Actor: Jean-Pierre Saulnier

Gina

A beautiful stripper hires renowned criminals to exact revenge on those who raped her in her motel room.

Dirty Money

This French-Canadian crime/action drama, which satirizes U.S. crime films, was shown at the Cannes Film Festival in 1972 and was well received. In the picture, perfectly ordinary people murder, steal, and torture one another with casual abandon in order to solve their everyday problems.

Hot Water, Cold Water

In a poor neighborhood, teenagers plot an assassination while a party is being organized for the local usurer.

The Mob

Seasoned drug smuggler and thief François “Chico” Tremblay is tired of his modest lifestyle. Given the opportunity to earn $50,000 killing a prominent New York City gangster, he leaps at the opportunity, ignoring the warnings of Montreal’s leading mob boss, who has forbidden local criminals from taking the assignment. Upon his return, Chico discovers he is being pursued from all sides, prompting an unlikely response: he calls a local talk radio show and starts revealing the mafia’s most carefully guarded secrets. As his revelations get more shocking, so do the tactics of his adversaries, culminating in a devastating gut punch of a finale.

The Red Kitchen

On a wedding day, women are confined to the kitchen to prepare the meal while the men wait to be served. While men talk politics and sports, women talk about their condition. A teenager observes the gap between the sexes. Co-directed by two actresses, Paule Baillargeon and Frederique Collin, The Red Kitchen is the birth of the Quebec women's cinema. The birth of the film was difficult, and funding has been largely achieved through donations from friends and a benefit concert. This war of the sexes takes place in a demanding formal research, based on the improvisation of the actors, whose preparation took place over long sessions in the workshop. The end result mixes black humour, horror and a very expressive fantasy that gave rise to heated debates.

Les vautours

Although he is something of a layabout, and is still living with his mother, her death comes as something of a shock to Louis Pelletier (Gilbert Sicotte). Still, he has hopes of some sort of legacy and believes that his relatives will help him find a job. All his hopes are dashed when, before the funeral, his three aunts come to Quebec City to settle their sister's estate. As grasping and efficient a crew as ever strode a parlor, by the time they leave, the estate has been cleaned to the bones, as if by vultures.