An illustration of the rather unique way in which the day hospital of the Allan Memorial Institute in Montréal helps patients back to mental and emotional health. Patients not requiring full hospitalization come for daytime treatment and return to their homes at night. The case presented is that of a young woman who is under severe emotional stress. Interviews with a psychiatrist and group therapy sessions reveal the root of her trouble and set her on the path to overcoming her problem.
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.
Through moments in the lives of three groups of girls, images gleaned from the web and live streams of young women around the world, Bloom delves into the world of today's teenage girls. We delicately observe a hyper-connected but lonely generation inhabited by great lucidity, an inner struggle with self-image obsession, and a need for self-affirmation in the face of a complex sense of alienation.
This film is part of a series of television programs including interviews with the directors of short animated films as well as the films themselves. This video includes 2 animated shorts: Quilt (by Gayle Thomas), an animated tribute to patchwork quilting and Scant Sanity (by John Weldon), an exploration into the nature of the mind and reality in which a person seeking job counseling receives psychiatric treatment instead, thereupon becoming convinced of the reality of his own internal world.
Conviction envisions alternatives to prison through the eyes of women behind bars and those fighting on the front lines of the decarceration movement. Not another ‘broken prison’ film, this collaboration is a ‘broken society’ film—an ambitious and inspired re-build of our community, from the inside out. The film compels viewers to examine why we imprison the most vulnerable among us, and at what cost.
In a probing yet playful approach to a sensitive subject, this documentary examines the values that prompt people to alter their looks through cosmetic surgery. Personal accounts of men and women, young and old, who have decided to change their bodies are counterbalanced by comments from professionals who explain the effects of physical appearance on our lives. The film focuses mainly on the experiences of Daisy de Bellefeuille, a frank and feisty woman who decides to counter middle age with a facelift. The film provides us with a front-row seat during a facelift operation, as well as a close-up look at the results.
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.
Dramatizes the factors producing resentment and hostility in personal relationships. In the story of Clare we see how the death of her father and the later remarriage of her mother discouraged her from seeking affectional relationships with others. Although successful at college and in her business career, she feels the lack of fellowship and understanding. The factors behind this emotional inadequacy are reviewed by a psychiatrist.
The case history of Margaret, a 23-year-old girl who has physical disorders with no physical causes. A psychiatrist shows her the root of her troubles--childhood overprotection and discouragement of her efforts to express herself, resulting in a crippling fear of failure and a complete inability to assert herself. When Margaret understands her problem, she develops new and healthier habits of behaviour.
Goldwood is a search for the early self. A woman describes the look and feel of her childhood to an artist friend. The story of her days at Goldwood unfolds through his paintings and live footage of their visit to the site. Nature has reclaimed the land. The adult attempts to reclaim the child. The woman discovers pieces of her doll's plate, lost thirty years before. "I haven't been a figment of my own imagination," she says. The film evokes the universal feelings of a child in an adult's world and the awareness of self.
A young woman works as an exotic dancer in a bar. She recalls an incident from her childhood in which she was physically abused by a male visitor. This inner journey brings back painful memories, including the obsessive image of a hat. Black-ink drawings, spare and rapidly executed, flow together in a succession of troubling and striking metamorphoses. The Hat is a tough, visceral experience. With naked honesty, animator Michèle Cournoyer invites the audience to share in the pain of a woman whose body is on display and whose soul is forever soiled. A film without words.
A blend of drama and documentary, this film follows several people caught up in the turmoil of the modern world. The drama centres on a woman who has burned out and who holds up her own despair – and her attempts to rebuild her life – as a mirror to the rest of us. With a blend of gravity and humour, Sylvie Groulx's film shows the absurdity of a society dedicated to the cult of speed at all costs.
This short documentary filmed at Saint Boniface General Hospital, in Manitoba, focuses on the work of 2 women: Gisèle Fontaine, who helps women in childbirth; and Louise Saurette, who attends the dying. Birth and death, moments of transition that involve a transformative journey, have much in common. The midwife and the chaplain offer themselves as guides on the painful and essential path of letting go.
This documentary short was produced as part of the Tremplin program, which enables young Francophone filmmakers to make a first production in a professional context.
A rookie drag queen, reeling from a break-up, escapes to the country where he finds his grandmother in steep decline, yet desperate to avoid the local nursing home.
In the chaos of the post-modern world we still need the village psychic. Throughout the Maritime provinces of eastern Canada, neighbourhood fortune-tellers and village wise-women are alive and well, and their practices have survived intact. These women often work at the kitchen table--and today, they're more sought-after than ever. They're seemingly average people who don't put on airs and affectations, but who go about doing some rather extraordinary things with very little fuss. Using herbal preparations, spells, astrology, or tools as simple as tea leaves and tap water, they look into the past, present and future -- and offer tips on coping with what life throws our way. It's a fascinating tradition--and director Donna Davies has been immersed in it since childhood. Join her in The Kitchen Goddess as she takes you on a personal visit into the worlds of seven Maritime psychics.
With candor, humour and courage, a group of African-Canadian women challenge cultural taboos surrounding female sexuality and fight to take back ownership of their bodies. Combining her own journey with personal accounts from some of her radiant, endearing friends, co-director Habibata Ouarme explores the phenomenon of female genital mutilation and the road to individual and collective healing, both in Africa and in Canada.
A Love That Kills is a powerful documentary that tells the tragic story of Monica, a nineteen-year-old woman who was murdered by her former boyfriend. Monica's mother speaks passionately throughout the video, bravely telling viewers about her daughter's life and tragic death. She describes the helplessness she felt watching the emotional and economic abuse. She later discovered that physical battering was also part of the violence that Monica endured. In a parallel conversation, young people list the symptoms of partner abuse from male and female points of view. A Love That Kills helps to identify the warning signs of partner abuse, especially in young people, and the damage it causes emotionally and physically.
Through the energy of tango, a woman finds a path to freedom. A mesmerizing visual performance created with waves of ink and black-and-white geometric shapes.
In the ’70s, three rebellious teenage daughters, a restless mother, a father struggling with potatoes, and maybe some elephants, find themselves in bustling Nairobi. The family will never be the same.
Created by Oscar®-winning animator Torill Kove (The Danish Poet), Maybe Elephants is a playful and loving autobiographical homage to family, adolescence and the therapeutic power of memories, however unreliable.
Filmmaker and educator Janine Windolph ventures from Saskatchewan to Quebec with her two teens and younger sister, tracing their familial origins to the Cree First Nation of Waswanipi. Against the scenic backdrop of these Traditional Lands, Elders offer newfound interdependence and hands-on learning, transforming this humble visit into a sensory-filled expression of reclamation and resilience. Our Maternal Home lovingly establishes a heart-centred form of resistance to confront and heal from the generational impacts of cultural disconnection, making space for what comes next.
Five women, all of them black belts in karate, are examples of how this ancient martial art can transform lives. They demonstrate how it can generate a whole range of physical, psychological and spiritual benefits. To these women, karate means much more than self-defence; its lessons of discipline and harmony can be applied to situations on the street or in the boardroom.
This feature documentary tells the story of Diane Charron, a young woman who began a life sentence behind bars in 1981 when she was entangled in a friend's act of revenge and ended up stabbing a stranger to death. She had just turned 19. The film follows the story of Diane's life, from her own testimony and that of corrections officers, prison caseworkers and psychiatrists. Many show remarkable sympathy and affection for a troubled woman whose early life was marked by abuse. Sentenced to life is a strong film that raises difficult questions about prisoners with mental health problems.
This short film is inspired by a stormy same-sex relationship in the Manawan community of the Atikamekw Nation, which led to a suicide.
Since 2004, Wapikoni Mobile has been giving Indigenous youth the opportunity to speak out using video and music. This short film was made with the guidance of the traveling Wapikoni Mobile studios and is part of the 2007 Selection—Wapikoni Mobile DVD.
This inspiring film is the story of how one woman has come to terms with her life as a survivor of incest. Sexually abused by her father from infancy to early adolescence, Shirley Turcotte is now in her thirties and has succeeded in building a rich and full life. In To a Safer Place, Shirley takes a further step to reconcile her past and present. The film accompanies her as she returns to the people and places of her childhood. Her mother, brothers and sister, all of whom were also caught up in the cycle of family violence, openly share their thoughts. Their frank disclosures will encourage survivors of incest to break through the silence and betrayal to recover and develop a sense of self-worth and dignity.
This animated short, etched directly onto tinted 70 mm film, depicts the story of two sisters: Viola, who writes novels in a dark room, and Marie, her only companion. Disfigured, Viola counts on her sister to take care of her and shelter her from the outside world. But when an unexpected stranger turns up on their front door, the sisters' quiet lives are disrupted and their routine turns to chaos.
Raised in a refugee camp in the West Bank while her mother was in an Israeli prison, Walaa is determined to become one of the few women in the Palestinian Security Forces—not easy for a girl who breaks all the rules. Following Walaa from the ages of 15 to 21 with an intimate POV, What Walaa Wants tells the compelling story of a defiant young girl who navigates formidable obstacles, disproving the negative predictions from her surroundings and the world at large.