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filmista · 8 years ago

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Blood, Sweat and Tears: Martyrs (2008, France)

France is notorious for its brutal horror movies, of which the most famous or shall I say infamous is ‘Martyrs’, highly controversial, it is a film that has been called deep by some as they say it critiques senseless violence, by directly, mercilessly confronting us with it.

Or that it shows the phenomenon of how some people abuse the fact that they have more power over someone, whether that's physical, mental or social and actually get away with it.

Yes, it shows us a cruel world where people can commit heinous acts and not be punished ever, or they only are after their reign of terror has gone on for years... And that's why I think it's so scary because that world exists whether you want to be confronted with it or not, it's a film that truly does wake up the survival instinct, part of me simply wanted to run out the room a few times.

Others say that it's a piece of torture porn trash made by someone with a sick mind (the director, Pascal Laugier suffered from severe depression when he wrote the script) that it's an inhuman film and that it is unbearable, true torture to watch. All these various statements about it have for quite some time created a sort of morbid fascination towards the film in my mind though.

Just a sort of curiosity, because often with things that are polarising it's for a reason, be that a good or bad reason. Some people say that 'Martyrs' is a film with absolutely nothing redeeming that you needn't waste your time with it, others say that it's a film with cruel acts yet also occasional acts of extraordinary kindness, that it's human in its cruelty.

I've been told by plenty of people that know I'm a horror fan that I should watch this, that it is one of those horror films that you just have to have seen in your life and one of those film experiences you just have to have had, you just have to see it; to believe how impossibly cruel it is, just to give an idea it has supposedly made people in audiences faint and vomit...

As I've said all of that did create some sort of morbid fascination, but it also made me nervous and admittedly slightly scared. I like horror, but there's a limit to what each of us can take right? What if I got to see a spectacle that I would never ever recover from? But then again people have watched it and they have survived so I finally decided to submit myself to it. Newsflash: I am not deceased. Thought I was gonna be a few times though.

Filmmakers like Pascal Laugier don't have it easy. It is to be expected that production companies and distributors will not be eager to work with you if you turn in a script like that of 'Martyrs'. It's at least as hard a job to get actors and actresses ready to work with you on your brainchild.

Laugier sent the script to a number of candidates but got the steady return with the announcement not to bother them with such a sick mess. Eventually, he found them, two main actresses, who were prepared to go out of their way and to the limit. It became Mylene Jampanoï (Lucie) and Morjana Alaoui (Anna), they play characters that must survive the most horrible torture to eventually become 'martyrs'.

For torture, there is in 'Martyrs'. The film has been rejected by many critics as a protagonist of the torture porn genre, as known for example by Hostel, Haute Tension, L'interieur and numerous Asian productions, but 'Martyrs' has more than the average extreme horror movie in which sadism is purely filmed for entertainment.

It is not meant to give anyone pleasure, it's not supposed to give the "Oh this is so gross but so fun to watch sentiment" (we all know it) 'Martyr's' is supposed to make you disgusted, it wants to disgust, to induce panic sweats and make your blood run cold, it aims for physical and mental reactions.

The difference is that in most films you are very aware that it is not real thus you're not at all that scared, or you are but there is always that voice of reason that says: "you can always turn it off, it's not real, it's only got a few more minutes left", but 'Martyrs' does a darn good job of almost, almost making you forget it for a while, at least that's how consumed I was watching the film.

In the above-mentioned films, the victims are usually colourless, characterless puppets, serving only as slaughter cattle, as defenceless clowns who entertain the public with their blood, screams, swearing, moaning and intestines.

Laugier, however, dives deep into the psyche of his character Lucie. Being saved from the arms of a bizarre sect does not mean she's safe from misery. Her life has become a hell on earth and she seeks fruitless ways to deal with it.

Jampanoi's performance can handle the ordeal: pain, sadness, panic, despair and crazy are all splashing off the screen, they are an assault on the emotions and are far more terrifying than the bloody parts. Alaoui does her best and outdoes herself; impressive as there was a lot being asked of her as a beginning actress. Laugier also plays handily with the expectations and needs of the horror community.

Instead of punishing the perpetrators after the viewer knows what they have done, it begins with revenge and the viewer does not even know if it is justified or not. The script is full of unexpected twists and turns, making the film everything but a crowd pleaser, that being said, it's very possible that you dear reader might dislike it. Juicy torture scenes are there, but not free-flowing: the director has added the required dose of psychological horror to deliver a cruel film.

'Martyrs' is about the traumatised young woman Lucie, who returns fifteen years after her escape to the house of her abductors. This time, however, she is armed with a shotgun and she is determined to give her abductors a taste of their own medicine. When she stands eye to eye with the people who have mercilessly mistreated her as a child, she does not hesitate one single moment and pulls the trigger instantly.

The story begins with cold sweat inducing panic shots: a half-naked girl is running across of an industrial site, clearly running from someone, clearly running in fear of her life. From this flashback, it becomes clear that it's a memory of Lucie. It turns out she has been severely mistreated, to which the injuries on her body bear the evidence.

The authorities can not figure out where she came from, so they have placed her in an orphanage. In her fifteen years she grows up, she joins forces with Anna, who is also an orphan and becomes her best friend. (Anna wants to be Lucie's lover, but Lucie is too psychologically damaged to be able to return that, she needs love but first most not in that way, she needs someone who can help her sort her mind and calm her fears, Anna does, however, do everything for Lucie). logical since they really are the only ones they have in the world.

Once grown, Lucie goes looking for sweet revenge. She stumbles across an unsuspecting family and pulls out her shotgun. Ruthlessly, efficiently she shoots them all down. Next Lucie calls Anna and tells her that they were the ones who abused her in the time she was locked up.

However, you can rest assured and believe that, that's not even the tip of the iceberg. 'Martyrs' has so many plots turns that, that does not even give an idea of what the film is about. Too much is happening and your mouth too often falls open from astonishment. However, this is something that you have to see yourself, I just can't describe it.

One can even wonder if it does the film justice to straightforwardly discuss it in a review. Words alone can not describe what an experience this movie is: 'Martyrs' is horrible, deadly, shocking, violent, merciless, monstrous, insane, macabre, hostile ... yes maybe even malicious.

Yet all these words are lacking. For the reason, that 'Martyrs' is too much an experience, an experience and, above all, a calculated, well landed, hard, and painful punch in the face of the viewer. The shock that it leaves is indescribable by a pen.

The roles are filled in by French actresses Morjana Alaoui (Anna) and Mylène Jampanoï. (Lucie) They were pretty unknown actresses at the time because they didn't come out of Hollywood. According to the director, it was difficult to find actresses who wanted to play these roles because of the difficult subject. After reading the script, the ladies must have been convinced and said yes.

They deliver convincing acting, it seems to me that they were heavy roles to play, especially because they have to act so intensely that they really do look pained and desperate. The duo is beaten, kicked, starved and humiliated in a variety of ways. The severe pain they undergo can be read in their faces and it seems as though they are really undergoing the misery.

This movie is not the French answer to 'Saw' and 'Hostel'. This film goes far beyond that. 'Saw' and 'Hostel' were films with a lot of torture, but resembling an episode of an average children's series compared to this. The difference is that 'Martyrs' itself is a martyrdom to go through.

You are not safe in your chair looking at others who are tortured but are yourself part of that torture. Therein lies the difference. Even comparing this film with the ones targeted at the American audience is almost a shame (not that they aren't good films, they're just not the same in degree of intensity and can't really be compared) it seems that it once again was Europe that went more risqué, but in this case, it paid off. That being said, the in Europe big fat 18+ rating on the cover is utterly deserved, in America, here’s no doubt in my mind that it’s an R.

What the film is, is an extremely violent view of the world. A film that is still painfully up-to-date. A film that flawlessly embodies what makes us instinctively afraid, it has everything that you're parents have ever warned you about.

Not that long ago, masked murderers preying on innocent teenagers terrorised us and caused the light to stay on at night. Today, the images of Marc Dutroux and Josef Fritzl are reflected on our collective memory. However, there was rarely a film that depicts this fear so visually and horribly.

Reading that could give the impression that this is a quick shock therapy, creating a sort of macabre circus. There may be some films like 'Saw' and 'Hostel' that to some extent do that, but 'Martyrs' is too intelligent for that.

"Martyrs" is not afraid to throw in, in addition to a lot of current issues some troublesome philosophical questions as well, especially the question of how far we want to go to get to know the truth.

It also turns out to be a question that is being asked directly to the viewer, because how far do you actually want to go to discover how the film ends? The film does not show any mercy and asks for more and more of the viewer's endurance. You’re forgiven if you look away, this film is without question unbearable and utterly heartbreaking...

As mentioned, 'Martyrs' is not ordinary torture porn. It comes much closer to being the Last House on the Left and Texas Chainsaw Massacre of this generation. Just as groundbreaking. Equally shocking. Equally horrible. Equally disgusting. Equally confronting.

As it kept going I got more and more furious, teary eyed and scared all at once It almost made me wanna scream at one point, I couldn’t stand it anymore, it just made wanna get a cold shower, to rinse off all the disgustingness and inhumanity but screaming at a tv is futile right? It made me think: this gross, sick shit should not exist, it should never have been made, ever!!! This kind of was the sentiment at a certain moment:

WHY THE FUCK DOES SOMETHING LIKE THIS EXIST???!!! WHAT THE FUCK WAS GOING ON IN THIS MAN’S MIND???!!!, AND MORE IMPORTANTLY AGAIN FUCKING WHY???!!! AND WHO THE FUCK GETS OFF ON THIS SICK SHIT???!!!

Sorry but I couldn’t control myself, I just had to scream at y’all for a minute, a normal tone does not suffice to express my level of emotion right now. I’m Sorry for all the fucks too... Well not really, but I’m almost sorry for not being sorry. ;)

But you know the horrible, haunting truth I realised then? And that I wish I hadn’t, and almost made me wish I could go back to being an innocent, careless five-year-old girl? When my biggest worry was whether I was gonna get that chocolate cookie I liked so much or not, yeah huge fucking deal...

That almost nothing that happens in Martyrs is impossible. That reality is often crueller than fiction, the human psyche is capable of everything; some human beings are or can be the ultimate monster on the face of the earth, some of us are the monsters under each other’s bed.

But my ultimate conclusion? I’m probably not gonna want to watch it again in this lifetime, it’s already unforgettable, unforgiving, punishing and traumatic enough and that doesn’t even sum it up... This film is disgusting, it simply is. I hate it. I absolutely hate it with every fibre of my being, or maybe I don’t hate the film but what I saw. But that's precisely the reason some part of me liked it as well, it sounds twisted I know but there's a logic behind it:

Sometimes it's nice to be reminded of the limits of our conscience. How insensitive are we? How far can we let ourselves go? What can we handle? When do we start to wish we could look away? Or wish that we could intervene to make something stop? Even when a part of us realises perfectly well that it's not real...

When does the mind begin to disconnect fact and fiction? When do you start to feel guilty for perhaps being completely desensitised? For not feeling anything? When do you become ashamed of yourself for that?

When do you wish you had a stronger emotional response? it's also likely that apart from experiencing or questioning yourself about these questions you’ll also find yourself relieved to feel, to be repulsed, to respond humanely. These are all things that intrigue me and maybe that is morbid, and I admit that but I just call it “being interested in the human psyche”.

'Martyrs' is one of the films that can help you explore that, but still from the safety of your sofa, if you want to stop the ordeal you can, just turn off your TV or take out the Disc of the player. It’s a film that’s very likely to stay with you for a while after watching, and that could give you very strong yes possibly even scary emotions.

That’s why I’d urge that it’s best to watch it in the afternoon or early evening and not before you go to sleep, and not because you're a child and have to go to bed early (then you shouldn't watch this) but because it’s likely you just might not sleep whatever age you are.

So I’d suggest getting yourself comfortable, making yourself some nice coffee or tea for yourself or whatever your poison is. And if you also wish to lock every window and every door in your house, or if you get the irrepressible urge to look over your shoulder more than once I'm absolutely not judging you! Been there done that.

'Martyrs' is the kind of film I'd thought I'd never be able to sit trough, and a few years ago I know I wouldn't have been able to and part of me would have said, fuck this shit is gross I don't have to sit through this, I don't want to sit through this! Get it the hell away from me! And if you don't get it the hell away from, me, I'm going to get it the hell away from me.

It's the kind of film that if I had found someone else watching it would have made me go, eww what the hell are you watching, what is that?! Why are you watching that? That's nasty! What are you getting out of that? Followed by some I don't understand why you're watching that.

And part of me even if I now can watch it, still feels that way; and that's what I ultimately found rewarding and relieving about it, that it is one of those films that literally puts you face to face with your own humanity, and sometimes that's unpleasant and painful as hell, sometimes it's uncomfortable, confronting; it makes you feel bad, even ashamed.

Think of coming face to face with a wild animal and being able to observe it safely, yet still being completely blown away by it even overwhelmed by the notion that it is stronger than you and could finish you if it wanted to.

That's what watching 'Martyrs' felt like for me you're acutely aware of how vulnerable you can be, how fragile, how easily impressions are left on the mind, and how long they can stay there if they go away at all, how quickly you can feel afraid, panicked, repulsed, but also of how strong you are, how much a human mind and body can take before it crumbles.

The admirable thing in all of this and its ultimate strength lies in the fact, that it always sides with its heroines, everything is seen from their point of view, unlike some horror films it doesn't shift it's point of view into that of the tormentors ever.

The last thing the film would want is that you could summon some kind of sympathy or understanding for these people, as they are utterly inhuman. It explains their actions, but it does not excuse them or make them human, it doesn't go for the classical and cliche "he or she had severe mental problems and just lost it, or something traumatic happened in the past" and that usually gives some sort of catharsis and release you can let go, you can relax, you can breathe.

This illustrates that some people simply are sadistic without reason because they can and more precisely because they just want to hurt other people for their own pleasure and are very aware of what they are inflicting, they just don't care that is the uncomfortable truth, (two other films that do this exceptionally well are The Texas Chainsaw Massacre and Hush).

It forever urges us to sympathise with the heroines to feel, to look at what’s happening to them and to feel it as if it were being done directly to you, and 'Martyr's is one of those rare films that does succeed in transferring what it's characters feel onto the audience, that's one of the reasons that make watching it such an intense, emotional, sometimes very difficult experience.

We watch not from a distanced lens, but through being close to them, from one of kindness and humanity, to see how cruel the violence is, to find our ability for compassion, our humanity. It’s one of the few films, that have almost made me feel ashamed to be a human being.

Because it genuinely hurt to see what human beings can do to each other human beings and that it can create that sentiment of true repulsion and at the same compassion gives it more heart and soul than some similar films, very few horror films have made me cry this one I will say without shame is one of them.

Yet while it is as I said disgusting and I don't really like this film, I really don't, you just don't like 'Martyrs'. You can like what it is trying to convey through its violence, but you very likely won't like what you're seeing, you just won't.

It is still very well made, it's atmosphere of fear and coldness is meticulously crafted even through its simplicity and it's acting is for the genre simply insanely strong and I truly do mean insanely so, these women are heroines for wanting to act in this.

Even if I could act and got offered who knows how many Dollars for it, I’d probably still not do it, because I’m a scaredy cat, I don't like submitting myself to pain when I don't have to and there’s no doubt that these roles didn’t inflict some kind of mental pain on its actresses.

You see that they must have had truly well-armed convictions, that they truly believed in the power of the film, otherwise you just don't do that to yourself, I just can't believe you would... (unless your name is Leonardo Dicaprio and you’re just dying for the oscar) Or you’re insane. You’d have to just really blindly trust the director or you’d have to be afraid of the person standing in front of you.

I’d say essentially it is an essential film for every true horror fan because it confronts us with our own humanity or a part of our own possible inhumanity and it does it in an extreme way; if you are positively comfortable while watching 'Martyrs' and don’t even flinch once, It’s maybe possible you may need psychological help, or you've just watched one too many horror films, and they finally no longer have any effect whatsoever, but still here's a film where you'll truly feel relieved to be afraid at least once.

Enough talk now, I do want to include the article that finally made want to face it, The Telegraph considered it the best horror film of the 21st century, I may not necessarily agree entirely but It’s an excellently written article, and I included an another one that I particularly like:

http://www.telegraph.co.uk/film/what-to-watch/martyrs-2008-pascal-laugier/

http://www.btchflcks.com/2014/09/martyrs-female-friendships-can-be-bloody-complex.html#.WPx_GneZMdV

“It's so easy to create a victim, young lady, so easy. You lock someone in a dark room. They begin to suffer. You feed that suffering. Methodically, systematically and coldly. And make it last. Your subject goes through a number of states. After a while, their trauma; that small, easily opened crack, makes them see things that don't exist.”

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extrabeurre · 5 years ago

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IL PLEUVAIT DES OISEAUX en tête des nominations du Gala Québec Cinéma 2020

En direct du salon de Guillaume Lambert, les nominations du Gala Québec Cinéma (qui ne fera pas l’objet d’un rassemblement télévisuel cette année, confinement oblige) ont été d��voilées cet après-midi.

En cette année dominée par les réalisatrices, 6 des meilleurs films sont réalisés par des femmes et 3 femmes sont en lice pour l’Iris de la Meilleure réalisation.

On parle bien sûr d’Antigone de Sophie Deraspe (Meilleur film, Meilleure réalisation, Meilleur scénario), La femme de mon frère de Monia Chokri (Meilleur film, Meilleure réalisation), Kuessipan de Myriam Verreault (Meilleur film, Meilleure réalisation, Meilleur scénario), Jeune Juliette d’Anne Émond (Meilleur film, Meilleur scénario), Il pleuvait des oiseaux et Louise Archambault (Meilleur film, Meilleur scénario, et 13 nominations au total, le record cette année), et du plus inattendu Fabuleuses de Mélanie Charbonneau (Meilleur film).

Ces films réalisés par des femmes sont rejoints dans les catégories de pointe par les « films de gars » Mafia Inc de Podz (Meilleur film), Sympathie pour le diable de Guillaume de Fontenay (Meilleure réalisation, Meilleur scénario), et Le vingtième siècle de Matthew Rankin (Meilleur premier film, Meilleure réalisation).

Un grand oublié : Xavier Dolan, qui a lancé deux longs métrages l’an dernier. On ne s’attendait pas à un couronnement du mal-aimé The Death and Life of John F. Donovan, mais l’excellent Matthias & Maxime aurait mérité plus d’honneurs. Il est quand même en nomination dans les catégories Meilleure interprétation féminine dans un rôle de soutien (Micheline Bernard), Meilleure interprétation masculine dans un rôle de soutien (Pier-Luc Funk), Meilleure direction de la photographie (André Turpin), Meilleur montage (Xavier Dolan), Meilleure musique originale (Jean-Michel Blais) et Meilleur maquillage (Erik Gosselin, Edwina Voda).

Du côté des interprètes, je suis soulagé que mon long métrage québécois préféré depuis longtemps, Le rire de Martin Laroche, ait été au moins reconnu pour les brillantes performances de Léane Labrèche-Dor (Premier rôle féminin) et Micheline Lanctôt (Rôle de soutien féminin).

Il faut aussi souligner les deux nominations comme acteur de Robin Aubert, pour Jeune Juliette (Premier rôle masculin) et Merci pour tout (Rôle de soutien masculin).

Et une pensée pour Andrée Lachapelle, qui nous a quittés récemment, nommée comme Meilleure actrice pour Il pleuvait des oiseaux.

Parlant d’Il pleuvait des oiseaux , félicitations à Will Driving West, un de mes groupes préférés, parmi les finalistes de la catégorie Meilleure musique originale.

Aussi, je suis très heureux pour l’extraordinaire Je finirai en prison d’Alexandre Dostie, en nomination pour l’Iris du meilleur court métrage.

LISTE COMPLÈTE DES NOMINATIONS

MEILLEUR FILM

Antigone - ACPAV - Marc Daigle

Fabuleuses - GO Films - Nicole Robert

La femme de mon frère - Metafilms - Sylvain Corbeil, Nancy Grant

Il pleuvait des oiseaux - Les Films Outsiders - Ginette Petit

Jeune Juliette - Metafilms - Sylvain Corbeil

Kuessipan - Max Films Média - Félize Frappier

Mafia Inc - Attraction Images - Antonello Cozzolino | Caramel Films - Valérie D'Auteuil, André Rouleau

MEILLEUR PREMIER FILM

Mad Dog Labine - Jonathan Beaulieu-Cyr, Renaud Lessard - 1er scénario de Jonathan Beaulieu-Cyr, Renaud Lessard

Sympathie pour le diable - Guillaume de Fontenay - 1er scénario de Guillaume de Fontenay, Guillaume Vigneault

Le vingtième siècle - Matthew Rankin - 1er scénario de Matthew Rankin

MEILLEURE RÉALISATION

Monia Chokri - La femme de mon frère

Guillaume de Fontenay - Sympathie pour le diable

Sophie Deraspe - Antigone

Matthew Rankin - Le vingtième siècle

Myriam Verreault - Kuessipan

MEILLEUR SCÉNARIO

Louise Archambault - Il pleuvait des oiseaux

Jean Barbe, Guillaume de Fontenay, Guillaume Vigneault - Sympathie pour le diable

Sophie Deraspe - Antigone

Anne Émond - Jeune Juliette

Naomi Fontaine, Myriam Verreault - Kuessipan

MEILLEURE INTERPRÉTATION FÉMININE | PREMIER RÔLE

Anne-Élisabeth Bossé (Sophia) - La femme de mon frère

Anne Dorval (Isabelle Brodeur) - 14 jours 12 nuits

Léane Labrèche-Dor (Valérie) - Le rire

Andrée Lachapelle (Gertrude | Marie-Desneige) - Il pleuvait des oiseaux

Noémie O'Farrell (Laurie) - Fabuleuses

MEILLEURE INTERPRÉTATION MASCULINE | PREMIER RÔLE

Robin Aubert (Bernard) - Jeune Juliette

Marc-André Grondin (Vincent «Vince »Gamache) - Mafia Inc

Patrick Hivon (Karim) - La femme de mon frère

Niels Schneider (Paul Marchand) - Sympathie pour le diable

Gilbert Sicotte (Charlie) - Il pleuvait des oiseaux

MEILLEURE INTERPRÉTATION FÉMININE | RÔLE DE SOUTIEN

Micheline Bernard (Francine) - Matthias & Maxime

Juliette Gosselin (Clara Diamond) - Fabuleuses

Micheline Lanctôt (Jeanne) - Le rire

Eve Landry (Rafaëlle [Raf]) - Il pleuvait des oiseaux

Geneviève Schmidt (France Gauthier) - Menteur

MEILLEURE INTERPRÉTATION MASCULINE | RÔLE DE SOUTIEN

Robin Aubert (Réjean) - Merci pour tout

Sergio Castellitto (Francesco « Franck » Paternò) - Mafia Inc

Pier-Luc Funk (Rivette) - Matthias & Maxime

Sasson Gabai (Hichem) - La femme de mon frère

Rémy Girard (Tom) - Il pleuvait des oiseaux

RÉVÉLATION DE L'ANNÉE

Catherine Chabot (Chloé Therrien) - Menteur

Sharon Fontaine-Ishpatao (Mikuan Vollant [16-21ans]) - Kuessipan

Alexane Jamieson (Juliette) - Jeune Juliette

Nahéma Ricci (Antigone) - Antigone

Lilou Roy-Lanouette (Yanna) - Jouliks

MEILLEURE DISTRIBUTION DES RÔLES

Jacinthe Beaudet, Tobie Fraser, Geneviève Hébert, Myriam Verreault - Kuessipan

Nathalie Boutrie (Casting NB) - Jeune Juliette

Nathalie Boutrie (Casting NB) | Francis Cantin, Bruno Rosato (Casting Cantin Rosato) - Mafia Inc

Sophie Deraspe, Isabelle Couture | Pierre Pageau, Daniel Poisson (Gros Plan) - Antigone

Karel Quinn (Casting Karel Quinn) | Lucie Robitaille (Casting Lucie Robitaille) - Il pleuvait des oiseaux

MEILLEURE DIRECTION ARTISTIQUE

Éric Barbeau - La femme de mon frère

Dany Boivin - Le vingtième siècle

Marie-Claude Gosselin, Jean Lebourdais - Il pleuvait des oiseaux

Sylvain Lemaitre - Jeune Juliette

David Pelletier - Mafia Inc

MEILLEURE DIRECTION DE LA PHOTOGRAPHIE

Yves Bélanger - 14 jours 12 nuits

Nicolas Canniccioni - Kuessipan

Josée Deshaies - La femme de mon frère

Mathieu Laverdière - Il pleuvait des oiseaux

André Turpin - Matthias & Maxime

MEILLEUR SON

Claude Beaugrand, Michel B. Bordeleau, Bernard Gariépy Strobl, Claude La Haye, Raymond Legault - The Song of Names

Sylvain Bellemare, Jocelyn Caron, Bernard Gariépy Strobl - Sympathie pour le diable

Serge Boivin, Olivier Calvert, Samuel Gagnon-Thibodeau - Ville Neuve

Luc Boudrias, Sylvain Brassard, Jean Camden - Mafia Inc

Bernard Gariépy Strobl, Sacha Ratcliffe, Lynne Trépanier - Le vingtième siècle

MEILLEUR MONTAGE

Geoffrey Boulangé, Sophie Deraspe - Antigone

Monia Chokri, Justine Gauthier - La femme de mon frère

Xavier Dolan - Matthias & Maxime

Myriam Poirier - 14 jours 12 nuits

Matthew Rankin - Le vingtième siècle

MEILLEURS EFFETS VISUELS

Alchimie 24 - Alain Lachance, Jean-Pierre Riverin - The Song of Names

Mikros - Véronique Dessard, Philippe Frère - The Hummingbird Project

Oblique FX - Benoit Brière, Louis-Philippe Clavet, Kinga Sabela - Sympathie pour le diable

MEILLEURE MUSIQUE ORIGINALE

Andréa Bélanger, David Ratté (Will Driving West) - Il pleuvait des oiseaux

Jean-Michel Blais - Matthias & Maxime

Jean Massicotte, Jad Orphée Chami - Antigone

Howard Shore - The Song of Names

Peter Venne - Le vingtième siècle

MEILLEURS COSTUMES

Valérie Lévesque - Mafia Inc

Ginette Magny - Jouliks

Patricia McNeil - La femme de mon frère

Patricia McNeil - Le vingtième siècle

Caroline Poirier - Il pleuvait des oiseaux

MEILLEUR MAQUILLAGE

Jeanne Lafond - Jouliks

Léonie Lévesque-Robert - Fabuleuses

Marlène Rouleau - Mafia Inc

Adriana Verbert - Le vingtième siècle

Erik Gosselin, Edwina Voda - Matthias & Maxime

MEILLEURE COIFFURE

Michelle Côté - The Song of Names

Stéphanie Deflandre - Mafia Inc

Nermin Grbic - Le vingtième siècle

Daniel Jacob - Fabuleuses

Martin Lapointe - Il pleuvait des oiseaux

MEILLEUR FILM DOCUMENTAIRE

Alexandre le fou - Pedro Pires | Pedro Pires

Mad Dog & The Butcher - Les derniers vilains - Thomas Rinfret | Divertissement Breakout - Vito Balenzano, Bruno Rosato | Vélocité International - Valérie Bissonnette

Soleils noirs - Julien Elie | Cinéma Belmopán - Julien Elie

Xalko - Hind Benchekroun, Sami Mermer | Les films de la tortue - Hind Benchekroun | Sami Mermer

Ziva Postec. La monteuse derrière le film Shoah - Catherine Hébert | Les Films Camera Oscura - Christine Falco

MEILLEURE DIRECTION DE LA PHOTOGRAPHIE | FILM DOCUMENTAIRE

Dominic Dorval, Vincent Masse, Thomas Rinfret, Richard Tremblay - Mad Dog & The Butcher - Les derniers vilains

Sami Mermer - Xalko

François Messier-Rheault, Ernesto Pardo - Soleils noirs

Pedro Pires - Alexandre le fou

Pedro Ruiz - Sur les toits Havane

MEILLEUR MONTAGE | FILM DOCUMENTAIRE

Benoit Côté, Thomas Rinfret - Mad Dog & The Butcher - Les derniers vilains

Sylvia De Angelis, Sophie Leblond, Pedro Pires - Alexandre le fou

Aube Foglia - Soleils noirs

Annie Jean - Ziva Postec. La monteuse derrière le film Shoah

Natalie Lamoureux - Une femme, ma mère

MEILLEUR SON | FILM DOCUMENTAIRE

Wolfgang Beck, Mustafa Bölükbasi, Kerem Çakir, Huseyin Can Erol, Sonat Hançer, Eric Lebœuf, Bruno Pucella, Ibrahim Tarhan, Yener Yalçin, Tolga Yelekçi - Échos d'Istanbul

Luc Boudrias, Patrice LeBlanc - Une femme, ma mère

Sylvain Brassard, Benoit Leduc, Gaël Poisson Lemay - Alexandre le fou

Shelley Craig, Marie-Pierre Grenier, Luc Léger, Geoffrey Mitchell - La fin des terres

René Portillo - Sur les toits Havane

MEILLEUR COURT MÉTRAGE | FICTION

Je finirai en prison - Alexandre Dostie | Art & Essai - Hany Ouichou

Jojo - Guillaume Laurin | Couronne Nord - Fanny Forest, Julie Groleau, Guillaume Laurin

Juste moi et toi - Sandrine Brodeur-Desrosiers | Les Films Camera Oscura - Johannie Deschambault

SDR - Alexa-Jeanne Dubé | À Deux - Emili Mercier

Une bombe au cœur - Rémi St-Michel | Christal Films Productions - Christian Larouche | Panache Films - Sébastien Létourneau

MEILLEUR COURT MÉTRAGE | ANIMATION

Le cortège - Pascal Blanchet, Rodolphe Saint-Gelais | Office national du film du Canada - Julie Roy

Le mal du siècle - Catherine Lepage | Office national du film du Canada - Marc Bertrand

Organic - Steven Woloshen | Steven Woloshen

Physique de la tristesse - Theodore Ushev | Office national du film du Canada - Marc Bertrand

Les vêtements - Caroline Blais | Caroline Blais

FILM S'ÉTANT LE PLUS ILLUSTRÉ À L'EXTÉRIEUR DU QUÉBEC

Antigone - Sophie Deraspe | ACPAV - Marc Daigle | Maison 4:3

La femme de mon frère - Monia Chokri | Metafilms - Sylvain Corbeil, Nancy Grant | Les Films Séville

Genèse - Philippe Lesage | Unité centrale - Galilé Marion-Gauvin | FunFilm Distribution

Kuessipan - Myriam Verreault | Max Films Média - Félize Frappier | Filmoption International

Répertoire des villes disparues - Denis Côté | Couzin Films - Ziad Touma | Maison 4:3

PRIX DU PUBLIC

La femme de mon frère - Monia Chokri | Les Films Séville | Metafilms - Sylvain Corbeil, Nancy Grant

Il pleuvait des oiseaux - Louise Archambault | MK2 | Mile End | Les Films Outsiders - Ginette Petit

Mafia Inc - Daniel Grou (Podz) | Les Films Séville | Attraction Images - Antonello Cozzolino | Caramel Films - Valérie D'Auteuil, André Rouleau

Menteur - Émile Gaudreault | Les Films Séville | Les Films du Lac - Émile Gaudreault | Cinémaginaire - Denise Robert

Merci pour tout - Louise Archambault | Les Films Séville | Amalga - André Dupuy

IRIS HOMMAGE

Alanis Obomsawin

#gala québec cinéma #il pleuvait des oiseaux #andrée lachapelle

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kritikycz · 5 years ago

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Operace kolibřík o velkém plánu na zbohatnutí se do českých biografů nedostala. Tento kanadský film se Salmou Hayek ale stojí za pozornost

DVD nosiče zřejmě v současnosti kupuje už jen pár vyvolených. Rozhodl jsem se proto, že nebude na škodu, když je čas od času nezištně krapet zpropaguju nějakým tím zajímavým počinem kinematografie, jenž na nich aktuálně vychází. Tento týden podle mě stojí za to upozornit na Operaci kolibřík, která je v našich končinách tuze opomenuta. Třeba na ČSFD…- Více na https://www.kritiky.cz/filmove-recenze/2019/operace-kolibrik-o-velkem-planu-na-zbohatnuti-se-do-ceskych-biografu-nedostala-tento-kanadsky-film-se-salmou-hayek-ale-stoji-za-pozornost/

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reviewsphere · 5 years ago

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The Fall of the American Empire (2018)

FILM REVIEW: The Fall of the American Empire (2018) ⭐️⭐️⭐️⭐️ @edfilmfest @SonyPictures @DenysArcand @MaximRoyreal @maripiermorin

French-Canadian films have a serious potential for being, sweet, sexy, in good tone, serious when needed and captivating when the time is right. Well, The Fall of the American Empire (original title: La chute de l’empire américain) by director Denys Arcand (The Barbarian Invasions) is just that.

Montreal’s delivery truck driver with a degree in Philosophy Pierre-Paul Daoust (Alexandre Landry)…

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#Alexandre Landry #Denys Arcand #edinburgh film festival #Juliette Gosselin #Maripier Morin #Maxim Roy

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page58-blog1 · 7 years ago

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Some Things Can't Be Unseen in Mathieu Ratthe's Alien Invasion Sci-fi Thriller 'The Gracefield Incident' (Trailer)

Some Things Can’t Be Unseen in Mathieu Ratthe’s Alien Invasion Sci-fi Thriller ‘The Gracefield Incident’ (Trailer)

“What an amazing weekend with my best friends.” In ‘The Gracefield Incident’ Matt, a video game developer, embeds an iPhone camera into his prosthetic eye to secretly record and give us a point-of-view documentation of a weekend with friends in a luxurious mountain top cabin.

“What is that?” “What is what?” “That.”They’ve arrived. The weekend takes a terrifying turn when a meteorite…

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#action #Alex C. Nachi #Alexandre Nachi #alien invasion film #Horror #Juliette Gosselin #Kimberly Laferriere #Laurence Dauphinais #Lori Graham #Mathieu Ratthe #mystery #sci-fi #The Gracefield Incident movie #The Gracefield Incident trailer #thriller #Victor Andres Turgeon-Trelles

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hmuncut · 7 years ago

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Heading to theaters,on demand and Digital HD in July is the Mathieu Ratthe feature THE GRACEFIELD INCIDENT. The sci fi thriller follows a young man who implants a device in his eye that records one of the most terrifying weekends ever. Check out the trailer for the UFO filled movie ahead and look for THE GRACEFIELD INCIDENT in theaters on July 21st!

THE GRACEFIELD INCIDENT

Matthew Donovan, a video game editor, embeds an iPhone camera into his prosthetic eye to secretly record and document a weekend with friends in a luxurious mountain top cabin. The weekend takes a terrifying turn when a meteorite crashes the party forcing everyone to face the darkest, screaming nightmare while somehow connecting life, love, and loss in a twist of fear.

Trailer:

THE GRACEFIELD INCIDENT is directed by Mathieu Ratthe and stars Mathieu Ratthe, Kimberly Laferriere, Victor Andres Turgeon-Trelles, Juliette Gosselin, Alexandre Nach and Laurence Dauphinais.

‘The Gracefield Incident’ in theaters and on demand next month Heading to theaters,on demand and Digital HD in July is the Mathieu Ratthe feature THE GRACEFIELD INCIDENT.

#Alexandre Nachi #horror movie trailer #Juliette Gosselin #Kimberly Laferriere #Laurence Dauphinais #Mathieu Ratthe #Momentum Pictures #The Gracefield Incident #theater release #Victor Andres Turgeon-Trelles

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terrorama · 8 years ago

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Jovens Lutam Contra Ameaça Alienígena no Trailer de 'The Gracefield Incident'

Uma das produções da qual há muito tempo estamos falando e pelo qual ansiosamente aguardamos é o found footage de abdução alienígena The Gracefield Incident de Mathieu Ratthe. A produção ronda por aui desde de meados de 2014 e volta e meia reaparece com um novo material. Felizmente a Film Mode

Veja mais: http://trror.net/eyQUB

#Alex C. Nachi #alienígena #Film Mode Entertainment #found footage (gênero)#invasão alienígena #Juliette Gosselin #Kimberly Laferriere #Laurence Dauphinais #Mathieu Ratthe #Parade Deck Films #poster #The Gracefield Incident #trailer #trailer legendado #Victor Andres Turgeon-Trelles #vídeo

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tabloidtoc · 6 years ago

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In Touch, November 26

Cover: Brad Pitt and Angelina Jolie divorce bombshell -- the kids choose Brad

Page 1: Contents

Page 2: Who Wore It Better? Irina Shayk vs. Katie Holmes vs. Uzo Aduba

Page 4: Britney Spears’ Las Vegas show is a disaster

Page 5: Matthew McConaughey still upset he didn’t get the part in Titanic, Alexis Ren broke 2 ribs on DWTS, Makeover of the Week -- Elizabeth Olsen got bangs, Dry Spell of the Week -- Teresa Giudice, Jennifer Garden’s wardrobe malfunction

Page 6: Jamie Dornan selling his L.A. home, Channing Tatum brings his 5-year-old son to girlfriend Jessie J’s concert, J.K. Rowling sues her former assistant for using a business credit card to buy cats and candles

Page 8: Prince Charles is so spoiled

Page 9: Man Candy of the Week -- Anthony Joshua, Winner of the Week -- Breaking Bad fans are getting a movie, Loser of the Week -- Alec Baldwin’s talk show moved to an undesirable time slot after his arrest, Chad Johnson can’t stop trashing the rest of Bachelor Nation

Page 10: Oh Baby -- Jessica Alba and kids Hayes and Haven and Honor, Jim Edmonds of RHOC’s son Hart, Ashlee Simpson and Pete Wentz’s son Bronx, Heidi Klum and Seal’s son Johan, Katherine Heigl and Josh Kelley’s daughter Naleigh, Kim Zolciak and Kroy Biermann’s twins Kane and Kaia

Page 12: Up Close -- Victoria’s Secret -- Gigi Hadid, Kendall Jenner, Sara Sampaio, Bella Hadid and Halsey, Adriana Lima

Page 15: Gisele Bundchen, Busy Philipps

Page 16: Ellen DeGeneres and Ariana Grande, Jon Hamm and Sarah Silverman, Millie Bobby Brown and Finn Wolfhard of Stranger Things, Jerry O’Connell and Katie Holmes

Page 18: Martha Stewart and Jessica Simpson

Page 19: Jewel, Reese Witherspoon

Page 20: Emily Ratajkowski

Page 21: Kristin Chenoweth, Priyanka Chopra and Sophie Turner

Page 22: Matthew McConaughey, Mariska Hargitay and Peter Hermann, Shia LaBeouf and Dakota Johnson and Zack Gottsagen

Page 24: Russell Crowe, Michael B. Jordan, Carrie Underwood

Page 26: E! People’s Choice Awards -- Blake Shelton and Gwen Stefani, Busy Philipps and Jimmy Fallon, Chrissy Teigen and Kim and Khloe and Kourtney Kardashian and Kendall and Kris Jenner, Nicki Minaj, Melissa McCarthy, Mila Kunis

Page 28: Brad Pitt and Angelina Jolie custody bombshell -- the kids finally speak

Page 32: Kate Middleton’s showdown with the Queen as the Queen bends the royal rules again for Meghan Markle

Page 33: Doria Ragland nervous about Christmas

Page 34: Megyn Kelly’s career crisis

Page 36: Rita Ora robs from Pretty Woman

Page 40: Hollywood ravaged by wildfires

Page 41: Jon Gosselin wants custody of son Collin, Mark Wahlberg helping Octavia Spencer lose weight, blind item, Star Sightings -- Mariah Carey, Heather Thompson, Tommy Dorfman, ‘NSync’s JC Chasez and Joey Fatone, Mat Kearney, Ashley Tisdale

Page 42: Why Chip and Joanna Gaines are returning to TV

Page 43: Demi Lovato’s new guy may be trouble, Ashlee Simpson and Evan Ross’ chilly date night dinner, Rami Malek’s love triangle between Lucy Boynton and Portia Doubleday

Page 46: The Big Interview -- Mercedes Javid of Shahs of Sunset

Page 48: The Kardashians are crazy for Keto

Page 50: Style -- Pleats -- Leslie Bibb, Jaime King, Charlize Theron, Victoria Beckham, Awkwafina, Olivia Palermo

Page 52: Puff Sleeves -- Nina Dobrev, Elizabeth Olsen, Carey Mulligan, Priyanka Chopra, Isla Fisher, Mandy Moore

Page 54: Beauty -- Charcoal -- Shay Mitchell

Page 56: Did I Really Do That? Lindsay Lohan, Bebe Rexha, Anne Hathaway

Page 58: Sneak Preview -- Escape at Dannemora

Page 60: What Team Are You On? Jackie Goldschneider

Page 61: Blast From the Past -- 25th Anniversary of What’s Eating Gilbert Grape -- Leonardo DiCaprio, Johnny Depp, Juliette Lewis, Darlene Cates, Crispin Glover, John C. Reilly

Page 62: Animal Overload -- My dog looks like Sienna Miller

Page 64: My Night at Home -- Jake T. Austin, Guess Whose Moustache -- Jesse Plemons, Luke Evans, Benedict Cumberbatch, Adam Lambert, Brooklyn Beckham, Michael Cera

Page 66: Double Take -- Haylie Duff

Page 68: Horoscope -- Scorpio twins Nikki and Brie Bella

Page 70: The Top 10 Hottest Toms -- Tom Welling, Tom Selleck, Tom Cruise, Tom Sturridge, Tom Schwartz, Tom Hiddleston, Tom Ellis, Tom Holland, Tom Brady, Tom Hardy

Page 72: Last Laughs

#tabloids #Angelina Jolie #Brad Pitt #Megyn Kelly #Demi Lovato #Henry Levy #Tom Hiddleston #Hiddleston #Hiddles

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