加拿大魁北克導演丹尼‧ 維勒納夫的兩部都市創傷電影，《蒙特婁校園屠殺事件簿》與《烈火焚身》，均為全球創傷的「記憶之場」，透過都市場景、鏡頭運用、與平行情節見證蒙特婁都市自我與移民他者的創傷（1989 年之蒙特婁校園大屠殺與1975 至1980 年間的黎巴嫩內戰），以產生存活與建構創傷社群的意義。由於人們與歷史及其地點脫節，也就是「歷史」必須透過媒體再現，而不再體現於生活周遭，「記憶之場」必然產生。《蒙特婁校園屠殺事件簿》以多重觀點見證蒙特婁都市的自我創傷，試圖讓觀眾對殺手、自殺與存活的受害者這三種創傷位置產生同理心；《烈火焚身》則透過子女返鄉對都市移民他者的創傷進行考古挖掘，並運用改寫伊底帕斯情節探討內戰中受害者與加害者的親密關係。同時，透過社會空間與象徵語言，兩部影片演出與詮釋因「我他敵對」所造成的創傷歷史，並提出建構「創傷社群」的可能性。因此，《蒙特婁校園屠殺事件簿》和《烈火焚身》以蒙特婁為創傷發生的場域或抒解的主要樞紐，運用影像與情節深刻地連結自我與他者，受害者與加害者，從而提供建構「創傷社群」的契機，足供探討創傷社群中「同理心」與「見證」的意涵。

Polytechnique (2009) and Incendies (2010), directed by Quebecois director Denis Villeneuve, present cinematic lieux de memoire for their audience to “witness” the historical traumas experienced by Montrealers and the city’s immigrant Other (respectively Montreal massacre in 1989 and Lebanese civil war of 1975 to 1980) when living in milieux de memoire is no longer possible. With the use of filmic techniques such as mise-en-scene, point-of-view shots and parallel plotlines, the two films construct the materiality of these historical events, and present in the filmic spaces either multiple versions of the traumatic event (Polytechnique), or post-generation protagonists’ palimpsestic tracing of their mother’s traumas (Incendies), to invite the audience to empathize with the main characters and enter their traumatic community. As a whole, the two films, using Montreal as the site of trauma or a hub of its reconciliation, present possibilities of traumatic communities while also posing questions about empathy and witnessing.