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Lucie Laurier

Lucie Laurier (born March 19, 1975) is a Canadian actress from Quebec, recognized for her extensive work in Quebecois cinema and television spanning over four decades, including standout roles in films such as Anne Trister (1986) and Bon Cop Bad Cop (2006). Born in Greenfield Park, Quebec, Laurier is the younger sister of actress Charlotte Laurier, whose early film work inspired her entry into the industry as a child. She began her acting career at age nine, debuting in the 1985 film Le Vieillard et l'Enfant, directed by Claude Grenier, and soon after earned a Genie Award nomination for Best Supporting Actress at age 11 for her role as Sarah in Anne Trister. In addition to acting, she trained for over six years at the École Nationale de Cirque de Montréal and performed with Cirque du Soleil starting in 1985, blending performance arts into her multifaceted career. Throughout the and , Laurier built a prolific television presence with roles in popular Quebec series such as , Chambres en ville, Virginie, and Fortier, while continuing in film with parts in La Grande Séduction (2003) and (2007). Her performance as Suzie in (2006) garnered a Jutra Award nomination for Best Supporting Actress in 2007, highlighting her comedic timing in one of Quebec's highest-grossing films. Later works include reprising the role in (2017) and appearing in Le Démantèlement (2013), directed by Sébastien Pilote, demonstrating her range in dramatic roles. In 1997, she received the "Prix de l’actrice la plus prometteuse" for her work in J’aime, J’aime Pas. Since the late 2010s, she has gained attention for her activity promoting conspiracy theories, and in May 2024, she announced the death by of her sister Angela Laurier.

Early life

Family background

Lucie Laurier was born on March 19, 1975, in Greenfield Park, , . She is of French ancestry and embodies heritage, rooted in the province's predominantly French-speaking cultural landscape. As the younger sister of actress Charlotte Laurier, born on November 18, 1966, Lucie grew up in a family with ties to the . Both sisters entered the acting profession, with Charlotte gaining early recognition as a child performer in cinema during the late 1970s and 1980s, potentially fostering a shared familial environment conducive to creative pursuits. Laurier's childhood unfolded in Greenfield Park, a suburban community in southern Québec, during the 1970s and 1980s—a period marked by Québec's vibrant cultural renaissance following the Quiet Revolution, emphasizing French-language media, , and as expressions of national identity. This linguistic and cultural milieu, dominated by French as the primary language of daily life and education, shaped her early years amid a growing Quebecois artistic scene.

Introduction to acting

Lucie Laurier entered the world of acting during her childhood in , a province renowned for its vibrant and supportive film and scene, which provided numerous opportunities for young talents in the . Growing up in Greenfield Park, she was exposed to the early on, beginning with informal experiences that blended physical performance and on-screen work. At the age of seven, she landed her first professional gig in a bank commercial, marking her initial foray into the industry through accessible entry points like that often served as gateways for child performers in Quebec's media landscape. Her entry was significantly shaped by family encouragement, particularly from her older sister Charlotte Laurier, who had already established herself as a prominent child actress in by the late 1970s, becoming the first in their large family of nine siblings to pursue professionally. This familial connection likely facilitated Lucie's access to the , offering both and practical as she navigated early opportunities. Additionally, Lucie attended the École Nationale de Cirque de Montréal alongside her sister , a contortionist, where she underwent over six years of training in circus arts, honing skills in physical expression and performance discipline that complemented her budding interests, though this was more informal than structured education. These early experiences culminated in her first significant professional contacts, including auditions that led to roles in short films and further commercials, building her confidence and visibility within Quebec's close-knit production community. By around age nine, this groundwork positioned her for a in , reflecting the nurturing environment of the province's , which emphasized emerging local talent through national institutions like the .

Professional career

Early roles and breakthrough

Lucie Laurier gained early recognition at the age of 11 in the 1986 Quebecois drama Anne Trister, directed by Léa Pool. In the film, she portrayed Sarah, the rebellious young patient of child psychiatrist Alix (Louise Marleau), whose emotional vulnerability and need for affection form a pivotal bond that influences Alix's interactions with the grieving protagonist Anne (Albane Guilhe). Laurier's performance as the troubled child added depth to the story's exploration of loss, artistic creation, and human connections in . Her role earned her a for Best Performance by an Actress in a Supporting Role at the 8th in 1987, one of the highest honors in Canadian cinema at the time. This recognition, at such a young age, highlighted her natural talent and poise beyond her years. The acclaim from Anne Trister quickly established Laurier as a promising young talent in Quebec's , positioning her as a prodigy capable of holding her own alongside established actors in a critically regarded production. The film's selection for the further amplified her early visibility within Canadian and international circles.

Film work

Laurier made her entry into cinema with a supporting role as Vanessa in the 2001 Don't Say a Word, directed by and starring as a whose daughter is kidnapped. In the film, produced by and 20th Century Fox with a budget of $50 million, Laurier's character is a close friend of the enigmatic patient Elisabeth (), appearing in key scenes where she identifies a body at the morgue and provides crucial details about her missing companion, contributing to the unfolding mystery without a major arc of her own. The production filmed in and , marking Laurier's transition from Canadian projects to international features before she returned to Quebec-based work. One of Laurier's most prominent film roles came in the 2006 bilingual buddy-cop comedy , directed by Érik Canuel, where she portrayed Suzie, the ex-wife of Quebec detective David Bouchard () and a pivotal figure in the personal dynamics amid the cross-border investigation. The film, produced by Park Ex Pictures with a $8 million budget, highlighted linguistic and cultural tensions between and through its dual-language dialogue, becoming a landmark in Canadian cinema for bridging francophone and anglophone audiences. It achieved unprecedented box-office success in , grossing over $9 million shortly after release and ultimately $11.36 million domestically, surpassing to become Canada's highest-grossing film at the time. Laurier reprised her role as Suzie in the 2017 sequel , directed by Alain DesRochers, where the character navigates family complications during a new joint probe into a ; the follow-up, budgeted at $10 million, echoed its predecessor's bilingual format and earned $6 million domestically, with $5.44 million from . Her performance in the original film earned her a nomination for Best Supporting Actress at the 9th Jutra Awards in 2007, recognizing her contribution to the film's ensemble amid 13 total nods for the production. In The Great Seduction (original French title La grande séduction, 2003), directed by Jean-François Pouliot, Laurier played , the village postmistress in a remote fishing community scheming to attract a for economic survival, delivering a charming portrayal that added warmth to the ensemble comedy. The film, a critical and commercial hit in with a 69% approval rating on , emphasized themes of rural ingenuity and received praise for its lighthearted script and performances, including Laurier's subtle romantic subplot. Similarly, in the 2007 action-drama Absolute Race (original French title ), directed by Alain DesRochers, she portrayed Morgane, a wealthy racer who partners with the Max (Guillaume Lemay-Thivierge), whose wife faces a life-threatening illness, providing emotional depth to the high-stakes of through underground racing. The film garnered mixed reviews, holding a 49% on for its blend of adrenaline and sentimentality, but it resonated in for its accessible action elements.

Television appearances

Lucie Laurier established her presence on Quebecois television in the late 1980s with a recurring role as Caroline Béliveau in the téléroman Chambres en ville, where she portrayed a young woman navigating relationships and urban life in a from 1989 to 1991, capturing elements of contemporary youth culture. Her early television work in such series highlighted themes of community and personal growth within Quebec's social fabric. She continued her prolific television career in the 1990s and 2000s with roles in popular series including Émélie in (1990–1992), various characters in Virginie (1996–1998), and Inspecteur Léa Béland in Fortier (2000–2004). In the mid-2000s, Laurier took on roles in dramatic series that explored psychological and familial dynamics. She played Ducharme in François en série (2006–2007), a character in a delving into everyday family tensions and issues across eight episodes. This role exemplified her ability to blend humor with deeper cultural reflections on domestic life in . Laurier's television career further diversified with historical and crime genres. In René Lévesque: Le Destin d'un Chef (2008), she portrayed Corinne Côté, the politician's secretary and wife, in a four-episode that examined 's and during the 1970s and 1980s. Similarly, in Le Négociateur (2008), she appeared as Valérie Viau in four episodes of the police procedural, embodying a figure in high-pressure negotiations that reflected modern law enforcement and interpersonal conflicts. Following a period focused on film, Laurier returned to television with the lead role of Alex Dubois in the mystery TV movie Manigances: Notice Rouge (2013), a involving corporate intrigue and personal betrayals set against a backdrop. Her later small-screen appearances included a as herself in the series Les Newbies (2019), satirizing the Quebec entertainment industry and behind-the-scenes dynamics. These recurring and guest roles in French-Canadian television sustained Laurier's career between major film successes, such as , by providing opportunities to portray characters rooted in Quebec's cultural, historical, and social themes, from political legacies to contemporary societal issues.

Personal life

Family relationships

Lucie Laurier is the youngest of nine siblings in a large French-Canadian family originally from , where she grew up alongside her older sisters and Angela Laurier. Her relationship with , an established actress nine years her senior, has been marked by shared familial bonds within the entertainment industry, including joint mourning of their father Raymond's death in 2016 after a period of illness, which left their mother and the remaining six siblings in grief. Particularly close to , who was 13 years older and worked as a contortionist, acrobat, and choreographer with , Lucie maintained a special, enduring connection characterized by mutual encouragement and artistic collaboration in adulthood. Angela served as Lucie's contortion teacher during her early training at Montreal's École de cirque and remained her biggest supporter, often attending performances and pushing her to excel, while Lucie later directed Angela in the 2010 play J’aimerais pouvoir rire, a project that explored personal and familial themes and deepened their bond. This dynamic influenced Lucie's transition toward directing and her appreciation for resilience in the face of personal challenges, as Angela's artistic path and tough-love guidance shaped her professional outlook and public emphasis on family loyalty. The sisters' relationships were further tested by family losses, including Angela's in May 2024 at age 62, which Lucie announced publicly on , expressing profound shock and sorrow while highlighting Angela's contributions to the . These events underscored the Laurier family's ongoing ties, with Lucie crediting her siblings for providing emotional grounding amid her career's ups and downs, fostering a rooted in and familial .

Motherhood and later years

Laurier gave birth to her son, Timothy Ward Laurier, on December 25, 1992, at the age of 17, while already establishing herself as a young actress in cinema. As a teenager navigating early fame from roles like her debut in Anne Trister (1986), she faced the complexities of motherhood under public scrutiny, though specific personal accounts of these challenges remain limited in available records. Motherhood influenced her career trajectory by prompting a relocation to the shortly after her son's birth, where she balanced responsibilities with professional opportunities, including roles in American productions such as (2001). This period marked a shift toward international work without a complete pause in , allowing her to maintain momentum while prioritizing , though detailed insights into work-life balances are sparse. Following her last on-screen role in Mont Foster (2019), Laurier has adopted a lower public profile in , residing there during events like the 2020 confinement. Her activities since then have centered on music, including choral contributions to Jean Leloup's "1990" and Bran Van 3000's album , as well as her 2020 original song "Tueur à gages". She maintains an active presence on platforms such as (@lucielaurierofficiel) and , sharing personal updates and artistic endeavors with around 12,000 followers as of 2025. Laurier has also engaged in public advocacy, notably participating in Ottawa's #freedomconvoy2022 protest on February 12, 2022, to support freedom and rights issues. Since the late , she has publicly supported theories, including anti-vaccine views and criticisms of measures, which have drawn and media attention in . No major or non-acting pursuits beyond music and advocacy are prominently documented, reflecting gaps in public information about her post-2019 life.

Recognition

Awards and nominations

Laurier earned her first significant industry recognition as a child performer with a nomination at the 8th for her role as Sarah in the film Anne Trister. The ceremony, honoring the best in Canadian cinema from the previous year, was held on March 18, 1987, at the in and hosted by actors , Linda Sorensen, and Jean LeClerc. In the Best Performance by an Actress in a Supporting Role category, Laurier competed against Dorothée Berryman (The Decline of the American Empire), Geneviève Rioux (The Decline of the American Empire), and Andrée Pelletier (Bach and Broccoli), with Louise Portal ultimately winning for The Decline of the American Empire. This nomination marked a rare early accolade for the then-11-year-old , underscoring her precocious talent in Quebec's scene. In 1997, Laurier won the Prix de l’actrice la plus prometteuse (Most Promising Actress Award) at the Rendez-Vous du Cinéma Québécois for her role as Winnie in J’aime, J’aime Pas. Two decades later, Laurier received another notable nomination at the 9th Jutra Awards—the premier honors for -produced films—for Best Supporting Actress (Meilleure Actrice de Soutien) for her performance in the bilingual action-comedy . The awards ceremony, which played a key role in elevating Quebec cinema's visibility both provincially and nationally, took place on , 2007, in . Bon Cop, Bad Cop, a groundbreaking cross-cultural hit that became one of the highest-grossing Canadian films of its time, led with 12 nominations overall, reflecting its impact in bridging English and French Canadian audiences. Laurier vied against Bonnier (A Sunday in Kigali) and (The Secret Life of Happy People), but the award went to Fanny Mallette for Cheech. Beyond these, Laurier has not received additional major award nominations, though her work in films like contributed to ensemble recognitions, such as the film's Audience Award at the 2004 .

Cultural impact

Lucie Laurier's early entry into acting as a has inspired subsequent generations of young actresses in , particularly through her breakthrough role in Anne Trister (1986), where at age 11 she earned a Genie Award nomination for Best Supporting Actress, showcasing the potential for youthful talent in the province's film industry. Her family's involvement in the arts further amplified this legacy; as the younger sister of actress Charlotte Laurier, who starred in the 1979 film Les Bons Débarras, Lucie was exposed to film sets from toddlerhood, normalizing a path in performance for Quebec's emerging female talents. This sibling dynamic and early success have positioned her as a model for family-influenced careers in Quebec , encouraging bilingual and multifaceted artistic pursuits among young performers. Her role as Suzie Bouchard in the Bon Cop, Bad Cop series (2006 and 2017) contributed significantly to cultural phenomena promoting French-English unity in , as the bilingual buddy-cop films highlighted linguistic cooperation across and borders through humor and shared narratives. By introducing Quebec performers like Laurier to English-speaking audiences, the franchise broke box-office records with over $12.2 million in earnings for the first installment, fostering national dialogue on cultural integration and reducing stereotypes between francophone and anglophone communities. Laurier's portrayal added a relatable, everyday Quebec perspective to the ensemble, reinforcing the film's role in bridging Canada's linguistic divide. Laurier's appearance in the Hollywood thriller Don't Say a Word (2001) exemplified representation of French-Canadian women in international crossovers, where her role as Vanessa marked an early incursion into American productions and highlighted the viability of Quebec talent beyond domestic borders. This crossover underscored broader contributions to Canadian by demonstrating how francophone actresses could embody complex supporting characters in English-language films, paving the way for greater visibility of French-Canadian narratives in global cinema. Despite these impacts, Laurier's cultural coverage reveals gaps, with limited major projects from 2020 to 2025, as evidenced by sparse credits in high-profile or Canadian productions during this period, potentially hindering ongoing recognition. This lull was influenced by a 2020 public controversy over her expressed skepticism toward vaccines and related measures, which led to her separation from her talent agency. Her active presence on platforms maintains public engagement, suggesting untapped potential for renewed visibility and future honors in Quebec's evolving media landscape by late 2025.

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