Brought together through their love of the theatre, seven mentally handicapped individuals take various paths in life. One works in a garage, another is a cook’s helper. One dreams of sharing an apartment with her best friend, one dreams of being loved by Tina; Anne-Marie and André dream about getting married. But recently, a major event makes their hearts beat as one: they will perform “Les Mariés de la Tour Eiffel” at the Festival européen des artistes handicapés mentaux [translation: European festival of artists with mental disabilities] in Figeac, France. This is a film about the mentally disabled living out their most extraordinary story, whether in the intimacy of a birthday meal or behind the footlights.

Source: Library and Archives Canada - Canadian Feature Film Database (LAC)

This innovative feature documentary/film memoir explores the roles of the son and the father in western, patriarchal culture. Hi-8 home video, snapshots, dramatic archival footage and poetic and expository sequences blend with the moving testimonies of fathers and sons to form a sometimes humorous, sometimes troubling series of portraits of contemporary relationships.

Source: Library and Archives Canada - Canadian Feature Film Database (LAC)

Documentary on the making of the fiction feature RED HOT shot in Riga, Latvia.

Source: Library and Archives Canada - Canadian Feature Film Database (LAC)

Compilation of the best sketches of the famous comedy duo consisting of Claude Meunier and Serge Thériault, broadcasted by Radio-Canada in 1983 and 1984. "A series of sketches that not only have us in stitches but also lead us to ask fundamental questions like "Does God have a sister?"

Source: Library and Archives Canada - Canadian Feature Film Database (LAC)

Norman McLaren was a cinematic genius who made films without cameras, and music without instruments. He produced sixty films in a stunning range of styles and techniques, collecting over 200 international awards, and world recognition. In CREATIVE PROCESS, director Donald McWilliams demystifies the process of artistic creation. Drawing on McLaren's private film vaults, a gold mine of experimental footage and uncompleted films, McWilliams explores McLaren's methods, including his celebrated "pixillation" technique, and his daring forays into animated surrealism. He reveals sources of McLaren's creativity and shows how they were transformed into cinema. This film is a unique examination of creativity - and a journey through McLaren's own extraordinary creative process.

Source: Library and Archives Canada - Canadian Feature Film Database (LAC)

A team of eager young scientists take on the unbelievable challenge of creating the first garden museum devoted to Planet Earth. To the din of jackhammers and mechanical cranes, we take a behind-the-scenes look at the Montreal Biodome to share the fervour, the apprehensions and the determination of these builder-creators who, with some naïveté, offer a contemporary version of the legendary Noah's Ark to their fellow citizens. Beyond the skill of the craftsmen, the solidarity of the designers and the enormity of the technical facilities, we are the fortunate witnesses to this incredibly complex odyssey: the development of over 10,000 square metres, the creation of 26 pools and water expanses, a plantation with 2,600 species of plants, acclimatation of 4,600 animals, etc. Thanks to the clear and often humorous commentary from the biologists and botanists guiding us, we make our way through the maze of natural laws governing the equilibrium of each of the four ecosystems reproduced.

Source: Library and Archives Canada - Canadian Feature Film Database (LAC)

André Mathieu, nicknamed the little Canadian Mozart, had a dazzling debut. At the age of four, he composed and performed his first works on the piano. At six, he gave his first recital in Montreal prior to performing in New York. At seven, he played at the Salle Pleyel concert hall in Paris. Stunned by his talent as a composer and his virtuosity as a pianist, the critics and public alike spoke of his genius. He had all he needed for a brilliant international career. Nonetheless, his fall was rapid. And the one whose music was compared to Rachmaninov’s would fall into oblivion before the age of twenty. His returns to the stage would be nothing but these most dismal of performances: pianothons. He died at the age of 39, abandoned by everyone.

Source: Library and Archives Canada - Canadian Feature Film Database (LAC)