Director Allan King's 1981 drama, based on true events, stars Ellen Burstyn as a strong-willed woman struggling to survive with her family in the Canadian wilderness.

The coming-of-age of adolescent Brian O'Connal in small town Depression-era Saskatchewan is told. The son of the local pharmacist Gerald O'Connal, Brian is in many ways a typical boy, who dislikes school if only because of his run-ins with the nervous schoolteacher, Miss MacDonald, and who tries to catch gophers with his friends, Artie and Forbsie. His best friend and protector is slightly older Jonathan Ben, better known as The Young Ben (as his father is referred to as The Ben), who is highly regarded as a problem by those in town who see themselves as the moral authority if only because of The Young Ben's association to The Ben, the town still keeper and drunk. Brian's life takes a turn when his parents have to leave town temporarily, while Brian stays on his Uncle Sean's farm. That stint leads to a series of events which make Brian see life around him through slightly older and wiser eyes.

一對夫婦向導演講述自己的情感生活，煩亂，緊張却也有趣。這部電影在于探討永恆的浪漫關系，以及根深蒂固的性別觀念。

At Baycrest, an old-age home in Toronto, we follow a social worker as she talks to residents, particularly Max, Claire, Ida, and Rachel. The film opens on Claire's birthday, she's 89; Max, a tiny cheerful man, is her close friend. Rachel is lonesome, missing her son, complaining he rarely visits. Ida relies on memory for her solace. Helen has no memory and doesn't recognize her daughter; her moods swing. Murray keeps his cap on and likes women. Staff members bring medication, provide care, and offer small talk. Memory is fleeting: Claire re-experiences the death of a close companion several times, each time without remembering her previous grieving. Lives are circumscribed.

Ten teenagers journey down a path to self-discovery as they adjust to life on a farm in this examination of the stress and alienation of adolescence.

This film is about the experience of dying. Five terminal patients in a Palliative Care Unit share the last days of their lives and deaths with a film crew.

Filmed over five weeks at the Warrendale residential treatment center near Toronto, "Warrendale" observes twelve emotionally disturbed children and the staff who care for them. Working without narration, interviews, or direction, Allan King records daily life as it unfolds, establishing what he later described as “actuality drama.”