The Globe and Mail's Barry Hertz writes about how Québec's films do not find an audience in English Canada, and vice versa. (Québec, though, produces more films.)
“To be seen outside Quebec is a great honour,” says Philippe Lesage, director of the festival selection Les démons, an intense coming-of-age drama. “But I think somehow it’s a little sad. From what I heard from my distributor, it seems hard to sell French-Canadian films to the rest of Canada. Very few [Quebecois] films make it into theatres outside the province.”
Lesage would know: Despite earning raves from the likes of Variety after its debut on the festival circuit, Les démons only saw a release in Quebec this past October (it will finally enjoy a run at Toronto’s The Royal rep cinema this Friday). Although the film is set to open in France and a British deal is also in the works, Lesage’s work will likely go unnoticed by the rest of his countrymen. “We’re making these films because we want them to be seen, but it’s tough for Quebec cinema. It’s a shame it’s not being shown elsewhere,” Lesage says.
The obvious obstacle is, of course, language. It can be a difficult enough sell to get moviegoers to take in homegrown English cinema, let alone films with subtitles. Yet at the same time, Quebec is inarguably producing the best films this country has to offer. Say what you will about the likes of Hyena Road, Beeba Boys or Maps to the Stars, but few English-language features from the past few years can match the emotional power of Laurence Anyways, Café de Flore, Tu dors Nicole or Monsieur Lazhar – Top Ten selections all.
“We still struggle to find our audience here in Canada. Maybe there’s work to do in terms of labelling these films, marketing them so the audience doesn’t care too much about where it comes from, just that they want to see a good film,” says Philippe Falardeau, director of My Internship in Canada. His comedy received a rare wide release this past fall, playing not only in Quebec, but across the country – a fact the director attributes partly to the film’s easy comedy trappings, its political focus in an election year and the recognizability of its star, Bon Cop Bad Cop’s Patrick Huard.
“But the question could also work in reverse: How can we promote English-language films in Quebec? It’s the same problem,” Falardeau adds, joking that Canadian films are like Canadian beers: There are great products all over the country, they just don’t cross provincial borders. (The fact that he admits he first made this quip when accepting a prize at the 2007 Genie Awards only makes the allegory more depressing.)