Canadian filmmaker Alexandre Larose discusses his unique approach to experimental cinema
Canadian filmmaker Alexandre Larose was at the Emami Art Experimental Film Festival (EAEFF) in Kolkata. Known for his innovative use of multi-layered exposures and an exploration of personal memory, Alexandre’s work delves into the materiality of the film medium. From Sackville Marshwalk (2013), which superimposes multiple trajectories, to Brouillard #14 (2013), a pulsating exploration of light and landscape, and the intimate domesticity of the triptych I., II., III. (2022), Alexandre’s films challenge conventional cinematic norms. In a chat with Indulge, he shares insights into his creative process, his fascination with the nature of film, and more.
How did you get into experimental filmmaking?
I got into experimental filmmaking when I started studying films. Initially, I didn’t even know what experimental film was. It wasn’t until university that I discovered it, and it was transformative for me. I realised that you could do whatever you wanted. Narrative filmmaking often follows formal conventions for representing space and time, which I find interesting, but the idea of subverting or completely reimagining those conventions thrilled me.
Why do the themes of memory and displacement feature so strongly in your films?
It’s interesting that these themes are often brought up. I never consciously set out to explore memory or displacement; it’s more instinctive. My creative process is built around setting up a framework or instructions for making images and then letting myself be surprised by the results. The sense of displacement might stem from the way I layer images. These layers fragment figures and spaces, evoking the passage of time and the elimination of a linear hierarchy of moments.
Your use of multi-layered exposures in films like Sackville Marshwalk and Brouillard #14 creates mesmerising textures. How did you develop this technique?
It’s hard to pinpoint exactly how it started. At the time, I was working on a different project that required permissions and involved rare opportunities to shoot. That scarcity drove me to experiment. Multi-layered exposures became a way to keep shooting consistently, almost compulsively. I wanted to push the layers to a saturation point where I couldn’t predict the outcome. I love being surprised by what appears on the screen—seeing something I’ve never seen before keeps me going.
For someone new to experimental cinema, what mindset should they adopt to fully appreciate your films?
I’d say they need to unlearn what they know about traditional cinema. Be open to experiencing something slower, more immersive, and less structured than conventional narratives. Experimental cinema requires patience and a willingness to let go of expectations.
Lastly, if you could explore a new theme or emotion in your future work, what would it be?
I think all my work stems from the same emotional core—it just manifests in different ways. Honestly, I don’t want to know exactly what drives me because that mystery keeps me motivated. Knowing might diminish the significance of my exploration.