Brouillard #14

A colour reversal film shot on 35mm.

Someone dreams of falling from a building.

Luminous traces obtained through in-camera optical manipulation of nocturnal imagery.

Found memories decayed by the shock patterns of childhood trauma. This films is made mostly with footage found in the bin of an ophanage. The white progressivelly disolve within a darknest more and more dense. Faces progressivelly disolves within one another.

A black-and-white reversal film shot on 35mm.

Short film by Alexandre Larose

A colour reversal film shot on 35mm.

A colour reversal film shot on s8mm.

“With this project I fabricate sequences by in-camera layering of repeated trajectories inside a path extending from my family’s home into Lac Saint-Charles. The image-capturing process produces a sedimented landscape that gradually unfolds while simultaneously disintegrating under temporal displacement. Approximately 30 long takes begin at the same frame on the film strip, all shot at a high frame rate. My walking rhythm varies for each trajectory, resulting in the space progressively expanding in depth until I reach the edge of a dock. The duration of the long take corresponds to the length of the celluloid reel, a thousand feet of 35mm film.”—Alexandre Larose

"In this film, I wanted to explore the potential of in-camera editing by photographing and juxtaposing the window frame and its outside landscape as visual references. I executed three attempts (using three rolls of 16mm film) and aligned them one after the other. I wanted to show the raw material exactly as captured inside the camera." ⁠— Alexandre Larose

A colour reversal film shot on 35mm.

A colour reversal film shot on 35mm. https://vimeo.com/71327099

Part of Larose's "Ville Marie - B" short film cycle.

A colour reversal film shot on 35mm.

This is a study from the "scènes de menage" series, starring Jacques Larose and Marie Claude Ferland, the filmmaker’s parents. We see domestic activities that take on a new dimension thanks to the way Larose deals with successive layers. The repetitive, automatic movements that are repeated in places such as the kitchen and the hallway, the succession of actions of getting into the car and leaving the house, are all captured by the camera in multiple overlays, which on being slightly out of sync give rise to a split, multidimensional reality.

Drawing on issues of memory, decay, palimpsest and the rubbing together of archive, fiction and situations, pilgrimage was constructed from found strips of 8mm amateur footage gleaned during a residency in Sydney, Australia. The original footage—a tourist’s voyeuristic, filmed impressions of a pilgrimage in a crowded urban space, where the faithful painfully stumble before the entrance of a temple—was reworked using an optical printer and other hand-made techniques.