- 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 glaneuses.org) 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).
KARINE VAN AMERINGEN
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.