Documentaries may record quotidian reality but, at their best, they aspire to poetry. There’s an image in Pour la suite du monde, which achieves the clarity and vision of truly transcendent cinema.
Les raquetteurs by Michel Brault and Gilles Groulx became one of the early salvos from a new generation who were about to unleash the Quiet Revolution in Quebec.
In the Oscar-winning Ryan, Chris Landreth and Ryan Larkin sit together in a computer-generated cafeteria as they go over Larkin’s past: his artistic achievements, his loves, his brief moments of recognition.
Memory and truth, it turns out, don’t always match up. That is what Sarah Polley discovered in the five years it took her to make Stories We Tell, a deep dive into her family’s past.
A characteristically intimate study of an experimental psychiatric centre for adolescents in Etobicoke, Ontario, Warrendale is both King’s most provocative film bearing a family resemblance to Frederick Wiseman’s devastating Titicut Follies
Embed from Getty Images “The official number is 1700, but it’s actually more like 1800,” says Jack Blum, executive director of REEL CANADA, about the number of screenings for this year’s special Canada 150 edition of National Canadian Film Day [NFCD 150]. It’s a whopping event—literally the largest film festival the world has ever seen.
Vicki Lean’s After the Last River, a moving and inspiring portrait of the people of Attawapiskat and their fight to protect their community when a new site for resource extraction leads to devastating consequences
erfume War tells an inspiring tale of friends in wartime. This documentary by Michael Melski chronicles the story of two friends, Barb Stegemann and Trevor Greene, who inspired one another to change the world through small acts of bravery.
POV presents Canada's "Documentary Essentials": a starter guide of ten short docs and ten features that should help readers explore all the non-fiction that this country had to offer.
