Much of Godin’s purple, declarative dialogue is delivered at a breakneck pace, as though these verbally nimble actors are running lines at auctioneer-speed while simultaneously playing their intentions to the hilt. The film is an exercise in radical compression, its velocity integral to its comic effects, though all the rapid-fire yakking and spastically edited reverse-shot sequences lead to a wordless denouement in which Mésuline searches her pockets for a cigarette in a shot that’s hardly protracted yet still takes up about one-fifth of this taut little film’s runtime. Her pleasure in finally lighting up is fairly adorable.

Raoul and Beatrice’s eyes meet in the Montreal metro. This sets off a chain of events that will affect the whole city. He's a rock star activist on a secret mission, she's a bohemian who wanders the streets at night, handing out books to the homeless. Every Thursday evening, she meets Constance and Eugène in their small candlelit apartment, for their weekly reading ritual. Constance broadcasts her live-sampled, politically conscious sound art on an independent radio station; Eugène has been working on a novel for years, whilst trying to shut himself off from the outside world. The three young friends all dream of their own poetic revolution, inspired by the situationists, on whom Raoul has modelled his persona.

Francis is a taciturn teenager unhappy with his life. Not wanting to stay with is mother, he lives in a foster home in the Laurentian countryside with is guardian, Brian. They spend their days building a bed for Camille, a young orphan soon to be joining them. But Francis wants more: he wants out. As fate would have it, he crosses paths with Bruno, a young gardener who decides to pass the night in the forest.

Raoul and Beatrice’s eyes meet in the Montreal metro. This sets off a chain of events that will affect the whole city. He's a rock star activist on a secret mission, she's a bohemian who wanders the streets at night, handing out books to the homeless. Every Thursday evening, she meets Constance and Eugène in their small candlelit apartment, for their weekly reading ritual. Constance broadcasts her live-sampled, politically conscious sound art on an independent radio station; Eugène has been working on a novel for years, whilst trying to shut himself off from the outside world. The three young friends all dream of their own poetic revolution, inspired by the situationists, on whom Raoul has modelled his persona.

Francis is a taciturn teenager unhappy with his life. Not wanting to stay with is mother, he lives in a foster home in the Laurentian countryside with is guardian, Brian. They spend their days building a bed for Camille, a young orphan soon to be joining them. But Francis wants more: he wants out. As fate would have it, he crosses paths with Bruno, a young gardener who decides to pass the night in the forest.

Francis is a taciturn teenager unhappy with his life. Not wanting to stay with is mother, he lives in a foster home in the Laurentian countryside with is guardian, Brian. They spend their days building a bed for Camille, a young orphan soon to be joining them. But Francis wants more: he wants out. As fate would have it, he crosses paths with Bruno, a young gardener who decides to pass the night in the forest.

Waiting for April is a romantic, epic cop comedy freely inspired by songs and medieval fables collected by storyteller Michel Faubert. Detective Haffigan investigates a mysterious singing bone, a talisman endowed with dangerous powers, and chased after by a coterie of second-rate outlaws. The bone turns out to be in possession of Mithridate, a seductive actor with a gorilla’s right arm. Haffigan expresses romantic interest in the charming comedian, but he rebuffs her, instead setting his sights on Eleonore, a cashier at the Bank of Permanent Fog, who promises to liberate him from the bone’s curse.

On his way to work, Mathias stumbles into a mechanic stair. He then discovers that he has a rare disease that is related to the accident.