Oldal 183 [183]
GROWING TOGETHER OR APART?...
French in schools in Québec. They believe in choice (“la scelta”), having
come to Canada from a country with a fascist past. These parents are vocally
opposed to Québec’s linguistic law, although they are forced to comply with
the system. Guerina recounts her resistance to them on this point during a
time of adolescent self-assertion and rebellion. Her parents, for their part,
have managed to learn very functional French, but their relationship with
their daughter is endangered by their staunchly maintained and frequently
vocalized belief in the need to remain loyal to the Italian language and
cultural heritage and their wish to see their grandchildren learn good
English. The tension between daughter and parents translates as an argument
for moderation on both sides, where Guerina might learn (or be allowed to)
embrace her Italianness as well as her Québec identity, and where the parents
might be encouraged to see themselves as Québécois as well as Italian.
Like Aloisio’s film, Godbout’s film also questions what it is to be Québécois,
and whether it is indeed necessary to feel that one fits that label, in order to
live successfully in Québec. (In Aloisio’s film, Courtney feels that the label of
Québécois is slightly ill-fitting, yet his far-reaching social work and passionate
feelings of belonging to Montreal make it clear that he is a very positive part
of Québec society). To Akos, Farouk, and Ruba, as with Guerina in Aloisio’s
film, the Québécois label seems important, whether this involves solidarity
with Québec’s wish to retain its culture, or, as in Ruba’s case, a concern to help
others achieve the freedoms and prosperity they have acquired. For Daniel,
however, being Québécois is of less importance, as he has a stronger belief
in the importance of being a citizen of the world. The question of Québécois
values is raised several times in both films. In Aloisio’s film, Guerina tells her
parents that she (unlike them) understands the values of Québec. Her mother
nearly chokes in anger on hearing this, assuming that by this she means she
has rejected Italian values. In Godbout’s film the question of “values” is first
discussed via Ruba’s emphasis on the value laid in Québec on freedoms for
women. Later, the notion of values becomes more complex. In one of the classes
d'accueil, a boy states his attachment to his authoritarian family culture,
specifically citing obedience to his father as a “value” to which he adheres,
partly because it helps him work hard at school. In the same class, a Black
girl says that while she has a lot of respect for “their culture” (“leur culture”,
by which she means Québécois culture), in her family it is just not possible
to feel integrated (“ce n’est pas une question de vouloir” [It's not a case of not
wanting to]). In any case, it was not her choice to come to Québec, but that of
her parents, she states. It is admirable that these students have a space in the
class to voice their opinions, and that others have the right of response.
The above comments stem from a key sequence in the film where a group of
about 20 sixteen—seventeen-year olds participate in a philosophy and ethics
class led by Québécoise teacher Sylvie Tardif. The class is split by the question
s 181 *