Recently released, The Christmas cyclone et The little one and the old man also attract crowds.
Karine Vanasse, who hosts the special show for the second year In a cinema near youbelieves that it is in our interest to promote our films well before their theatrical release, but rather as soon as they enter production.
Why wait for their release and why entrust this task only to the actors?
“When you hear about a project a long time in advance, you give yourself a chance. When you know the creators too. We only have to think of Denis Villeneuve, who has become a personality in the world of cinema, he is charismatic, we want to know what is going on in his head [quand il réfléchit à ses films]. There is something mysterious around the creators, beyond the actors.
This is what she does with In a cinema near you: giving voice to creators and their abundant imagination.
During the 90 minutes of this documentary, broadcast Saturday at 8 p.m. on ICI Télé and ICI Tou.tv, the actress goes through 16 film projects, in preparation or already shot. Not a vulgar infomercial, but a living and dynamic work, which makes you want to travel to see our cinema.
Remember that the initiative stems from Radio-Canada’s decision to abandon the broadcast of the Gala Québec Cinéma, which has since moved to Noovo.
With director Frédéric Nassif and author, content designer and producer Jocelyn Lebeau, Karine Vanasse is as interested in the most popular films as in the most obscure, with the same level of curiosity.
Thus, we watch Simon Boulerice delve into the archives of Michel Louvain with the husband of the deceased singer, Mario Théberge. The two tell us about the bond of trust they have established.
The story of this fusional love, which had to remain secret all these years, will come to life in the film I court youworking title inspired by a song from Louvain, which Mario Théberge learns in front of us.
In this segment which opens the show, he reveals that he never deleted the greeting that his husband recorded.
The project for the cinematographic version of the show Of comb and misery by Fred Pellerin is only in an embryonic state.
The storyteller reflects on the film out loud and recounts how the project, developed with Éloi Painchaud, became a musical.
“To him [Éloi]he saw Megadeath [un groupe de métal] in there! That’s how much it’s going to take!” exclaims a Fred Pellerin delighted by the musician’s unusual proposal.
To talk about an animated short film, we had to find the angle that would capture attention and it was successful. Karine Vanasse therefore sets off to meet the Acadian artist Daniel Léger, who is completing the production of a film inspired by his personal experience and made with the smoking technique, absolutely fabulous and which I did not know.
“A good, well-made and effective short film can also become a little gem,” insists Karine Vanasse.
Very amusing to see Antoine Bertrand and Anne-Élisabeth Bossé attempt to view the first images of Liarwhich director Émile Gaudreault refuses to show them, very protective of his work before it is polished and completed.
The filmmaker is, on the contrary, very transparent in the finale of the previous film, Liar (mega success of 2019), which he completely changed and explains what convinced him to make a sequel with the character of Anne-Élisabeth Bossé, Virginie.
I could also cite Shepherdsof which Sophie Deraspe tells an incredible filming anecdote; Furiesabout a women’s roller derby team for which Gabrielle Côté (the evil Laurence Caron in STAT) is currently training; And In the evening lightthe film-testament of Fernand Dansereau.
While many artists have a tense relationship with film critics, Karine Vanasse prefers to highlight the positive aspects. His thoughts on the subject are even tinged with respect.
“What I like about film critics is knowing what a film made them experience. What I would find important to preserve from this profession is to have access to the perspective of a cinephile who knows something about it. Film critics remind us of the context around a work, which we would not otherwise know,” she says.
Karine Vanasse also believes that initiation to Quebec cinema must take place in early childhood, to already create memories that will stay with us throughout our lives.
“For a young person who goes to see The Christmas cyclone during the holiday season, it will perhaps become the traditional Christmas film, even after his adolescence”, gives as an example the one whose first contact with Xavier Dolan was The hanging fortressin which the future filmmaker played as an actor.
Seeing Blacklist by Jean-Marc Vallée at a time when she was reading John Grisham, she discovered that we could tell detective stories in our cinema. As she appreciated the scale of the Red violin by François Girard.
“I really liked Marie-France Monette as an actress, and when I saw The water childit completely blew me away.”
<img data-chromatic="ignore" alt="Karine Vanasse cite Miss Bottine to highlight the impact of Tales for All in the discovery of cinema.” class=”c-image” loading=”lazy” src=” srcset=” 274w, 400w, 768w, 1024w, 1440w” width=”1200″ height =”800″/>
A few days before the release of Miss Bottineshe also highlights the impact of Tales for All in the discovery of cinema, It’s not because we’re small that we can’t be big to a film that completely charmed her in recent years, Firm coconut.
“We tell stories of all kinds. It’s important so that everyone benefits,” she adds, regarding the variety of subjects and atmospheres exploited by our creators.
Discovery with Take me away by Léa Pool, Karine Vanasse meets the filmmaker in the documentary to see the first images of the film written by Michel Marc Bouchard, The hero’s outfitanother very moving moment.
Karine Vanasse, who shone on the big screen in Seraphim: a man and his sin, Polytechnic and more recently, Arsenault & filscurrently has no film projects.
His interest is very much towards the American-Irish actress Saoirse Ronan these days. “From everything I see of her right now[[The Outrun entre autres]I’m happy for her, but I’m a little jealous!” she admits.
In a completely different vein, Karine Vanasse is overflowing with enthusiasm when talking about the second season of Traitorsfilmed last summer and which we will see next spring on Noovo.
“After last year, we said to ourselves: will we be able to find other characters as strong as Meriem and Michel? And yes, without any problem!” she gets carried away.
“The show appeals to the intelligence of the spectators and their value system. The discussions that arise from listening to the show are interesting. Viewers are respectful to each other on the discussion forums. I loved everything about this experience.
“It makes us discover professions that we know little about. This year, we have a hypnologist, a synergologist who reads the non-verbal, all kinds of personalities.
Karine Vanasse also hosts the English version, Traitors Canadacurrently broadcast on CTV and available on Crave.
To respond to this column, write to us at [email protected]. Some responses may be published in our Opinions section.
How does Vanasse’s perspective on film criticism challenge or reinforce your own viewing habits?
## Open-Ended Questions for Discussion:
**1. The Art of Film & Criticism**
* Karine Vanasse highlights the positive aspects of film criticism. Can you think of examples where film criticism has helped you discover new films or appreciate existing ones in a deeper way?
* What qualities do you appreciate in film critics? Do you think there’s a balance to strike between providing insightful analysis and avoiding spoilers?
**2. Early Childhood Exposure to Quebec Cinema**
* Vanasse argues for early exposure to Quebec cinema. What films made a lasting impact on you during childhood and how did they shape your understanding of cinema?
* Should efforts be made to introduce diverse genres and perspectives in children’s film selections? How can we ensure inclusivity while still appealing to younger audiences?
**3. Genre Diversity and Storytelling**
* The article mentions a variety of Quebec films spanning different genres, from comedy to drama to thrillers. What value do you see in having such a diverse cinematic landscape?
* Which genres of Quebec cinema are most appealing to you and why? Do you think there’s a genre that Quebec cinema excels at, or has yet to fully explore?
**4. The Importance of Representation**
* Vanasse mentions the importance of representation in cinema. Can you provide examples of Quebec films that have depicted diverse characters and narratives effectively?
* How can filmmakers and the film industry as a whole work to ensure more inclusive and representative storytelling?
**5. Collaborations and Creative Processes**
* The article touches on collaborations between filmmakers and actors. Can you think of successful pairings in Quebec cinema that have produced memorable films? What qualities make a successful creative partnership?
* How important is the role of producers and distributors in supporting and amplifying the voices of Quebec filmmakers?
**6. Translating Success: *Traitors***
* Vanasse expresses enthusiasm for the success of the Quebec version of *Traitors* and its English adaptation. What do you think contributes to the show’s appeal across languages and cultures?
* What are the challenges and opportunities of adapting a successful format for different audiences?
**7. The Future of Quebec Cinema:**
* Where do you see Quebec cinema heading in the coming years? Are there any emerging trends or filmmakers that you find particularly exciting?
* How can Quebec cinema continue to connect with audiences both domestically and internationally?
These questions aim to spark further discussion and reflection on the rich tapestry of Quebec cinema, exploring its diverse narratives, talented creators, and enduring impact on its audience.
