L.A. Tea Time
Centered on the exchange between the public and the editors of a film, this program is a unique opportunity to reveal to as many people as possible this fascinating profession, so important in the creative process of any cinematographic work.
Presentation by Jean-François Forget.
The screening will be followed by a Q&A with the editor Joël Morin-Ben Abdallah, moderated by Marie-Soleil Trudel.
A filmmaker stuck in an arid, jobless Montreal winter embarks on an improbable quest across the USA, taking her director of photography along for the journey. L.A. TEA TIME is an unusual travelogue, at times meditative, at times haunted, recounting the adventures of Sophie and Isabelle with humour and a little touch of magic.
Sophie Bédard Marcotte
Montreal-based director Sophie Bédard Marcotte creates intimate, tender films, halfway between documentary and fiction. Her second feature film, L.A. Tea Time (2019), humorously tells the story of her trip across America to meet Miranda July; it was selected by nearly two dozen international festivals, including Visions du Réel, Hot Docs and IDFA. Her most recent film, I Lost Sight of the Landscape, is an existential comedy that blurs the boundaries between art and life.
Joël Morin-Ben Abdallah
It was during his studies in experimental cinema at Concordia University that he discovered a passion for videocollage, animation and artisanal VFX. At the same time, when he obtained his bachelor's degree, Joël co-founded the production cooperative On est 10, where he began a long collaboration with the director Sophie Bédard Marcotte, for whom he edited three films: I've kind of moved backwards it seems, Claire l'hiver* and L.A. Tea Time*.
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L.A. Tea Time (Sophie Bédard Marcotte)
L.A. Tea Time (Sophie Bédard Marcotte)
L.A. Tea Time (Sophie Bédard Marcotte)
L.A. Tea Time (Sophie Bédard Marcotte)
«L.A. Tea Time»: inspirante détermination
Le questionnement que formule la cinéaste montréalaise Sophie Bédard Marcotte au début de son film L.A. Tea Time aura une résonance immédiate auprès de ses collègues. Et fort probablement aussi chez tous les autres artistes, quelle que soit leur discipline.
(Le Devoir, Janvier 2020)
Presented in collaboration with
