Three people — a blue-collar American, a French journalist and a London school boy — are touched by death in different ways.
A small mountain community in Canada is devastated when a school bus accident leaves more than a dozen of its children dead. A big-city lawyer arrives to help the survivors' and victims' families prepare a class-action suit, but his efforts only seem to push the townspeople further apart. At the same time, one teenage survivor of the accident has to reckon with the loss of innocence brought about by a different kind of damage.
Léandre is a Montreal computer scientist in charge of the protection of the Minister of Public Safety. After selling secret information to the Mafia, he realizes he’s been directly implicated in an attack on the politician. If things weren't bad enough, Léandre ends up in the hospital because of awfully painful kidney stones. He then decides to leave his problems and his girlfriend behind to find refuge with his aunt in his small hometown of Havre-St-Pierre. Hiding from everyone that he’s wanted by the police, Léandre renews his relationships with his childhood friends and his childhood sweetheart, Ève.
Neville Harmer thinks his troubles are over when his wheel-chair bound father meets with an untimely death due to Neville's negligence leaving him with a hefty inheritance. But stipulations in the will means that Neville will have to continue to run his father's sawmill and live in his house or forfeit the inheritance. But the house has a dark history where many unexplained things occur causing many to question their sanity.
A retrospective of the life and work of Glenn Gould, Hereafter synthesizes an incredible wealth of archival material from various sources.
A series of massacres at local bars has a neighborhood on edge. With the culprits still at large, it's a dangerous night to be out drinking at Frank's Tavern. Nevertheless, a few die-hard regulars will tempt fate and take their chances.
To make a film about a poet, it is necessary to move away from all cinematographic purpose, all technical language, all aestheticizing intention; we should just think like him, in terms of image and animism, of arrow and spell. The film in question will then be a tree and every facet of his work a branch, the trunk his life. Thus this incipient metaphor will evolve in the form of the film, the body of the image is henceforth encircled by the cortex of sound, whose independent relief segregates its own layers of meaning, the cavities through which the silence of an army of ants searches for its center.