Villeneuve’s cinematic ascent
Un 32 août sur terre (1998):
Villeneuve’s first feature, about a woman (Pascale Bussières) who, following a car accident, decides she wants to have a child. Premièred at Cannes in the Un certain regard section. A restored version of the film screens as part of this year’s Festival du nouveau cinéma.
Maelström (2000):
Another female protagonist, another car crash. Marie-Josée Croze gained international exposure as a woman dealing with guilt after causing the death of a stranger.
Polytechnique (2009):
An unflinching account of Montreal’s École Polytechnique massacre. Starring Karine Vanasse, who spearheaded and helped produce the film. Premièred at the Venice Film Festival.
Incendies (2010):
Villeneuve’s breakthrough, about a woman (Lubna Azabal) on a quest to find her son across a war-torn country in the Middle East. Received an Oscar nomination for best foreign-language film. Premièred at the Venice Film Festival.
Prisoners (2013):
Villeneuve’s English-language debut, a psychological thriller starring Jake Gyllenhaal, Hugh Jackman, Viola Davis, Maria Bello, Terrence Howard, Melissa Leo and Paul Dano. First collaboration between the director and Roger Deakins, earning an Oscar nomination for best cinematography.
Enemy (2013):
A stylish lark and passion project of sorts, the adaptation of Portuguese novelist José Saramago’s The Double starred Gyllenhaal as a man who discovers he has a replica.
Sicario (2015):
Villeneuve brought artistic flourish to this tale of an FBI agent (Emily Blunt) recruited by a government task force to help take down a Mexican drug lord. Premièred in competition at Cannes and received three Oscar nominations, including another for Deakins.
Arrival (2016):
Villeneuve stretched his sci-fi wings with this existential reverie positing Amy Adams as a linguist who must find common ground with a fleet of mysterious aliens. Earned eight Oscar nominations including best picture and best director, with Quebec’s Sylvain Bellemare winning best sound editing.