[ Fig. 01 ] <i>Délivre-nous du mal</i> (video still), 1987.

These videos contain elements (sexuality, nudity) that may not be suitable for some viewers.

Le voyage de l'ogre, La cage, L'incident « Jones », Deliver Us from Evil, Letter to a Lover and Réminiscences carnivores are available with English subtitles. La stupéfiante Alex, Portrait de John Mingolla and Marrakech contain no dialogue.

Le voyage de l'ogre


Identifying himself intimately with serial killer John Wayne Gacy, the director uses the camera to take hold of the actors, constructing fantasies that lead them to believe they are the victims in a film yet to be made. The young men, aged 19 to 26, speak from the heart about love and prostitution. Their search leads us into another world. Is this the world of John Wayne Gacy?

La cage


La cage is divided into two parts: a homosexual writer visualises his fantasies and a group forms around what seemed to be the story of an encounter between two men. Thus, with recurring visions and a camera that insists on quotidien objects, the first part is displaced. The audience becomes immersed in a magical atmosphere where the story that exists is that of men among themselves.



Filmed in 1983, during the presentation of Peter Weiss' play at the Fred Barry theater at UQAM. This document exposes us to a play dealing with the Shoah, and its intention to present the medium of video as a specific language.

La stupéfiante Alex


A choregraphy by Ginette Laurin, presented in June 1984, in the context of a symposium about art and technology entitled Molécul'art. The dance company is composed of France Bruyère, Ginette Laurin, Isabelle Marcil, Ginette Prévost and Gilles Simard.

Marc Paradis brings a specific element to this dance performance which is properly treated with the video medium language. His intention was to transpose a visual rhythm to the rhythm of the choreography.

Scheme vidéo


Claude Chamberlan and the Cinema Parallèle, Montréal, summer 1983. A videographic fiction offers a panoply of images on the Montréal International Festival of New Cinema and Video. Questions concerning cinema and the star-system incite the filmmakers to record things and people, and not to ask questions but to accentuate them! The quest for their own stories begins with the recognition of dissident cinema.

Say Cheese for a Trans-Canadian Look


Luc Bourdon, Marc Paradis and Simon B. Robert are curators for a selection of Canadian video to be presented within the context of the 13th Montréal International Festival of New Cinema and Video. This tape relates their experiences and research which occurs during their journey across Canada. This document is less a documentation of the trip than a logical suite to the questions raised in a previous work, Scheme vidéo. Focusing on the displacement of the three curators, the tape reflects their perceptions through the random capture of images. With Paul Wong, Grant Poier, Nida Home Doherty, Jerry Kissel, John Greyson and Collin Campbell.

L'incident « Jones »


A short video in three acts that tells the story of an encounter between three men. Possibility, certainty and reality. The place: between Montreal and the Laurentians in the autumn of 1984. The misty and damp atmosphere of late November. The narrartion is singed by Yves Dionne.

Portrait de John Mingolla


"Since his recent works were to be exhibited at Montréal's Galerie Noctuelle in May, 1985, John Mingolla asked me to draw a portrait of his work, the context within which they were produced, and himself in this context", explains Marc Paradis.

The result is a vision that is jerky like the music, very lively and sensitive in relation to the artist. This videotape was broadcasted continuously during the entire exhibition in May, 1985, at Galerie Noctuelle and was also featured at Galerie Horace in Sherbrooke, in February of 1986.

Performance "Album" de Denis Lessard


According to Denis Lessard: "The goal of my performance is to demystify childhood memories. I attempt to break down the prettiness of the memories through the use irony and humor. To what extent do we re-create our past when memory, oral tradition, and a few photographs are our only remaining markers? The memories which remain are part truth, part fiction. My album is a collection of photos, memories, and autographs. But it could also be a record, stamps, or a book. My performances are long-term projects. Thus the performance itself is the tip of the iceberg, the visual summery of a work which comprises several spheres of human activity. Above all, it is a process through which we learn about ourselves and others."

Performances de Yves Lalonde


A video recording of Yves Lalonde's performances, from the event entitled A/Venture. Take Me for a Night in New York is a series of excerpts paraded before a motionless camera/spectator. Icare et Isadora II and Cendrillon : un Medley, for their part, are shot with a mobile camera. The performer/dancer gives us his ironic take on various cultural signs, easily identifiable thanks to their characteristic disguises. The choreography transpires mainly through back-and-forth movements, rhythmically set to music, spoken texts or songs.

Deliver Us from Evil


Close-ups of lovers caressing and images of nearly motionless nude males are presented as a collage. A young man feverishly comments upon le mal d’amour by confronting desire and disappointment, including moments of his everyday life and moments which occur in a dream-like state. This results in an opposition between the primitive simplicity of sexuality and the complexity of love to which we traditionally associate it. This work focuses upon the omnipresence of sexuality and its inevitable changes and ramifications in long-term relationships.

Letter to a Lover


Lettre à un amant is the final chapter of Paradis’ video trilogy. It deals with a couple's break-up. It is both a letter and a reflection, and it concerns giving of one's self, sharing and exchanging. It is also a response to the other person's flight, the absence, the void. The images attempt to replace the fear and silence. A need sublimated in the exacerbation of pleasure conveyed by images and sounds, Lettre à un amant is a masterful conclusion to the series. At the same time, it poses several questions about the dichotomous love-image paradox present in love. This work also refers to an earlier work by Marc Paradis, La Cage, because of its erotic homosexual content and its many electronic applications. Richard Anger's original score was composed to emphasize the dramatic aspect while several processes proper to the video medium serve to peg the images in an aesthetic approach.

Réminiscences carnivores


Created during a workshop focussing on the representation of the human body at the 2nd Video Biennial in Medellin, Colombia, Réminiscences carnivores engages the imagination and all of the senses. Memories of an incestuous relationship come to the surface as the apprehensive narrator waits for a reunion with his brother. With readings from Augustin Gomez-Arcos, Gide and Verlaine, the work has the rich texture of a cameo.



Harems is a love story between a screen-writer and a gogo-boy, the latter being typically representative of the image of seduction in the 80's. The screenwriter leaves on a journey and asks the gogo-boy to accompany him. A scandal breaks out and the gogo-boy's antics lead to both men's meeting with the narrator. She introduces the spectator to the psychological state of the screen-writer - who is in the process of inventing a mythic character based on his lover - and befriends and helps the gogo-boy in his quest for happiness. The narrator relates the story taking place between the two men and questions the relationship between fantasy and the reality of love.

Ecce Omo


Rome, a palimpsest: monuments, the Catholic church, the everyday life.



A kaleidoscopic stroll through the streets of Marrakesh.

Previous section

[ Fig. 01 ] <i>Harems</i> (video still), 1991.
Denis Vaillancourt

Next section