Photochemical film
Films made with the physical materials of film, its emulsion, chemistry and printers, rather than digital tools.
Since digital cameras took over, choosing celluloid has become an artistic decision. Photochemical filmmakers shoot on Super 8, 16mm and 35mm, and work the image in camera, in the darkroom and on optical and contact printers, often with equipment adapted or built for the job.
Alexandre Larose exposed walk after walk down to the same lake onto a single roll of 35mm film, so the path turns into a pulse of light. Artist-run film labs around the world still develop and print film for anyone who wants to work this way.
Films to start with
In the order they were made. Runtimes are approximate.
Still from Two Years at Sea to come. Two Years at Sea
Jake Williams, who spent two years working at sea to pay for a life alone, walks the forest in all weathers, naps in misty fields and builds a raft to sit out on a loch. Nobody explains anything; he plays records, and his cat keeps him company.
Still from brouillard – passage #14 to come. brouillard – passage #14
Repeated walks to Lac-Saint-Charles, layered in camera onto one roll of film, so the path becomes a single pulsing passage of light.
Still from scènes de ménage: I. to come. scènes de ménage: I.
The first of a series of domestic studies with his parents, superimposed in camera and shifting between colour and black and white. It was shot on Super 8, 8mm and 16mm.
Nearby
Movements, forms and techniques that share filmmakers or methods with this one.
Hand-made film
Films made by working the film strip by hand: painting, scratching, collaging or processing it yourself.
Optical printing
Rephotographing film onto film, with a projector aimed into a camera, so images can be layered, slowed, recoloured or remade.
Superimposition
Two or more images exposed onto the same frame, so they appear at once, one seen through another.