema.

•The Animaze Industry Conference with panels, speakers, and the networking opportunities.

• An exhibition hall.

• A job fair, an event where students, schools and employers can connect and find each other, see here.

The film festival supports many genres, from children short animation films, to full length animation productions, as well as works from the gaming and the virtual reality creation community. The attending audience will for certain discover the works that will correspond to the individual tastes and interests.

For more information, program, and scheduling visit the Animaze website.

Montreal Planetarium New Program 2016

Montreal Planetarium New Program Unveiled

This season, the Montreal Planetarium is presenting a double feature of two quite remarkable productions.

ONE DAY… ON MARS

Multimedia show with live commentary

Location: Milky Way Theatr

Audience: Ages 7 and up Length:

40 minutes

Join an expedition to Mars and enjoy a thrilling immersive experience. You will dive into the depths of seemingly bottomless canyons and brave the violent winds sweeping across the Red Planet’s icy dunes. Set to original music by Dumas, One Day… on Mars takes you to a world that humans may well visit in just a few decades in our ongoing search for life there.

  

Produced by: Montréal Space for Life

Director and Scriptwriter: Maxime Pivin Lapointe

Executive Producer and Project Manager: Sébastien Gauthier

Artistic Director: François Guinaudeau

Assistant Director: Nicolas Didtsch

Text: Loïc Quesnel, Maxime Pivin Lapointe and Isabelle Pruneau-Brunet

Sound Designer: Benoît Dame

Production Co-ordinator: Jade-Anaïs Généreux-Gamache

Original music: DUMAS

Music co-produced by: DUMAS and Martin Roy

Graphic design and postproduction: François Guinaudeau, Nicolas Didtsch,Pierre-Guilhem Roudet , Antonin Gaud, Arnaud Mariat, Maxime Pivin Lapointe and Bruno Colpron

Commentary coaching: Véronique Pasca

This is the second filmographic work included in the Montreal Planetaruim's double feature:

 ASTEROID: MISSION EXTREME

Multimedia show

Co-produced by Sky-Skanand National Geographic

English narration: Sigourney Weave

French narration: Isabelle Blais

Location: Chaos Theatre Audience:

Ages 7 and up

Length: 25 minutes

Asteroids are both a danger and a fascinating opportunity for humankind. What if they could be used as way stations for future space missions? The challenges are enormous, but a mission so extreme could ultimately help us protect our planet and inhabit others.

Text: Annette Sotheran-Barnett and Mose Richards

Executive Producers: Brooke Runnette and Steven Savage

Producer and Director: Annette Sotheran-Barnett

Lead Animator: Troy Whitmer

Post-production: Scott Wyman

Music, Sound Editors: Pip Greasley and Dale Corderoy

French adaptation: Montréal Space for Life

Translation: Emmy Bos, Marc Jobin and Loïc Quesnel

Executive Producer: Sébastien Gauthier

Project Manager: Loïc Quesnel

Voice Director: Nicolas Charbonneaux

Sound: Peak Media and Benoît Dame

New exhibition – Mars Rocks

Montreal Planetarioum has also mounted a new exhibition Mars Rocks. Mars has fascinated humans for as long as we can remember. Human travel to the Red Planet is still a few years down the road, but you can already see pieces of Mars for yourself – up close! The Rio Tinto Alcan Planetarium is presenting actual fragments of Martian meteorites, and explaining their astonishing voyage and the string of coincidences that put them on Earth’s path.

For further information and to purchase tickets online, visit the Montreal Planetarium's website website.

The Pearl Button

The Pearl Button - El botón de nácar

by Patricio Guzman

The film was screened in the main competition section of the 65th Berlin International Film Festival where it won the Silver Bear for Best Script. It received Les Lumières Award and the Golden Horse of Taïpeh Film Festival, it went to many festivals in Mumbaï, in London, Busan, San Sebastian, Moscow, Sydney, Athens, Istamboul and Jérusalem. In Canada, it was screened in Vancouver at the VIFF and in Toronto at the TIFF.

This is a poetic and yet an extremely haunting documentary that examines Chilean history and the genocide of the entire ingenious population of Patagonia. The film-maker compares the fate of those indigenous people with Chileans who disappeared during the Pinochet regime. He links these two unlikely themes through the poetic images of water that washes the Chile's 4,270 km (2,653 miles) long coastline. The film claims water has memory, and attempts to prove it visually through the succession of images.

What becomes evident though, it is not water that is the principal player or connector in all those numerous human tragedies, nor is the water's supposed recording of those tragedies really the main concern. The water imagery only serves as a powerful backdrop to all the events. But the ultimate culprit is the inherent cruelty and greed that runs through human nature, and which is very prominent in our modern civilisation. Water is just a neutral bystander to all the horrid events, in the same way as many people were only bystanders to all those cruelties discussed and portrayed in the film at the time they were taking place.

Initial release: October 2015 (France)

Director: Patricio Guzmán

Story by: Patricio Guzmán

Producer: Renate Sachse

Music composed by: Hughes Maréchal, Miguel Miranda, Jose Miguel Tobar

Nominations: César Award for Best Documentary

The film will open on April 29th with English subtitles at Cinéma du Parc, at Vancity  Theatre in Vancouver and Bell Lightbox in Toronto.

FILM TRAILER

Before the Streets - Avant les rues

Before the Streets - Avant les rues
Film by Chloé Leriche

Canada  /  2016 / Atikamekw, French / 98 min

This is Chloé Leriche's first feature-length film. The film had a  World Premiere at the 66th Berlinale in the Generation section - competition. Before the Streets was also a closing film at the Rendez-vous du cinéma québécois film festival 2016.

The story line is simple: Shawnouk, a young aboriginal man, is involved in a serious crime. After escaping into the forest, he returns to his community and tries healing through traditional native rituals. Before the Streets features non-professional Atikamekw actors who perform in their own language, and in the authenticity of their village.

The film shows the revival of native culture and its traditions. It is the first dramatic feature shot in the native language of Atikamekw. It has a cast composed almost entirely of non-professional actors who live and work in the villages where the film was shot. The story takes place in Manawan, while a forest fire closes in on the nearby village of Wemotaci.

Although the film portrays a sort of "happy ending" to the conflict, a number of questions remain unresolved. Was the main hero truly healed through his brief séjour at the secluded wood grounds where native cleansing rituals were performed? How living with his secrecy would affect the rest of Shawnouk's life? What if the person killed was a native with a surviving family living at the same village as Shawnouk, would the film still conclude in a "happy ending"? Were this to happen in any other community, his father's protective involvement would have been considered a gross conflict of interest with serious subsequence, but not in this film. Is it OK for the native members to take the law into their own hands? Going beyond this film, is it OK for any Canadian professionals or communities to take the law either into their hands or how it might be interpreted by their traditional customs and believes, or even because of the family ties?

Screenplay: Chloé Leriche

Principal Cast: Rykko Bellemare, Kwena Bellemare-Boivin, Jacques Newashish, Janis Ottawa, Martin Dubreuil

Production: Les Films de l'Autre, Montréal

Festivals: Berlin, 2016

Chloé Leriche:

Chloé Leriche is a self-taught writer, director, and editor who has produced a dozen short films since 2001; her work has won several international film festival awards. She worked for Wapikoni Mobile, encouraging young people from different native tribes in Québec and Ontario to express themselves through cinema. Chloé Leriche has previousely written, directed, edited and produced several short films. Her work was screened in international film festivals. Her film Fragments ou lettre à un allemand (dont je suis amoureuse en secret) won the Creation Prize at VideoFormes (France) in 2004. Les grands (The Schoolyard) was selected at the Toronto International Film Festival, and revealed as one of the Top Ten Best Canadian short films of 2007.

The film will be released all over Quebec on April 15th, 2016.

FILM TRAILER