Montreal, Wednesday, October 26, 2022 - The Montreal International Documentary Festival (RIDM) is proud to unveil the full lineup of its 25th edition, which will take place from November 17 to 27,2022.In numbers, this year’s selection tallies up to 134 films from 49 countries that aim to reflect the current state of the world, while also showcasing the sheer breadth of creativity and diversity in documentary cinema. Several discussions and activities, all free of charge, are also included in the lineup, thus enabling important conversations around documentary to take place, and bringing the ‘encounters’ (or ‘rencontres’) component of the festival to the forefront.
For this anniversary edition, the RIDM carries on with its mission to bring together the films of both established directors and new talents. A whopping 58 emerging filmmakers will present their first or second works at this year’s edition. The festival is also delighted to welcome 27 international filmmakers to its event, and to acknowledge the work of female directors, by presenting again this year a program in which a majority of films were made by women.
The RIDM is thrilled to launch the festival with Rewind & Play by French filmmaker Alain Gomis, in collaboration with the Consulate General of France in Québec. Using archival footage from a French television program that had jazz musician Thelonious Monk on as a guest, the film reveals the power of editing and dismantles the fabrication of a colonial discourse. Preceding the screening of the opening film will be the short film Des racines nées by Alunaya, created as part of the Conseil des arts de Montréal’s Regard sur Montréal 2022 film residency.
The festival will come to a close with the screening of Wochiigii lo: End of the Peaceby Haida filmmaker Heather Hatch, who will be in attendance. The film focuses on the ancestral lands of Indigenous peoples, which are supposed to be protected by a treaty, but are being destroyed by hydroelectric dam projects. Prior to screening the film, an awards ceremony will take place, with 12 prizes handed out to the winning films of the 2022 selection.
OFFICIAL COMPETITION
International Feature Competition
The 11 films in the international feature competition showcase emerging works that tap into the many possibilities open to documentary film. In Anhell69, Theo Montoya portrays his surroundings: queer Colombian youths who are unabashedly nihilistic and unable to imagine the future. Lindiwe Matshikiza also opts for the biographical narrative in One Take Grace, which recounts the grueling life of a South African woman who wears many hats: mother, talented actress, and domestic worker. The challenges of everyday life are brought into focus by Rob Rice in Way Out Ahead of Us, where two parents keep the father’s health condition a secret so as not to jeopardize their daughter’s future, and also in 5 Dreamers and a Horse by Vahagn Khachatryan and Aren Malakyan, a lyrical tale that captures different generations and realities in contemporary Armenia. Paz Encina’s visual poem Eami takes viewers on a child’s eye view of oppression and injustice experienced by an indigenous community forcibly removed from their land. Similar themes run through Dry Ground Burning by Joana Pimenta and Adirley Queirós, which profiles women running a clandestine gasoline market who form a political party to represent a segment of the population that’s been abandoned by the government.
Using the metaphor of a 1999 solar eclipse, The Eclipse by Nataša Urban captures the experience of war in the former Yugoslavia, while Jumana Manna’s Foragers offers a fresh take on the Israeli-Palestinian conflict by highlighting how the gathering of wild herbs can become an act of resistance. Botany also comes into play in Herbaria, with filmmaker and archivist Leandro Listorti drawing parallels between the complex work of plant documentation and conservation and that of film stock. Two feature films train their lenses on microcosms: Excess Will Save Us by Morgane Dziurla-Petit playfully probes the fabric of a small French village turned upside down by a news item, while Day After… by Kamar Ahmad Simon crosses the Ganges on a century-old paddle steamer welcoming passengers from all walks of life.
National Feature Competition
The 7 films in the national feature competition turn the spotlight on the daring approaches of Canadian filmmakers and the issues that matter to them. Through the sharing of family experiences, Denys Desjardins lays bare the sad fate of our elders in J’ai placé ma mère, as the filmmaker tries to ensure that his mother ends her life with dignity, while The Dependents by Sofía Brockenshire paints a bold family portrait via the diary her father kept for decades as an immigration officer, building into a commentary on how mobility rights are distributed unequally across the globe. Immigration is also a central theme of My Two Voices by Lina Rodriguez, in which three Latin American women recount their experiences of moving to Canada, as well as Concrete Valley by Antoine Bourges, which takes its audience into a Toronto expat neighbourhood, where a Syrian couple struggles to adapt.
Weaving together testimonials from members of the Islamic State imprisoned in Syrian Kurdistan, ROJEK by Zaynê Akyol raises profound questions about human behaviour, while Self-Portrait by Joële Walinga pieces together a stark reality using images from surveillance cameras around the world. For its part, Geographies of Solitude by Jacquelyn Mills merges art and science by focusing on the work of naturalist Zoe Lucas, the sole resident of Sable Island, Nova Scotia.
New Visions Competition
Geared towards feature film debuts, the New Visions competition reaffirms the RIDM’s commitment to the next generation. This year’s selection features four films, three of which focus on young people: Bloom by Fanie Pelletier delves into the intimacy of the hyperconnected lives of teenagers online, with sensitivity and a sense of poetry. L’île de Sukwan by Perihan Incegöz and Jonathan Tremblay profiles a wildly imaginative child who lives in the Thai jungle with her parents; and back home by Nisha Platzer attempts to recreate the portrait of the brother she lost as a child. Dominique Chaumont rounds out this section with Veranada, a meditation on climate change that hones in on the lives of shepherds working in the sweltering Argentinian heat.
International Short and Medium-Length Competition
The 14 short and medium-length films selected this year employ a broad range of approaches. No Star by Tana Gilbert sets up a dialogue between two women who share mixed feelings about motherhood. Family is also at the fore in Ptitsa by Alina Maksimenko, where the pandemic drives a mother and her daughter to isolate together in Kyiv, just before the Russian invasion. In Will You Look at Me, filmmaker Shuli Huang crafts a personal essay that unpacks a painful family rift. Fuku Nashi follows filmmaker Julie Sando on her complex search for identity as she journeys to Japan to visit her grandmother.
Barbora Bereznakova’s experimental film Strigov explores death and its finality, as does Erik Shirai and Masako Tsumura’s Nowhere to go but everywhere, which follows a man who learns to scuba dive with the intention of finding the body of his wife. In the same vein, Laboratory No. 2 byIraqi filmmaker Edris Abdi and Iranian filmmaker Awara Omar tells the story of an employee who works in a university’s autopsy department as he patiently awaits his own demise.
The relationship between humans and their environment is the focus of three films in this section: urban solutions by Arne Hector, Luciana Mazeto, Minze Tummescheit and Vinícius Lopes takes place in Brazil’s affluent neighbourhoods, where the country’s colonial legacy is starkly felt in its right to private property, which is almost viewed as sacred; Churchill, Polar Bear Town by Annabelle Amoros observes villagers and tourists sharing their territory with polar bears, for better or for worse; and Nothing to See Here by Nicolas Bouchez explores with a touch of humor the daily events and the colourful facets of a Portuguese city that seems abandoned.
Also in the line-up: Nazarbazi by Maryam Tafakory presents a collage of Iranian film excerpts that subtly get around the ban on depicting a woman and a man touching on screen; L’Arche, byAmira Louadah,in which the dystopian setting of a makeshift gymnasium reveals Algerian society's past and present malaises; Mulika by Maisha Maene, which blurs the boundaries of fiction and documentary with its Afrofuturist themes to explore the impact of mineral mining in the Democratic Republic of the Congo; and Seasick by João Vieira Torres, a powerful and provocative work that calls out white supremacy in the arts.
National Short and Medium-Length Competition
The 16 films in the national short and medium-length competition are a testament to the talent of local filmmakers. Touching on the tumultuous relationship between humans and their environment, Forests by Simon Plouffe relates Innu stories rooted in forests that were destroyed after the construction of a dam in unceded territories; Zug Island by Nicolas Lachapelle paints the portrait of a community affected by industrial and noise pollution between Windsor and Detroit; Landscape Suspended by Naghmeh Abbasi conjures up the politically loaded history of Iran’s Shaho mountain; and Manitushiss by Réal Junior Leblanc delivers a critique of our relationship with Mother Earth by way of a powerful cinematic slam using words in a language imposed by colonization.
The different stages of life are at the heart of the following works: Summer Nights by Virgile Ratelle portrays teenage summer nights in all their candour; Ode to Loneliness by Rawane Nassif takes us into a hotel room where a solitary woman’s imagination cannot seem to be contained; Yvon / The Eternal by Benoit Massé chronicles Yvon’s very busy life in a retirement home; A Night Song by Félix Lamarche bears witness to the last days of an elderly woman who has chosen to receive medical assistance in dying at home; The Visible Spectrum by Sarah Seené and Maxime Corbeil-Perron highlights the experiences of five individuals who survived being struck by lightning; and The Longest Day of the Year by Frank Varga Jr. captures humdrum suburbia in the middle of June with melancholic affection.
Carlos Ferrand takes us back in time with Mecánicos piratas de Lima, with ingenious editing and sound design using Super 8 footage from the early 1970s. History is also revisited in Change of Scenery, with Noa Blanche Beschorner immersing herself in the memory of the former German Democratic Republic, where her aunt once lived; and in Blue Garden, in which Natalie Murao asks her grandfather to recount his experience in a British Columbia camp where Japanese citizens were interned during the Second World War.
Several films in this section play with archival material in creative ways, including Pablo Alvarez-Mesa’s Infinite Distances, a deep sonic immersion comprised of messages left on answering machines. One Home to Another by Dominique van Olm weaves together home videos with contemporary images, sparking a conversation between past and present. In Cloud Gate 2, filmmaker OK Pedersen juxtaposes her images with those pulled from the Web to create a fascinating study on the mechanics of real and artificial memory.
PANORAMA
Essentials
The 9 films in the Essentials section bring together the latest works by leading filmmakers as well as the festival circuit’s most talked-about films. Winner of the Golden Lion at the Venice Film Festival, All the Beauty and the Bloodshed by Laura Poitras charts the rich life and work of renowned photographer Nan Goldin, as well as her ongoing fight against the Sackler family and the opioid crisis. More playful, À vendredi, Robinson by Mitra Farahani sets up a richly enigmatic correspondence between two major artists, Ebrahim Golestan and Jean-Luc Godard. Art and history feature front and centre in the essay film What About China? by Trinh T. Minh-ha, which offers a rich and complex reflection on the titular country using images shot 40 years ago. Shabu by Shamira Raphaëla drops us into a working-class district of Rotterdam, where we follow the trials and tribulations of a spirited teenager.
Set against the backdrop of war, One Day in Ukraine by Volodymyr Tykhyy digs into the Ukrainian people’s many forms of resistance to the Russian invasion; and A House Made of Splinters by Simon Lereng Wilmont presents a poignant portrait of children living in eastern Ukraine. The Myanmar Film Collective, a group of anonymous Burmese filmmakers, documents life under a regime of terror in the aftermath of a military coup in Myanmar Diaries. Taking an autobiographical approach, Republic of Silence by Diana El Jeiroudi offers a singular point of view on the Syrian conflict and the daily life of an exile haunted by memories. In his most recent work, Inner Lines, shot at the foot of Mount Ararat, filmmaker Pierre-Yves Vandeweerd interweaves the testimonies of Yazidis and Armenians.
Against the Grain
The 11 films selected for the Against the Grain section are daring works that challenge our perceptions of the world and of cinema. How the Room Felt by Ketevan Kapanadze offers viewers a sensitive foray into the lives of a group of women and queer people in a society where the challenges facing the LGBTQ+ community are significant. Terra Femme by Courtney Stephens cleverly assembles travelogue archives filmed by women between the 1920s and 1950s, resulting in a film essay on the female gaze. In Le roi n’est pas mon cousin, author Elzéa Foule Aventurin speaks with her granddaughter, filmmaker Annabelle Aventurin, recounting their family history with mischievous wit. Jet Lag also grapples with family issues as filmmaker Zheng Lu Xinyuan tries to return to her native China during the pandemic. With Luminum, Maximiliano Schonfeld creates a unique and captivating ambiance in a film about ufologists Silvia and Andrea Perez Simondini. In They Made Us the Night, Antonio Hernández ushers us into a community that has relocated in the mountains.
Over the last 20 years, 13 meteorites have fallen in the Moroccan desert: Fragments From Heaven by Adnane Baraka follows two men whose destinies are intertwined with the impact of these celestial objects between heaven and Earth. Taking us to Lebanon, Octopus by Karim Kassem is a metaphysical exploration of the consequences of the Beirut port explosion. Robert Morin conjures up a surprising film with 7 paysages, blurring boundaries and reminding us that reality in cinema is a fabrication. With Mangrove School, Sónia Vaz Borges and Filipa César pay tribute to the “liberation schools,” a guerrilla education program created in Guinea-Bissau in the 1960s. Rounding out this section, Tolyatti Adrift by Laura Sisteró follows three disenchanted teenagers who work through their angst by racing and drifting old, remodeled cars across the frozen lakes of Tolyatti, Russia.
Horizons
The Horizons section explores singular trajectories and universal stories that offer a close-up snapshot of humanity. Politically minded films are on the menu, including History Will Judge by Germán Gutiérrez, which captures the uncertainty over Colombia’s future as it struggles to emerge from 52 years of civil war; Chemins croisés by Miryam Charles, in which diverse female voices speak out about the importance of the racialized woman’s body in our society; and Les voix croisées by Raphaël Grisey andBouba Touré, which documents the battles waged in France to help immigrant workers as well as the founding of the 1977 agricultural cooperative in Mali, by West African migrants.
Inspiring human stories are at the forefront in several films: All That Breathes by Shaunak Sen,winner of the Cannes Festival’s Golden Eye award,follows two brothers who’ve devoted themselves to caring for birds that fall from the sky due to pollution in the Indian capital; Muôi by Amy Miller profiles a single mother, queer woman, and hip-hop dancer whose authenticity defies traditional expectations of women her age in Vietnam; Outside by Olha Zhurba chronicles many years in the harrowing life of a Ukrainian teenager, thus grappling with the challenges of growing up alone and without care; and An Eternity of You and Me by Sanne This documents the filmmaker’s fertility and artificial insemination treatments with a gentle humour that teases out the absurdity of the drama.
The sacred is at the very core of On the Other Side by Lessandro Sócrates, which follows the cloistered nuns of the Abbey of Sainte-Marie des Deux-Montagnes, endowed with an unusual zest for life; but also of Crows Are White, in which Ahsen Nadeem visits a strict Japanese monastery in search of guidance and is helped by a monk who loves sweets and heavy metal. Divine Factory by Joseph Mangat concerns itself with the precarious work conditions of LGBTQ+ employees who produce resin statues of saints that Filipinos are eager to acquire and worship. Beyond the River Banks by Riccardo De Cal unfolds around the Piave river, crafting a contemplative film in which the sacred and the profane coexist. In Boris by Chloë Saint-Denis and Iphigénie Marcoux-Fortier, the family of Canadian-Ukrainian mountaineer Boris Kaschenko travels to Patagonia to scatter his ashes and pay him a fittingly unique tribute.
An ode to the power of imagination, The One Who Runs Away is the Ghost by Qinyuan Lei films young children at a Shenzhen shopping mall who turn their impersonal surroundings into a fantastical playground; while David B. Ricard, carrying the burden of three unfinished short films, faces his anxieties head-on by embarking on a playful, introspective journey in David Against Goliath.
The State of the World
The three titles that make up The State of the World section, presented in collaboration with the Confédération des syndicats nationaux (CSN), explore timely issues. Their screenings will be followed by conversations with panellists connected to each film’s themes. First, in The Myth of the Black Woman by Ayana O'Shun, several Black women recount their experiences and share their insights in a way that exposes and deconstructs racist and sexist stereotypes. In Big Fight in Little Chinatown, Karen Cho closely examines the reality of Chinatowns under threat in North America, and highlights these communities’ fighting spirit to defend their historical, cultural, and family heritage. Lastly, and addressing an issue that’s sadly still relevant, Chaylla by Clara Teper and Paul Pirritano tracks the circuitous trajectory of a young, twentysomething mother in northern France as she attempts to break free from a violent and toxic relationship.
SPECIAL PROGRAMS
Unframing Documentary: Viewpoints on Diverse Narrative Practices
This special program spotlights documentary storytelling formats and practices other than film, such as a live performance of music and projections, documentary theatre, sound creations and virtual reality. On the agenda: the live music and images performance by artist Philippe Léonard with the band C H R I S T entitled What Now? presented in the Norman McLaren Space, in collaboration with Suoni Per Il Popolo. A round-table discussion on documentary creation in cinema and theatre will follow the November 19 performance of the play Ciseaux, at Espace Libre, in a happy-hour format. Geneviève Labelle and Mélodie Noël Rousseau (Pleurer Dans’ Douche) will speak with Fanie Pelletier (Bloom).
Three public listening sessions will also take place: the presentations of the latest Kino-radio creations organized by Transistor Média; the launch of Projet Polytechnique : Faire face, a podcast by Radio-Canada OHdio, produced by Porte Parole in collaboration with Picbois Productions, with the release of the first episode to be followed by a discussion moderated by Eugénie Lépine-Blondeau; and a session comprised of three sound creation documentaries: Le souffle de Beyrouth by Marine Vlahovic, Fuga by Felix Blume, and ECHAP by Noémie Fargier, Iga Vandenhove and Vanessa Vudo.
Thanks to the support of the Canada Council for the Arts and in collaboration with Québec/Canada XR, this year marks the return of the UXdoc program with the following line-up of interactive works: The Choice VR by Joanne Popinska, The Changing Same by Michèle Stephenson, Joe Brewster and Yasmin Elayat, Replacements by Jonathan Hagard, Lou byAnnick Daigneault and Martine Asselin, and William by Sonia Bonspille Boileau. These works will be on view in the Luce-Guilbeault Foyer of the Cinémathèque québécoise from November 17 to 27.
Focus Brazil: Navigating the Future
This year, the RIDM turns its attention to Brazil, a country whose progressive social transformations of the past 20 years have enabled a bona fide cinematic golden age. Presented in collaboration with Olhar de Cinema – Festival international de Curitiba, the Focus Brazil program offers a snapshot of Brazil’s vibrant documentary boom, through works that are both innovative and critical. The feature films Swing and Sway by Chica Barbosa and Fernanda Pessoa, The Dead and the Others by Renée Nader Messora and João Salaviza, Waiting for the Carnival by Marcelo Gomes, Cavalo by Rafhael Barbosa and Werner Salles Bagetti, and Landlessby Camila Freitas will be presented, in addition to the short and medium-length films The Word Became Flesh by Ziel Karapotó, GRIN by Roney Freitas, Isael Maxakali and Sueli Maxakali, Summertime by Wewito Piyãko, and Karioka by Takumã Kuikuro.
Vidéo Femmes: Fragments of a Feminist Legacy
Founded in 1973, the Vidéo Femmes collective established itself as a cornerstone of Quebec’s feminist art scene, with a catalogue of more than 400 works dealing mostly with the status of women. Presented in collaboration with SPIRA, the films presented span the first 15 years of Vidéo Femmes. The screenings will be accompanied by discussions with the filmmakers and many other guests. Included in the line-up are: Vidéo Femmes par Vidéo Femmes by Nicole Giguère and Lynda Roy, Une nef… et ses sorcières by Hélène Roy, Chaperons rouges by Helen Doyle and Hélène Bourgault, On fait toutes du show-business by Nicole Giguère, Le sida au féminin by Lise Bonenfant, Histoire infâme by Nicole Giguère, and C’est une bonne journée by Johanne Fournier and Françoise Dugré. La bouilloire by Héloïse Bargain will be presented as a companion piece.
Doc-to-Doc: 25 Years of Encounters
To mark the 25th anniversary of the festival, the RIDM has invited five homegrown filmmakers, whose latest works will screen in official competition this year, to program a documentary that has helped shape or inform their creative process. Thus, Sofía Brockenshire, Carlos Ferrand, Dominique Chaumont, Zaynê Akyol, and Simon Plouffe will take part in the Doc-to-Doc: 25 years of encounters section presented by Télé-Québec. These filmmaker-programmers will take turns presenting Fausto by Andrea Bussmann (November 21), The Song of Empedocles by Sylvain L'Espérance and Marie-Claude Loiselle (November 22), Journey’s End by Jean-François Caissy (November 23), A Moon of Nickel and Ice by François Jacob (November 24), and Whoever Dies, Dies in Pain by Robert Morin (November 25), followed by a conversation with the filmmakers who inspired them. The Doc-to-Doc evenings are free of charge and open to all.
INTERSECTIONS
Wapikoni x 7
As a way to showcase the creativity of indigenous artists, as well as the importance of the issues they bring to light, the RIDM and Wapikoni Mobile come together for a fifth consecutive year to program seven shorts that will screen prior to films selected in the national feature competition. Audiences will be able to discover 7 by Jim Matlock, A Rainbow to Turtle Island by Robbie Tait Jr., Aski Masinikan by Bryan Coocoo, Fursona by Aly Labbé-Hervieux, Les ciseaux by Katia Kurtness, Nimeshkanaminan by Laura Fontaine and Yasmine Fontaine, and Puamun by Josée Benjamin.
Soirée de la relève Radio-Canada
Hosted by Matthieu Dugal, the Soirée de la relève Radio-Canada allows the public to discover short documentaries by Quebec’s latest crop of emerging filmmakers.This is a one-of-a-kind opportunity for audiences to take in the talents of a new generation set to shine brightly on our screens.This year’s six shortlisted films are Miluk tshi shutshelimunau by Isabelle Kanapé, Agonie by Arnaud Beaudoux, Correspondance by Laurence Ly, NDDJ (Notre-Dame-du-Jambon) by Grace Divya Singh, Surface by Adèle Foglia, and Tio Kevin by Kayla Fragman. These films will be available to stream free of charge on ICI TOU.TV starting November 21.
L’inis Kitchen Party
In a laid-back and friendly atmosphere, the public is invited to celebrate documentary in all its forms. On the menu: experienced and emerging filmmakers exploring hot topics, such as the quest for a subject, the choice of protagonists, the fostering of trustworthy relationships, and the evolution of a project from initial spark to final outcome. Served as appetizers: the screening of film excerpts produced by former and current students of L’inis. For dessert: juicy anecdotes and experiences about the industry in its current state.
Roundtable: Beyond Borders
Presented in collaboration with documentary journal World Records, this roundtable discussion about works that blur the boundaries between documentary and fiction will be presented to moviegoers. Filmmakers Morgane Dziurla-Petit (Excess Will Save Us), Rob Rice (Way Out Ahead of Us), and screenwriter Teyama Alkamli (Concrete Valley) will reveal the different creative processes that underpin their works as part of a conversation moderated by Jason Fox, editor at World Records.
Family Screenings
Held at the Cinémathèque Québécoise for the eighth time, the RIDM is pleased to invite both the young and the not-so-young on Sundays, November 20 and 27, to family screenings that will introduce budding filmmakers to documentary-inspired cinema. Family screenings feature a selection of short films for ages six and up, curated by the Carrousel international du film de Rimouski. The line-up is a vibrant and captivating panorama of human, plant, and animal life, via the short films Dans la nature by Marcel Barelli, J’aime toute by José Mestenapéo, La peau de l’ours by Valérie Mréjen, Le vol du dinosaure by Munro Ferguson, Patouille, des graines en parachute by Inès Bernard-Espina, Mélody Boulissière and Clémentine Campos, and Quand je suis triste by Lilit Altunyan.
RIDM FESTIVE NIGHTS
Every night of the festival, RIDM headquarters will come alive thanks to free concerts and DJ performances that will be open to all. The Opening Party (November 17), Brazilian Night (November 19), the Cuban Hat Night, in collaboration with Makila (November 21), and the RIDM’s 25th Anniversary Party (November 25) allow for the public and professionals to meet in a festive ambiance after the screenings.
AWARDS AND JURIES
Grand Prize, International Feature – presented by TV5
Special Jury Prize, International Feature
Grand Prize, National Feature – presented by PRIM
Special Jury Prize, National Feature - presented by Grandé Studios
New Vision Award – presented by SCAM and Post-Moderne
Best International Short or Medium-Length Film – presented by URBANIA
Best National Short or Medium-Length Film –presented by Télé-Québec and SLA Location
Special Jury Prize, National Short or Medium-Length Film –presented by Paraloeil
Magnus Isacsson Award – presented with ARRQ, DOC Québec, Funambules Médias, Cinema Politica, and Main Film
Student Jury Award – presented by the Caisse Desjardins du Plateau-Mont-Royal
Women Inmate Jury Award – made possible thanks to the support of the City of Montreal and the Société Elizabeth Fry du Québec
La Soirée de la relève Radio-Canada Award – presented by Radio-Canada
People’s Choice Award – presented by the Canada Media Fund (NOUS | MADE)
PRICES AND SALE OF PASSPORTS AND TICKETS
RIDM Passport: $135 (Students and 65+ = $100)
Individual ticket: $13.50 (Students and 65+ = $11)
Family screening ticket: $8
5-ticket booklet: $55
Music and images live performance – Philippe Léonard x C H R I S T – What Now?: $17 in advance / $20 at the door
Thanks to the RIDM’s partners
The RIDM wishes to acknowledge the support of the following institutional, main, and associate partners, who have contributed to the success of this 25th edition. Thanks to the Government of Québec, the ministère de la Culture et des Communications, SODEC, the Secrétariat à la région métropolitaine, Telefilm Canada, the Canada Council for the Arts, the City of Montreal, the Conseil des arts de Montréal, Tourisme Montréal, the Centre des Services aux Entreprises - Intégration en emploi (Emploi-Québec), the ministère des Affaires municipales et de l’Habitation, Télé-Québec, Crave, the Canada Media Fund, Radio-Canada, the CSN, TV5, Post-Moderne, the Société civile des auteurs multimédia (SCAM), PRIM, the Cinémathèque québécoise, as well as Benoît Parent and Arthur Gaumont-Marchand.
The 25th edition of the RIDM will take place from November 17 to 27, 2022.
At the Cinémathèque québécoise, Cinéma du Parc, Cinéma du Musée,
Cineplex Odeon Quartier Latin, and Imperial Cinema.
For more information: ridm.ca / info@ridm.ca
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Media contact: Caroline Rompré | pixelleX communications | 514-778-9294 | caroline@pixellex.ca
Accreditation / online application (must be completed prior to November 4): ridm.ca/en/press-accreditation
All 2022 press releases: ridm.ca/en/press/press-releases
Press screening schedule: see attachment
Media space / downloads (photos, trailers, excerpts, etc.): ridm.ca/en/press/downloads
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