Marc Lepine’s slaughter of fourteen women at Montreal’s École Polytechnique in 1989 remains one of the most shocking events in Canadian history. The expertly crafted Polytechnique recounts events leading up to the crime, the crime itself and the aftermath. Denis Villeneuve’s initial approach seems distanced (reminiscent of Gus Van Sant’s Elephant), but the sense of dread and horror intensifies as the film proceeds. Polytechnique is timely and essential, especially given that milder echoes of Lepine’s crazed, tortured and virulently misogynist justifications for his actions now serve as the daily bread of right-wing media.
– Steve Gravestock

Directors’ Fortnight, Cannes Film Festival * London Film Festival * Rio de Janeiro International Film Festival

Panel Statement
Denis Villeneuve signe ici une grande œuvre. Un film puissant et émouvant, d’une beauté bouleversante. Avec beaucoup de respect, Denis Villeneuve ouvre le voile sur un événement terrifiant de notre histoire. Il pose un regard sans jugement sur notre société qui met au monde des monstres et un regard empreint de compassion sur les femmes et les hommes victimes de cette violence. Les acteurs sont criants de vérité. On sort de ce film profondément ébranlés. C’est le film québécois le plus fort depuis Les Ordres de Michel Brault.
– Nicole Robert

Denis Villeneuve signs here an outstanding work. Possessed of overwhelming beauty, Polytechnique is a powerful and moving feature. In a respectful manner, Denis Villeneuve unveils a terrifying event of our past. Considering without judgement our society who rears monsters, he takes a profound and compassionate look at the women who were victimized by this violence. The actors’ performances are breathtakingly truthful. One steps out of a showing swayed. It is the strongest Quebec film since Les Ordres by Michel Brault.
– Nicole Robert

Denis Villeneuve was born near Trois-Rivières, Quebec, and studied film at L’Université du Quebec à Montreal. His first film, Un 32 août sur terre (98), played at thirty-five international film festivals, including Cannes, Telluride and the Toronto International Film Festival, and was Canada's submission in the best foreign-language film category at the Academy Awards®. His second film, Maelström (00), won twenty-five prizes, including the prestigious International Critics Prize (FIPRESCI) at the Berlin Film Festival in 2001. His short Next Floor (08) received the prize for best short film during Critics Week at the 2008 Cannes Film Festival.