1999
An attempt to constitute a human / machine dialogue. It shows the filmmaker’s blood as seen / heard with the eyes / ears of the machine which is a film projector with optical sound. He affixed his blood onto clear film leader by cutting into the flesh and then pressing the film leader onto the wound. Additionally he had blood taken with a syringe and afterwards dripped it on the film leader. fresh and clotted blood was used.
1975
In this animated short, simple geometric forms as thin and flat as playing cards constantly form and re-form to the sound of the koto, a 13-stringed Japanese instrument.
2014
A burst of cheer and refreshment that it seems perfectly suited to a late July afternoon.
1981
A horse goddess gives birth to three powerful brothers who set out into the Underworld to save three princesses from three evil dragons and reclaim their ancestors' lost kingdom.
2013
A unique journey across a topography created entirely from a form of digital light and shadow—a bristling terrain of poles bending the light in every direction. This film is the remake of Barcode, an abstract road-movie about light and shadows.
2011
2007
2016
A mathematical play on one repeated movement. It imparts a sense of possibilities: that something simple can produce complex and unexpected patterns. As with an atom, the variety of possibilities from a base movement is potentially infinite.
Three books: a film festival catalogue, a dictionary, the Bible. Three works whose materiality has become obsolete by the digital dematerialization. A commentary on the fragility of culture.
2025
A raccoon on a voxel boat talks about his job.
2010
Mamori transports us into a black-and-white universe of fluid shapes, dappled and striated with shadows and light, where the texture of the visuals and of the celluloid itself have been transformed through the filmmaker’s artistry. The raw material of images and sounds was captured in the Amazon rainforest by filmmaker Karl Lemieux and avant-garde composer Francisco López, a specialist in field recordings. Re-filming the photographs on 16 mm stock, then developing the film stock itself and digitally editing the whole, Lemieux transmutes the raw images and accompanying sounds into an intense sensory experience at the outer limits of representation and abstraction. Fragmented musical phrases filter through the soundtrack, evoking in our imagination the clamour of the tropical rainforest in this remote Amazonian location called Mamori.
1955
Hand painted directly onto film stock by Margaret Tait, this film features animated dancing figures, accompanied by authentic calypso music.
