Vincent Morisset and friends
5834 Saint Vallier, Montréal Québec Canada H2S2P3
[email protected]
+1 514 497.9786

Written and directed by Caroline Robert

Winner of Numix (Best Online Experience) and Prix Gémeaux (Best Interactive Project All Categories)

You’re inside the head of D., a young girl who’s livestreaming her brain activity during a new kind of treatment session. Online, along with other participants, you massage her brain, experiencing the free flow of her thoughts, emotions and obsessions. Now, she’s telling you about her weekend. Earlier, her anxiety played some catchy beats that still lurk in one corner of her mind—like an earworm that won’t let go. Keep massaging. It’s doing her some good. In exchange, she’s giving you a guided tour of what’s going on inside her head, empowered by your gestures and stimulating presence. D. opens up as her mind wanders—perhaps a little bit like your own mind. Brainstream is an interactive animated film that explores, with sensitivity and humour, the mysteries of brain activity and the unpredictable trajectory of our thoughts.

Written and directed by Caroline Robert. In collaboration with Édouard Lanctôt-Benoit, Mathieu Charbonneau and Vincent Morisset. Performed by Sophie Shields-Rivard • Created by the studio AATOAA • Produced by the National Film Board of Canada. Full credits and EPK


Something's composition defines its very nature—an atom, a human, music. It’s also the result of an action, where the present moment is constructed by altering the past. A single wooden cube can become the unit that creates rhythm and catalyzes our actions, giving life to dormant forces, and our imagination. By manipulating the cubes on the table, Composition becomes at the same time a world, a sculpture, an instrument, and a multi-handed dance. More info here

Created by Vincent Morisset, Caroline Robert and Édouard Lanctôt-Benoit and Vlooper. Composition is a project developed during an artist residency with the PHI Studio. Phi team: Pheobe Greenberg, Isabelle Brodeur, Michaël Lefebvre, Julie Tessier, Sarah St-Laurent Migos, Marc-André Nadeau, Julie Tremblay, Myriam Achard, Vincent Lafrenière, Joël Guérin-Simard, Jeremy Felker. Fabrication and industrial design: Machine .


Vast Body. Mouvements infinis exhibition presented at Musée de la civilisation de Québec
Winner of the IDFA Doclab Award for Immersive Non-Fiction and Numix Grand Prix 2020

Vast Body is a collaborative experiment on movement. In front of a camera, different people were invited to imagine and embody a wide spectrum of postures that the system can perceive and understand. In the installation, a myriad of alter egos continuously try to replicate the movements of the person facing it. Interpreting your behavior, the software distills this continually changing input into a projection of a body that moves fluidly with yours, yet fluctuates continuously between different bodies and identities. The experience is a playful, visually arresting act of imagination. Through some kind of magic mirror, it connects the physical body with a digital incarnation, offering the chance to briefly inhabit another through movement. The work draws on timely questions of identity, empathy and our relationship with other-than-human intelligences.

" To move, to dance, to flow, to see ourselves, but most of all, to see others. Finding empathy in a digital mirror, playful and embodied, becoming one with so many. We sometimes forget to do so in our selfie times, but it is exactly that which we need to re-establish and to become team human again. Honest and full of joy, this project shows us how. The creator, the dancers, and you make the tech disappear."
- Speech from the Doclab Award jury

Presented at Musée de la civilisation de Québec, Festival de musique émergente de Rouyn, Bucheon International Fantastic Film Festival, Mutek Tokyo, IDFA DocLab Competition for Immersive Non-Fiction (Amsterdam), Hum(ai)n (Phi Center, Montreal), Imagining Our Digital Futures (Mutek, Montreal), Vincent Morisset retrospective (MuDA, Zurich).

Direction: Vincent Morisset and Caroline Robert. Main choreographies: Louise Lecavalier, Kathy Casey and Caroline Robert. Creative coding and machine learning : Édouard Lanctôt-Benoit. Camera and grading: Thierry Sirois (Club Vidéo) Production manager: David Francke-Robitaille (Club Vidéo). Production: Vincent Morisset, AATOAA. Featuring Louise Lecavalier, Rachel Harris, Caroline Robert, Louise Bédard, Marc Béland, Shraddha Danielle Blaney, Valérie Chartier, Karla Étienne, Paul-André Fortier, Elinor Fueter, Claude Godbout, Lucie Grégoire, Liven Lamothe, Patrick Lamothe, Yuma Lamothe, Mia Lapierre Poirier, Robert Meilleur, Linda Rabin, Janne Rieu, Romie Rieu, George Stamos, Philip Szporer.


Numix Grand Prize 2021, Fipadoc Prix Nouvelles écritures 2021 de la Scam, Digital Dozen 2021, Numix (original online experience), FWA SOTD, Immerse 2020 Highlights

Motto is a playful, one-of-a-kind adventure—an interactive novella that uses thousands of tiny videos to tell the thousand-year tale of a kindhearted spirit named September. Part ghost story, part scavenger hunt, Motto finds a way to be both documentary and fiction—incorporating participants’ lo-fi, unstaged footage into its own emotional narrative. It’s like a mirror ball that refracts its audience’s imaginations, rearranging the way they look at the world.

Conceived for your mobile device, small enough to fit in your pocket, Motto combines new technologies with some of our oldest. Text, image, algorithm and computer vision intermingle as a nameless narrator leads the participant from today to yesterday to a possible tomorrow, from the Québécois countryside to the Chilean desert to the chattering banks of the Nile. September has gone missing: Where has this ghost disappeared to? What can we learn on our quest? Meditating on memory, metaphor and the power of creativity—and calling upon each of its users’ senses—Motto gives birth to its own fascinating, intimate universe, where you will never guess what happens next.

Motto is an original collaboration between AATOAA and prize-winning novelist Sean Michaels. With this project they are exploring a new, intuitive storytelling vocabulary, inviting audiences to fold their own memories into the way a tale is told, and drawing on influences as diverse as Agnès Varda, Snapchat, Italo Calvino, Christian Marclay, Bruno Munari, W. G. Sebald and Being John Malkovich.

When viewers experience Motto, they enter a world of meaning-making and play. As the ghost story unfolds, they are asked to contribute to the experience—it’s a scavenger hunt of miniature video clips, each one an easy, digestible task. Motto uses an ingenious, hidden logic to weave these videos into its narrative, letting the viewers’ own images become stand-ins for the narrator’s daydreams and mementos. Gradually—and, in a crucial design choice, anonymously—everybody who experiences Motto is joining forces with those who have experienced it before, adding intimate fragments of their lives to a pool of collective memory.

Motto is told in episodes—an hour-plus experience presented as a series of discrete chapters. Because it lives on the web, as an interactive experience for mobile devices, users can take it with them, discovering each episode at their own pace. It up-ends the traditional role of the spectator, transforming the passive viewer into a protagonist and co-creator. You can contribute to the story even as you explore it—shooting clips with your phone that reappear in surprising and even emotional ways.

Motto uses a mixture of live video analysis, neural-network-assisted computer vision and its own custom curation system to integrate users’ footage, applying dynamic special effects and interactivity. Meanwhile, Motto’s creative team seeded the work with its own collection of videos, including a handful of startling set pieces. The resulting experience marries traditional literary forms with the short-form video vernacular of the 2020 Internet, from Snapchat to TikTok and Instagram Stories—a non-linear 2,000-page mystery that’s expressed in a dazzling array of anonymous, amateur video clips, growing larger every day.

Directed by Vincent Morisset, Written by Sean Michaels, Coded by Édouard Lanctôt-Benoit, Editing by Caroline Robert. Developed by the studio AATOAA. Produced by the National Film Board of Canada. Full credits and EPK

Festivals: IDFA DocLab Spotlight, Biarritz Fipadoc, Best of Écritures et Formes Émergentes Scam, JEF Festival, Festival du Nouveau Cinéma, Festival Zéro1, Pluk de Nacht, Kunsthalle in Munich
Motto Live performances at Electric Dreams Festival, IDFA and Festival du nouveau cinéma.



Habitat is a fabulous, luminous diorama. Strange plants, oversized animals and humans coexist in this miniature universe that can become giant if you look closely. A house travels through landscapes and time. It wonders what type of home it could be in each world.

« Je suis Habitat. Je peux devenir géant. Il suffit de me regarder de tout près et d'imaginer que tu es le tigre, le semeur, le cerisier ou la toute petite roche. Une maison voyage dans le temps. Elle se demande quel foyer elle pourrait être dans chacun de mes mondes. »

Creation: Vincent Morisset and Caroline Robert / Miniature world: Chloé B. Fortin, Nancy Belzile, Alizée Millo, Caroline Robert / Electronic and coding: Ottomata / Rail : I Create Montréal / Technical direction: Wireframe / Glass box: Ébénisterie HP / Production: Partenariat Quartier des spectacles, Spectra, AATOAA.


We were part of KM3, a public art exhibition in the Quartier des spectacles. For the first time, a physical place was the starting point. We inherited the Peace Park, a landmark of Montreal street skate on Saint-Laurent Boulevard. This unique place, animated by complex dynamics between its regulars, naturally shaped the project. It made us want to catalyze the presences and ephemeral encounters between people in the park; to evoke the fast mutation of the area where destruction and creation constantly crash up against each other. At nightfall, visitors who sat on our bench became the convergent and divergent forces that transformed the interactive projection of imaginary tectonic plates. The monumental bench served as an interface and is now a useful and permanent bench for the Peace Park.

Making of picture here

Created and directed by Caroline Robert and Vincent Morisset. Creative developper: Ruby-Maude Rioux. Bench fabrication: Jacinthe Loranger, Éric Filteau, Benoit Paquin, Hans Henry, Maxime Roussial, Renaud de Lalonde, Nicolas Fernandez, Vincenta Farias (M.O. Workshop). Tecnical direction: Mathieu Pontbriand (Pivot Événements.) Screen structure: Promo staff. Engineer: Antoine Tuillier. Curators: Mouna Andraos et Melissa Mongiat (Daily tous les jours). Production and tech support: Marie-Joëlle Corneau, Éric Villeneuve, Laurence Montmarquette, Vincent Noël, Reda Radi, Ugo Dufour (Partenariat du Quartier des spectacles). Thank you to Yann Fily-Paré, Méralie Murbenballs, Édouard Lanctôt-Benoit, Daniel Iregui, Remy Khouzam, David Bouthillier, Julien Lanthier, SAT, Dominic Audet, Sandra O'Connor, Thibaut Duverneix, Marc Longpré, Jonathan Jeanson.

Way to Go is for human beings between 5 and 105 years old. Maybe it lasts six minutes, maybe it lasts forever. Way to Go is ready for your web browser and willing to go VR, if you’re Rift-y. It is like a grey squirrel balanced on a branch, fearless. It is a game and a solace and an alarm, a wake-up call to the hazards of today. At a moment when we have access to so much, and see so little, Way to Go will remind you of all that lies before you, within you, in the luscious, sudden pleasure of discovery.

Press kit here  >


Yes, you are on your way.
It is not your first journey but Way to Go is the next journey before you. A walk through strange country - strange, familiar, remembered, forgotten. It is a restless panorama, a disappearing path, a game and a feeling. Way to Go is a small experience that gets bigger as you uncover it.
And the trees will change their shape, and the sky will widen.
And you will fly.
We go away every day. We plunge through the city, skate down roads, tunneling toward a destination without remembering the quests we are on. A journey is a collection of moments - we are here, we are here, we are here, and yet we miss these moments. A journey is a collection of choices - turn here, stop here, choose here, and yet we surrender these choices.
What if we quit surrendering? What if we didn't miss?
Here is a world enclosed in a screen. Here is an adventure. A landscape of leaves and wildflowers, teeming with hidden life. A garden and a wilderness, a wistful blink of dream. You are Jean PainlevéMarco PoloMaria Merian. You are AliceSonicOsvaldo Cavandoli. You are a visitor, a cartoon of face and limbs, and you are going on a walk.
Using hand-made animation, music, 360° capture technology and webGL sorcery, Way to Go imagines a dream-world of journeys. Walk, run, fly; crouch in the grass and remember what's hidden all around. Slip like a rumour from one place into another; chase your shadow; listen to the slow pulse of the metronome, black-clad, following in your wake.
Are you alone? Are you not alone? Are you dreaming or awake? Can you ever reach the mountains?
Can you see what's here before you?
Set out through woods and fields, sunlight and aurora, grey and colours.
Set out, in deliberate lucid looking
and you'll find,
the present.

VR presentations:
Beat Film Festival (Moscow), June 1-8, 2018
Google I/O, Experiment Sandbox (Mountain View), May 8-10
Musée de la civilisation (Québec), April 7 - May 6
After Dark: Extended Cinemas, Exploratorium (San Francisco), March 1
Bienal de Arts Mediales (Santiago, Chile), 5 Oct - 5 Nov 2017
ACM SIGGRAPH Immersive Expressions, worldwide, 1 Aug
The One and Only Vincent, Van Gogh Museum (Amsterdam), 5 Nov 2016
Vancouver International Film Festival, 4 Oct
Japan Media Arts Festival (Sapporo), 16-30 Sept
Pop3 presented by TIFF, Lightbox (Toronto), 19-21 Aug
Home Cinema, Gare Saint-Sauveur (Lille), 2 April - 26 June
Mutek (Montreal), 1-5 June
Virtuallty There, MIT Doc Lab (Boston), 6-7 May
Virtual Reality Garden at the Canada House (London), 16 Mar - 16 June
Festival international du film d'environnement (Paris), 5-12 April 2016
IDFA, DocLab Seamless Reality Program (Amsterdam), 19-29 Nov
SF2015, Gwacheon National Science Museum ( South Korea), 27 Oct - 1 Nov
Festival Tous écrans, Territoires virtuels (Geneva), 6-14 Nov
Festival I Love Transmedia #4 (Paris), 1-4 Oct
Onedotzero #dotdotdot (London), 22 Sept
Festival de Cinéma de la ville de Québec, 18-26 Sept
Kaleidoscope VR Film Festival (Seattle, Portland, Vancouver, SF, LA, Denver, Montreal, Toronto, NYC, Austin), 26 Aug- 14 Oct
Sensory Stories, Phi Center (Montreal), 10 Aug - 27 Sept
ISEA, Virtual Reality Showcase (Vancouver), 19 Aug
SIGGRAPH, VR Village (Los Angeles), 9 - 13 Aug
FILE, WebGL exhibition (Sao Paolo), 16 June - 16 Aug
L'heure d'été, Retrospective Vincent Morisset (Bruxelles), 3 July
Sónar, Realities+D (Barcelona), June 18-20
Sheffield International Documentary Festival, 5-10 June
International Symposium on Immersive Experience (Montréal), 22-23 May
Museum of the Moving Image (Queens), 18 Apr - 26 July
Killscreen Playlist Public Arcade (New York City), 28 Apr
FITC (Toronto), 12-14 Apr
Festival Exit (Créteil), 26 Mar - 5 Apr
Festival Via (Maubeuge), 12-22 Mar
White Rabbit (London), 11 Mar
Gaité Lyrique (Paris), 9 Mar

Semaine dont vous êtes le héros (Montréal), 2-6 Mar
Game Developers Conference, Mild Rumpus (San Francisco), 4-6 Mar
Rendez-vous du cinéma québecois (Montréal), 25-27 Feb
Montreal Permiere, Phi Center (Montréal), 5 Feb
Sundance Festival, New Frontier (Park City), 22-31 Jan 2015

FWA People's Choice Award 2015, Webby Award x 3 (Virtual Reality Game, Net Art and People's Voice for Net Art), Adobe Cutting Edge Award, FWA Site of the Month, Awwwards Site of the Day, Numix, Communication Arts Award, Kill Screen Playlist, Japan Media Art Festival (Jury Selection, Art Category), Communication Arts - Interactive Annual 2016, Boomerang (Grand Prize).

"Way to Go is like the friendliest, most delightfully surprising UFO I’ve ever encountered."
Kill Screen

"Its creators deserve a round of applause and a hug for revolutionising the way we can, and should, interact with games." It's Nice That

"‘Way to Go’ Is Unlike Any Other Animated Short You’ve Experienced"
Cartoon Brew

"Stop What You're Doing And Play This Video Game Right Now"

A virtual projection by Vincent Morisset
in collaboration with Aaron Koblin, the Google Creative Lab and Unit9


In 2011, I met Aaron Koblin from Google Creative Lab at OFFF in Barcelona. We promised ourselves that we would work together one day. Last fall, Aaron and I started to ping pong some ideas. We were quite excited about the potential of connecting devices through web sockets. From the very beginning, we knew that we wanted to explore that notion of connection in storytelling. My genius developer, Édouard Lanctôt-Benoit, had the idea of displaying a tracker on the phone and use camera vision from the computer to track it. We pair this information with the mobile gyroscope and accelerometer data sent through network. This setup would allow us to know accurately where in the space we hold the phone and how we handle it. I didn't wanted to transform the phone into a remote control or a game pad though. I thought it could be more interesting if the phone became a source of light. Give the illusion that we have a small video projector in our hand, beaming images on the computer screen surface. There was a desire to recreate something that feels analog and optical. Bringing back the visceral pleasure of playing with a flashlight, a prism or shadow puppets.

Again, by a strange coincidence or synchronicity, Arcade Fire was recording at that time a song called Reflektor. It was the perfect fit thematically! The lyrics became the foundation of the project. For me, this song is a quest for truth. A metaphor about representation and identity. I thought about Plato's Cave. The actual interaction was now part of the message. We created an invisible wall in the physical space. The spectator on one side, the protagonist trapped in the screen on the "other side". Fiction and reality colliding. This was also another thing I wanted to explore. Combine documentary style shooting to an imaginary world. Create a clash between the first interactive half of the clip and the end where the spectator is invited to let go.

Caroline Robert, Brandon Bloomeart, Édouard Lanctôt-Benoit and I spent months in our studio in Montreal to figure out the interactivity, the esthetic and general story of the film. It was exciting. Playing with optical toys, coding prototypes, shoot ourselves, simulate interaction ideas in after effects... The pieces of the puzzles slowly snapped together and the storyboard was crafted through this process.

Haiti has always been a great source of inspiration for the band. It seemed natural to set the story there. Again, to create a contrast between our world and another fascinating one. We went to Jacmel, cultural capital of Haiti and host of one of the most exciting carnival in the world. Our journey there was amazing. We had the help of the local film school, Ciné Institute, who guided us in the city and gave us a big hand on the actual production. Axelle 'Ebony' Munezero is the protagonist in the clip and the choreographer. Through her dance and presence, she combined pure beauty and fierce passion. It was also a great honour to collaborate with the Google Creative Lab. Aaron Koblin is an amazing creative director that understands deeply this medium. He gave us a lot of trust. The dev team there helped with network and sound synchronization. They also built the user interface for the tech page. At London-based production company Unit9, producer Amelia Roberts and lead developer, Maciej Zasada, were a key part in the making of the project. Finally, the film shoot was taking care by Sach Baylin-Stern from Antler Films. I had the chance to collaborate with a fantastic team.

If you are a geek, you can download the code of the project on the site or you can loop each scene (1, 2, 3, 4, 5, 6, 7) and play with the parameters.

Speaking of wonder, whimsy, and awe, the interactive video by Morisset is really, really, ridiculously incredible. One the music starts, you have the ability to interact with the video, sometimes subtly, sometimes in more profound ways.

A tour de force of digital art.
The Guardian

The capacity of digital to drive awareness, experience and dwell-time around a song launch.

Reflektor was one of the most mind-bendingly interactive and innovative of the year

Awards: Emmy Award (Outstanding Creative Achievement - Original Interactive Program), Webby Award (Net Art, Music Film and Net Art People's Voice), SXSW Interactive Award (Music), Art Directors Club Tomorrow Award, Cannes Bronze Lions (Interactive Video & Innovative Use of Technology), FWA Site of the Month, Awwwards Site of the Month, ADC Silver Cube for Interactivity Craft & Art Direction, D&AD In Book Award, IDFA DocLab Finalist, Big Award (Digital: Media & Entertainment), Festival du Nouveau Cinéma (special mention), Adobe Cutting Edge Award, MUVI (Music video of the year), FITC (Technical Excellence and People's Choice), Cooper Hewitt Design Triennal 2016.

Dance activated film


For a long time, I've been wanting to do an interactive project without any interface. Something really primitive and fun. A web experience free of clicks or buttons. Two years ago, Régine told me that they would probably be a dancy song on "The Suburbs" that could fit with the idea. It ended up being Sprawl II. What an amazing song! The idea is to affect the pacing of the film with your movements. You are invited to dance in front of your webcam. There is no specific rules, no complicated "minority report" tricks. Just an invitation to move your arms or your butt on the music. The quicker you move, the faster the frames play. You slow down, the caracters in the video slow down. You freeze and the video starts to loop on the beat, creating a new choreography in the choreography. It is also possible to interact with your mouse, in case you don't have a camera or you want to switch from dancing to clicking. I also did a traditional video (see below) out of the same shoot that you can watch on tv or youtube. For the interactive version, Damian Taylor did a great remix of Sprawl II.
Awards: Independent Video of the Year, Libera Awards + Audience Award, Prism Prize

The Montréal team for the project was just incredible! Merci à tous!!
Thanks also to Régine and Win for their creative input during the whole process. Director: Vincent Morisset, Producer: Jean-Luc Della Montagna, Art Director + Stylist: Renata Morales, Choreographer: Dana Gingras, Director of Photography: Christophe Collette, Editor: Stéphane Lafleur, Sprawl II Remix: Damian Taylor, Technology Director: Édouard Lanctôt-Benoit, Designer: Caroline Robert, Cast: Régine Chassagne, Karine Denault, Gabrielle Desgagnés, Noémie Dufour-Campeau, Mark Eden-Towle, Alan Lake, Milan Panet-Raymond, Esther Rousseau-Morin & Michael Watts, Interactive Production: AATOAA, Film Production: 1976, Post-Production: Post-Moderne, Music by Arcade Fire.

In this animated film meets picture book, you participate in the story. For more information on the project, click here. Developped by AATOAA and produced by the National Film Board of Canada. Credits: Vincent Morisset (director), Philippe Lambert (music, sound & voices), Édouard Lanctôt-Benoit (programming), Caroline Robert (visuals and animations), Hugues Sweeney (producer).

Awards: Webby Awards - Netart Category 2013, SXSW Interactive Awards Champion 2012 - Art Category, Communication Arts Interactive Annual 2012, Japan Media Arts Festival 2012 Excellent Prize - Art Category, Grafika 2012, Grand prix Site web culturel, Festival du nouveau cinéma 2011, Prix de l'innovation / Innovation Award, Boomerang Infopresse 2011, Grand prix Fou mais formidable, FWA Site of the day (August 24th 2011)

"Experimental masterpiece",
Rob Ford, FWA founder

The web project was also adapted as an installation. It was presented at the Gaité Lyrique in Paris, the International Film Festival Rotterdam, Cinekid Medialab in Amsterdam, Museum of Art of the Seoul National University, Montréal Créative exhibition, the Japan Media Arts Festival in Tokyo, Mutek, Kosmopolis Festival at CCCB and Japan Media Arts Festival in Asuka Kashihara. Here is a video about the creative process and the experience in Paris:

The Sigur Rós definitive live experience directed by Vincent Morisset
You can download or stream INNI here.
Listed as one of the best concert films of all time.

INNI is Sigur Rós's second live film following 2007's hugely-celebrated “Heima”. Whereas that film positioned the enigmatic group in the context of their Icelandic homeland, providing geographical, social and historical perspectives on their otherworldly music, with uplifting results, “Inni” focusses purely on the band's performance, which is artfully and intimately captured by French-Canadian director Vincent Morisset (Arcade Fire's “Miroir Noir”). Interweaving archive material from the band's first ten years with the sometimes gossamer light, sometimes punishingly intense, concert footage, “Inni” is a persuasive account of one of the most celebrated and influential rock bands of recent years. “INNI is the intimate in the middle of a big stage. It's the abstraction of the gestures and the magnification of delightful details. It's a tribute to the unique energy of Sigur Rós. INNI leaves room to all the beautiful images that come to our minds when we listen to their music.” (Vincent Morisset)

PRESS (91% on Rotten Tomatoes):

#7 of the 21 Best Concert Films of All Time
Paste Magazine

“dreamlike haze of throbbing black and white... eccentric... shimmering... piquant... a burnished collision of the specific and the abstract...”

- Jeannette Catsoulis, New York Times

“haunting, emotion-drenched... soul-stirring fusion of joy and heartache... usher[s] the listener into a state of near-celestial rapture.”
- Justin Chang, Variety (gathered from two articles)

“something stunning... one of the most engrossing concert films in recent memory. . . ”
- Guy Dixon, The Globe and Mail

“German Expressionism on acid… some sort of lost artefact… straight out of [A] Midsummer Night’s Dream… succeeds fully.”
- Todd Brown, Twitchfilm

“The ghost-like, ethereal quality of the visuals mixed with the otherworldly sounds can captivate in their intensity as well as carry you to another plane of existence. Let the music wash over you, enjoy the religious experience on screen, and convert all your friends into lovers of uniquely original music.”
- Jared Mobarak, The Film Stage

CREDITS: A film on Sigur Rós directed by VINCENT MORISSET


When Arcade Fire was recording The Suburbs, Caroline Robert and I started to exchange with the band about visual ideas that could be developed. Win wanted that we create a version of the artwork that would be relevant in the digital world. Most of us now buy, share and listen to music through computer and portable devices. It seems absurd that it is still a single JPG that is attached to an album in 2010. I thought about the relation we have with the vinyl cardboard cover or the paper booklet while listening to the songs. Flipping through the lyrics, looking at a band picture or a cool drawing related to a song while listening to it. With the mp3 player, we lost that. I wanted to find a way to get closer to that experience again. I finally found a way to do something similar through the limitations of the actual formats. I call it SYNCHRONISED ARTWORK! I used the M4A format usually used for podcast on itunes to sync songs to album covers. For The Suburbs, we made micro chapters every 3 seconds, transforming the experience into some kind of diaporama meets karaoke. At any moment, you can also click on hyperlinks curated by the band and related to the actual songs. A riff by Neil Young, a youtube clip of Kasparov losing against Deep Blue, the wikipedia page on Alan Turing... You can find all links here.

Recently, I was discussing with Fabrice Montal, curator at the Cinémathèque Québecoise, about the short lifespan of web-based projects and the challenge of archiving this kind of work for the future. Last week, I revisited an interactive film that I developped four years ago. Sleeping Sickness by City and Colour is inspired by Google Maps. We shot from above and stitched multiple videos together to create some kind of satelite view of a neighbourhood where you can zoom and pan over houses and streets. At the time we released it, we were limited by bandwith and processor. I still had all the footage on a drive. I decided to re-export the assets and ask Édouard to reprogram from scratch the project. You can look at the new version and the original one. Back then, we also edited a linear version for TV.

Considered the first interactive music video ever done, it was nominated in 2017 by the TIFF as one of the ten essential music videos from Canada's cinematic history. It's been presented at the Museum of the Moving Image, MOMA, Sao Paolo MIS, Musée d'art contemporain de Montréal, the Australian Centre for the Moving Image and the Cincinnati Contemporary Arts Center.
Credits: Music Arcade Fire. Director: Vincent Morisset. Post Production: Olivier Groulx. DOP: Christophe Collette. Stylist: Renata Morales. Production: Jean-Luc Della Montagna.
Click here to launch

is an impressionist documentary following Arcade Fire between 2006 and 2008. The result is a collage of captured moments from the recording of the album Neon Bible to their acclaimed international tour. Directed by Vincent Morisset. Shot by Vincent Moon. Edited by Stéphane Lafleur. Mixed by Mark Lawson. Produced by Arcade Fire and AATOAA.


For the Olympics, Google Zoo commissioned AATOAA to create and produce an interactive video based on a remix of Vangelis' iconic Chariots of Fire. The branded content was designed for the beer Skol. Shot in Rio, it's a mix of vjing, sound toy, manga, videogame and split screen. More than 90% of the brazilian audience are on Android. To reach them, we made a mobile-friendly project; something tricky when it comes to interactive video. We developped a technique using sprite sheets instead of video files and bypassed the limitations of mobile devices to offer something cinematic, reactive and fun.

Directed by Vincent Morisset, Cast: Saulo Arcoverde, José Eduardo Breves Rodrigues de Sá, Fernanda Félix, Sara Hana, Aline Pommer, Eliot Tosta. Production: AATOAA, Producer: Vincent Morisset, Lead Creative Developper: Édouard Lanctôt-Benoit, Artistic Director: Dominic Turmel, DOP: John Londono, Interactive music: Philippe Lambert, Editor: Jules Saulnier, Colorist: Thierry Sirois, Chariots of Fire remix by Omulu. Line Production: Feever Films, Executive Producer: Fernanda Laignier, Line Producer: Fernanda Abreu, 1st AD: Lara Carmo, 2nd AD: Debora Engiel, Production Manager: Cris Linhares, Production Assistant: Julia Cunha, Chaperone: Daniel Nassar, Art Director: Valeria Costa, Focus Puller: Daniel Bustamante, Steady Cam: Eti Pena, 2nd AC: Bruna Moraes, Gaffer: Edu Gringo, Grip: Carlinhos Castro, Costume Designers: Gabriela Marra and Fabiola Trinca. Commissioned by Google Zoo (Sao Paolo), Executive Producer: Brendan Mcgovern, Project Managers: Felipe Morales & Patricia Oakim, Creative Director: Vinícius Malinoski, Technologist: Caio Franchi, Senior Interactive Producer: Fernando Giantaglia, Agency: F/Nazca, Client: Ambev.


For the release of the album Recess, we reimagined into a talking alien emoji audio journal. While touring, Skrillex could record his voice at any time and post it instantly. It's charming, stupid and addictive at the same time.