Premiere: Ste. Anne

DESCRIPTION

The feature debut of independent director Rhayne Vermette, which won Best Canadian Film at the 46th Toronto International Film Festival.

A small town in the Canadian province of Manitoba where one-fifth of the population is of the indigenous peoples, either Métis or First Nations. Métis woman Renée returns after four years away. Having left her daughter Athene in the care of her brother Modeste and his wife Elenore, Renée disappeared from the family’s life without explanation. Her unexpected return raises a number of questions, including for Athene, who is caught between two women who have brought her up, and whether Renée can be trusted not to disappear again. Reminiscing about the past and the suppression of the Métis people, the family draws parallels with the invaders of their land and Renée.

Rhayne Vermette, who plays Renée, has in many ways reproduced her own biography in the story of the disappearing main character. They are of the same heritage and at one point the director also suddenly left her father’s home. At the age of 32 she moved to Winnipeg to study directing. Referencing various fields of knowledge, including literature, architecture, and the history of cinema, Rhayne initially made experimental shorts and then, returning home after several years in the city, began work on a feature. She invited members of her family, the local Métis community, and former university classmates and friends to work on Ste. Anne. Within this non-canonical group, the film crew comprised five young camerawomen and numerous debutants. In exploring the intersections of future and past in the long history of Canada’s indigenous peoples and her personal place within it, Rhayne has created a version of «traditional» culture that does not conform to accepted ideas.

The flashes of narrative alternate with silent shots of nature, unexpectedly plotless scenes that have significant emotional or metaphorical meaning. The experimental nature of the film is expressed not only visually but rhythmically. The conflict-laden plot does not develop into open disputes or obvious confessions. They are replaced by parables and hints that poetically reveal the relationships with Renée’s family. In an interview with Maxim Karpitsky, Rhayne compared Ste. Anne to her favorite film, Paris, Texas by Win Wenders. Each presents a silent tracing of hidden motives and a journey that provides answers to long-standing questions.

After the screening there will be a discussion of the film with a Garage mediator during which viewers can exchange opinions and ideas about what they have seen. The discussion will be constructed as a dialogue of equals in which the impressions and thoughts of every participant are important. The mediator will gently direct and moderate the conversation. The meeting will last one hour. Participation is free.