For the rest of the world: duty to remember

Since the first film and more and more, we have the same taste for Quebec speech. Of a species of men at the height of men. And the desire to offer all Quebecers their own destiny… Or a beer. Not a fiction. But themselves, in flesh and blood. A decolonization company. Out of friendship for man first. Out of friendship with the man from Quebec, therefore. Together or separately, we have that taste.

pierre perrault

Use lightweight cameras and portable recorders. Capture the unexpected as soon as it arises. Getting closer to reality. Film the real thing, as faithfully as possible. Show a town to finally tell it. Today, it seems almost commonplace. But without the contribution of the filmmakers who shaped direct cinema in Quebec, perhaps it would be more event-oriented.



Shooting of the film “For the rest of the world” Photo: National Film Board of Canada

Direct cinema, or how the masterpieces of our cinema are born

We date the starting signal of this documentary cinema stuck to reality and freed from the ties of heavier productions in the short film snow rackets, by Gilles Groulx and Michel Brault. Other classics will follow, still born in the revolutionary ranks at the time of the National Film Board: At Saint-Henri, September 5by Hubert Aquin golden glovesby Gilles Groulx Manouane Lumberjacksby Arthur Lamothe…

But for the rest of the worldby Pierre Perreault and Michel Brault, the first feature film resulting from this movement and the first Quebec film selected at the Cannes Film Festival, is the highlight.


<i>for the rest of the world</i> by Pierre Perrault and Michel Brault” title=”<i>for the rest of the world</i> by Pierre Perrault and Michel Brault”/><figcaption>
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<i>for the rest of the world</i> by Pierre Perrault and Michel Brault                  <strong>Photo: National Football Federation</strong>
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<h2><strong>Porpoise fishing to better tell the world</strong></h2>
<p>The idea of <em>for the rest of the world</em> it is both simple and incredibly evocative. </p>
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Because by offering the inhabitants of Île aux Coudres the opportunity to recreate the porpoise fishing that was practiced there until 1924, the filmmakers – who live on the island sharing the daily life of those they film – show a heritage, a tradition.

They show rediscovered gestures, as if inscribed in a collective memory, coming back to life under the gaze of an accomplice camera. Better still, they make a people exist on the screen, and in the same gesture they show francophones to francophones. In 1968, this was not common.


Una escena de la película <em>Pour la suite du monde</em> (1963), film directed by Michel Brault, Pierre Perrault and Marcel Carrière” title=”A scene from the film <em>Pour la suite du monde</em> (1963), film directed by Michel Brault, Pierre Perrault and Marcel Carrière”/><figcaption>A scene of the movie <em>for the rest of the world</em> (1963), film directed by Michel Brault, Pierre Perrault and Marcel Carrière                  <strong>Photo: National Football Federation</strong>
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<h2><strong>Humanism and generosity</strong></h2>
<p>All the work of Pierre Perreault (<em>A country without common sense!</em> <em>Akkadian, Akkadian?!</em>, <em>the luminous beast</em>…) breathes from this openness to the Other, from this desire to show –in short– to highlight, from this desire to share that is deeply moving.  Inside <em>for the rest of the world</em> –which perhaps boasts one of the most beautiful titles in all of our cinematography– is perhaps even more lively.  Because if the film is enough to see, of course, it is also an ingenious and generous way of teaching everyone to live with their eyes raised.  Beauty and poetry of images, straight ethics, always looking at the right height, neither too low nor too high, a loose tongue in front of a microphone on the lookout: </p>
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for the rest of the world It is not an ethnographic or historical document, it is the best thing that can happen when cinema and reality meet.

for the rest of the worldat ICI Tele, 1Ahem maybe 23:32

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