Polytechnique

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Movie
German title Polytechnique
Original title Polytechnique
Country of production Canada
original language French , English
Publishing year 2009
length 77 minutes
Age rating FSK 16
Rod
Director Denis Villeneuve
script Jacques Davidts ,
Denis Villeneuve,
Eric Leca
production Don Carmody ,
Maxime Rémillard
music Benoît Charest
camera Pierre Gill
cut Richard Comeau
occupation

Polytechnique [ pɔlitɛknik ] (French for " Polytechnic ") is a Canadian film directed by Denis Villeneuve from the year 2009 . The film deals with the rampage at the Montréal Polytechnic in 1989 . Although all characters in the film are deliberately fictional, the course of events is reproduced comparatively precisely. The decision to film the events was very controversial, especially in the province of Québec . The film was largely positively received by the critics. He has received several Canadian film awards.

For Denis Villeneuve, who had withdrawn into private life for almost nine years after the well-received Maelström (2000), the film represented a “new beginning” in his work .

It was released in Québec on February 6, 2009. From March 20, 2009, it was also shown in other Canadian provinces. In Germany the film was only shown at festivals and has not yet been released on DVD or Blu-ray . However, it appeared in German in October 2014 as a bonus in the limited mediabook edition of Villeneuve's film Enemy .

action

The plot is told in a non-chronological order and shows the process from three different perspectives: that of the perpetrator, that of a female victim and that of a male student plagued by guilt. Some scenes are shown several times from different angles.

prolog

Two students at a copier are talking when they are both shot and seriously injured without warning. A text panel informs the viewer that the film is based on reports from survivors of the rampage in Montreal on December 6, 1989. Out of consideration for the victims and their families, however, all figures are fictitious .

The culprit

A young, nameless man lives in a shared apartment. He hides a rifle in his room. He committed suicide by shooting in the head. Later he wrote a farewell letter in which his extreme misogyny is expressed. He takes the gun and leaves the apartment.

He drives his car to a house where a woman is shoveling snow. He waits until the woman who is his mother is out of sight and then throws a note in her mailbox. He is sorry, but "it could not be avoided".

Then he drives to the École polytechnique de Montréal , where he initially roams the corridors seemingly indifferent and finally takes his rifle, ammunition and a combat knife out of the car. He waits a long time in the entrance area of ​​the school until a secretary asks him if she can help him. He goes to a lecture room and fires a shot into the ceiling. Then he asks the women and men to line up on either side of the room. The men should then leave the room. The man asks the women if they know why they are here, which they deny. He explains to them that they will all become engineers one day and are a “feminist pack”. He hates feminists . One of the students wants to reply that they are not feminists, while the man is already opening fire on them. Most of the female students died instantly, and some were seriously injured.

The perpetrator leaves the room and walks down the hallways of the school, where he shoots all the women he meets. He then committed suicide at school.

Jean-François

The student Jean-François is one of the men who left the classroom. He alerts the security service and then tries to help the victims. When he re-enters the classroom, the injured students Valérie and Stéphanie think that the perpetrator has returned and pretend to be dead. Jean-François bursts into tears and leaves the room. Shortly afterwards, Stéphanie succumbs to her serious gunshot wounds. When trying to find further help for a dying victim, he gets into the line of fire again and takes refuge in a room in which other students celebrate with music and alcohol, despite the killing spree.

Some time after the rampage, Jean-François still feels guilty because he left the room and left his fellow students alone with the perpetrator without any help. After meeting his mother, he committed suicide by poisoning with carbon monoxide in his car .

Valerie

Valérie survived the rampage despite her serious injuries. After her recovery, she successfully completes her studies and starts a new relationship. When she learns that she is pregnant, she writes a letter to the mother of the gunman that she will never send. The letter ends with a promise that if she turns out to be a boy, she will teach her child to love, and if he turns out to be a girl, she will tell him that the world will be at his feet.

dedication

Memorial plaque for the 14 victims

In addition to the 14 direct victims of the crime, the film is also dedicated to the student Sarto Blais, who committed suicide a few months after the rampage, as well as to all students and employees of the university and the families of the victims.

production

development

The idea to film the events goes back to Karine Vanasse , who portrays the character of Valérie in the film and was also associate producer of Polytechnique . First of all, the film team sought contact with the December 6 Foundation , an association that was later disbanded and which consisted mainly of the victims' family members, and obtained their consent for the film to be implemented on film. They also spoke to the survivors of the killing spree, police officers, emergency doctors and carers for relatives. The families of the 14 victims were not consulted. The family members of the victims and the mother of the gunman Marc Lépine were the first people to see the finished film. There were separate screenings for them before the film's regular release in Canadian cinemas. Some families of victims chose not to see the film.

The film budget was 6 million Canadian dollars . The state film funding agencies Telefilm Canada and SODEC initially refused to finance the film twice before finally contributing $ 3.1 million to the budget after the intervention of producer Don Carmody in 2007.

Filming

Collège Ahuntsic, one of the film locations

Most of the shooting took place in the studio. External filming was carried out at the Montreal universities of Cégep de Maisonneuve and Collège Ahuntsic .

The film was shot in black and white so as not to make the bloodshed too dramatic for the viewer. According to director Villeneuve, despite all its brutality, the film should still be viewable and processable and not put off the viewer ("I wanted to make a film that would be watchable, digestible, not a turnoff."). Even in difficult scenes, the film should move the audience through emotions and not drive them away through depictions of extreme violence ("... move people by the horror but not be repulsed, to keep the emotion of it but not the gore.").

A French and an English version were produced simultaneously. There were two different scripts for this and all scenes with dialogue were filmed twice. As Janine Marchessault noted, strictly speaking, there are two different films.

music

The Polytechnique soundtrack consists largely of pieces of music composed for the film by the composer Benoît Charest , in which melancholy piano and guitar sounds dominate. In addition, the following pieces of music - mainly synth pop and gothic rock from the 1980s - are used:

The soundtrack was not released separately.

publication

movie theater

Alliance Films took over the distribution in Canada . The film opened in Québec on February 6, 2009 with 30 French-language and five English-language copies and was number 1 in the box office in the first week, with almost 97% of sales being generated with French-language copies. From March 20, 2009 he was also seen in Toronto , Vancouver and Calgary .

In May 2009 it was shown at the Cannes International Film Festival as part of the side series Quinzaine des réalisateurs .

In Germany it was only shown at festivals in August and September 2009. The English original version was shown at the Fantasy Filmfest 2009 in Berlin (August 19), Hamburg (August 25), Frankfurt am Main (August 28), Cologne (August 30), Nuremberg (September 2), Munich ( September 3) and Stuttgart (September 7). When Oldenburg International Film Festival , the French version of the film was shown with English subtitles on 17th and 19th September, 2009. In November 2012, the OmU version of the film was shown again as part of a Denis Villeneuve retrospective at the Braunschweig International Film Festival .

Home theater

The film was released in Canada on August 25, 2009 on DVD and Blu-ray with the French and English language versions. In addition to the main film, the release contained two television documentaries in French, Ici comme ailleurs (1989, length 6 minutes) and Enjeux - Tuerie a l'école Polytechnique - 10 ans après (1999, length 47 minutes).

Polytechnique is only available in German on the Blu-ray bonus disc of the 3-disc limited Collector's / Mediabook Edition of Villeneuves Film Enemy published by Capelight Pictures on October 10, 2014 . The German dubbed version was created by RRP Media . The Blu-ray also contains the original French version.

reception

Controversy over decision to film

The decision to film the events sparked controversy, especially in Québec. There were complaints from many quarters that such a film evoked too many painful memories even 20 years after the events.

The Gazette film critic Brendan Kelly was of the opinion that a filmmaker could in principle choose any material for a film, but then he had to “have something to say” (“you've got to have something to say”). This is especially true of this rampage, which was a very dark chapter in the history of Montreal. You have to have “a damn good reason” to make such a film (“have a real darn good reason”). Kelly doubted Villeneuve could offer such a reason. Even if he was a talented filmmaker, he obviously had nothing relevant to say about this work. Kelly described it as "disturbing" that the film simply reenacts the events and then presents it to the viewer without their own point of view.

The film was defended from another side. This is how Nathalie Petrowski, columnist for the daily newspaper La Presse , called Polytechnique an “important film” (“necessary film”) before it opened, but it will probably flop at the box office because too many people are afraid of seeing such acts being screened .

The École polytechnique de Montréal distanced itself from the film in an official statement. Within the faculty and the administration there were different views on the filming of the events, but as an institution one must take such a position out of respect for the victims and employees, many of whom had witnessed the massacre 20 years earlier. In addition, one does not want to comment on the work.

Reviews

86% of the 14 reviews recorded by Rotten Tomatoes were positive, the film received an average rating of 7.0 out of a possible 10 points (as of May 3, 2018).

In Canada, the reviews were mostly positive. Peter Howell from the Toronto Star awarded 3 1/2 out of 4 stars. The film makes “no judgments” and does not offer any panacea. He shows the violence and sticks to the facts, but he doesn't wallow in it either. Howell praised Pierre Gill's camera work as "brilliant".

Kevin N. Laforest of the Montreal Film Journal also gave 3 1/2 stars out of 4. Laforest praised the camera and sound work and also praised the acting performances, especially those of Sébastien Huberdeau and Karine Vanasse . The last scene with Vanasse, which is supposed to force the viewer to have a certain opinion, was unsuccessful and a shame for the film.

Robert Bell named Polytechnique in his review in the Canadian music magazine Exclaim! a "gripping and highly significant" movie to watch, no matter how difficult the experience may be. Because the characters explain so little and the film focuses its energy mainly in quiet moments, the viewer is stimulated to think.

For the New York Times wrote AO Scott a benevolent criticism. In many ways, Polytechnique is “a modest film” (“a modest film”). The film is neither too melodramatic nor too minimalistic. It is a virtue, but also a limitation of the work, that it confronts viewers with the senselessness of the deed and nevertheless demands to remain calm and reasonable.

David Fear emphasized in his review for Time Out magazine that Villeneuve shows the rampage as a more aggressive aspect of established gender inequality. Fear awarded four out of five stars.

Ray Bennett wrote after the screening of the film in Cannes for the Hollywood Reporter that the film was a “dispassionate retelling” that “did not want to explain” (“not set out to comprehend the crime”) except to suggest it that the gunman was a pathetic loser who blamed women for his empty life. The film is still a memorial to the victims and an interesting docudrama for teachers and students. It is unfortunate that the filmmakers have not tried harder to understand the perpetrator or certain decisions of the victims.

Rob Nelson ( Variety ) and André Habib (Hors Champ) assessed the film even more critically, comparing Polytechnique with the thematically similar feature film Elephant (2003) by Gus Van Sant . Nelson found Polytechnique to be a “weaker” and clearly more “conventional” film (“more conventional”). It is “intentionally artistic” (“plenty arty”) and only “partially constructive” (“arguably constructive”), according to Nelson. Something similar was noted by Habib, who criticized Polytechnique as a “consistently inconsistent” film (“toute l'inconséquence de ce film”) and the realization of the project as “obscene” (“obscénité”). Villeneuve's film has a "well-oiled" ("" bien huilé "") script as well as a "beautiful" ("belle"), "smooth" ("polie") imagery that is not appropriate to the topic and to his contribution to the episode film Cosmos (1996) remember. Polytechnique degenerates into an “overestheticization of tragedy” (“une suresthétisation de la tragédie”). "Gus Van Sant waited until the end of his film to sound a single shot [...] in contrast to Villeneuve, who automatically places us in the ideological trap and in the horror (the foreground of the film) [...]", so Habib ("Gus Van Sant a attendu jusqu'à la fin de son film pour faire résonner un seul coup de feu [...] Villeneuve, au contraire, nous place d'office dans le commerce idéologique et dans l'horreur (le premier plan du film) [...] “).

The film service described the film as "deeply disturbing". Villeneuve's film does not want to “explain what cannot be clarified anyway”. The script and camera work are "masterfully" and "precisely composed" and "artistically condense" reality.

On the occasion of the publication of Villeneuve's film Arrival (2016), Patrick Seyboth wrote an article for epd Film on the director's oeuvre, in which he describes Polytechnique as a stylistically concentrated, reduced and harsh masterpiece. Seyboth also emphasized the position of the film as a “new beginning” for Villeneuve, who after the well received Maelström (2000) had withdrawn into private life for artistic reasons and only made another feature film with Polytechnique after almost nine years. In this film, Villeneuve shows the effects of violence and, above all, gives space to the “victims and their injuries”, while he is hardly interested in the perpetrator's psychology. According to Seyboth, Polytechnique is a film of “emotional intensity” with “minimalist aesthetics”, with images “of astonishing poetry”.

Gross profit

While the film due to local relevance in Quebec City at the box office total of 1.8 million dollars grossed, came in the rest of Canada just another $ 100,000 together what should be assessed as a disappointing result, according to film journalist Peter Howell. For the filmmakers, however, according to their own statements, the profitability of the project was not the top priority.

Interpretation and analysis

In her article What Role Does Film Have in the Telling of History? A Look at Denis Villeneuve's Polytechnique (2009) , the film critic Justine Smith pointed out that although Villeneuve's film is recreating a historical event and sticking to the facts, it nevertheless differs from what is generally called “historical Realism ”. In particular, the characters appearing are fictional and the perpetrator is only listed as an unnamed killer in the credits. According to William R. Hume, the culprit remains only "the man with the gun" throughout the film. The film shows nothing about his past and gives no understandable explanation for his act. Overall, Polytechnique tends to stay with the victims and less with the perpetrator; he downright denied it the notoriety that it might have been looking for. The film also distances itself from the presentation of events in the mass media through black and white photography . Instead of reproducing TV images of the reporting, Villeneuve offers an alternative view of the events. Smith sees the filmmakers' decisions as an attempt to “give the victims a new life” while at the same time pointing out the problems of portraying school shootings in the mass media. The film shows the effects of the sadness and chaos that violence leaves in life and that extends far beyond the actual event. Polytechnique is less a comment on the event itself than on how a society packs a tragedy in order to “consume, absorb and easily forget” (“... but a comment on how as a society we package tragedy to be consumed, absorbed and easily forgotten ”).

The cultural scientist Ralf Junkerjürgen also saw in Polytechnique a continuation of the “practice of remembering and commemorating the victims.” The film was designed as an “artistically ambitious monument ”. Although deliberately designed to be fictional, he would put the victims in the foreground. Villeneuve commemorates the victims explicitly by naming the names in the credits, but also metaphorically by tracking shots over ceiling lamps that light up all but one and can therefore also be understood as “memorial lights for the dead”. The murderer, however, remains anonymous. According to Junkerjürgen, Villeneuve is trying to rebalance the media presence of the crime. Normally, in such acts, only the perpetrator is reported, whereas the victims are usually not known to the public. Even if this is done for their protection, it leads to an “ethically incorrect weighting”.

Junkerjürgen also pointed out that the chronological sequence of the film was interrupted by constant foresight and retrospect, but essentially remained with the act itself. The loss of “spatial and temporal orientation” is a formal expression of the “disturbing act”. The structure of the film is “labyrinthine”, both on the temporal level and with the constant change of perspectives and, last but not least, with the tracking shots through the nested corridors of the university building. The film does not offer the viewer any orientation that could make the act understandable. Villeneuve also breaks with the usual dramaturgical patterns by suddenly having several characters hit by gunshots in the middle of speaking, which creates a "special shock effect" for the viewer due to the suddenness.

In her article Versioning History: Polytechnique as Vector , film scholar Janine Marchessault emphasized above all the interweaving of three different perspectives of history, which Marchessault calls "versions". The versioning of the film is also reflected in other aspects: the two language versions of the film and the female and male versions of the victim's perspective. As the film critic William R. Hume noted in his case study The Multiplicities of Polytechnique (2009) , the title Polytechnique , whose root word poly means “many” or “several”, indicates the numerous perspectives and stories of the film.

In the versions of the scenes that are repeated several times, the knowledge of the characters and the audience is limited, as Janine Marchessault explicitly points out. The students standing at the copier in the prologue do not see the killer coming before they are hit by the gunfire. Only in the repetition of the scene does the viewer see the perpetrator firing the shots. In the scene in which Jean-François returns to the lecture room, he assumes the death of all students, while Valérie actually only pretends to be dead. Only in the third version of this scene does the viewer find out why: Valérie thought the returning Jean-François was the culprit. Their knowledge of the real process was also limited. Only when all three versions are interwoven does the viewer get a complete picture of the story.

Despite all the temporal leaps, the end of the film still has an almost classic narrative structure with a beginning, middle and end. The viewer learns the fate of the three main characters. The perpetrator and Jean-François commit suicide. Valérie is expecting a child. While the strong female figure finds its way back to life at the end, the male figures appear indecisive and weak. In particular, the figure of Jean-François sees himself unable to help the victims during the rampage, which "emasculates" him in his own eyes and those of the audience. His attempt to inform the security forces of the university about the rampage is not taken seriously by them and therefore remains ineffective. He can offer a female victim little more than his jacket and the film then switches to a different perspective. He is later shown again helping a victim bandage their wounds. Although she expressly thanks Jean-François, he subsequently feels guilty because he has not done more, which ultimately drives him to suicide.

Villeneuve repeatedly addresses the differences between the two sexes. The female lead, a capable student, has to endure sexist remarks and questions about her family planning during the interview . During the lecture, she passed on her transcripts to Jean-François so that he could have the same advantages as her without having worked for them. During the rampage, the different ways women and men deal with critical situations become apparent. Jean-François primarily offers physical activity, which, however, remains largely ineffective. He runs to the security forces office, he offers his jacket as a pillow and he puts a pressure bandage on a victim . The injured women Valérie and Stéphanie, on the other hand, tend to seek emotional closeness and find temporary protection together when they face the perpetrator. When the killer opens fire on the group and they both go to the ground, both women continue to embrace and Valérie finally pretends to be dead. She shows her self-protection more in a mental than a physical performance.

The role of the characters' mothers is discussed several times. The killer's mother is only shown from a distance, she has no influence on him or his act. He only writes her a letter in which he describes the events as "inevitable". At the end of the film, Valerie, who was pregnant at the time, will also write a letter to the killer's mother, although she will not send it. In this she points out the importance of love and a mother's responsibility for her child. Jean-François also meets with his mother again before committing suicide.

Kevin B. Lee went into his video essay on Polytechnique on the structure of the film and there in particular on the film editing . Villeneuve show different scenes from several perspectives, whereby the selection and length of the shots and the final cut each place different emphases. For example, the scene in which the killer enters the lecture room is shown in great detail the first time, with different shots being used. The viewer sees the reactions of individual students and especially the hesitation of Jean-François when leaving the room. The second time the camera remains all the time in a setting at the figure of Valérie. Although the flow is the same, this version is much more condensed and focused on the reaction of a single student. The slightly increased speed of the events, the shorter pauses between the dialogues and the restless camera increase the threat of the scene. The spectator cannot calm down, he cannot escape.

The film shows Pablo Picasso's painting Guernica twice , once after the killer begins his rampage in the classroom and once as a still image at the end of the film . Villeneuve provides a cross-reference here for understanding the film. Both the film and the painting deal with the effects of violence on society and at the same time address a lack of humanity .

Awards and nominations (selection)

Toronto Film Critics Association Awards 2009

  • Rogers Canadian Film Award for Best Canadian Film (Denis Villeneuve)

Genie Awards 2010

  • Best Film (Maxime Rémillard, Don Carmody)
  • Best Director (Denis Villeneuve, Remstar Media Partners)
  • Best Actress (Karine Vanasse)
  • Best Supporting Actor (Maxim Gaudette)
  • Best Original Screenplay (Jacques Davidts)
  • Best Cinematography (Pierre Gill)
  • Best Editing (Richard Comeau)
  • Best note (Stéphane Bergeron, Pierre Blain, Jo Caron, Benoit Leduc)
  • Best sound editing (Claude Beaugrand, Guy Francoeur, Carole Gagnon, Christian Rivest)
  • Nomination for Best Original Music (Benoît Charest)
  • Nomination for the best make-up (Djina Caron, Martin Rivest)

Prix ​​Jutra 2010

  • Best Director (Denis Villeneuve)
  • Best Supporting Actor (Maxim Gaudette)
  • Best Cinematography (Pierre Gill)
  • Best Editing (Richard Comeau)
  • Best tone (Pierre Blain, Claude Beaugrand, Stéphane Bergeron, Remstar Productions)
  • Nomination for the best film
  • Nomination for Best Original Music (Benoît Charest)

Web links

Individual evidence

  1. ↑ Release certificate for Polytechnique . Voluntary self-regulation of the film industry , September 2014 (PDF; test number: 146 878 V).
  2. ↑ a b c Andrew Chung: Massacre movie stirs controversy, unease . In: TheStar.com , February 3, 2009. Retrieved March 8, 2012. 
  3. ↑ a b Travis Lupick: Polytechnique of intense journey for Karine Vanasse . In: straight.com from March 16, 2009.
  4. ↑ a b c d e Ingrid Peritz: Are we ready to relive the Montreal massacre? . In: The Globe and Mail , January 30, 2009
  5. ↑ a b c d Movie based on Montreal massacre stirs controversy . In: cbc.ca of February 2, 2009.
  6. ↑ a b c Rejected Polytechnique project finally gets Telefilm cash . In: The Gazette , April 10, 2008. Archived from the original on April 7, 2016. Retrieved February 18, 2006. 
  7. ↑ Patricia Bailey: SODEC okays Polytechnique . In: playbackonline.ca from June 18, 2007.
  8. ^ Polytechnique - Filming & Production . In: IMDb.com, accessed March 31, 2018.
  9. ↑ Anabelle Nicoud: Polytechnique: film bilingue . In: La Presse . April 9, 2008. Archived from the original on February 19, 2012.
  10. ↑ a b c d e Janine Marchessault: Versioning History: Polytechnique as Vector . Canadian Journal of Film Studies / Revue Canadienne d'Études cinématographiques, Volume 22 No. 1, spring, pages 44 ff.
  11. ^ Brendan Kelly: Polytechnique tops at the box office . In: The Gazette of February 13, 2009.
  12. ^ Polytechnique . In: quinzaine-realisateurs.com, accessed April 10, 2018.
  13. ^ Polytechnique . In: f3a.net, accessed April 10, 2018.
  14. ↑ Timetables 2009 . In: f3a.net, accessed April 10, 2018.
  15. ↑ Timetable for the 16th International Film Festival Oldenburg, September 16, 2009 to September 20, 2009 . In: filmfest-oldenburg.de, accessed on April 10, 2018.
  16. ↑ The 26th Film Festival 2012 . In: filmfest-braunschweig.de, accessed on April 10, 2018.
  17. ↑ Polytechnique (Region A - CA import without German sound) Blu-ray . In: bluray-disc.de, accessed on April 2, 2018.
  18. ^ Polytechnique Blu-ray . In: blu-ray.com, accessed April 2, 2018.
  19. ^ OFDb - Blu-ray Disc: Capelight [Enemy - Limited Edition (Germany), Approval: FSK 16 by Polytechnique (2009).] In: Online film database . November 4, 2014, accessed May 6, 2018.
  20. ^ Polytechnique . In: Deutsche Synchronkartei , accessed on April 2, 2018.
  21. ↑ OFDb - Blu-ray Disc: Capelight / Al! Ve (Limited Collectors Edition) (Germany), Approval: FSK 16 by Enemy (2013). In: online film database. October 14, 2014, accessed May 6, 2018.
  22. ^ Graeme Hamilton: Montreal massacre film brings up 'too many memories' . In: National Post , January 28, 2009. Archived from the original on October 29, 2013. Retrieved on March 8, 2012. 
  23. ^ Poly garde ses distances . In: CBC / Radio-Canada , January 30, 2009. Archived from the original on October 30, 2013. Retrieved February 18, 2006. 
  24. ↑ Polytechnique In: Rotten Tomatoes, accessed May 3, 2018.
  25. ^ A b Peter Howell: Polytechnique . In: TheStar.com of March 20, 2009.
  26. ↑ Kevin N. Laforest: Polytechnique . In: montrealfilmjournal.com of February 6, 2009.
  27. ^ A b Robert Bell: Polytechnique . In: exclaim.ca of March 19, 2009.
  28. ↑ a b A. O. Scott : A Fictional Killer of Women Who Is All Too Familiar . In: New York Times, June 28, 2011.
  29. ^ A b David Fear: Polytechnique . In: timeout.com from June 28, 2011.
  30. ^ A b Ray Bennett: Polytechnique - Film Review . In: hollywoodreporter.com from May 19, 2009.
  31. ^ A b Rob Nelson: Polytechnique . In: variety.com from May 18, 2009.
  32. ^ André Habib: Retour sur Polytechnique: Mortes tous les après-midis . In: horschamp.qc.ca from September 6, 2009.
  33. ↑ a b c Polytechnique . In: filmdienst.de, accessed on April 1, 2018.
  34. ↑ a b c d Patrick Seyboth: Denis Villeneuve: We are the strangers . In: epd film from November 21, 2016.
  35. ^ A b c Peter Howell: Polytechnique sweeps Genie Awards . In: TheStar.com of April 12, 2010.
  36. ↑ a b c d e f Justine Smith: What Role Does Film Have in the Telling of History? A Look at Denis Villeneuve's Polytechnique (2009) . In: popoptiq.com, accessed February 1, 2019.
  37. ↑ a b c d e f g h i j k l m William R. Hume and Xi Wang: Case 4: The Multiplicities of Polytechnique (2009) . In: filmgamer.wordpress.com from May 3, 2016.
  38. ↑ a b c d e f g Ralf Junkerjürgen , Isabella von Treskow (ed.): Amok and school massacre. Cultural and media studies approaches . transcript Verlag , 2015, ISBN, page 150 ff.
  39. ^ The Tragic Timings of Denis Villeneuve (Polytechnique) . In: vimeo.com from December 22, 2016.
  40. ↑ a b This Side-by-Side Comparison of 'Polytechnique' Shows How Timing Can Change a Scene . In: nofilmschool.com from September 9, 2015.
  41. ^ Past Award Winners . In: torontofilmcritics.com, accessed March 29, 2018.
  42. ^ Normand Provencher: J'ai tué ma mère triomphe aux Jutra , Le Soleil , March 29, 2010
This article was added to the list of articles worth reading on May 6, 2018 in this version .