Le Navire Night
On this day, March 8, we invite you to rediscover the audacious works of three women directors, in which voice and speech play a key role. Recently restored by the Cinémathèque québécoise, Luce Roy's Téléphone and Léa Pool's Strass Café are two examples of the creative dynamism of women's production in Quebec in the 1980s. Preserved in our collections, Marguerite Duras's Le Navire Night has lost none of its subversive modernity.
A love story between a woman suffering from a fatal illness and a caller with whom she communicates by telephone.

Marguerite Duras
Marguerite Duras is a French author, playwright, screenwriter, and director. Through the diversity and modernity of her work, which revitalizes the novel genre and disrupts theatrical and cinematic conventions, she is a major figure of the second half of the 20th century in literature. She gained recognition with a semi-autobiographical novel, Un barrage contre le Pacifique, and later achieved immense public success with L'Amant, which won the Prix Goncourt in 1984. In cinema, she wrote the screenplay and dialogue for Alain Resnais' film Hiroshima mon amour, earning her a nomination for the Academy Award for Best Original Screenplay in 1961. She then ventured into film directing due to dissatisfaction with the adaptations of her novels. In 1967, she directed her first film, La Musica, co-directed with Paul Seban, followed by Détruire, dit-elle, in 1969. Similar to her work in theater, she created experimental pieces. Through the juxtaposition of image and written text, she aimed to show that cinema is not necessarily narrative.
