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Hochelaga, Terre des Âmes (2017) HD online

Hochelaga, Terre des Âmes (2017) HD online
Language: English
Category: Movie / History
Original Title: Hochelaga, Terre des Âmes
Director: François Girard
Writers: François Girard
Released: 2017
Budget: CAD 15,100,000
Duration: 1h 40min
Video type: Movie
Mohawk archaeologist Baptiste Asigny engages in a search for his ancestors following a tragic terrain slump in the Percival Molson Stadium.


Cast overview, first billed only:
Samian Samian - Baptiste Asigny
Raoul Max Trujillo Raoul Max Trujillo - Le Prophète
Vincent Perez Vincent Perez - Jacques Cartier
Siân Phillips Siân Phillips - Sarah Walker
Sébastien Ricard Sébastien Ricard - Léopold Lacroix
Emmanuel Schwartz Emmanuel Schwartz - Étienne Maltais
Linus Roache Linus Roache - Colonel Philip Thomas
Gilles Renaud Gilles Renaud - Antoine Morin
Caroline Dhavernas Caroline Dhavernas - Chef d'antenne
Paul Doucet Paul Doucet - Annonceur Stade Percival Molson
Tony Nardi Tony Nardi - Entraîneur Mario Ricci
Wahiakeron Gilbert Wahiakeron Gilbert - Chef Tennawake
Tanaya Beatty Tanaya Beatty - Akwi
Naiade Aoun Naiade Aoun - Nasrin
David La Haye David La Haye - Alexis leblanc

Without the casting crews knowledge, one of the prophets (George Gilbert) was actually related to his in-film descendant (played by Hogan Gilbert). The connection was only made on set when Hogan saw a photo of who his "ancestor" was cast as and realized it looked like his actual grandfather.

The song, "Baba O'Riley" (by The Who) was actually written as a tribute to Terry Riley, the legendary American minimalist composer who scored HOCHELAGA. Director Francois Girard was a long-time fan of Riley, but had never met him. Music Supervisor for the film, Robert Thompson, worked with Riley, and introduced the two of them at brunch in Brooklyn.

It was announced, on 25 September 2017, as Canada's candidate for Foreign language Oscar.

The film's premiere was at TIFF in Toronto in September 2017.

Reviews: [5]

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    In this movie's script, the Montreal writer's wish to connect with his city's history takes us on a first trip back in time to the 1200s; then the 1500s; the 1800s.

    With each return to the present, we rejoin the Mohawk archaeologist and follow along in his quest to find physical evidence for the exact location, on the Island of Montreal, for the village called "Hochelaga".

    In recorded history, we can read the words of Jacques Cartier, who describes his arrival in the village and his meeting with the Elders.

    Each voyage back in time means entering drastically different moments in the history of the City of Montreal: in the 12002, Iroquoian is spoken; in the 1500s, French, Latin & Mohawk are spoken; in the 1800s, French, English & Mohawk are spoken; in present day, Mohawk, French & English are spoken. Of course, sub-titles help us along in the separating out, and weaving back together of events over an eight-century span of time, and the Mohawk archaeologist's need to reach back and make real his ancestors.

    The year 2017 marked the 150th anniversary of the creation of (on July 1st 1867) of "The Dominion of Canada". Among others, one aboriginal filmmaker, Alethea Arnaquq-Baril (Angry Inuk / 2016), who is Inuit from Nunavut in northern Canada, called for Canadians to see why she would add two zeros to 150 years. In the months leading up to the July 1st celebration, the Inuit, Innu, First Nations and Métis peoples expressed how overlooked they felt, saying that the July 1st date, significant to European settlers, ignores the virtual wiping out of a multitude of peoples living here for centuries before the arrival of Jacques Cartier.

    Today, I entered the packed 350-seat theater, where most in attendance were over the age of 35. I could have heard a pin drop during the movie. As it concluded, a single person way down in front began to clap. A moment later others joined in. About 70% of those in attendance began to clap as well. I sat, quiet, just taking it all in. "It" being a collective experience, a collective moment, a collective happening.

    As I slowly walked back to my car, I thought: _ for all the talk we heard, back in July 2017, from those who say that Canada was born in 1867, what I experienced in a movie theater today tells me, that collectively, we all know otherwise.
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    Hochelaga, Land of Souls took home an armful of national awards for cinematography and art direction, and there is some competence in filmmaking from the director of the fantastic (and structurally similar) The Red Violin (1998). A series of short films rolled into one, as François Girard is known for, the stories are inconsistent in their punch, and in the end there's little impact for those looking beyond technical excellence.

    The overarching mini story involves the archaeology grad student struggling to pay rent and get study grants, which is relatable enough. The sad sob music playing when a football player is killed during a game feels very heavy-handed, but given the outpouring of emotion over the Humboldt bus crash this year, I suppose people really would feel that depressed. The next mini story is the best at establishing passion and feeling, in part because it begins with body on body, and also the religious conflict, the threatening Christian evangelicals against the Great Spirit.

    In comparison, the next couple stories are exceedingly dry and ham handed, and bring down the entire film. We have an old lady helping rebels for reasons we don't know and can't feel, and see her having a tense conversation with a British officer that's hard to care about. Okay, they knew each other for years, but are we really supposed to be impressed by dialogue such as the old lady saying speaking with him is the worst torture imaginable? Finally we have Jacques Cartier.

    By the way, for a story about archaeology, that's not how it works. When you dig, the most recent is on the upper layers; the deeper, the older. They should have found the rebels first, the colonial-religious conflict next and, yes, Cartier last. That kind of reflects the film: disorganized, half-baked. As a recognition of Quebec's indigenous history, it gives us native characters who rise a little bit above the noble-savage/victims archetypes, but not by much.
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    As you can tell by my rating, I loved this movie. It was well shot, well acted and engrossing from beginning to end. It starts off a bit slow and dark after a battle in around 1200. It then goes back and forth between present day and several different time periods at the same crucial location. I wondered if it was based on a true story. or several true stories. The characters are mostly relatable but because there are so many characters, the relations you develop with them may not be that deep.
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    The message is old but it is implacable, the human race is separating, rejoining over eons and the genes are spreading all over. The anchor linking all is an archeological serendipitous dig in a stadium in Montréal. Great, realistic, ironic.
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    This is just a miss as I'm concerned. The premise to begin the whole enterprise is just a joke. The main actor (Samian) is just boring and without any kind of deepness in his role (he's a singer, but he's clearly not an actor).

    The movie is slow and full of dull poetic tries that go nowhere (they try to fill the emptiness of the script), links that have no value and the assemblage is just not working as a valid work. I've tried to like some historical or artistic points in that movie, but I can't. It felt amateur and childish. It's a movie in the "air du temps" which means it is told in a weird asynchronous way just because if not, it would be even worst (like 2/10), it's filled with empty emotions, boring images and both the historical and reflexive aspects are quite low. Those people tried to make a historical non-historical semi-fiction about indigenous culture linked with a part of his progression, but it's a fail, a total fail. If you want to lean something about indigenous culture (or Quebec Culture as a whole), take a book on the subject or watch another movie. This one, even for entertainment, will make you lose your time.