On Christmas Eve, a snow plow operator (Guy L’Ecuyer) in Montreal is suddenly called upon to work in an unexpected snowstorm which becomes a problem as he has not finished his Christmas shopping. Determined to get all his gifts while continuing to clear the roads, Léopold has a series of comedic misadventures that become increasingly ridiculous as his time begins to run short.

Originally commissioned as an NFB documentary about snow clearing, director Gilles Carle creatively reframed it as a narrative film to create a unique blend of documentary and direct cinema that also cheekily comments on contemporary social and political issues. It won the Best Feature prize at the 1965 Montreal International Film Festival.

Jacques (Côté) and Marc (Houde) are father-and-son cops who don't exactly get along, but when a fellow officer is kidnapped by a biker gang, they're forced to partner up in order to save his life.

The pair infiltrates an outdoor camp for fathers and sons to snag Charles Bérubé (Girard), the biker gang's lawyer. As Jacques and Marc try to locate their missing colleague, they find the camp's bonding activities are having an emotional and hilarious impact on their own relationship.

De père en flic is the highest-grossing French-language film in Canadian history.

"A can't-miss buddy comedy about a pair of dysfunctional father-son cops who are forced to go undercover at a touchy-feely bonding retreat...a genuinely amusing hybrid." — Michael Rechtshaffen, Hollywood Reporter

In a country cottage beside the still waters of Lake Memphremagog in Quebec’s Eastern Townships, eight intellectuals share a night of frank discussion about life, love, sex and everything in between.

While the story is set in the world of academia, there’s nothing bookish or stuffy about the stories that emerge! Satirical and witty, Le déclin evolves from a comedy of manners to a poignant and moving exploration of relationship and loss.

Ranking twice in the Top 10 Canadian Films of All Time list (both the 1993 and 2004 lists), the film was nominated for an Academy Award and winner of nine Genie Awards.

Based on the tragic school shooting that took place at Montreal’s École Polytechnique on December 6, 1989 (known as the “Montreal Massacre”), director Denis Villeneuve’s melancholy docudrama portrays the events as seen from the perspective of two students.

There are some tragedies so devastating they defy rational understanding. Villeneuve films in black and white, shifting back and forth in time, attempting to maintain a sane and calm point of view in the face of just such a senseless act of violence. The result is a sensitive yet stark account of one of the more profoundly disturbing crimes in recent Canadian history.

The film won nine Genie Awards, including Best Motion Picture, and five Jutra Awards. The Toronto Film Critics Association awarded it the Best Canadian Film Prize, with critic Brian D. Johnson referring to it as “a film of astonishing courage.”

In French Canada and abroad, the series of films spawned from Les Boys is both beloved by audiences and box offices alike. But the title garçons in Les Boys are hardly young dudes at all — they’re grown men!

In this original, fun and hilarious prequel set in 1965, we find Les Boys as they originally were: hardy teenagers. Dreaming of victory in the Holiday tournament, the team is on Christmas vacation, but it’s anything but a restful experience: they have goals to make and trophies to win.

Full of wonderful highs and lows that evoke the rollercoaster experience of adolescence, When We Were Boys is a rare thing in cinema: a terrific and successful prequel.

It’s 1976 on the Red Crow Mi’kmaw reserve, and 15-year-old Aila (Jacobs) is the weed princess of her community. Hustling drugs with her uncle Burner, she sells enough dope to pay a “truancy tax” to Popper, the sadistic “Indian agent” who runs St. Dymphna’s Residential School.

It’s a tough life, but she’s making it work. That is, until the precarious balance of her world is threatened by her father’s return from prison and the theft of her drug money.

Part fable, part small-town drama, Rhymes for Young Ghouls is a richly imaginative and striking drama about growing up during a very dark time in Canada’s treatment of Indigenous people.

“A savvy [Indigenous] genre film with a strong, beautiful and ingenious heroine whose courage helps right an injustice.” — Liam Lacey, The Globe and Mail

Feeling stifled by the confines of her small town, Leo (Karelle Tremblay) is reluctant to celebrate her 18th birthday, which brings her closer to an adulthood she doesn’t want to confront. Tired of her family nagging her about her future, she rebels against them by striking up a friendship with Steve (Pierre-Luc Brilliant), her much older guitar teacher who still lives in his mother’s basement. She is fascinated by both his musical ability and lack of ambitions to do anything else, which stands in stark contrast from everyone else in her life.

A quiet and poignant exploration of small-town life, this third film from acclaimed Quebecois director Sébastien Pilote claimed the prize for Best Canadian Film at the 2018 Toronto International Film Festival.

Jacques (Alexis Martin), a struggling actor on the run from a loan shark, reluctantly strikes a deal with Simon (Gilles Renaud), a rural farmer with a secret marijuana greenhouse, to help him cultivate a marijuana crop for harvest. In exchange, Simon will hide him from the gangster he owes money to and give him a cut of the profits so that he can pay off his debts.

When they are forced to bring in a sassy energy technician (Emmanuelle Lussier-Martinez) to help their secret grow-op thrive, both men’s secrets are threatened, and the race is on to complete the harvest before they’re discovered.

Les Mauvaises Herbes was nominated for four Canadian Screen Awards including Best Picture and won two Prix Iris for Best Screenplay and Best Supporting Actor.

In this follow-up film to The Decline of the American Empire, Denys Arcand continues the story of Remy (Girard) a womanizing professor who is now terminally ill with cancer. It’s been 17 years, and Remy is divorced, estranged from his son and his friends, and in search of redemption and forgiveness. As Remy reunites with old friends and loved ones to reminisce about their younger days, the conversations are as gloriously all-encompassing in their scope as they were in Arcand’s previous film.

An illuminating bittersweet-comedy that won Canada’s first Oscar for Best Foreign Language Film. The film also won the award for Best Screenplay at the Cannes Film Festival and nearly 50 other awards.

African rebels kidnap Komona (Mwanza) and force her to become a child soldier, but a miraculous event makes them fear that she has supernatural powers. Wonderfully played by Rachel Mwanza, whose performance is nothing short of a revelation, Komona’s trials and tribulations are compelling from start to finish. The topic of child soldiers is of course fraught with painful realities, but this story of a young “war witch” is an absolute tour-de-force of magic realism.

Montreal’s Kim Nguyen — who won several directing awards for his thoughtful work — travels a long way from Canada to tell this important tale.

A poignant and impossible love story filled with wonder, the film was nominated for an Oscar and won 10 Canadian Screen Awards.