L'arrache-cœur + Moi, un jour
La cinéaste a obtenu en 2022 la plus haute distinction décernée à un cinéaste québécois. À cette occasion la Cinémathèque québécoise tenait à souligner la contribution de l'une des pionnières du cinéma indépendant et du cinéma au féminin. Nous présentons quelques films rares, dont des versions restaurées par la Cinémathèque québécoise dans le cadre du Plan culturel numérique du Québec.
A 14-year-old girl evokes the boredom of her bourgeois environment and brings charges against her father and mother. A walk on the mountain with her dog serves as a pretext to see life through the eyes of this teenager who feels alienated from the world around her. The dreams of freedom of a young girl from a middle-class background, and the filmmaker's debut film.
Céline must find her place in relation to her mother, her son and her husband, and tear herself away from the former to live completely with the latter. A film made of words and confidences, which sticks to the daily life, to express the emotions that a woman feels when she talks about her mother.
Mireille Dansereau
Mireille Dansereau was born in Montreal in 1943 and grew up in a bourgeois family—a background that would later inspire her work. She studied dance and literature while developing a passion for film. She began her career with small contracts at the NFB, where she made her first short film, Moi, un jour..., in 1967. As part of her Master's degree in film at the Royal College of Art in London, she directed two feature films, Compromise and Forum. Upon returning to Montreal, the young filmmaker made the film that truly launched her career: La vie rêvée (1972). In this film, she addressed what would become the central theme of her filmography: the condition of women. She further explored this theme in subsequent documentaries made at the NFB under the direction of Anne Claire Poirier, as well as in two of her acclaimed fiction films, L'arrache-cœur and Le sourd dans la ville. From the 1990s onward, the essay form allowed her to delve into family relationships while continuing to assert her feminist vision within the Quebec film landscape.
