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As the Quebec film industry approaches its quarter-century mark in 2025, a wave of retrospective lists has sparked debate about the defining films and trends of the past 25 years. These assessments reveal a tension between celebrating established successes and recognizing emerging voices in a rapidly evolving cinematic landscape.
The Allure and Limitations of “Best Of” Lists
“We like lists because we don’t want to die,” observed cultural theorist Umberto Eco, highlighting the human impulse to impose order on the world. For film critics, compiling “best of” lists is a common method of making sense of the vastness of cinema. While often dismissed as superficial “listicles,” these curated selections possess a unique power: they capture a specific moment in time while simultaneously hinting at future cultural significance. A truly impactful list, like a film canon, can even achieve a form of immortality for its subjects.
In late 2025, lists evaluating the best films of the preceding quarter-century proliferated, including several focused specifically on Quebecois cinema. François Lévesque,writing for the Montreal newspaper Le Devoir,created both an overall best-of list and a dedicated list of top Quebec films,with Denis Villeneuve appearing on both. Many of these lists prioritized films based on their impact on the industry or the art form itself.
Villeneuve and vallée: Legacy vs. Personal Taste
Films like Jean-Marc Vallée’s C.R.A.Z.Y. and Denis Villeneuve’s Fires consistently top these rankings, but according to industry observers, their prominence often stems more from their lasting legacy than from purely subjective preferences. Both were critical and commercial triumphs, serving as launching pads for their directors’ Hollywood careers. Fires, in particular, is frequently cited as a pivotal work, with some arguing that its success paved the way for Villeneuve’s later blockbuster, Dune.
However, the conversation extends beyond these established names. Ricky Greenwood
The Auteur/Popular Divide
Despite the growing prominence of auteur cinema, a disconnect remains between critical acclaim and popular appeal.The great Seduction, a commercially successful comedy about a doctor clashing with rural Quebec residents, exemplifies this divide. While it swept the Quebec Awards season and won the Public Prize at Sundance, it was frequently enough dismissed by critics as “sentimental” and “unchallenging.” This highlights a broader trend: a diversification of film styles in Quebec, with a healthy balance between popular comedies and more experimental works.
The Challenge of Screen Space
Though, this diversification faces a significant obstacle: a lack of screen space. “Last week there were about 13 new films coming out in the same week,” Lalande noted, emphasizing the difficulty for smaller, independent films to secure distribution. “Small cinemas aren’t going to take the risk on small indie films that maybe four people will see on the weekend.” This scarcity of screens threatens to marginalize the very films that are pushing the boundaries of Quebec cinema.
Despite these challenges, Lalande remains optimistic about the future. “Auteur cinema has become more electric and fun, taking a lot of risks,” she said, pointing to filmmakers like Matthew Rankin and Pascal Plante as examples of a new generation embracing experimentation and storytelling. “It’s the kind of thing I want to see more of.” The next 25 years of Quebec cinema promise a continued exploration of bold narratives and innovative filmmaking,provided the industry can navigate the increasingly competitive landscape and ensure that diverse voices have a platform to be heard.
