This short drama highlights the work of the Family Welfare Service in its compassionate tale of a husband who abandons his wife and children. Part of the Perspective series.
In Crown Prince, Frank Robinson abuses his wife verbally and batters her physically, with frightening consequences not only for her, but also for their sons, Billy and Freddy. A thought-provoking drama, this film explores the complex problems teenagers face in dealing with domestic violence, and shows how one family begins the healing process.
This short documentary follows Montreal filmmaker Eylem Kaftan as she travels to Turkey in an attempt to unravel the 30-year-old mystery of her aunt Guzide's murder. As she searches for clues and closure, she encounters antiquated customs in a Kurdish culture she's never known. She knows that her aunt was the victim of a senseless vendetta killing and as she ventures from village to village she pieces together the woman’s final days and closes in on the identity of her killer. Vendetta Song is produced by DLI Productions in co-production with the NFB.
Illuminating a new paradigm for domestic-violence prevention, A Better Man offers a fresh and nuanced look at the healing and revelation that can happen for everyone involved when men take responsibility for their abuse. It also empowers audience members to play new roles in challenging domestic violence, whether it’s in their own relationships or as part of a broader movement for social change.
To Learn more about A Better Man and access additional resources, visit A Better Man project
How does a man suddenly abandon his family in favour of an isolated life in a monastery? What is the legacy of Léonard's father's sudden departure? Mon père, le roi captures the painful memories of the son and ex-wife of a man turned “king” of a religious cult. Together with the filmmaker, they take to the road to visit the man who abandoned them 45 years ago. For Léonard, it is also a return to the prison where he spent part of his childhood, after having been abducted by his father.
This documentary was made as part of the Tremplin program, with the collaboration of Radio-Canada.
Shot in Montreal over a four-month period, from May to September 2020, Jules’ Impossible Summer charts the evolving relationship between the filmmaker and her 19-year-old son through 15 redundant conversations about the importance—or the impossibility, depending on the point of view—of following the health restrictions imposed during the pandemic.
This animated short follows an unwanted baby who is passed from house to house until he is taken in and cared for by two homeless men. The film is the Canadian contribution to an hour-long feature film celebrating UNESCO's Year of the Child (1979). It illustrates one of the ten principles of the Declaration of Children's Rights: every child is entitled to a name and a nationality. The film took home an Oscar® for Best Animated Short Film.
This feature documentary is considered to be the forerunner of the NFB's Challenge for Change Program. The film offers in inside look at 3 weeks in the life of the Bailey family. Trouble with the police, begging for stale bread, and the birth of another child are just some of the issues they face. Through it all, the father tries to explain his family's predicament. Although filmed in Montreal, the film offers an anatomy of poverty as it occurs throughout North America.
The followers of religious leader Jacob Hutter live in farm communities, devoutly holding to the rules their founder laid down four centuries ago. Through the kindness of a Hutterite colony in Alberta, this film, in black and white, was made inside the community and shows all aspects of the Hutterites' daily life.
Acclaimed Métis filmmaker Christine Welsh brings us a compelling documentary that puts a human face on a national tragedy – the epidemic of missing or murdered Indigenous women in Canada. The film takes a journey into the heart of Indigenous women's experience, from Vancouver's skid row, down the Highway of Tears in northern BC, and on to Saskatoon, where the murders and disappearances of these women remain unsolved.
Between March and October 2000, millions of people around the world took to the streets to denounce poverty and violence against women. The historic World March of Women was a bold initiative of the Québec Federation of Women and represented a turning point in global solidarity.
Director Sophie Bissonnette invited five filmmakers from around the world to cover the march. She also asked each one to film an innovative project. In Senegal a community battles female genital mutilation through education. In Australia a women's circus teaches survivors of sexual assault to become skilled performers. In India a group of low-caste women mediate domestic disputes in informal women's courts. Native women in Ecuador offer leadership training programs to create women leaders. In the United States, Linda Carney describes why she founded Survival Inc. for poor women in Boston: this wealthy city refused her and her son welfare benefits unless she quit her minimum-wage job.
Set against the backdrop of a song, A Score for Women's Voices ends at the UN, where women deliver 5 million cards signed during the marches. Their goal? To change the world!
For Alexander Galt it was the middle of the road, until he saw some hope for his dream of a united Canada. What was he like, this stubborn idealist? How did he measure up to other political strongmen of his time? In this film you sense the personal clashes and the interplay of political ambitions that left their mark on history.
Ages 15 to 18
Civics/Citizenship - Citizen Responsibilities
Ethics and Religious Culture - Ethical Values
Family Studies/Home Economics - Parenting
Social Studies - Social Policies and Programs
Warnings: [Depictions of alcohol consumption, alcoholism]
A short film revolving around family, poverty and social programs in the mid-20th century. Ideal for research projects, essays and classroom discussions about economics, social programs and media depictions of family life in post-World War II Canada. The film begins with the narrator describing it as a story about “a man and his troubles.” Do you think this is an accurate assessment? Why or why not? The family in the film is presented as an average Canadian family; what does this say about how the “average Canadian” was imagined in media during the post-World-War II era? How does this depiction differ from your own experiences? Discuss the relationship between compassion and professionalism in the film.