Soirée londonienne
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.
The story of two characters that we hear but never see. The film begins with a young student filming the London Markets in 1969. 25 years later, she invites a man to watch the film about his youth. The couple converse over the footage from that time, a budding love develops as the film ends.
Madeleine, a young French Canadian woman, goes to London to study English literature. She meets a young actor, Peter, who has just graduated from school and is unemployed.
Recording of a tense discussion between three people around the question of "revolution". Steve Ben Israel (member of the Living Theatre), James Cellan (BBC director) and David Autie (sculptor) confront each other in a debate that provoked a strong political and radical awareness among the students of the Royal College of Art in London. The screening of the document led to the return to school of five students who had been unjustly expelled by the school administration.
Mireille Dansereau
Mireille Dansereau was born in 1943, and grew up in a family belonging to the Montreal bourgeoisie, a background that would be a source of inspiration for her future 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 in 1967, Moi, un jour. As part of her Master's degree in film at the Royal College of Arts in London, she directed two feature films, Compromise and Forum. But it was upon her return to Montreal that the young filmmaker made the film that truly launched her career: La vie rêvée, in 1972. In this film, she addresses the condition of women, a central theme of her filmography, which she subsequently explores in documentaries made at the NFB under the direction of Anne Claire Poirier, and in two acclaimed fiction films, L'arrache cœur and Le sourd dans la ville. From the 1990s on, the essay form allowed her to explore family relationships while continuing to assert her feminine vision in the Quebec film landscape.
