We've lost a true legend in the world of documentary filmmaking. Gilles Blais, a veteran director with the National Film Board of Canada, has passed away at the age of 84. But here's where it gets controversial... his death has sparked a renewed interest in his work, and the impact he had on Canadian society and beyond.
The NFB, a publicly funded film producer, announced Blais' passing on October 17th. While the cause of death remains undisclosed, his legacy as a thoughtful and attentive filmmaker is undeniable. Suzanne Guèvremont, the government film commissioner and chairperson of the NFB, praised Blais for his unique ability to capture the essence of his subjects with great respect and patience.
During his time at the NFB from 1965 to 1997, Blais left an indelible mark with his prescient documentaries. One such film, "Water, Water Everywhere..." (1971), offered an intimate look at the devastating effects of water pollution, with a powerful scene of a trout dying in contaminated waters. Another notable work, "Sophie Wollock's Newspaper" (1979), gave a voice to English-speaking Quebecers opposed to the Quebec nationalism movement, providing a unique perspective on the political landscape of the time.
Blais revisited the theme of Quebec nationalism in "Le Grand Silence" (1997), exploring the controversial 1995 referendum on the French-speaking province's potential separation from Canada. He also directed "Joseph K. - The Numbered Man" (1991), a drama that warned about the dangers of domestic surveillance and its potential fallout.
Born in Rimouski, Quebec, in 1941, Blais began his career as an assistant cameraman on "In The Labyrinth," a film created for the Expo 67 event in Montreal. He went on to work on various documentaries, including "Beluga Days" (1968), which showcased the rural beluga fisheries in Canada. In 1971, he made his directorial debut with "The Netsilik Eskimo Today," a documentary about an Inuit family in Canada's Arctic.
Blais' international reach extended to Tunisia, where he launched a video unit from 1971 to 1974. He also served as a production advisor for UN-commissioned films on human settlements shot in Africa. His other notable NFB credits include "The Port of Montreal" (1975), "Soils of Canada" (1978), and "The Followers" (1981), which explored the search for spirituality among young Hari Krishna members in Quebec.
In 1994, Blais directed "The Engagement," a heartwarming documentary about intellectually challenged performers stepping out of their comfort zones to stage a theater production in France. Even after leaving the NFB, Blais continued to make impactful films, such as "Conventum" (2005), which celebrated the 50-year anniversary of the Quiet Revolution in Quebec, a movement that embraced progressive change and broke away from the long-dominant traditions of the Catholic Church.
As we reflect on Gilles Blais' life and work, it's clear that his films were more than just documentaries; they were windows into the soul of society. And this is the part most people miss... his ability to capture the essence of his subjects with such depth and respect is a testament to his skill and dedication.
So, what do you think? Was Gilles Blais a master of his craft, or did his films fall short of their potential? Share your thoughts in the comments and let's spark a discussion on the impact of documentary filmmaking!
