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 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.
