On Valentine’s Day night, Mathilde’s (Celine Bonnier) husband, Richard Bombardier (David Boutin) accidentally dies and the mining community spreads rumors that Mathilde killed her husband. The gossip is started by Anita (Helene Bourgeois-Leclerc) and Marguerite (Julie DuPage), the wives of the town’s union leaders, Robert Sincennes (Pierre-Luc Brillant) and Roch Devos (Mario Saint-Amand). The widowed wife Mathlide plots to take out revenge on the two women, she seduces both of their husbands, then finds herself pregnant and doesn’t know whom the father is. Mathlide becomes an alcoholic mess as she attempts to raise her beastly daughter Nemesis (Alice Morel-Michaud). Cut to nine years later, Liam Hennessy (Roy Dupuis), an exiled Irishman, takes an interest in the mute young girl, Nemesis. She warms up to him and becomes his pupil and learns Gaelic. In another accident, Mathilde dies as she attempts to bond with her demonic daughter ice-skating. And, Nemesis and her friend Louis go off to Ireland with Liam. —sbccfilmreviews.org
Often referred to as Quebec cinema’s enfant terrible, the director-writer André Forcier is one of the best talents of his generation of Québécois filmmakers. Although he has produced relatively few films (eight features in 32 years), Forcier is widely regarded as an important figure in Canadian cinema: “the vitality of the Quebec film scene depends on regular booster shots from [Forcier],” extols Take One’s Essential Guide to Canadian Film.
Forcier became interested in film while studying classics at college. His first 8mm film, La mort vue par… won a Radio-Canada contest. Buoyed by this success, he financed and produced his first 16mm film, Chroniques labradoriennes (1967), using the facilities of Onyx Films. A number of years passed before Forcier completed his feature debut Le retour de l’Immaculée Conception (1971), which was filmed in black and white. His next film, Bar salon (1973), also shot in black and white, was Forcier’s first real critical success. Yet, it was only… read more