在加拿大
《polytechique》，“1989年蒙特利尔大学工学院枪击案造成14名女性死亡，另有多人受伤。枪击案凶手莱皮纳说是女人导致他的人生失败，他行凶后开枪自杀。 蒙特利尔大学工学院枪击案发生后，在加拿大引起枪支管理的大讨论，并导致加拿大联邦枪支登记制度的建立。” Memories of a massacre Filmmaker Denis Villeneuve on bringing a national trauma to the big screen in Polytechnique
PAINFUL PROJECT: Maxim Gaudette as Marc Lepine by MATTHEW HAYS Denis Villeneuve says the shoot gave him nightmares. He spent the last two years making Polytechnique, his feature-length meditation on one of Montreal’s darkest moments. As the award-winning writer-director sat down to talk about it, he concedes that the bad dreams did not emanate from a tight budget or the logistics of the production, but rather the feature film’s subject matter. Twenty years after Marc Lepine entered Montreal’s École Polytechnique and shot 28 people―killing 14 of them―Villeneuve has attempted to recount the story on the big screen. It’s a massive challenge, as the director (who co-wrote the screenplay) admits. “This film was very complicated to do,” Villeneuve says, in between sips of a latté. “We felt a responsibility in every frame. Every shot felt like a moral decision. Each camera angle felt like it had a moral weight to it.” With Polytechnique, Villeneuve recreates the actual shooting in detail, but tells the story through six fictional characters―three young women and three young men―all of whom are connected to the massacre. Villeneuve says he was fully aware making a film on this subject would be hugely contentious, but won over skeptics after committing to a year of research. “I spoke with victims, to go through the tragedy from different angles: students, teachers, police officers. People were very generous. I spoke with several women who were shot by Lepine and also to men who had been shot by him.” 
And while Villeneuve did not talk to families of the victims, he did meet with their representative, who said the families gave their blessing to the project. “They have been holding events every year to maintain attention on the shooting, but they are perhaps a bit tired of it. They see the film as a way of making sure people don’t forget what occurred.” Villeneuve says that some recent press reports have made too much of the initial rejections of the script by Telefilm and SODEC, the federal and Quebec provincial government film-funding bodies, respectively. “This is standard―films often get passed on the first time around. Both were very concerned about the violence in the film, and about appearing insensitive. But they gave us a lot of notes that were very helpful in fixing the script. I think they were right not to accept it at first.” But aside from the initial screenplay’s quality, Villeneuve says that some at Telefilm “really didn’t want this movie made. They felt it was just too painful. I respect that opinion. It’s not easy.” While time has passed for victims’ families and for Canada as a whole―and the Dec. 6 shootings clearly constituted a collective national trauma―the perception of school shootings themselves has changed. Such incidents have taken on an alarming regularity; in 1999, the Columbine High School massacre saw 12 students killed by two students, while 2007’s Virginia Tech massacre set a new body count record of 32, making it the deadliest in U.S. history. Since École Polytechnique, Montreal has seen two more school shootings, at Concordia University and Dawson College. Media, motivation and misogyny Which prompts the rather thorny question of the media’s role in such shootings, given that suicide notes have revealed a desire of the perpetrators to attain celebrity status posthumously. Polytechnique, Villeneuve insists, will be different. “Marc Lepine is not the focus. This is not a portrait of the killer―I’m more interested in the students and the impact on them. Their stories were very powerful and touching. There are a lot of killers in the cinema right now, and I wasn’t interested in making another one. And I didn’t want to play the game of the killer and make him a star.” As for Lepine’s mysterious motivation, Villeneuve says it is “totally inexplicable.” Lepine’s acts set off a public debate about misogyny in Canadian society, with some suggesting the massacre was a logical extension of violence against women, and others countering that Lepine was simply insane. “It’s both, I think,” says Villeneuve, who adds he felt it was a mistake when some feminist activists asked men to abstain from attending vigils for the victims. “If the incident ends up dividing men and women, then Lepine will have won something―that’s precisely what he wanted to do.” Villeneuve won several Genies for his last feature, Maelstrom (2000), and was approached by actress Karine Vanasse (Ma fille, mon ange) with the idea of making a film about the massacre. “I had been offered hundreds of films after the success of Maelstrom. But I wanted to take some time to find the right script. “This was something I felt really, really passionate about.” POLYTECHNIQUE OPENS THIS FRIDAY, FEB. 6 
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