2013 | Color | 111 min Gaby is the owner of a lamb farm: Gagnon & Sons. But he has no sons. Rather, he has two daughters who he raised like princesses who live far away in the big city. One day, the eldest asks him for a loan to save her from losing her home. Gaby, whose sense of paternal duty excedes all reason, decides to dismantle the farm. Country: Canadá Direction: Pilote; Sébastien Script: Pilote; Sébastien Production: Payeur; Bernadette Photography: La Veaux; Michel Sound: Bergeron; Stéphane, Calvert; Olivier, Corbeil; Giles Music: Nakaushi Pelletier; Serge Cast:Arcand; Gabriel, Renaud; Gilles, Laurier; Lucie, Desmarais; Sophie, Tremblay; Johanne-Marie, Tremblay; Gabriel Art direction: Hervieur; Mario Participation year at FICM: 2013
2013 | Color | 111 min Gaby is the owner of a lamb farm: Gagnon & Sons. But he has no sons. Rather, he has two daughters who he raised like princesses who live far away in the big city. One day, the eldest asks him for a loan to save her from losing her home. Gaby, whose sense of paternal duty excedes all reason, decides to dismantle the farm. Country: Canadá Direction: Pilote; Sébastien Script: Pilote; Sébastien Production: Payeur; Bernadette Photography: La Veaux; Michel Sound: Bergeron; Stéphane, Calvert; Olivier, Corbeil; Giles Music: Nakaushi Pelletier; Serge Cast:Arcand; Gabriel, Renaud; Gilles, Laurier; Lucie, Desmarais; Sophie, Tremblay; Johanne-Marie, Tremblay; Gabriel Art direction: Hervieur; Mario Participation year at FICM: 2013
Our Perpertual Now A man edits one last conversation in his memory in order to say goodbye to the woman he loved and lost. See More
El Festival Internacional de Cine de Morelia presentará una función especial en la 63ª Semana de la Crítica de Cannes 04 · 18 · 24 Lorena Velázquez: reina del fantástico y más… 04 · 18 · 24 Marlon Brando and his connection with Mexico one hundred years after his death 04 · 04 · 24 Tarantino in Morelia 2009 03 · 27 · 24
El Festival Internacional de Cine de Morelia presentará una función especial en la 63ª Semana de la Crítica de Cannes 04 · 18 · 24