Roger Lebel

Although he is something of a layabout, and is still living with his mother, her death comes as something of a shock to Louis Pelletier (Gilbert Sicotte). Still, he has hopes of some sort of legacy and believes that his relatives will help him find a job. All his hopes are dashed when, before the funeral, his three aunts come to Quebec City to settle their sister's estate. As grasping and efficient a crew as ever strode a parlor, by the time they leave, the estate has been cleaned to the bones, as if by vultures.

A television host tries to react to the process of alienation that the public is subjected to from variety shows.

Continuing a saga that began with his previous, 1978 film, Vautours director Jean-Claude Labrecque returns with the French Canadian, Louis Pelletier and puts him in the context of the growing separatist movement in the late 1960s in Quebec. At that time, supporters of an independent Quebec began to consolidate their power under the Parti Québecois -- and the story of Louis and his wife Claudette are meant to illustrate this watershed in Quebec's history. As the film begins, Claudette and Louis are about to get married -- and their wedding day significantly coincides with preparations for the visit of Queen Elizabeth II. Years later, they are well-established in Montreal and are enjoying visits from their family -- and then their lives start to deteriorate. Louis is suddenly out of work, and as he faces the difficulties of finding another job -- and of living precariously -- he becomes more radical, less accepting of the status quo.

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Industrial pollution causes water poisoning and generalized sickness in a nearby city and is the start of a major news scandal.

In 1953, in the Gaspé forest, there are three bodies half eaten by bears. Fearing repercussions on tourism and investment, Prime minister Maurice Duplessis decided to make an example accusing Wilbert Coffin.

Staged in old Québec City, this film is about a rebel against the time-clock, whose hobby was snaring birds but whose dream was to escape the bonds of domesticity. A kindly satire of the dreamer in every man, the film is also a memorable portrait of Québec, the "Grande Dame" of Canadian cities.