Galas & Special Presentations

Opening Gala

Bones of Crows

MARIE CLEMENTS, CANADA, 2022, 127 MIN.

THU SEP 29 TUE OCT 4 6:00 PM 9:00 PM

In these troubled and lopsided times, we need our storytellers to help us understand our inheritance, be it pain or privilege, and to lay the intellectual and emotional groundwork not only for reconciliation, but for reparation and restoration. Vancouver-born Dene/Métis writer-director Marie Clements (whose previous lms The Road Forward and Red Snow have been part of VIFF’s year-round and festival programming) squares up to the challenge with this bold, necessarily harrowing tale of oppression and resilience which spans the greater part of the 20th century. Aline Spears (played at di erent ages by Grace Dove, Summer Testawich, and Carla Rae) is a happy, gifted child, until she and her siblings are removed to a residential school. The scars of that experience will run deep through the remainder of their days, though it will not be the only time that o cial government policy will act as an instrument of abuse and trauma. Despite this, Aline enlists in WWII, where, ironically, her uency in Cree becomes a national asset. The reward for her service is yet more anguish and struggle. This is a tough lm, but it has epic ambition, deep-rooted conviction, anger, and urgency. Clements is not afraid to make provocative and important connections, and she marshals an outstanding cast of Indigenous actors with care and compassion.

This program contains scenes that may distress some viewers, especially those who have experienced harm, abuse, violence, and/or intergenerational trauma due to colonial practices. Support is available 24 hours a day for anyone a ected by their experience at residential schools and for those who may be triggered by content dealing with residential schools, child abuse, emotional trauma, and racism. The national Indian Residential Schools Crisis Line is available at 1-866-925-4419.

Cast Grace Dove, Phillip Forest Lewitski, Alyssa Wapanatâhk, Michelle Thrush, Gail Maurice, Carla Rae Exec Marie Clements, Sam Grana, Aaron Gilbert, Steven Thibault, Noah Segal Prod Marie Clements, Trish Dolman, Christine Haebler Scr Marie Clements Cam Vince Arvidson Ed Maxime Lahaie Prod Des James Philpott Mus Jesse Zubot, Wayne Lavallee Prod Co Ayasew Ooskana Pictures, Marie Clements Media, Screen Siren Pictures, Grana Productions Dist/Print Elevation Pictures

Filmography The Road Forward (2017); Red Snow (2019)

Closing Gala

Broker

HIROKAZU KORE-EDA, SOUTH KOREA, 2022, 129 MIN.

SAT OCT 8 SUN OCT 9 6:00 PM 5:30 PM

Working for the rst time in South Korea, long-term festival favourite Hirokazu Kore-eda (Shoplifters) has come up with a sprawling crime story about a baby adoption scam. But in characteristic Kore-eda style, the tone is predominantly compassionate and melancholic—even the cops warm to the perpetrators. It helps of course that the baby broker, Sang-hyeon, is played by Song Kang-ho, the charismatic star of Parasite, Memories of Murder, The Host, and so many others (Song was named Best Actor at Cannes for this performance). His scheme involves intercepting infants abandoned at a church baby box, but things get messy when a young mom (Lee Jieun) changes her mind and discovers his racket. She decides to go along with him to meet the the baby’s prospective buyers—actually cops in a sting operation. Kore-eda fashions plenty of twists and turns as Sang-hyeon, his accomplice (Gang Dong-won), and the girl try to evade the law and nd a safe home for the child, but as always, he’s more invested in character than plot mechanics, and the truths we learn about this thrown-together family are revealed in simple, telling gestures, looks, and shadings. “Miraculous in its sensitivity, asking questions about issues of ethics, of choice, of money, and murder, and family, and how to nd love in all this sorry mess.” ELLA KEMP, INDIEWIRE Best Actor Award (Song Kang-ho), Cannes 2022

Cast Song Kang-ho, Gang Dong-won, Doona Bae, Lee Ji-eun, Lee Jooyoung Exec Miky Lee, Kang Ho Sung Prod Lee Eugene Scr Hirokazu Kore-eda Cam Hong Kyung-Pyo Ed Hirokazu Kore-eda Prod Des Mok-won Lee Mus Jung Jae-il Prod Co Zip Cinema Dist/Print Elevation Pictures Selected Filmography Still Walking (2008); Air Doll (2009); Our Little Sister (2015); Shoplifters (2018)

Presented by

TAKING IDEAS FROM SPARK TO FINISH.

Highly anticipated lms screening in our marquee venue. Special Presentations

The Banshees of Inisherin

MARTIN MCDONAGH, IRELAND/UK/USA, 2022, 109 MIN.

SAT OCT 1 9:15 PM CENT

Martin McDonagh is the poet laureate of profanity and invective, as fans of In Bruges and Three Billboards Outside Ebbing, Missouri can swear to. He will take a simple di erence of opinion and transform it into deadpan comic aria of pigheadedness and mounting consternation. And in Colin Farrell and Brendan Gleeson he has a perfect double act: the dim hunk—Pádraic—and the old curmudgeon, Colm, best buddies almost by default. But then one day, out of the blue, Colm announces he’s had it up to here with his best friend, and cuts him o once and for all. One more word, he dares him, he’ll take a pair of garden shears and start chopping o the ngers on his own hand. The way he says it, you know he’d do it, and before long the whole village is consumed in the breakup. Set on one of the Aran Islands on the west coast of Ireland in the 1920s, The Banshees of Inisherin may be a quieter, more contemplative lm than McDonagh’s shown us before (County Galway has never looked more ravishing), but it’s uproariously funny all the same, guaranteed to bring the house down.

Cast Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan Exec Diarmuid McKeown, Ben Knight, Daniel Battsek, Ollie Madden Prod Graham Broadbent, Pete Czernin, Martin McDonagh Scr Martin McDonagh Cam Ben Davis Ed Mikkel E.G. Nielsen Prod Des Mark Tildesley Mus Carter Burwell Filmography In Bruges (2008); Seven Psychopaths (2012); Three Billboards Outside Ebbing, Missouri (2017)

Corsage

MARIE KREUTZER, AUSTRIA/FRANCE/GERMANY, 2022, 112 MIN.

MON OCT 3 THU OCT 6 6:00 PM 6:00 PM

Vicky Krieps gives a superb performance as Empress Elisabeth of Austria in Marie Kreutzer’s splendid biopic. Blending historical fact and whimsical creative license, Kreutzer takes us back to the late 19th century: the Empress, pushing 40, is a most discontented woman. Obsessed with her appearance, Elisabeth takes her corset as a measurement of beauty, and is determined that it must be laced tighter and tighter. She’s been politically sidelined against her will, and is growing restless and rebellious. With sly inventiveness, wry humour, and a strong feel for visual splendour, Kreutzer guides us through Elisabeth’s world. It’s one of great opulence, but also sti ing con nement; the writer-director portrays the luxury and the oppression as two sides of the same coin. As the Empress moves to protect her legacy and recapture the passion of her youth, the lm deepens in power. The nal act is a bold departure from the historical record, with Kreutzer asserting her feminist prerogative and giving her lm a subversive conclusion. Best Performance Prize (Vicky Krieps), Cannes 2022 (Un Certain Regard)

Cast Vicky Krieps, Florian Teichtmeister, Katharina Lorenz, Jeanne Werner, Alma Hasun, Manuel Rubey, Finnegan Old eld, Aaron Friesz, Rosa Hajjaj Exec Vicky Krieps Prod Alexander Glehr, Johanna Scherz Scr Marie Kreutzer Cam Judith Kaufmann Ed Ulrike Ko er Prod Des Martin Reiter Mus Camille Prod Co Film AG Dist/Print IFC Films

Selected Filmography The Fatherless (2011); Gruber is leaving (2015); We Used to be Cool (2016); The Ground Beneath My Feet (2019)

Special Presentations

Decision to Leave

Heojil kyolshim PARK CHAN-WOOK, SOUTH KOREA, 2022, 138 MIN.

FRI SEP 30 THU OCT 6 9:15 PM 9:00 PM CENT CENT

Virtuoso Korean lmmaker Park Chan-wook (The Handmaiden; Oldboy) picked up rave reviews and the Best Director Prize at Cannes for this singularly strange genre piece, a neo-noir mystery about a homicide detective who falls in love with the widow (Lust Caution’s Tang Wei) of an apparent suicide. The deceased was a mid-level bureaucrat in the department of immigration, and an older man; the widow is young, beautiful, and Chinese. She’s so apologetic about her Korean she uses a translation app on her phone during her questioning, but her words don’t allay suspicion in either language, and it emerges that the dead man used to beat her. Then again, she has an ironclad alibi. These narrative elements are familiar from a 1001 thrillers. And yet we must be on our game; Park shu es the pack with dizzying skill, concocting a visual syntax which is wildly original and quite idiosyncratic. Scenes are highly abbreviated, and often distilled into a handful of eye-catching compositions; he’ll place an unusual emphasis there or here, and it’s only later that everything falls into place. This is a tantalizing, teasing movie, and in its own weird way, desperately romantic. Best Director Award, Cannes 2022

Cast Tang Wei, Park Hae-il Exec Miky Lee Prod Park Chan-wook Scr Chung Seo-kyung, Park Chan-wook Cam Kim Ji-yong Ed Kim Sang-bum Prod Des Ryu Seong-hie Mus Cho Young-wuk Prod Co Moho Film Dist/Print Mongrel Media Inc. Selected Filmography Oldboy (2003); Sympathy for Lady Vengeance (2005); Thirst (2009); The Handmaiden (2016)

Empire of Light

SAM MENDES, UK/USA, 2022, 119 MIN.

FRI SEP 30 6:00 PM CENT

A valentine to the movies from 1917 and Skyfall director Sam Mendes (here taking a solo screenplay credit for the rst time), set in and around an English seaside cinema in the early 1980s. For Hilary (Olivia Colman), it’s not the most glamorous job in the world, shoveling popcorn and warmed over dogs for a dwindling number of punters, and sordid backroom fumblings with her manager (Colin Firth) don’t make her feel any better about herself. But when young, good-looking Stephen (Micheal Ward) joins the team, her outlook soon brightens. Indeed, the two of them forge an unexpectedly intense bond. Colman must be odds-on favourite to make it four Academy Award nominations in ve years for her deeply a ecting and acutely nuanced portrait of an unhappy woman rediscovering her sense of joy. But there is another story going on here: Stephen is Black, and not likely to forget it in the racially entrenched and divisive surroundings of Margaret Thatcher’s Britain. Small wonder the lovers seek refuge in the romance of “the icks.” Master cinematographer (and Mendes regular) Roger Deakins conjures all his wizardry here, and the Trent Reznor/Atticus Ross score pulls everything together. Mendes has helmed a transformative movie.

Cast Olivia Colman, Micheal Ward, Colin Firth, Toby Jones, Tom Brooke Exec Michael Lerman, Julie Pastor Prod Pippa Harris, Sam Mendes Scr Sam Mendes Cam Roger Deakins Ed Lee Smith Prod Des Mark Tildesley Mus Trent Reznor, Atticus Ross Prod Co Neal Street Productions

Selected Filmography American Beauty (1999); Revolutionary Road (2008); Skyfall (2012); 1917 (2019)

Special Presentations

EO

JERZY SKOLIMOWSKI, POLAND/UK/ITALY, 2022, 88 MIN.

SUN OCT 2 SAT OCT 8 4:00 PM 9:30 PM PLAY CENT

Veteran director Jerzy Skolimowski returns in triumphant form with this lovely tale of animal life. Sometimes harsh, sometimes sweet, always beautiful, EO tells the story of a donkey and its journey through a world dominated by humans. As the lm begins, EO is living a happy life as part of a circus, performing alongside Kasandra (Sandra Dryzmalska). When animalrights protesters disrupt the situation, the poor creature is shipped o to Italy; the rest of the lm portrays its subsequent adventures, which include becoming part of a petting zoo, getting involved in a Polish soccer game, and encountering a countess. As certain readers might have gathered by now, EO is an homage to Robert Bresson’s masterpiece Au hasard Balthazar. Though their methods are di erent, Bresson and Skolimowski both use their animal protagonists as litmus tests for humanity, with their varying treatments showing the best and the worst in us. Where Bresson is austere and suggestive, Skolimowski is emotive and lyrical; this is a wonderfully moving lm. Prix du Jury (tied), Cannes 2022

Cast Hola, Tako, Marietta, Ettore, Rocco, Mela, Sandra Drzymalska, Tomasz Organek, Mateusz Kościukiewic, Lorenzo Zurzolo, Isabelle Huppert Exec Jeremy Thomas Prod Ewa Piaskowska, Jerzy Skolimowski Scr Ewa Piaskowska, Jerzy Skolimowski Cam Michał Dymek Ed Agnieszka Glińska Mus Paweł Mykietyn Dist/Print FilmsWeLike

Selected Filmography 30 Door Key (1991); Four Nights With Anna (2008); Essential Killing (2010); 11 Minutes (2015)

The Grizzlie Truth

KATHLEEN S. JAYME, CANADA, 2022, 97 MIN.

SAT OCT 1 WED OCT 5 2:00 PM 6:00 PM

World Premiere. Having successfully tracked down NBA enigma Bryant Reeves in 2018’s festival hit Finding Big Country, director Kathleen S. Jayme now investigates a sprawling true sports crime: who’s responsible for robbing us of the Vancouver Grizzlies? In revisiting the short history of the bad luck bears who racked up all the wrong kinds of records (see that 23-game losing streak in the 1995-1996 season), Jayme’s documentary doubles as a testament to the enduring passion of true teal blue fans. It’s this passion that fuels a dogged odyssey that nds Jayme in ltrating corridors of power at the NBA’s head of ces and knocking on doors as she connects the dots and reconnects with the heroes and villains of Grizzlies lore, including former players like Shareef Abdur-Rahim and Mike Bibby, and the team’s architect, Stu Jackson.

The level of access is astonishing—there are “gets” that we don’t dare reveal—and so too is the candour of the interviewees. What emerges is a rousing story about the irrational fervour of fandom and sport’s unique ability to create identity, strengthen family ties, and forge community.

Feat Kathleen S. Jayme, Shareef Abdur-Rahim, Stu Jackson, Steve Francis, Mike Bibby, Bryant Reeves, Shawn Kemp Exec Vinay Virmani, Scott Moore, Mark Slone, Kathleen S. Jayme Prod Michael Tanko Grand, James Brown Scr Kathleen S. Jayme Cam Michael Dinsmore Ed Greg Ng Prod Des Ryan MacInnes Print Grizz Films Inc.

Presented by

POSTPRO

Special Presentations

One Fine Morning

MIA HANSEN-LØVE, FRANCE/GERMANY, 2022, 112 MIN.

SUN OCT 2 TUE OCT 4 9:00 PM 6:00 PM CENT CENT

Living in a small Parisian apartment, Sandra (Léa Seydoux) is barely able to support herself and her eight-year-old daughter Linn as a freelance translator. As her father Georg (Pascal Greggory) continues to lose his sight and memory from Benson’s syndrome, Sandra must navigate the labyrinthine system of national care homes, with all their nancial burdens and logistical nightmares. As her entire life begins to revolve around her banal obligations, Sandra has a chance encounter with an old friend, Clément (Melvil Poupaud), which blossoms into a passionate a air. After experiencing her daily life for so long as a series of duties and responsibilities towards others, Sandra attempts to reconcile her role as mother and caretaker to her nascent love a air with Clément, feeling almost guilty at the sudden, unexpected burst of love and happiness as her father’s condition worsens. In her intimate, thoughtful exploration through the fragile vagaries of love—romantic, lial, domestic—Mia Hansen-Løve (Things to Come, Bergman Island), delivers another poignant, personal lm that resonates long after it ends. “Seydoux’s performance anchors the lm, ultimately rendering it a love letter to the present, and to the ways heartbreak and hope intertwine.” ALISSA WILKINSON, VOX

Cast Léa Seydoux, Pascal Greggory, Melvil Poupaud, Nicole Garcia, Camille Leban Martins Prod David Thion, Philippe Martin Scr Mia Hansen-Løve Cam Denis Lenoir Ed Marion Monnier Prod Des Mila Preli Prod Co Les Films Pelleas Dist/Print Mongrel Media Inc. Selected Filmography Father of My Children (2009); Eden (2014); Things to Come (2016); Bergman Island (2020)

The Son

FLORIAN ZELLER, UK, 2022, 123 MIN.

SAT OCT 1 6:00 PM CENT

Critics have called the proli c French writer Florian Zeller “the most exciting playwright of our times,” and his second lm as writer-director con rms that he’s equally adept when it comes to cinema. Despite Anthony Hopkins’ Academy Award for Best Actor, The Father didn’t nd the audience it should have (its release coincided with COVID-19). His follow-up, adapted from the play of the same name by Zeller’s regular English translator, Christopher Hampton, is as sharp, insightful, and devastating. Teenager Nicolas (Zen McGrath) is su ering from depression and has stopped going to school. It’s so bad, his mom Kate (Laura Dern) hands him over to his father, Peter (Hugh Jackman), who is celebrating a baby with his new wife, Beth (Vanessa Kirby). Perhaps a stepbrother will raise Nic’s spirits? Peter vows to do everything he can to help—but Nic descends still further. As in The Father, Zeller uses the subjectivity of the camera to access mental spaces that seem impenetrable from the outside. There are no easy answers here, but the lm’s emotional pull is direct and undeniable.

Cast Hugh Jackman, Zen McGrath, Vanessa Kirby, Laura Dern, Hugh Quarshie, Anthony Hopkins Exec Simon Gillis, Philippe Carcassonne, Hugh Jackman, Daniel Battsek, Ollie Madden, Lauren Dark, Peter Touche, Christelle Conan, Hugo Grumbar, Tim Haslam Prod Joanna Laurie, Iain Canning, Emile Sherman, Florian Zeller, Christophe Spadone Scr Christopher Hampton, Florian Zeller Cam Ben Smithard Ed Yorgos Lamprinos Prod Des Simon Bowles Mus Hans Zimmer Prod Co See-Saw Films Production, Inthevoid Production Dist/Print Elevation Pictures

Filmography The Father (2020)

Presented by

Special Presentations

Stars at Noon

CLAIRE DENIS, FRANCE, 2022, 137 MIN.

MON OCT 3 SAT OCT 8 9:00 PM 1:00 PM PLAY CENT

Canadian Premiere. Updating Denis Johnson’s Nicaragua-set novel from the Revolution to the present-day and working in English and Spanish, French auteur Claire Denis is venturing into Graham Greene territory here—espionage and dirty deeds in the tropics. It’s worth remembering that she herself grew up in French colonial West Africa; westerners getting hot and bothered in foreign climes pop up in Beau Travail, White Material, L’intrus, and her rst lm, Chocolat. The focus here is on a young American, Trish (Margaret Qualley), a freelance journalist who has gotten in over her head and whose passport has been seized after she embarrassed the authorities. Marooned inde nitely in an unnamed Managua, Trish is forced to trade sex for protection and rum money. She tries to put on a tough and cynical front, but secretly she’s desperate. Then she meets Daniel (Joe Alwyn), a dashing English businessman. At rst, she thinks he could be her ticket out of here. Gradually she realizes he’s in worse trouble than she is. Too languid and languorous to be described as a thriller, but more plot-driven than most Denis lms, Stars at Noon is a moody, almost malevolent romance, a tropical neo-noir; love and disillusion in the time of COVID.

Grand Prix (tied), Cannes 2022

Cast Margaret Qualley, Joe Alwyn, Danny Ramirez, Benny Safdie, Nick Romano, Stephan Proaño, Monica Bartholomew, Carlos Bennett Exec Christine De Jekel, Olivier Gauriat, Pituka Ortega Heilbron, Marcela Heilbron Prod Olivier Delbosc Scr Claire Denis, Léa Mysius, Andrew Litvack Cam Eric Gautier Ed Guy Lecorne Prod Des Arnaud De Moléron Mus tindersticks Prod Co Curiosa Films Dist/Print Sphere Media

Selected Filmography White Material (2009); Bastards (2013); Let the Sunshine In (2017); High Life (2018)

Triangle of Sadness

RUBEN ÖSTLUND, SWEDEN/UK/USA/FRANCE/GREECE, 2022, 149 MIN.

MON OCT 3 SUN OCT 9 9:00 PM 9:00 PM

Social satirist Ruben Östlund (The Square; Force Majeure) picked up his second Palme d’Or at Cannes earlier this year with this gleefully mischievous assault on the State of Things. In uencer couple Carl and Yaya (Harris Dickinson and Charlbi Dean) join a luxury cruise for the super rich. While the crew bends over backwards to accommodate the passengers’ whims (even one woman’s insistence that the entire sta stops what they are doing to enjoy a swim), the captain refuses to leave his cabin before the mandatory dinner given in his name—a tumultuous banquet which coincides with a dire turn in the weather. Östlund retains his knack for hitting on potent and provocative situations—the banquet is an unforgettable, uproarious set piece presided over by a gloriously un appable, sti y inebriated Woody Harrelson. Östlund really turns the screws in the lm’s second half, when a shipwreck upends the social hierarchy and suddenly, all bets are o . Granted, most of the characters are truly awful and the satire is subtle as a baseball bat. Yet the movie keeps building and damn if we don’t care about them by the end. It’s a must-see. Palme d’or, Cannes 2022

Cast Woody Harrelson, Harris Dickinson, Charlbi Dean, Zlatko Burić, Iris Berben, Vicki Berlin, Henrik Dorsin, Jean-Christophe Folly, Amanda Walker Prod Erik Hemmendor , Philippe Bober Scr Ruben Östlund Cam Fredrik Wenzel Ed Mikel Cee Karlsson, Ruben Östlund Prod Des Jose n Åsberg Prod Co Plattform Produktion, Coproduction O ce Dist/Print Elevation Pictures

Selected Filmography The Guitar Mongoloid (2005); Play (2011); Force Majeure (2014); The Square (2017)

Special Presentations

The Whale

DARREN ARONOFSKY, USA, 2022, 117 MIN.

SUN OCT 2 5:45 PM CENT

The director of Pi, Requiem for a Dream, Black Swan, and Mother!, Darren Aronofsky has never been one to play safe. Here, in his rst lm in ve years, Aronofsky bucks expectations again with a chamber piece about an English teacher, Charlie (Brendan Fraser, still recognizable under layers of latex), who appears to be on the verge of eating himself to death. The term “morbidly obese” is rightfully considered problematic, but in Charlie’s case it may apply: his eating is a kind of death wish, a semi-conscious bid to be reunited with his dead, gay lover. Before that happens, he reaches out to the teenage daughter he hasn’t seen in ten years. Adapted from Samuel D. Hunter’s play, TheWhale confronts prejudice in all shapes and sizes. It’s a gripping, compassionate drama which keeps us hooked without leaving the con nes of Charlie’s apartment. Along with what is probably Fraser’s career-best performance, there’s sterling work here from Hong Chau (Downsizing) as his friend and de facto nurse, Samantha Morton as his ex-wife, and Sadie Sink (Stranger Things) as his rebellious daughter, Ellie.

Cast Brendan Fraser, Hong Chau, Sadie Sink, Ty Simpkins, Samantha Morton Exec Scott Franklin, Tyson Bidner Prod Jeremy Dawson, Ari Handel, Darren Aronofsky Scr Samuel D. Hunter Cam Matthew Libatique Ed Andrew Weisblum Prod Des Mark Friedberg, Robert Pyzocha Mus Rob Simonsen Prod Co Protozoa Pictures, A24 Dist/Print Elevation Pictures

Selected Filmography Pi (1998); Requiem for a Dream (2000); The Wrestler (2008); Mother! (2017)

Presented by

Women Talking

SARAH POLLEY, USA, 2022, 104 MIN.

WED OCT 5 9:15 PM CENT

Sarah Polley’s riveting adaptation of Miriam Toews’ novel catapults her to the forefront of North American lmmakers. This is the strongest and most compelling movie to come out of the #MeToo movement to date. The subject matter is unquestionably daunting, but the treatment is impassioned and erce—and, often, also, desperately funny. Some background: Toews grew up in a Mennonite community in Manitoba. Her 2018 novel was a response to a horri c news story exposing the systemic abuse of more than 130 women who were repeatedly drugged and raped in a Mennonite colony in Bolivia between the years 2005-09. Polley (who also wrote the screenplay) doesn’t shy away from the challenge of the title: as in the book, the action here centres on a secret meeting eight women hold in a hayloft as they come to terms with the revelation that they were not assaulted by “demons,” but by their supposed “protectors,”the husbands and fathers at the heart of their enclosed community. The stellar cast (including Oscar nominees Jessie Buckley and Rooney Mara, and Oscar winner Frances McDormand) unearths every shred of human dignity in this nightmarish scenario.

Cast Rooney Mara, Claire Foy, Jessie Buckley, Judith Ivey, Ben Whishaw, Frances McDormand Exec Brad Pitt, Lyn Lucibelllo Brancatella, Emily Jade Foley Prod Dede Gardner, Jeremy Kleiner, Frances McDormand Scr Sarah Polley Cam Luc Montpellier Ed Christopher Donaldson, Rosyln Kalloo Prod Des Peter Cosco Mus Hildur Guðnadóttir Prod Co Plan B Entertainment, hear/say Productions, Orion Pictures

Filmography Away From Her (2006); Take This Waltz (2011); Stories We Tell (2012)