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Alexandre Larose creates supernally spectral superimpositions infused with a meteorological mix and the intense lusciousness of the Québec landscape.
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.
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.
Silent 16mm loop made for the situated cinema project at ArtSpace in Sydney, Australia. Composed of old footage from the directors' families.
“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
A colour reversal film shot on 35mm. https://vimeo.com/71327099
Someone dreams of falling from a building.
Luminous traces obtained through in-camera optical manipulation of nocturnal imagery.
A colour reversal film shot on s8mm.
"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