109 MIN

Earnest theater director Jeanine has been given the task of remounting her former mentor’s most famous work, the opera "Salome". Haunted by dark and disturbing memories from her past, Jeanine allows her repressed trauma to color the present as she re-enters the opera world after so many years away.

Cast & Crew
Producers: Niv Fichman, Atom Egoyan, Simone Urdl, Fraser Ash, Kevin Krikst Director: Atom Egoyan
Script: Atom Egoyan
Director of Photography: Paul Sarossy
Production Design: Phillip Barker
Music: Mychael Danna
Sound: Steve Munro, Trevor Goulet
Editing: David Wharnsby
Cast: Amanda Seyfried, Rebecca Liddiard, Douglas Smith, Mark O’Brien, Vinessa Antoine, Ambur Braid, Michael Kupfer-Radecky
Production. Ego Film Arts, Rhombus Media

Atom Egoyan (born 1960, Cairo, Egypt)
Atom Egoyan occupies a distinct position within Canadian filmmaking - that of auteur. His unequivocal authorial vision and inimitable style are sustained throughout a body of work that includes 10 feature films. Raised in Victoria, B.C., Egoyan moved to Toronto at 18 to study international relations at the University of Toronto. While studying, two formative encounters fused to inform his life work - fluency with his ethnic heritage and the cinema. Egoyan produced several short films at the Hart House Film Board while furthering his knowledge of Armenian history and politics. His films relentlessly highlight the act of looking from both structural and thematic perspectives, fully exploiting possible implications from knowledge to voyeurism, to comprehension and insight. At the same time, the oft-used Canadian filmic tropes of identity and its uncertainty, image and technology, and communication or the lack thereof compete for equal thematic screen time. Key Egoyan sensibilities emerge in Next of Kin and continue throughout Family Viewing, Speaking Parts and The Adjuster. The films of the mid-1990s offer a more profound exploration of contemporary anxieties. Calendar wrestles with belonging and identity from here to Armenia and back again. With Exotica, perhaps an apt title for all of Egoyan’s enterprise, original trauma (Armenian genocide) shifts into the more familiar terrain of terrifying psychic dispossession. The adaptations of The Sweet Hereafter and Felicia’s Journey (novels by Russell Banks and William Trevor, respectively) effortlessly mesh with Egoyan’s preoccupations, as both stories' claustrophobic worlds turn on the themes of loss and violation. With Ararat, Egoyan widens the standard intimacy of his palette to produce the first film to wrestle with the Armenian genocide of 1915. Egoyan has won five major prizes at the Cannes IFF (including the Grand Prix), two American Academy Award nominations, and numerous other honors. His films have won over 25 Genie Awards, including three Best Film

Lust of a Eunuch (short, 1977), Howard in Particular (short, 1979), After Grad with Dad (short, 1980), Peep Show (short, 1981), Next of Kin (1984), Men: A Passion Playground (short, 1985), Family Viewing (1987), Speaking Parts (1989), The Adjuster (1991), Montrռal vu par... (segment En passant, 1992), Open House (short, 1982), Calendar (1993), Exotica (1994), Portrait of Arshile (short, 1995), The Sweet Hereafter (1996), Felicia’s Journey (1999), The Line (short, 2000), Diaspora (short, 2001), Close (short, 2001), Ararat (2002), Where the Truth Lies (2005), Citadel (2006), Chacun son cinéma (segment Artaud Double Bill, 2007), Adoration (2008), Chloe (2009), Mundo Invisivel (2012, segment Yerevan), Venice 70: Future Reloaded (doc., 2013), Devil's Knot (2013), The Captive (2014), Remember (2015), Guest of Honour (2019), Seven Veils (2023).