This film depicts a world where space is geometric, noise is absent, and nothing happens until a small white cube comes bumping along, stirring up movement where before there was none. Chased by a wicked demon, the cube symbolizes the inner struggle that goes on inside each one of us: the confrontation, or evasion, of one's private demons. Film without words.
A glimpse into the nature of loneliness. Frances Hyland plays the part of a small-town girl who enjoys position and respect in her community as the owner of a successful dress shop, but who wonders if marriage might not have been a better choice. Disturbed by thoughts of what might have been, she resolves to live each day as it comes.
The story of a young woman's schizophrenic breakdown, and of her recovery in a modern mental hospital. Inherent in the film is an appeal for greater public understanding of mental illness and for the removal of the stigma that still surrounds it. The film presents the case of a seemingly well-adjusted young woman, showing the disintegration of her personality and the psychiatric treatment that follows.
Every summer, Camp Weredale, located in the Laurentian mountains north of Montreal, is home to "system kids," offering them a safe haven and a chance to heal lives scarred by abuse and neglect. Silence & Storm documents two months in the lives of ten kids at this unique summer camp. For some, it was an opportunity to re-learn their capacity to be kids and just play; for others, it was a chance to come to grips with the painful memories that haunt them. Despite backgrounds steeped in pain and disappointment, these young people were able to reveal themselves and express their hopes, fears, anger and loneliness. The result is a sensitive, revealing portrait of an unusual program for youth in care.
A vivid recollection of the free west of the North American Indigenous Peoples and the vast herds of buffalo that once thundered across the plains. From paintings of the mid-1800s, the animation camera creates a most convincing picture of the buffalo hunt, both as the Indigenous People and, disastrously, the white hunters practised it.
This film presents a breath-taking view of Canada from coast to coast. Besides showing the varied terrain, from craggy coast to towering glacier, the film illustrates something of the development of the land from its virgin state to today's intense and complex industrial exploitation. Filmed for the most part from a low-flying aircraft, there is evidence of space everywhere: in the caribou streaming across the snowy tundra, in the serried ranges of the Pacific mountains, in the distant horizons of lakes and seas, and in the spacious grain fields of the prairies. Equal to the grandiose natural scenes are the projects of Canadian industry, such as Quebec's great Manicouagan power dam, and the endless ribbon of the Trans-Canada Highway. This view of the land is surprising in its diversity.
This film demystifies the complex but fascinating world of the investment business. We are given a privileged view of one of Canada's largest brokerage houses, McLeod, Young, Weir and Co. Ltd., and we also hear from some people who understand the complexities of the Montréal, Toronto and Vancouver stock exchanges. We are given a glimpse of a business that forms the basis for capitalism in North America, an instant barometer of the health of the economy.
A taste of the sea and people who sail it from the ports of the Atlantic Bluenose coast. Some of the sailors seen and heard in this black and white film are famous: Bill Roue who designed the first Bluenose schooner (still on the Canadian dime) and Captain Angus Walter who brought her to victory.
The great appeal of this film is watching the beaver at work, busily and cheerfully demonstrating the characteristics for which it is famous. Sometimes, however, the beaver's industry runs counter to the plans of people. When the beaver's dam floods their father's hayfield, two boys devise a plan to save the beaver from their father's displeasure.