Marie Davignon

Marie Davignon, honestly, isn’t your run-of-the-mill filmmaker. She’s got this knack for capturing stuff on screen that lingers in your mind way after the credits roll. Take "Beans" (2020) for example—she dives right into the heart of the Oka Crisis, but through the eyes of a Mohawk girl. It’s gritty, raw, but still has these moments where you just wanna root for Beans as she figures out who she’s becoming in the middle of all this chaos. It’s not just history—it actually feels alive, pulsing with anger and hope, sometimes even in the same scene. Then there’s "Black Conflux" (2019). This one’s a slow burn, with Davignon weaving together the stories of two people in small-town Newfoundland. It’s moody, a bit unsettling, and doesn’t shy away from those uncomfortable silences or the weirdness of growing up. You get these snapshots of loneliness, of wanting something more, and Davignon’s camera just sits with it, almost daring you to look away. And, hey, don’t sleep on "Amies" (2018) either. It’s a short, but it punches above its weight. She’s got this way of making everyday moments between friends—awkward chats, shared secrets—feel like the most important thing in the world. Davignon’s not afraid to get messy or show people at their worst, but there’s always something tender in her work. Basically, she’s the kind of storyteller who doesn’t let you off easy. Her movies stick with you, whether you want them to or not.