Fernand Bélanger

Images of love and freedom personified by a man who like to travel, a man who has made a profession of doing nothing and who constantly comes up against the structures of a society he rejects.

This film is first and foremost a documentary on the exploitation of the peat bogs of the Bas-Saint-Laurent region, which export most of their humus production to the United States: but the film is also the story of the exploitation of nature by man and of man by man.

Mixing Cinema Vérité, animation, narrative fiction and stage theater, a look at drug use by the Montreal youth in the 80s, through various characters interacting in their own ways with drugs.

The ideal of youth is at the centre of this eloquent film, mixing documentary and fiction, art and experimentation. Demonstrating both formal and narrative freedom, Bélanger weaves a deliberately loose weave in which the initiatory journey of two young people, wandering through Montreal in search of a job, unfolds. But not just any job. The two idealists want a job that will satisfy their desire for freedom, peace and respect. Of course, even though the breath of renewal from Expo 67 still floats here and there, the world they encounter does not correspond - by far - to their aspirations. Strangers in this country that tells them nothing, they come across brutally, materialism, violence, and egocentrism.

Montreal, September 1984. Within a span of five days, Montreal’s Olympic Stadium hosts Pope John Paul II and Michael Jackson. A perfect opportunity to explore the impact of the media on the masses. With caustic irony, this film gives voice to people excluded by Church doctrine: the gay, lesbian and trans communities, and women who’ve had abortions or been abused. Beyond documentary, fiction or news report, Passiflora is above all a film that packs a punch, leaves a mark and makes an impression, happily blending analysis, animation, acting, humour and song.

Images of love and freedom personified by a man who like to travel, a man who has made a profession of doing nothing and who constantly comes up against the structures of a society he rejects.

This film is first and foremost a documentary on the exploitation of the peat bogs of the Bas-Saint-Laurent region, which export most of their humus production to the United States: but the film is also the story of the exploitation of nature by man and of man by man.

Mixing Cinema Vérité, animation, narrative fiction and stage theater, a look at drug use by the Montreal youth in the 80s, through various characters interacting in their own ways with drugs.

Mixing Cinema Vérité, animation, narrative fiction and stage theater, a look at drug use by the Montreal youth in the 80s, through various characters interacting in their own ways with drugs.

The ideal of youth is at the centre of this eloquent film, mixing documentary and fiction, art and experimentation. Demonstrating both formal and narrative freedom, Bélanger weaves a deliberately loose weave in which the initiatory journey of two young people, wandering through Montreal in search of a job, unfolds. But not just any job. The two idealists want a job that will satisfy their desire for freedom, peace and respect. Of course, even though the breath of renewal from Expo 67 still floats here and there, the world they encounter does not correspond - by far - to their aspirations. Strangers in this country that tells them nothing, they come across brutally, materialism, violence, and egocentrism.

The ideal of youth is at the centre of this eloquent film, mixing documentary and fiction, art and experimentation. Demonstrating both formal and narrative freedom, Bélanger weaves a deliberately loose weave in which the initiatory journey of two young people, wandering through Montreal in search of a job, unfolds. But not just any job. The two idealists want a job that will satisfy their desire for freedom, peace and respect. Of course, even though the breath of renewal from Expo 67 still floats here and there, the world they encounter does not correspond - by far - to their aspirations. Strangers in this country that tells them nothing, they come across brutally, materialism, violence, and egocentrism.

Montreal, September 1984. Within a span of five days, Montreal’s Olympic Stadium hosts Pope John Paul II and Michael Jackson. A perfect opportunity to explore the impact of the media on the masses. With caustic irony, this film gives voice to people excluded by Church doctrine: the gay, lesbian and trans communities, and women who’ve had abortions or been abused. Beyond documentary, fiction or news report, Passiflora is above all a film that packs a punch, leaves a mark and makes an impression, happily blending analysis, animation, acting, humour and song.