Michka Saäl

Nowhere, the Sea

1991, fiction, 37 minutes, french

Remastered in 2018 with support from Michel Giroux and ACIC (National Film Board of canada)

Best Film, Writing, Actor, Actress, Photography in a short film

Festival du Cinéma International de Ste-Thérèse, 1991

Credits        Reviews        Screenings Backstory



In the middle of the countryside, the surprising encounter between a woman on the run and a young violinist.




Written and directed by Michka Saäl


Image: Michel Lamothe

Sound: Claude Beaugrand

Boom: Pierre Bertrand

Sound design: Claude Beaugrand and Fernand Belanger

Editor: Fernand Bélanger

Music: Lament for the Death of Pasolini, Giovanna Marini; The Prayer, Ernest Bloch

Production: Les Films de l’Autre

With Frédérique Collin and Simon Gonzalez

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Undeniable poetry 

“This uneven film has undeniable poetry due in large part to the beauty of certain images. The framing is beautiful and composition rigorous and refined.”

Eric Fourlanty, Voir, January 30-February 5, 1992



“In her two films to date (Far from Where? and Nowhere, the Sea), Michka Saäl speaks of exile. Her films are striking for their strong images and the poetry that varnishes her texts, ancestral images that evoke tragedy (Hate, Resignation, Fear), and that place the origins of these emotions in the past… Nowhere, the Sea, an appealing medium-length feature despite its weaknesses, announces an oeuvre that is, above all, passionate.”

Marco de Blois, 24 Images, No. 55.

Photo: Alain Chagnon

Photo: Alain Chagnon

The universe of Michka Saäl wins us over

 “The characters (a vagabond and a teenager) don’t go far enough to escape the archetypes to move us, despite the mastery of Frédérique Collin, but the universe of Michka Saäl still wins us over. Nature is not only a place, but also a source of enchantment that nourishes dreams through its shape, its noises, its colours.”

Cinébulles, Vol 10. No. 4




Festival du Cinéma International de Ste-Thérèse

Rendez-Vous Québec Cinéma

Cinéma Parallèle, Montreal




“To inhabit the character of Arie, the actor had to take violin lessons. A few weeks of training, of course, did not make him a virtuoso (the music is dubbed), but they did allow him to manipulate the instrument credibly.

“At first, I looked for violinists. I listened to a lot of them, and finally understood they expressed themselves only through music. When I asked them to recite something, it was awful!”

Interview with Anne Normand, La Voix de l’Est, 3 July 1990