Love: The Last Chapter
| 78 min
On the outside, it looks like any ordinary seniors’ facility. But on the inside, a series of remarkable love stories is unfolding. With startlingly intimate access, director Dominique Keller follows three different couples as they navigate the delights and challenges of late-in-life romance. Following the daily routines in the facility, Keller peers into the kingdom of old age and brings each couple’s journey into tender focus. Despite health concerns, mobility issues, and interference from concerned families, the need for intimate connection and closeness remains steadfast. Quietly observational, Love: The Last Chapter builds fully embodied portraits of each individual in all of their indelible humanity.
1-LINER AND 2-LINER
On the outside, it looks like any ordinary seniors’ facility. But on the inside, a series of remarkable love stories is unfolding. With startlingly intimate access, director Dominique Keller follows three different couples as they navigate the delights and challenges of late-in-life romance.
Following the daily routines in the facility, Keller peers into the kingdom of old age and brings each couple’s journey into tender focus. Ruby wants more of a commitment from Victor, who has his own ideas about their relationship. Jim and Dianne are seeking greater independence and a place together, while George and his wife Doreen face end-of-life decisions. Despite health concerns, mobility issues, and interference from concerned families, the need for intimate connection and closeness remains steadfast.
As the seasons pass outside the walls of the facility, the film’s immersion in the quotidian details of life and love offers audiences the opportunity to know these people. Quietly observational, Love: The Last Chapter builds fully embodied portraits of each individual in all of their indelible humanity.
Interview with Dominique Keller
Inside a seniors’ facility, director Dominique Keller follows three couples as they navigate the complexities of late-in-life relationships. Revealing the importance of intimate connections, this observational film builds fully embodied portraits of each individual in all of their indelible humanity.
A portrait of three different couples in a seniors’ facility as they navigate the delights and challenges of late-in-life romance.
What made you want to tell this story in the first place?
I was very curious about aging, about getting older. As a society, we tend to put it out of our minds, but I think we really need to look at it. Ageism is a very quiet “ism,” but we need to look at our elders with a better media lens and practice. Even before the pandemic, media images of the elderly were often very dehumanizing and not relatable. I think that because of this, ageism is on the increase.
What was it like to actually live in the seniors’ facility for one month and visit regularly through the rest of the year?
Living with my subjects changed everything about how I both viewed them and how I allowed them to tell their story. Before I lived in the facility, I was comfortable in my own independence.
I had the freedom to come and go as I pleased. The food they ate looked pretty good, and I was impressed by the array of programs available. Moving into the lodge, I had to agree to sign out whenever I left the building and to sign out for any meals I was missing. I was handed the menu for the month. I ate three meals a day there and all of my nutritional choices were no longer my own.
I would eat what was served. It seems like a small thing, but it’s hard to lose small pieces of your freedom and independence. I remember unpacking my bags and lying down in my single bed. Light came in through the crack under the door from the hallway. I could hear people moving around outside. I laid awake in bed all night, wondering if anyone would even check on me, if I would actually make any friends, and if I had made the biggest mistake of my life.
I really wanted to understand the core struggle. But being embedded in the facility, even for a month, really affected my sense of identity. That first evening I actually had a little meltdown!
It took a few weeks to acclimatize. I followed all the rules of the facility, signing in and out, and I ate all my meals there and took activity classes. I slept there every night. I spent a lot of time in the residents-only area, because I really wanted to be part of the community.
How do you think living with your subjects changed both your view of seniors and how you told their story?
Living with my subjects allowed me to experience as close as possible, firsthand, what it means to enter the last chapter of life and to leave so much behind: career, material belongings, sometimes friends and family. I saw how many little freedoms and choices were taken away. Because of this realization I vowed to allow my subjects to have much more power and autonomy in the storytelling process. I chose to film in an observational style because this style takes the filmmaker as much as possible out of the storytelling process and allows the subjects more power to tell their own story.
You didn’t use any narration or music to guide your story and mostly relied on locked-off static shots. What was your thinking around using this approach to documentary filmmaking?
I’ve slowly been moving towards more observational filmmaking, as I think it allows the subjects to really tell their own stories. When you take out narration and music, even if it becomes more challenging, there is a truth there. It’s important to ask difficult questions and to allow for greater audience immersion and impact, because that authenticity comes through.
In making this film, I felt a degree of responsibility, as this is a group of people, the elderly population, who really face discrimination. It is difficult to face mortality. We’re here for a very short time on the planet and it’s difficult even to spend a few moments contemplating old age.
What do you want people to understand about the challenges and necessity for intimacy among seniors?
As you age, you lose your freedom. You leave behind your house, your car, your career, the pieces that make up your identity; these things slowly leave, but the last thing is really the need for human connection. That never really goes away. We need to love and to be loved. This is never more true or more necessary than in the last chapter of life.
Excerpt 1: The wedding
Excerpt 2: Higher care
Excerpt 3: 44 Years together
Writer, Director, Producer and Executive Producer (Keller Media)
Photo : Louie Villanueva
Dominique Keller is a documentary director based in Calgary, Alberta. Dominique’s projects include several documentaries and documentary series created for CBC, PBS, City TV and APTN. Her films have screened at select festivals and international events including the Tokyo International Film Festival, the Atlantic Film Festival, the Shanghai World Expo, CFC Worldwide Short Film Festival, and the Imperial City Art Museum of Beijing. When not making films, Dominique enjoys riding her bike and teaching her dog Ruby tricks.
Producer (Keller Media)
With roots in community television and the original Tom Green Show, Karen’s career spans more than 20 years of producing documentary, performing arts, lifestyle series, drama and feature films. Her recent dramatic film, Falling Through the Cracks: Greg’s Story, is changing the way health care is delivered around the world.
Photo : Conor McNally
Coty Savard is a Cree/Métis producer who’s been working with the National Film Board’s North West Studio since 2018. Her NFB credits include Lake, a short documentary directed by artist/filmmaker Alexandra Lazarowich that premiered at Hot Docs in 2019, and the re-release of Loon Lake, a lesser-known work of the NFB’s historic Indian Film Crew that’s now recognized as an important instance of early Indigenous cinema.
Prior to joining the NFB, Savard worked as an associate producer for Mosaic Entertainment, where her credits included Delmer & Marta and Tiny Plastic Men. Other credits include Peace River Rising and The Things We Taught Our Daughters.
Savard has directed and produced work for CBC Short Docs and CBC Arts, and has been a key contributor to The Amiskwaciy History Series, an initiative dedicated to telling the Indigenous histories of the Edmonton area.
Producer/Executive Producer (NFB)
Photo : NFB
David Christensen is an Executive Producer at the National Film Board of Canada. He manages the North West Studio, which looks after NFB documentary, animation and interactive production in Manitoba, Saskatchewan, Alberta, the Northwest Territories and Nunavut. Recent films from the North West Studio include Tasha Hubbard’s nîpawistamâsowin: We Will Stand Up, WALL, directed by Cam Christiansen, Alethea Arnaquq-Baril’s Angry Inuk, The Tournament, directed by Sam Vint, and Supreme Law, directed by Katerina Cizek. In total, the NWS has about 25–30 projects in development and production at any one time.
ln memory of Doreen Elliott
Written and Directed by
Director of Photography
For the NFB
Katja de Bock
Studio Operations Manager
Head of Business Affairs
For Super Channel
Donald Wl McDonald
President & CEO
Chief Content Officer
For Accessible Media Inc.
VP, Content Development and Programming
Audio Post Production
Propeller Sound Studios Inc.
Sound Design and Dialogue Editor
Sound Effects Editor
Assistant Sound Editor
Audio Post Producer
Picture Post Services
Jump Studios Ltd.
Titles and Credits
Additional Digital FX
Juliet Smith, Dentons Canada LLP
Front Row lnsurance Brokers
On screen participants
Victor A. Svinth-Lassen
Additional Music by
Produced with the participation of the Canada Media Fund
Made possible through the Alberta Provincial Tax Credit Program
Produced in association with Super Channel
With the participation of Canadian Film or Video Production Tax Credit
With the assistance of the HotDocs Ted Rogers Fund
In association with Accessible Media Inc.
and with the assistance of GoodPitch Vancouver
Alberta Foundation for the Arts
Director’s Guild of Canada
Writer’s Guild of Canada
A Keller Media Inc. and National Film Board of Canada co-production
© 2020 Keller Media Inc. and the National Film Board of Canada
About the NFB
The NFB is Canada’s public producer and distributor of award-winning documentaries, auteur animation, interactive stories and participatory experiences, working with talented creators across the country. The NFB is taking action to combat systemic racism and become a more open and diverse organization, while working to strengthen Indigenous-led production and gender equity in film and digital media. NFB productions have won more than 7,000 awards, including 12 Oscars. To access this unique content, visit NFB.ca.