Film Programme

We are pleased to offer you a cinema programme free of charge curated by The Double Negative Collective and Cinéma Abattoir at the request of Godspeed You! Black Emperor. 

The cinema exists on a first come, first served basis. If you really want to see a film, you may have to get there early. There is limited seating and we do not guarantee entry into any session.

Please consider others when watching the films. If you want to talk, please talk outside. ATP reserves the right to not allow you into the cinema, or to eject you from the cinema at our discretion. Please respect our staff on this matter. There is no smoking in the cinema. PLEASE turn your phone off!

Programme 1 (16mm film - 88 minutes):
Saturday 11am, repeats Sunday 10pm

by David Rimmer

(16mm / b&w / silent / 11 min. / 1973 / Canada)

Inspired by Stan Brakhage's films and writings, David Rimmer made his first important experimental films, Square Inch Field and Migration, in 1968 and 1969 respectively. At the time the artist-run Intermedia Co-op in Vancouver and supportive individuals in the Vancouver offices of the Canadian Broadcasting Corporation (CBC) and the National Film Board of Canada (NFB) were providing Vancouver-based experimental filmmakers with access to surplus film, processing, optical printers and other post-production facilities. These filmmakers, Rimmer included, soon became part of the international experimental/avant-garde/underground film movement of the late '60s and early '70s. - William C. Wees

by Richard Kerr

(16mm / b&w / sound / 35 min. / 1988 / Canada)

Richard Kerr is a visual artist/media-maker known for his expansive body of work, which has explored a multiplicity of genres and media since the early 1970s. He has created over 30 films and videos that have been screened and collected around the world. In the mid nineties Kerr expanded his practice to encompass meta-cinema installation work and most notably conceptualization of the Motion Picture Weaving Light Box. Recent studio work includes Industry at Cinematheque Quebecoise in 2006.

by Paul Sharits

(16mm / colour / sound / 12 min. / 1968 / USA)

Trained as a graphic artist and a painter, Paul Sharits became a noted avant-garde filmmaker noted for manipulating the film stock itself to create a variety of fascinating, abstract light and color plays when projected on the screen. Fans hail the effects hallucinogenic, while his detractors find them garish. Sharits is also known for establishing experimental film groups at prominent universities, including one at the University of Indiana where he studied. He later taught and developed an undergraduate film program at Antioch College. Between 1973 and 1992, Sharits taught at the Center for Media Study at the State University of New York. His films can be seen in various U.S. and European museums, film centers, and libraries. Much of his work can be found in the Anthology Film Archives in New York City. - Sandra Brennan

by Paul Sharits

(16mm / colour / sound / 30 min. / 1976 / USA)

See above for biography.

Programme 2 - programmed by Pierre-Luc Vaillancourt (DVD - 78 minutes):
Saturday 1pm, repeats Sunday at Midnight

by Helene Cattet & Bruno Forzani

(DVD / 6 min. / 2004 / Belgium)

Helene Cattet and Bruno Forzani were born in 1976. They met each other in Brussels where they started to codirect and produce short films with their own funds. Their films are cinematic experimentations around giallo, leather, and strange pleasures.

by Jean-Pierre Bouyxou
(DVD / 10 min. / 1968 / France) - Music by Georges Montalba

Jean-Pierre Bouyxou (born 16 January 1946) is a French film critic, author, filmmaker and actor. He started his career as a writer in 1964 when his article was published in fanzines (Mercury, Lunatique). Some other magazines he wrote for were Vampirella, Sex Stars System, Zoom, Metal hurlant, L'Echo des savanes, Penthouse, Lui, Hara-Kiri, Paris Match. He was editor-in-chief of Fascination for thirty issues, from 1978 to 1986. He participated in the happenings of Jean-Jacques Lebel. He worked with Roland Lethem, Jesus Franco, Jean Rollin and Alain Payet.

by Etienne O'Leary
(DVD / 21 min. / 1968 / France/Quebec) - Music by Etienne O'Leary

One of the very few films made by Etienne O'Leary, all of which emerged from the French underground circa 1968 and can be very loosely designated 'diary films.' Like the contemporaneous films by O'Leary's more famous friend Pierre Clementi, they trippily document the drug-drenched hedonism of that era's dandies. O'Leary worked with an intoxicating style that foregrounded rapid and even subliminal cutting, dense layering of superimposed images and a spontaneous notebook type shooting style. Yet even if much of O'Leary's material was initially 'diaristic,' depicting the friends, lovers, and places that he encountered in his private life, the metamorphoses it underwent during editing transformed it into a series of ambiguously fictionalized, sometimes darkly sexual fantasias. Chromo sud, his most sinister work by far, owes as much to Kenneth Anger as to Mekas, presenting the libertarian impulses of the time in as orgiastically morbid and sadistic a vein as Anger's Scorpio Rising biker culture. - Text from Experimental Film Club

by Pierre-Luc Vaillancourt & Marie-Douce St-Jacques
(DVD / 3 min. / 2009 / Quebec)

Pierre-Luc Vaillancourt & Marie-Douce St-Jacques evoke red suns.

by Jean-Claude Labrecque
(DVD / 7 min. / 1970 / Quebec) - Music by Pierre Henry

For over 40 years, Jean-Claude Labrecque has contributed to the development of Quebecois cinema as a film director, director of photography and screenwriter. He has immortalized historic and artistic events in Quebec, showcasing individuals who have influenced their times. His filmography of documentaries and fiction films, including L'affaire Coffin and A hauteur d'homme, reflects his human touch and his respect for the subject. He is also a highly talented photo director, and has been associated with numerous films by other renowned filmmakers. As well, he has been actively involved in the artistic community, notably as president of the Cinematheque quebecoise, the Rendez-vous du cinema quebecois, and the Jutra Awards board.

by Christophe Karabache

(DVD / 8 min. / 2003 / France)

Christophe Karabache is a Franco-Lebanese filmmaker. Grewing up in Lebanon's war time and socio-political oppression roots in repressive religious idea, he then moved in Paris to study cinema in 2000 at Universite de Paris X, Paris-I and then Paris III-Sorbonne Nouvelle (Censier), where he obtained a grant to study at The University of Iowa in the United States. Right upon arrival in France, he bought a super-8 camera and start shooting, before starting to use a 16mm Bolex. He directed experimental films, poetic documentaries and fictions. His films, where politics and universal collides with poetics and personal (shoot on different medium from film to digital), between anger, cruelty, simplicity, illumination, surrealism, passions, crisis and testimony from experience of violence of reality, "are clusters of flesh in perpetual subversion" (Une Encyclopedie du Court Metrage francais - ed. yellow Now, 2004)

by Catherine Corringer

(DVD / 23 min. / 2009 / France) - Music by Laurent La Torpille

Shot in both Super 8 and video, Smooth is an erotic, fantastic voyage through the womb and through the body, in the world that exists before the assigning of gender.

Programme 3 (35mm + 16mm film - 90 minutes):
Saturday 10pm, repeats Sunday 11am

by Karl Lemieux

(35mm / 1.85:1 / b&w / sound / 8 min. / 2009 / Canada) - Music by Francisco Lopez

Karl Lemieux studied cinema at Concordia University and has created several short films including The Bridge (1998), KI (2001), Motion of Light (2004), Western Sunburn (2007), Trash and no star ! (2008), Passage (2008) and Mamori (2009). He is a co- founder of Double Negative, a film collective based in Montreal focused on the production and screening of experimental film. Karl has also worked on several music and performance-based live projections.

by Peter Kubelka

(35mm / 1.37:1 / colour / sound / 2 min. [1min. x2] / 1957-58 / Austria)

Peter Kubelka (b. 1934) is a multifaceted artist and theoretician who has worked in the art forms of film, cuisine, music, architecture, speaking and writing. Since the beginning of the fifties he has been a leading exponent of the international avante garde film and has had screenings in all the European countries as well as in the USA and Japan. In 1964 Kubelka co-founded the Austrian Film Museum and has been its curator ever since. Kubelka has been involved in creating avante garde film collections, a music ensemble and has taught at various universities in the USA and Europe.

by David Rimmer

(16mm / colour / sound / 8 min. / 1970 / Canada)

Inspired by Stan Brakhage's films and writings, David Rimmer made his first important experimental films, Square Inch Field and Migration, in 1968 and 1969 respectively. At the time the artist-run Intermedia Co-op in Vancouver and supportive individuals in the Vancouver offices of the Canadian Broadcasting Corporation (CBC) and the National Film Board of Canada (NFB) were providing Vancouver-based experimental filmmakers with access to surplus film, processing, optical printers and other post-production facilities. These filmmakers, Rimmer included, soon became part of the international experimental/avant-garde/underground film movement of the late '60s and early '70s. - William C. Wees

by Felix Dufour-Laperriere

(35mm / 2.35:1 / b&w / sound / 5:30 min. / 2009 / Canada)

Felix Dufour-Laperriere was born in 1981, in Chicoutimi, Quebec. He studied, lives and works in Montreal. His films have been presented in numerous galleries, museums and festivals. He co-founded the online gallery

by Emmanuel Lefrant

(35mm / 1.37:1 / colour / sound / 7 min. / 2009 / France)

Emmanuel Lefrant's film work is based on abstraction being apprehended as landscape. A landscape that is actor or producer of emotions and subjective experiences. The films lie on the idea of representing, of revealing an invisible world (the secret forms of emulsion), a nature that one does not see. They are contemplative movies, which are presented under the shape of a physical experience, an experience of the body. The time of the screening is a great ordeal (the educated eye and ear suffer) because they are films that work on the hallucinatory mode: they are pure visual and kinaesthetic experiences.

by Alexandre Larose

(35mm / 1.37:1 / colour / sound / 12 min. / 2009 / Canada)

Alexandre Larose is a canadian filmmaker based in Montreal. Larose began practicing cinema while graduating from engineering school in 2001. He went on studying experimental film at Concordia University from 2003 to 2006. His work explores, through extensive formal treatment of the film medium, fear and anxiety that stems from the search for identity.

by Jeanne Liotta

(16mm / colour / sound / 19 min. / 2007 / USA)

Jeanne Liotta was born and raised in NYC where she makes films and other cultural ephemera including photographs, works on paper and live projection performances. Her latest body of work takes place in a constellation of mediums investigating the cosmic landscape at a curious interesection of art, science, and natural philosophy. Her film OBSERVANDO EL CIELO received the Tiger Award for Short Film at the Rotterdam Film Festival and was named TOP Ten 2007 on Artforum Magazine as well as Top Ten of The Village Voice.

by Daichi Saito

(35mm / 1.37:1 / colour / sound / 10 min. / 2009 / Canada) - Music by Malcolm Goldstein

Originally from Japan, Daichi Saito is an independent filmmaker based in Montreal. Saito co-founded the Double Negative Collective in 2004 and has been active as a catalyst for the renewed interest in celluloid filmmaking in the local artistic community. His films have screened in numerous venues both in Canada and abroad, including: The New York Film Festival; The International Film Festival Rotterdam; The Toronto International Film Festival; The London Film Festival; The Edinburgh International Film Festival; The Hong Kong International Film Festival; San Francisco MOMA; Cinematheque Ontario; Anthology Film Archives, among others. His films are distributed in Europe by Light Cone (Paris) and in North America by the Canadian Filmmakers' Distribution Centre (Toronto), where he currently serves as a member of the Board of Directors. His Trees of Syntax, Leaves of Axis (2009), a film commissioned by the Images Festival in Toronto, won the Best of the Festival Award at the 48th Ann Arbor Film Festival and the Jury Grand Prize at the 16th Media City Film Festival.

by Patrick Bokanowski

(35mm / 1.37:1 / colour / sound / 18:40 min. / 2008 / France)

Patrick Bokanowski, French filmmaker and artist, has developed a manner of treating filmic materiel that crosses over traditional boundaries of film genre : short film, experimental cinema and animation. His work lies on the edge between optical and plastic art, in a " gap " of constant reinvention. Bokanowski challenges the idea that cinema must essentially reproduce reality, our everyday thoughts and feelings. His films contradict the photographic " objectivity " that is firmly tied to the essence of film production the world over. Bokanowski's experiments attempt to open the art of film up to other possibilities of expression, for example by " warping " his camera lens (he prefers the term " subjective " to " objective " - the French word for " lens "), thus testifying to a purely mental vision, unconcerned with film's conventional representations, thus affecting and metamorphosing reality, and thereby offering to the viewer of his films new adventures in perception. - Pierre Coulibeuf

Programme 4 (16mm film - 71 minutes):
Saturday Midnight, repeats Sunday 1pm

by Phil Solomon

(16mm / colour / sound / 23 min. / 1999 / USA)

Since the late 1970's, Phil Solomon has been crafting visually stunning works, first in 16mm and now in digital video. His early films were mesmerizing tactile landscapes of crackled emulsion, which complimented the complicated nostalgic tone of his imagery. A sense of longing and inevitable decay gave his work a distinct and unique voice in avant-garde cinema. More recently, Solomon has been mining the rich and evocative images found in the Grand Theft Auto video game series, by-passing the violence of the originals to create mournful eulogies for an end time. Solomon teaches at the University of Colorado-Boulder, where he worked alongside the master experimental filmmaker Stan Brakhage. The two developed a deep friendship and influenced each other's work; they also collaborated on several films.

by Stan Brakhage
(16mm / 2 reels / colour / sound / 48 min. / 1990 / USA) - Music by Philip Corner

Working completely outside the mainstream, the wildly prolific, visionary Stan Brakhage made more than 350 films over a half century. Challenging all taboos in his exploration of "birth, sex, death, and the search for God," he has turned his camera on explicit lovemaking, childbirth, even autopsy. Many of his most famous works pursue the nature of vision itself and transcend the act of filming. Some, including the legendary Mothlight, were made without using a camera at all, as he pioneered the art of making images directly on film, by drawing, painting, and scratching. - Fred Camper