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Every day, on the streets of Canada's cities, we pass them on our way to work or school. Bums, beggars, winos, bag people we call them. But who is the person at the end of that outstretched arm? What is life on the street really like? Is there a way off the street? For six years, director Daniel Cross followed the lives of three homeless men who spent much of their time in and around a Montreal subway station. Filmed in a cinema verité style, the film is unique: it humanizes the homeless, breaking down the barrier between us and them, neither moralizing nor offering easy answers. This is a gritty, compelling look at life on the streets that moves beyond the media stereotypes to show both the humanity of the homeless and the street-toughened aspects of their existence.

Today it is the city of Montreal, but 3 centuries ago the tiny band of missionary founders called it Ville-Marie, the holy city of Mary. This film goes back to its beginning and those who felt called to plant an oasis of Christianity in the North American wilderness. In an imaginative, at times almost surrealistic, way the film recalls the highborn company from France, and shows what survives of Ville-Marie in the Montreal of today.

A web documentary that explores Montreal’s incredible contribution to jazz music history through the legendary black musicians of Little Burgundy – the neighbourhood that was a hub of musical creativity, private clubs and speakeasies from the Jazz Age 1920s to the Golden Era of Jazz in the 1940s and 50s. Oscar Peterson, Oliver Jones, Norman Marshall Villeneuve, the Sealey Brothers, Nelson Symonds, and Louis Metcalf are among the greats who lived or played in "Burgundy".

Ladies of good families and social standing come to have their afternoon tea with their daughters who will someday follow in the same tradition. A charming portrait of a time that is slowly disappearing.

After a storm Montreal gets fully covered by snow

In the past 20 years, some 300,000 English-speaking people have left Montréal, convinced they had no future in a Québec that had become increasingly French, increasingly nationalistic. In this video we meet some of the people who are moving away and recall the days, in the last century, when there were more English-speaking people than French in Montréal. The video poses a controversial question: Will the city, with its youth leaving in great numbers, become a community of the elderly, unable to renew itself?

Gilles Groulx's first film shot in 1955 with a camera borrowed from his brother and edited during his spare time when he worked as an editor at the Radio-Canada news service a few years before he joined the NFB. Silent film, presented as its author left it, where the soil and the dialectic of Groulx's work are already there: documentary realism, the social space to be explored, daily life, the relationship between individual and society, social disparities, the consumer society, seduction and happiness.

We follow Roach, a 17-year-old ex-junkie and squeegee punk living on the streets of Toronto and Montreal. As part of the filmmaking process, he's been given a camera to document his world. The footage he gets is urgent, because there's a war against squeegee kids. This documentary is from the point of view of the kids themselves, in order to provide alternative voices. Roach's camera is positioned behind "enemy" lines: living in derelict buildings, squeegeeing for money, being hunted by police.

This documentary focuses on immigrant teens between the ages of 12 and 17 who share the story of their migration and their adaption to life in Canada through theatre. Young but wise, these children describe their experiences with emotion and authenticity.

Quartiers sous tension

An immersive dive into the world of Heenok and his collective Gangster & Gentleman, while touching on broader questions about the survival of hip-hop and the state of humanity. Did Roi Heenok really earn his first million at 18? Is he a real fake gangster or a fake real MC? And ultimately, is Roi Heenok truly a king?

Fredy

Je suis finissant

With its fluid arrangement of black and white scenes paired with an immersive soundscape, Je me souviens d’un temps où personne ne joggait dans ce quartier is a celebration of the many faces of Park Extension. The film provides a glimpse inside a festive cultural gathering; the workshop of a meticulous artisan; and an alley where a young cyclist is learning to ride. With her restrained approach, the filmmaker hints little by little at a seemingly inevitable transformation, while the relentless onset of gentrification threatens the social fabric of a neighbourhood. After a critically acclaimed detour into audio documentary, Jenny Cartwright returns to the evocative force of images to evoke a rich and diverse community.

La Coupe Stanley à Montréal en 1993

Vienna's Secret Places You're Not Allowed to Visit

Le dernier souffle, au cœur de l'Hôtel-Dieu de Montréal

Snowflakes at the End of the World offers a meditation on the beauty and ugliness of Montreal winter, and invites critical reflection on the relationship between humans and nature.

This feature documentary studies the different faces of Montreal’s Greek community in 1969. Instead of giving voice to the businessmen and well-integrated few, the film highlights the cultural and economic problems encountered by new immigrants and their families.

Under Dorchester Square in Montreal lies the cemetery where 55,000 people were buried in the 19th century. The square is still at the heart of social conflicts in Quebec, 150 years later.