There was no bigger sea change in Quebec culture than The Quiet Revolution of the 1960s, and it is here we find the roots of a particularly French-Canadian brand of cinematic new extremism, as embodied by the 2010 film Les 7 jours du talion, or 7 Days. Adapted into a screenplay by Patrick Senécal from his own novel (also titled Les 7 jours du talion, 2002) and directed by Québécois filmmaker Daniel Grou (who also goes by the name “Podz”), it is one of the few Canadian films comparable to the European new extremist cinema described by Tanya Horeck and Tina Kendall in their introduction to The New Extremism in Cinema: From France to Europe. 7 Days shares with its European cousins a sense of “determined transgression” (Horeck and Kendall 2), specifically via its use of shocking imagery and depictions of brutality characteristic of horror cinema (or its torture porn subgenre), with narrative and directorial techniques most often associated with art house cinema. Furthermore, although Québécois cinema is considered to have more in common with that of France than that of English Canada, 7 Days represents a culmination of anxieties that are specific to the social, cultural, and political history of the Québécois, particularly their relationship to the Roman Catholic Church, which exercised a powerful hegemony over the people of the province.