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Early life In 1975 to 1978, Pool decided to leave Switzerland to explore her opportunities in Quebec. She traveled to Canada to study film and video production, there she graduated with a degree in communications from the University of Quebec. Shortly after Pool started focusing on several student films until she produced her first solo film, Strass Café, at the National Film Board of Canada in 1980. From 1980 to 1981, Pool focused on a television series called Planète et Eva en transit, which was aired by Radio-Québec. The purpose of this platform was to create a voice for members apart of cultural minorities as well as to help them develop as individuals. She is now a well-known filmmaker, director, producer, and screen writer, who infuses her passion and emotions into films about exile, wandering, uprooting, states of mind and the quest for identity. Léa Pool does not make "popular" cinema, she opposes stereotypes and prefers individuality while rejecting the focus of heterosexual relations. Pool is known as a feminist in film studies, she produces English-Canadian women’s films and videos.

Awards and Accolades Léa Pool has had more than several successes to her credit and has won several awards, both from the press and the public. In 2001, Pool’s short film, Lost and Delirious, won her a second year in a row Jutra Award for being the most internationally successful Québec film.

Career In 1997, Pool came out with a documentary called Gabrielle Roy, where she expressed her appreciation for the for the Canadian author Gabrielle Roy. It helped give understanding about the writing processes behind the scenes and gave insight into an author’s journey of life. Further after La Femme de l'hotel, she committed to personal work excluding all commercials only leaving room for filming documentaries on TV. In 2001, Pool’s first English-speaking work, Lost and Delirious, was shown at the Sundance Film Festival as well as the Berlin Film festival. In this film Pool experiments with a new form of storytelling instead of the same old deliberate and self-examining narratives. Since 2004 Léa Pool has been represented by the cultural Montreal agency known as Agence Goodwin. In 2006 Pool received the Prix Albert-Tessier.

Personal Life Pool has always had a personal connection with her work, many themes that have been appearing in her films include her passion and emotions, the exploration of identity and exile, as well as that of Jewishness and sexualities, which Pool was dealing with in her personal life. In Pools early career she has always been inspired by the works of author Marguerite Duras. Which she draws on the notions of expression and themes of exclusion. In 1989 Pool expanded her focus by producing Hotel Chronicles which pushed her outside her comfort zone to understand what was taking place in the “real world”. She sticks to the philosophy “that every film must have its own signature”. In her successive productions, she challenges existing views on the role of filmmakers and the creative process. Most of her films that contribute to this idea reflect on woman's view of the female experience.

Work Cited Library and Archives Canada. (2010, September 16). "Women in the Spotlight: Their achievements: Women in Canadian cinema: Léa Pool." Library and Archives Canada. Retrieved from http://www.collectionscanada.gc.ca/women/030001-1262-e.html

Library and Archives Canada. (2000, October 2). Women in the spotlight: Their achievements: women in Canadian cinema: Léa Pool. Library and Archives Canada. Retrieved from http://www.collectionscanada.gc.ca/women/030001-1262-e.html

Fulford, Margaret. (2015). Lea Pool. Canadian Women Film Directors Database. Retrieved from http://femfilm.ca/director_search.php?director=l%E9a-pool&lang=e

Gagnon, J. A. (2012, January 25). Lea Pool. The Canadian Encyclopedia. Retrieved from https://www.thecanadianencyclopedia.ca/en/article/lea-pool

Grandena, Florian. (2010). Léa Pool: The art of elusiveness. In B. A. Smith & G. Melnyk (Eds.), The gendered screen: Canadian women filmmakers (pp. 141-161). Waterloo, Ontario: Wilfrid Laurier University Press. Retrieved from https://books.google.ca/books?id=h087N1qN2h0C&pg=PA141&lpg=PA141&dq=Grandena,+%22L%C3%A9a+Pool:+The+Art+of+Elusiveness,%22&source=bl&ots=OFCnRiZo6_&sig=6D07mQXo21UvLZPBTdl0T50rfHY&hl=en&sa=X&ved=2ahUKEwjP4I2f_NvdAhUC8IMKHe9PDaEQ6AEwA3oECAUQAQ#v=onepage&q=Grandena%2C%20%22L%C3%A9a%20Pool%3A%20The%20Art%20of%20Elusiveness%2C%22&f=false

Alioff, Maurie. (1998, September 22) Lea Pool: no frontiers. Wyndham Wise. The Free Library. Retrieved from https://www.thefreelibrary.com/Lea+Pool%3A+no+frontiers.-a030138183

Felando, Cynthia. (1999). St. James Women Filmmakers Encyclopedia. National Film Board of Canada.(pp. 338-340). Retrieved from http://content.ebscohost.com/ContentServer.asp?T=P&P=AN&K=55505749&S=R&D=f3h&EbscoContent=dGJyMNLr40SeqLM40dvuOLCmr1CeprBSrqu4SrOWxWXS&ContentCustomer=dGJyMPGutlC1qbVRuePfgeyx44Dt6fIA

"Les Prix du Québec." Gouvernement du Québec. http://www.prixduquebec.gouv.qc.ca/.

Berenstein, Rhona. (1989, December 1). As Canadian as possible: The female spectator and the Canadian context. Camera Obscura. 7 (2-3 (20-21)): 40-52. Retrieved from https://read.dukeupress.edu/camera-obscura/article/7/2-3%20(20-21)/40/31566/As-Canadian-as-Possible-The-Female-Spectator-and?searchresult=1