Jennifer Alleyn

"La Course destination monde" is a Canadian reality television series, which aired on Télévision de Radio-Canada from 1988 to 1999. The series was a filmmaking competition which sent young, emerging filmmakers from Quebec around the world to make short films about their destinations, with prizes awarded at the conclusion of each season to the best films coming out of the competition. The show premiered in 1988 as "La Course des Amériques", sending filmmakers to destinations in North and South America. The second season, "La Course Amérique-Afrique", continued to highlight destinations in the Americas as well as opening to destinations in Africa, while the third season, "La Course Europe-Asie", centred on destinations in Europe and Asia. From the fourth season onward, the show was titled "La Course destination monde", and permitted filmmakers to travel to anywhere in the world.

After a year of filming abroad, Manu, a once prominent actor, returns to his hometown. But getting back into the business isn't as easy as he thought. After several unsuccessful auditions, he's no longer sure of anything. Against all odds, he lands a job hosting a nighttime call-in radio show. His listeners are mainly newcomers, refugees and exiles with varied life experiences, working graveyard shifts. Manu gradually appropriates this space, this gathering of mixed voices, to launch philosophical questions into the night. His words are engaging. He becomes an anchor for many listeners. His life takes on new meaning.

While shooting her new film in New York City, a director begins questioning the origin of impulsion. As the shoot begins to fall apart, with her lead actor unable to complete the project, this hybrid film between documentary and fiction takes viewers on an unexpected and compelling journey.

Through an immigrant cab driver, our world collides with a nervous filmmaker, a lawyer whose new breasts her ex-boyfriend wants to see, a mystery man, a gay man who might or might not have AIDS, and a birthday girl who got stood up. It is a mixture of laughter and sadness, all floating on a sea of philosophy.

A poetical encounter between the novelist Nancy Huston and the paintings of Edmund Alleyn.

In November 2001, Quebec Painter Edmund Alleyn (1931-2004) agreed to be filmed in his Montreal studio by his daughter, filmmaker Jennifer Alleyn. There, something unexpected happened : an authentic encounter, with no beating around the bush, no mask. From a few existential questions –about life, painting, death- thruth emerged. The artist died of cancer in December 2004 before Jennifer could film him again. After inheriting his studio, she found herself in this sacred space, still imbued with the presence and imagination of her father. Her film is an attempt to prolong the dialogue, to find the missing fragments of her father’s life. Edmund Alleyn was an intense and complex man of integrity who left his mark on Canadian art history.

"La Course destination monde" is a Canadian reality television series, which aired on Télévision de Radio-Canada from 1988 to 1999. The series was a filmmaking competition which sent young, emerging filmmakers from Quebec around the world to make short films about their destinations, with prizes awarded at the conclusion of each season to the best films coming out of the competition. The show premiered in 1988 as "La Course des Amériques", sending filmmakers to destinations in North and South America. The second season, "La Course Amérique-Afrique", continued to highlight destinations in the Americas as well as opening to destinations in Africa, while the third season, "La Course Europe-Asie", centred on destinations in Europe and Asia. From the fourth season onward, the show was titled "La Course destination monde", and permitted filmmakers to travel to anywhere in the world.

After a year of filming abroad, Manu, a once prominent actor, returns to his hometown. But getting back into the business isn't as easy as he thought. After several unsuccessful auditions, he's no longer sure of anything. Against all odds, he lands a job hosting a nighttime call-in radio show. His listeners are mainly newcomers, refugees and exiles with varied life experiences, working graveyard shifts. Manu gradually appropriates this space, this gathering of mixed voices, to launch philosophical questions into the night. His words are engaging. He becomes an anchor for many listeners. His life takes on new meaning.

After a year of filming abroad, Manu, a once prominent actor, returns to his hometown. But getting back into the business isn't as easy as he thought. After several unsuccessful auditions, he's no longer sure of anything. Against all odds, he lands a job hosting a nighttime call-in radio show. His listeners are mainly newcomers, refugees and exiles with varied life experiences, working graveyard shifts. Manu gradually appropriates this space, this gathering of mixed voices, to launch philosophical questions into the night. His words are engaging. He becomes an anchor for many listeners. His life takes on new meaning.

After a year of filming abroad, Manu, a once prominent actor, returns to his hometown. But getting back into the business isn't as easy as he thought. After several unsuccessful auditions, he's no longer sure of anything. Against all odds, he lands a job hosting a nighttime call-in radio show. His listeners are mainly newcomers, refugees and exiles with varied life experiences, working graveyard shifts. Manu gradually appropriates this space, this gathering of mixed voices, to launch philosophical questions into the night. His words are engaging. He becomes an anchor for many listeners. His life takes on new meaning.

While shooting her new film in New York City, a director begins questioning the origin of impulsion. As the shoot begins to fall apart, with her lead actor unable to complete the project, this hybrid film between documentary and fiction takes viewers on an unexpected and compelling journey.

While shooting her new film in New York City, a director begins questioning the origin of impulsion. As the shoot begins to fall apart, with her lead actor unable to complete the project, this hybrid film between documentary and fiction takes viewers on an unexpected and compelling journey.

Through an immigrant cab driver, our world collides with a nervous filmmaker, a lawyer whose new breasts her ex-boyfriend wants to see, a mystery man, a gay man who might or might not have AIDS, and a birthday girl who got stood up. It is a mixture of laughter and sadness, all floating on a sea of philosophy.

A poetical encounter between the novelist Nancy Huston and the paintings of Edmund Alleyn.

A poetical encounter between the novelist Nancy Huston and the paintings of Edmund Alleyn.

A poetical encounter between the novelist Nancy Huston and the paintings of Edmund Alleyn.

In November 2001, Quebec Painter Edmund Alleyn (1931-2004) agreed to be filmed in his Montreal studio by his daughter, filmmaker Jennifer Alleyn. There, something unexpected happened : an authentic encounter, with no beating around the bush, no mask. From a few existential questions –about life, painting, death- thruth emerged. The artist died of cancer in December 2004 before Jennifer could film him again. After inheriting his studio, she found herself in this sacred space, still imbued with the presence and imagination of her father. Her film is an attempt to prolong the dialogue, to find the missing fragments of her father’s life. Edmund Alleyn was an intense and complex man of integrity who left his mark on Canadian art history.

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A volunteer soldier in 1914 and witness to the rise of Nazism in 1933, the German painter Otto Dix depicted the ravages and horrors of war. With unsparing lucidity, he portrayed scenes that are disturbing and shocking. Art was his weapon. The master who said, “I need courage to paint ugliness,” rendered the chaos around him in a manner both brutally honest and humane.

A volunteer soldier in 1914 and witness to the rise of Nazism in 1933, the German painter Otto Dix depicted the ravages and horrors of war. With unsparing lucidity, he portrayed scenes that are disturbing and shocking. Art was his weapon. The master who said, “I need courage to paint ugliness,” rendered the chaos around him in a manner both brutally honest and humane.

Short documentary about Quebecois store owners.

Short documentary about Quebecois store owners.