Jean-Pierre Saulnier
Two children deal with the arrival of a foster brother, a Cambodian refugee. All three of them discover a hermetic retired railway engineer living in the woods. Then the children find an abandoned locomotive and, with the help of the engineer, bring it back to working order.
On a wedding day, women are confined to the kitchen to prepare the meal while the men wait to be served. While men talk politics and sports, women talk about their condition. A teenager observes the gap between the sexes. Co-directed by two actresses, Paule Baillargeon and Frederique Collin, The Red Kitchen is the birth of the Quebec women's cinema. The birth of the film was difficult, and funding has been largely achieved through donations from friends and a benefit concert. This war of the sexes takes place in a demanding formal research, based on the improvisation of the actors, whose preparation took place over long sessions in the workshop. The end result mixes black humour, horror and a very expressive fantasy that gave rise to heated debates.
A young police officer goes through Abitibi to take a train with a young convict who escaped from her orphanage.
In a poor neighborhood, teenagers plot an assassination while a party is being organized for the local usurer.
A married man and his family take in his brother, who is coming out from a religious order. They decide to realise the old family dream, migrate to Florida. But it won't be as easy as they think.
Although he is something of a layabout, and is still living with his mother, her death comes as something of a shock to Louis Pelletier (Gilbert Sicotte). Still, he has hopes of some sort of legacy and believes that his relatives will help him find a job. All his hopes are dashed when, before the funeral, his three aunts come to Quebec City to settle their sister's estate. As grasping and efficient a crew as ever strode a parlor, by the time they leave, the estate has been cleaned to the bones, as if by vultures.
Decided to 'make the States' a hit-man from Montreal accept a contract in New York to kill a mafioso boss, Frank Anastasia. Naturally the Americans don't accept what that 'stranger', that frog have done and track him back. Despaired he contact a radio talk show to tell his story trying to find a way to save the life of his partner in the hand of those who contract him.
The unexpected return of his ex-wife and the assembly of a group of protesters both threaten to wreck a corrupt contractor's inauguration party for his new superhighway.
This French-Canadian crime/action drama, which satirizes U.S. crime films, was shown at the Cannes Film Festival in 1972 and was well received. In the picture, perfectly ordinary people murder, steal, and torture one another with casual abandon in order to solve their everyday problems.
