Pinocchio transports us into a dizzying cinematic experience when the protagonist Eric, the director's brother, finds himself in prison in Brazil and she tries to understand the reason for it and bring him back to Canada. In interviews with her brother about his nomadic lifestyle choices, he confides in her about his uncontrollable desire to lie and steal while trying to justify his behavior. Interwoven with this are interviews with his family that act as counterpoints to Eric's testimony, as well as a mysterious phone conversation with an anonymous caller from Brazil. 

Since the editing and filming took place in parallel, the events surrounding the arrest of the director's brother repeatedly disrupted the narrative arc of the work. The film was built in alternation between editing, shooting and scripting, and this required the editor to be very adaptable. During this process, Sophie Leblond (editor) and André-Line Beauparlant (director) went through these family dramas together. They built an intimate and trusting relationship through the making of the film. The aesthetic choices of the editing reflect the dizzying experience of the two confidants in the face of contradictory information: a bricolage of stories and images that often contrast and contradict each other. 

The narrative is designed so that the viewer is caught up in the protagonist's lies. Leblond, through the finesse of her editing, makes us want to trust the director's mythomaniac brother by encouraging us to feel compassion for him because, despite everything, the character is very endearing. This empathy can be felt more by the viewer when watching her previous film, Le petit Jésus, since it allows for a better understanding of the protagonist's childhood and the source of his lies. 

Isabela Pincowsca
labdoc member

Présenté en collaboration avec



et