Ce court métrage d’animation sans paroles se veut une évocation poétique de l’interdépendance entre les quatre éléments, l’homme et l’univers. Réalisé avec du dessin au trait, Cycle passe de l’échelle de l’infiniment petit à l’infiniment grand à travers un personnage en constante métamorphose.
Film d'animation illustrant l'écrasement de l'homme moderne par le rouleau compresseur de la performance. Entre figuration et abstraction, Drux Flux s'inspire de L'homme unidimensionnel du philosophe Herbert Marcuse. Le cinéaste déconstruit les paysages industriels et met en cause la suprématie de la technique au dépend de l'humanité.
The NFB's 16th Oscar®-nominated film.
Arthur Lipsett's first film is an avant-garde blend of photography and sound. It looks behind the business-as-usual face we put on life and shows anxieties we want to forget. It is made of dozens of pictures that seem familiar, with fragments of speech heard in passing and, between times, a voice saying, "Very nice, very nice." It was critically acclaimed and plays frequently in festivals and film schools around the world.
Le 41e film de l’ONF à être nommé aux Oscars®
Documentaire plus vrai que nature sur la fabrication des clous. Les bruits naturels rendent saisissantes ces images vivantes de feu et d'eau. Forgé sur l'enclume, coupé mécaniquement ou produit de façon industrielle, on découvrira ce petit objet, universellement utile, à travers les étapes de sa fabrication.
In this animation film, Norman McLaren imparts unusual activity to an old French-Canadian nonsense song. Simple white cut-outs on pastel backgrounds, many by Evelyn Lambart, provide lively illustrations. The folksong "Mon Merle" is sung in French by the Trio Lyrique of Montreal.
An animated fantasy that shows Canadians as urbanized people developing a vast wilderness with the aid of the latest technologies. Shown as part of the Urban Environment exhibit in the Canadian pavilion at the international exposition, Osaka '70.
*Note: as this film was initially created as part of a wider exhibition, animation only begins at 2:16, after some music.*
Although when he was alive, Vincent Van Gogh hadn't enough money to pay for his art materials, a hundred years later his painting "The Irises" sold for an unprecedented sum at a New York auction. This animated short, excerpted from Jacques Giraldeau's 1989 film Le Tableau noir, takes a loving look at the masterwork.
In this short, poetic film, a woman, 9 months pregnant, senses the danger the world holds for her unborn child. She wanders the city holding her camera, expressing and transforming this anxiety through photographic images. Combining live-action images with paper cut-outs, this moving film is about the survival of life on earth, and the hopes we cherish for our children. A film without words.
This animated short film attempts to answer the eternal questions, What is dying? and How does it feel? Based on recent studies, case histories and some of the ancient myths, the afterlife state is portrayed as an awesome but methodical working-out of all the individual's past experiences. Film without words.
In a moving conversation with Dr. Balfour M. Mount, friend, colleague and treating physician, cancer victim Jean Cameron, a one-time volunteer social worker in the Palliative Care Unit of Montréal's Royal Victoria hospital, discusses how she has come to terms with her own illness and the perspective it has given her on the meaning of life. What she has to say is relevant to all. The depth of her insight and the grace of her being leave viewers moved and open to thinking more carefully about the meaning of their own lives.
Using original animation, archival footage and personal interviews, this full-length documentary portrays the multiple relationships Canadian Muslim women entertain with Islam’s place of worship, the mosque. Islam is the fastest growing religion in the world. In North America, a large number of converts are women. Many are drawn to the religion because of its emphasis on social justice and spiritual equality between the sexes. Yet, many mosques force women to pray behind barriers, separate from men, and some do not even permit women to enter the building. Exploring all sides of the issue, the film examines the space – both physical and social – granted to women in mosques across the country.
Me and the Mosque was produced as part of the Reel Diversity Competition for emerging filmmakers of colour. Reel Diversity is a National Film Board of Canada initiative in partnership with CBC Newsworld.
It's summer and Ludovic is invited to his grandfather's farm. The little teddy bear finds Grandpa very saddened by the death of Grandma, and Ludovic is fascinated by a room filled with mementos. Grandma's portrait comes to life, and Ludovic is able to kiss and hug her. This poignant tale evokes the closeness and understanding between a grandfather and his little grandson who gradually learn to accept the death of a loved one.