ɬÀï·¬

ɬÀï·¬ Arts Students Participate in Post-Screening Discussion with Alain Farah and Philippe Falardeau

On November 4, the Department of English and the World Cinema minor program organized a special presentation of "Lovely Day", a film by Canadian director Philippe Falardeau, based on the 2022 Governor General's Prize-winning novel "Mille secrets mille dangers" by ɬÀï·¬ profressor Alain Farah, from the Départements des littératures de langue française.
Image by Emma Issaurat.

On November 4, we had the lovely(!!) and exciting opportunity to moderate a discussion with director Philippe Farlardeau and ɬÀï·¬ professor Alain Farah following a special screening of the movie Lovely Day (Mille secrets mille dangers), a film directed by Falardeau and based on Alain Farah’s critically acclaimed, partially autobiographical novel. The novel is a distinct Montréal story, inspired by Farah’s experiences growing up in the city as a child of Lebanese immigrants. Not only is Falardeau’s adaptation an extremely tender and caring depiction of the narrative, but it also richly brings Montréal to life on screen, making it a charming viewing experience for our audience of Montrealers.ÌýÌý

To prepare for the discussion, we had the privilege of watching the film in advance and discussing the cinematic and narrative choices that interested us the most. We also met with the professor for our class, Ara Osterweil, and she gave us great advice — namely, that our role was first and foremost to make everyone feel welcomed and encouraged to participate in the conversation. It was a real privilege to watch a press screener of the film since this is not something that we typically have access to, even as world cinema students. In addition to the opportunity this gave us to prepare strong questions for Falardeau and Farah, this allowed us to compare the viewing experience of the film on our computers versus the big screen at the Cinéma Du Musée, which was a true testament to the unique power of going out to the cinema.ÌýÌý

Consistent with the tone of their novel and movie, respectively, Farah and Falardeau were making jokes as soon as we met them. Their outgoingness made it very easy to connect and feel comfortable sitting with them on stage. It was clear that they were well-practiced in discussing and showcasing their project, which made our job as moderators much less demanding.ÌýÌý

The discussion was a unique opportunity because we got to talk to the director of the film and the author of the book it was adapted from (Farah was also co-wrote the film’s screenplay). It was fascinating to learn about their collaborative creative process in writing the script, Farah’s experience of seeing his novel realized on the silver screen, and the ways Falardeau preserved essential aspects of the novel. During the Q&A, Falardeau and Farah spoke at length about the challenges of novel-to-film adaptations and the depiction of real people, giving striking anecdotes from their experiences consulting with Farah’s parents and their experiences on set with the child actor playing young Farah.ÌýÌý

This film was especially moving to see because Montréal is so rarely depicted in film. This love letter to Montréal is particularly notable because it doesn’t take place in the most-often depicted areas like downtown Montréal but is unmistakably anchored in the Côte-des-Neiges neighborhood. As World Cinemas students, we are often exposed to films from various regions, and yet it is surprisingly rare to see Canadian stories foregrounded on the big screen. Seeing such a local story and its beautiful landscape felt extremely pertinent and crucial to understanding the city we all live and study in, as well as the diversity within it. The Q&A was extremely impactful in gaining a real sense of the cultural specificity behind the creation of the film and it made us deeply appreciate the value of national cinema in relation to international film discourse.ÌýÌý

Finally, it was greatly inspiring to see a ɬÀï·¬ professor finding success in film. It made our discussion feel more personal and attainable, reminding us that the creative possibilities we discuss in class are within reach. Witnessing how scholarship can meaningfully inform and enhance artistic practice was especially motivating. It was truly exciting to grasp that the ambitions many of us hold as film students are not just abstract and that they can become realities.ÌýÌý

Ìý

Sylvie Liss is an Honours Liberal Arts student in her third year at ɬÀï·¬.ÌýÌý

Oren Liebenthal is a student in the World Cinemas Department in his third year at ɬÀï·¬. He helps program department events, such as the Lovely Day special screening.ÌýÌý

Solène Chevallier is a Cultural Studies and World Cinemas third year student at ɬÀï·¬.Ìý

Ìý

Back to top