A giant in the world of documentary filmmaking has left us. Gilles Blais, a celebrated director from the National Film Board of Canada (NFB), has passed away at the age of 84. His work, spanning decades, offered profound insights into society, leaving an undeniable mark on Canadian and international cinema.
The NFB, Canada's publicly funded film producer, announced his passing on October 17th. No cause of death was provided. But the legacy of his work remains.
Suzanne Guèvremont, the government film commissioner and chairperson of the NFB, stated that Blais was "a true observer of society" and remembered for his "great respect and patience," qualities that made him a remarkable director.
Blais's career at the NFB, from 1965 to 1997, was marked by a series of prescient documentaries. For instance, his 1971 film Water, Water Everywhere… offered a stark look at environmental issues, featuring a close-up of a trout dying in polluted water. Then there was Sophie Wollock’s Newspaper (1979), which gave a voice to English-speaking Quebecers during a time of intense political debate.
But here's where it gets controversial... Blais fearlessly tackled complex issues. In 1997, he revisited Quebec nationalism with Le Grand Silence, a film about the contentious 1995 referendum on Quebec's potential separation from Canada. He also directed Joseph K. – The Numbered Man (1991), a film that served as a warning about the potential dangers of domestic surveillance.
Born in Rimouski, Quebec, in 1941, Blais's journey into filmmaking began as an assistant cameraman on In The Labyrinth, a film created for the Expo 67 event in Montreal. He also worked on the documentary Beluga Days (1968).
That same year, Blais was an assistant director on Straight to the Heart, a dramedy. In 1971, he directed his first documentaries, including The Netsilik Eskimo Today.
From 1971 to 1974, Blais launched a video unit in Tunisia and, in 1977, served as a production advisor for films on human settlements in Africa for the United Nations Conference. His other NFB credits include The Port of Montreal (1975), Soils of Canada (1978), The Followers (1981), and Les Illusions Tranquilles (1984).
In 1994, Blais directed The Engagement, and in 2005, after leaving the NFB, he directed Conventum, a documentary celebrating the 50th anniversary of the Quiet Revolution, a period of significant social and political change in Quebec.
And this is the part most people miss... Blais's work wasn't just about documenting events; it was about giving a voice to the unheard and sparking dialogue.
What are your thoughts on his films? Do you think his documentaries still resonate with today's audiences? Share your opinions in the comments below!
