Guy Borremans (1934-2012) emigrated from Belgium to Montreal in the mid-fifties and established himself as one of the best photographer and cinematographers in Quebec and in Canada.

A significant contributor to the development of direct cinema in the NFB French Unit in the early sixties, he continued to play a key role in the Quebec social documentary in the seventies and eighties.

After working as a photographer in Belgium, Borremans found work in Montreal as a press photographer and had his first solo photography exhibit in 1956. He became involved in the group of automatistes led by Paul-Émile Borduas and decided to use photography as a creative weapon. He directed the remarkable experimental film "La Femme-image" (1960), the first independent drama made in Quebec, then joined the NFB in 1961 and within two years had shot or directed eighteen films.

He moved to Paris in 1963 to work in French television and to New York City in 1965 to work for the United Nations Film Department, National Educational Television (NET), as well as Movietone and private-sector production companies. He moved back to Montreal in 1968, and worked in still photography in both Canada and Europe until 1971. He also taught film and photography at the University of Montreal, Moncton University and Concordia University.

He returned to cinematography on Arthur Lamothe’s "Le Mépris n’aura qu’un temps" (1970) and Gilles Groulx's "24 heures ou plus..." (1977), and thereafter shot many notable social documentaries, particularly Lamothe’s films on the Montagnais Indians, some fiction films and documentary dramas.

Borremans has contributed to more than forty productions and has held thirty-three solo exhibitions of his photography. Especially memorable examples of his work include: Groulx's "Golden Gloves" (1961) and "Un jeu si simple" (1964), Clément Perron's "Jour après jour" (1962), Hubert Aquin’s "À Saint-Henri le cinq septembre" (1962), Lamothe’s "Bûcherons de la Manouane" (1962) Gilles Carle’s "Dimanche d’Amérique" (1961) and "Percé on the Rocks" (1964), and Don Owen’s "Toronto Jazz" (1964).

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