Although McGill does offer various film classes, those still thirsting for filmic knowledge and experiences should look outside the Roddick gates and toward the multitude of film festivals in Montreal. There are numerous festivals that take place in the city, including the Fantasia Festival, Festival du Nouveau Cinema (FNC), Festival International du Film Ethnographic du Quebec (FIFEQ), World Film Festival (WFF), and many more. Most recently, the 27th edition of Les Rendez-vous du cinéma québécois (RVCQ), took place from February 18 to 28, during which time some 350 films were screened.
Les Rendez-vous du cinéma québécois was created in 1982 with the mandate of promoting Quebec cinema in Canada and abroad. From the RVCQ itself to La Tournée du cinéma québécois, and Les Tête-a-tête du cinéma québécois, opportunities for dialogue between filmmakers, the film industry, and the public are provided.
The 350 films shown at the RVCQ were varied in genre and type: box office hits, feature fictions, documentaries, student films, and animation, to name a few. At the RVCQ, the audience had the opportunity to see a vast array of films not otherwise easily accessible on the big screen and on DVD. There were many premiers during the festival, including Cadavres by Erik Canuel, the director of La loi du cochon (2001) and Bon Cop, Bad Cop (2006).
But RVCQ goes beyond simply screening films. This year there were a multitude of art expositions including “Admission-Point de Vue” by Jocelyn Michel, “Les Invincibles: Au Coeur de New Big City” by Jean-Sébastien Duberger, and “Lèche-Vitrine” by Thomas Vamos. These expositions, some still ongoing, demonstrate the artistic interaction between photography, images, and cinema.
The RVCQ also offered professional seminars with “Les Ateliers Cinema et Jeu Video.” In collaboration with UBISOFT, these seminars relate cinema and video games, and the way in which both creations employ similar processes. Furthermore, the RVCQ held workshops on music in film with Jean-Michèl Bernard (The Science of Sleep, 2006), screenwriting with Bernard Émond (20 h, rue Darling, 2000 and Ce qu’il faut pour vivre, 2008), and film production with Christine Vachon (Killer Films productions; Haynes’ Velvet Goldmine and Far From Heaven, Altman’s The Company).
RVCQ offers the opportunity for future and present filmmakers, film theorists, film critics, screenwriters, actors, and just plain ol’ film buffs to immerse themselves in all things cinema.