Border mechanisms that act on migrants are many. Moving from shelter to shelter and hopping on trains, migrants head up north across Mexico to reach the United States and Canada. During the U.S election, migrants are more than aware that it could be their last chance to cross the border. Following their trajectory, Destierros draws a path of reclusion. A path where time remains the longest road between two places.
Destierros expresses a social and cinematographic engagement not unlike the one animating works by the Épopée collective, an artistic and human project with exceptional relevance, of which the filmmaker was a part. This début work by Hubert Caron-Guay reveals the complexity and danger of exile in a veritable immersion into the perilous migratory journey of people fleeing diverse threats and social inequality in their home countries. With its finely crafted aesthetic, this documentary succeeds in creating memorable images. It also lets us hear from multiple voices, each expressing the collective scope of an unjust and plural tragedy. The film lays bare the violence of our world’s borders where, deplorably, consumer products circulate more freely than many human beings and where walls, both invented and real, are proudly erected as obstacles to solidarity.
Teacher and programmer
Hubert Caron-Guay lives in Montreal, where he works as an artist, filmmaker, scriptwriter and producer. After studying film at UQAM, he was an active participant in the collective Épopée from 2010 to 2015, during which time he developed several documentary and fiction-based projects that have been exhibited widely in Canada and abroad (The State of the Moment, The State of Things, The State of the World). Through a "Recherche et création expérimentale" residency with PRIM in 2016, Caron-Guay developed the feature-length documentary Destierros and the installation Arroyos, recently exhibited at the Dazibao art center.