Here at Haus of Fog, we shine a spotlight on talented artists that don’t fit into traditional boxes. Artists that take risks and that create for creativity's sake, rather than just trying to appease funders or mainstream audiences. 

Our first artist is none other than rising indie star, Gabriel Auclair-Doucet, the director of short films such as BRIGITTE and MOTOMARINE. 

Watch BRIGITTE in our Films section, here!

Let’s start with Brigitte. This was your third short film. How have you managed to develop such a unique directorial style so early on in your career?

It [was actually] my 15th or 20th short since I began making movies at 17 years old (36 now), but it was my second ''professional'' project. I've always been attracted to weird stuff and have been making absurd comedies and horror movies since the beginning. I like to watch genre films so I've always wanted to recreate those into my vision. 

So, while casting Brigitte… was it love at first sight? Or were you tempted by any of the other inflatable “ladies?”

It was the most ugly looking! Hahah I thought it would bring kind of a horror element, not being like gorgeous or sexy. I ordered three because we had some scenes (that we didn't end up shooting) that would have involved some destruction.

Your second film was MOTOMARINE. Who or what inspired this film? (Only confess to what you’re comfortable sharing with US border guards! Lol)

The true inspiration was smoking weed in front of my apartment, and noticing a “For Sale” sign next to it! The two guys on it were too good looking, as if they were selling themselves and not the actual house. As a matter of fact, I saw them in person and I was not mistaken! Luxury car, [strong] smelling perfume through the roof... It made me wonder, what if the realtors were for sale and not the house? … I would've like to push the project further into violence/awkwardness, but since we've just made Brigitte, I was kind of exhausted, so we just shot anything without boundaries. We experimented a lot with [MOTOMARINE] and I'm pretty happy with the final cut, although we were supposed to shoot another part after the truck drives away. That's why the ending feels a little rushed. At the same time though, I like the idea that the viewer doesn't really knows what's coming next, and in my opinion, the one who won, didn't really win in the end…

Are there any other artists that you would like to give a shout out to?

Yes, I’d like to give shout-outs to the following:

Montreal genre cinema festivals such as Fantasia, SPASM and CAS (Cabane à sang)

Shout out to Horreur QC!

My deeply talented DOP, Evangelos Desborough.

And one of my favourite young directors, Olivier Labonté Lemoyne, who is working on his first feature film ''Les hôtes.''

How does Canada’s ever-increasing cost of living impact you (both as a human and as an artist)?

I can't really say that it has made a huge difference (to my filming), other than the cost of food. I'm kind of pissed like everybody else though I would say. Our salaries are not going up as fast as the cost of living, but hey, we are at peace in Canada so I can't complain. About grant money from the government, we are working on a request for our next project, so I don't really know if it's harder now than before with the pandemic and kind of ''recession''. We'll see, but no matter what, we are trying to shoot a short a year. 

When planning your films, do you start with a concept, the story, or a visual idea?

It depends, but I [usually start] with a visual idea, like for Motomarine (the sign) and Brigitte, the inflatable doll at the gas station. The concept and story flows naturally after. … I'm very influenced by Quentin Dupieux and Yorgos Lanthimos weird cinema. I'm watching as much movies as possible to help me as a filmmaker. I went to school in cinema, but I've learned more by myself and by making movies. I like the freedom that independent projects gives.   

What draws you to such unique colour palates?

There is no real reasons at the end. Division Couleur handled the color correction for Motomarine, and they are pros. We sat down and found a colour palate that was intriguing and kind of ''dirty.” I liked the vibe and we went all in with that. Each project needs a certain texture and it's a matter of feelings. If all the puzzle pieces fits at the right time (casting, script, money, schedule), I go forward and with the help of our DOP (Director of Photography), we set a mood right before the shoot and we figure out after what's the best for the project.

I am not sure if you have noticed it yourself, but to me it feels as if the indie film world is becoming increasingly homogenous, both in terms of filmmaking style and of the views being represented. How do you keep yourself inspired in a society that seems so determined to push artists into boxes?

I've never really cared about what other people thinks in general, even if I read the reviews and stuff. I mind my own business. I am aware that certain genres are easier to produce and fit better into the ''boxes'' of the institutions, but I can't control any of this. I'm kind of bored with all the social commentary movies and coming of age gimmick though. As a viewer, I want to be surprised and thrilled! That's what I'm focusing on as filmmaker too. Cinema rules are meant to be broken in my opinion. 

Follow Gabriel Auclair-Doucet on Instagram at @ouatte_de_phoque

request one of his films to screen at your festival through film freeway, here.