On the eve of the theatrical release of Nicolas Paquet's film Malartic, it's interesting to revisit The Golden Rule, shot in 2011 by the same director, still exploring the fate of the souls and territory of Malartic to this day. Both films capture the movement of intricate social complexities and the displacement of houses that park like cars. 

The story of The Golden Rule focuses on power asymmetries between a mining company (Osisko) and the inhabitants of this small town of the Abitibi-Témiscamingue region. It deliberately maintains an intimate focus on the ruptures and differences of opinion within individuals. The film succeeds in moving us beyond simplistic dualisms and offers us a space of listening and "non-judgment" towards citizens, whether they are critical or not.

On the other hand, as far as I'm concerned, it's impossible to remain neutral in the face of this asymmetrical power that crushes the souls of the territory, closes the door to citizens' questions, doesn't want to be filmed and cultivates the absence of political arbiters. Black Malartic. Black Quebec. Black Canada. 

It's impossible not to be affected by this endearing lady from the snack bar, not to be shattered by this sensitive landscaper who sees the earth's crust break and turn to dust. What has become of them?

In the meantime, let's be attentive to our own shortcomings as citizens when we inhabit a zone to be defended.

Sylvie Lapointe
Filmmaker

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