The Tracey Fragments. 2007. Canada. Directed by Bruce McDonald

Passionate filmmaking and extraordinary performances distinguish the New York theatrical premieres of eight new feature films in the fifth edition of Canadian Front. Clement Virgo’s Poor Boy’s Game, a thrilling melodrama from Nova Scotia starring Danny Glover and Rossif Sutherland, opens the program with a special weeklong run. Two of the films in the series are first features by young women who adopt documentary techniques to shape narratives about people—a young boy in Anaïs Barbeau-Lavalette’s Le Ring and a mother in Helene Klodawsky’s Family Motel—coping with dangerous surroundings. Veteran filmmakers include Denys Arcand, whose sly comedy Days of Darkness closed the Cannes International Film festival this year; Bruce McDonald with The Tracey Fragments, featuring Ellen Page (Juno) in a brutal, fractured portrait of a teenager; and Bernard Émond, whose Summit Circle is a portrait of despair. The comic spirit is represented by Laurie Lynd, whose Breakfast with Scot subverts traditional notions of masculinity, and Stephane Lafleur, whose Continental, A Film without Guns presents an “extra brut” perspective on alienation and its absurdities.

Organized by Laurence Kardish, Senior Curator, Department of Film, and presented in association with Telefilm Canada.

Special thanks go to Brigitte Hubmann, International Festivals Specialist, Montreal. Canadian Front, 2008 is presented with the support of the Canadian Consulate General in New York.

If you would like to reproduce an image of a work of art in MoMA's collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations).

If you would like to license audio or video footage produced by MoMA, please contact Scala Archives (all geographic locations) at

If you would like to reproduce text from a MoMA publication or, please email If you would like to publish text from MoMA's archival materials, please fill out this permission form and send to

This record is a work in progress. If you have additional information or spotted an error, please send feedback to