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Les glaneuses is a small media company, created by documentary makers Karine van Ameringen and Iphigénie Marcoux-Fortier. Since 2003, the two women have been wearing out the soles of their shoes at home and abroad, following those sinuous paths that lead to surprising human encounters. They have co-directed and co-produced several short films – "When Are You Coming Back?” (2005), Dear Rosalía (2008), Here we remain (2010), The Indians, the Eagle and the Turkey (2014) – and the feature film At the Threshold (2013). Their second feature, Noël, la vie des autres is currently in production. Their films are poetic tales with a human face, addressing topics as varied as ethnic tourism, exoticism, indigeneity, identity, intercultural encounters, exile, absence and death. In a quest for dignity, following a rhythmic logic that defies the present tense, they seek to make heard the words of some and the silence of others.
Since 2011, Les glaneuses has been developing BRIB, a project born of the filmmakers' desire to turn their gaze to their own community and tell the stories of their city through the eyes of those who inhabit it. BRIB is being developed in collaboration with Patricia Bergeron (production Leitmotiv), Ghassan Fayad (Kngfu) and several other partners and with the support of the CMF's Experimental Stream for development. This application allow users to gather different neighborhoods stories in Montreal. This exploration of new forms of documentary narrative, evolving through mobility and interactivity, is still but in its early stages.


  • BRIB, (in development)
  • November (in production)
  • Epilogue, 2015, 9:50
  • The Indians, the Eagle and the Turkey, 2014, 48:00
  • At the Threshold, 2013, 75:00
  • List Here we Remain, 2010, 52:00
  • Dear Rosalía, 2008, 8:06
  • “When are you coming back?”, 2005, 40:47
  • Coq’n’roll, 2003, 1:27




Iphigénie has been concocting documentaries since the turn of the millennium. She has co-founded the production company Les glaneuses (les with her colleague Karine van Ameringen, creating shorts (Dear Rosalía - 2008; Epilogue - 2015), medium ("When are you coming back?" - 2005; Here We Remain - 2010; The Indians, the Eagle and the Turkey - 2014) and feature-length films (At the Threshold - 2013) together. Their films are always anchored in the territory, raising questions of identity, highlighting intercultural encounters, philosophies of life (or death) and, like a silent mantra, listening to details. Over the years, Iphigénie has also worn different hats while collaborating with other directors, including those of researcher, sound or camera person (The End of Immigration by Marie Boti and Malcolm Guy; Mirage of El Dorado by Martin Frigon; DetermiNATION Songs by Paul M. Rickard and Michelle Smith; Honor Your Word by Martha Stiegman; Waiting for Spring of Marie-Geneviève Chabot; Hands On led by Elizabeth Miller; Eeyu Cheschaaydamowin led by José Gerin-Lajoie; Velvet Revolution by Nupur Basu; La langue est donc une histoire d’amour by Andrés Livov). She has over ten years of experience as a filmmaker-mentor for Wapikoni Mobile, for the Mapuce del Aylla Rewe Budi School of Cinema and Communication, and for the Power of the Lens research-creation project. She has accompanied the creation of more than forty short films in an indigenous context (including Ince ka mogetun - 2018; Haŋŋá boade gáddáj - 2017; Lafken ñi az - 2016). In light of this background, Iphigénie conceives documentary filmmaking as a political and poetic process, as a flagship tool, and as a tool for bridge building. Her interests sometimes lead her to other narrative forms, where interactivity is deployed during urban walks (development of BRIB) or in audio-literary installations for young audiences (Cabanes - 2017). She is currently studying documentary co-creation with women of various cultures in rural areas, and specifically in her native Lanaudière. She is also working on two new documentary films (November - in production, My grandmother was an Indian princess - in development).



After studying in media arts and communications, Karine van Ameringen dove into the world of documentary as a filmmaker. In 2003, she co-founded the production company Les glaneuses, allowing her to also take on the role of producer. Since then, she has been director, camerawoman and editor of several short and feature length documentary films. For a number of years, Karine also worked as a filmmaker-trainer with members of different First Nations communities in Québec, with the project Wapikoni Mobile. Constantly in search of renewal, she also collaborates with other filmmakers. She was director of photography for Marie-Geneviève Chabot's En attendant le printemps, Jutra winner for best documentary in 2013. Recently, the winding path she has followed as an artist led her to new narrative forms. Alongside a multidisciplinary team, she created BRIB, a transmedia documentary experience that merges interactivity, place, intangible heritage and filmmaking. Whether participatory or linear, Karine's work draws inspiration from communities at home and abroad, exploring human encounters, intimacy, exile and cultural transformation.


Over the years, we have developed a shared approach to our work and a common artistic language. Our approach is that of an insider – sensitive, empathetic, intimate. We question society largely through the experiences of those individuals who have touched us. Our films place their protagonists in centre stage. It is they who determine their story's progression. We mostly shoot our films as a two-person crew, doing our own camera and sound recording. This allows us to develop a relationship of trust with our participants, and this relationship comes through on the screen. From one film to the next, we seek to come closer to the essence of the people whom we film and represent in images, as best we can, a glimpse of their authenticity.
Certain themes are recurrent in our approach. We like exploring the universes of imagination, cultural transformations, absence and waiting. While the subjects we treat are always evolving, what remains constant is our desire to transmit, through human encounters, a little bit of the era that we all find ourselves a part of.

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