Jean-Pierre St-Louis

Jean-Pierre St-Louis was one of the co-founders of the Coop Vidéo de Montréal. He began his career with Robert Morin and Lorraine Dufour, and remains true to his first loves. Indeed, Morin gave St-Louis his first experience behind the camera as director of photography for the feature, Tristesse modèle réduit (1987). Then came Requiem pour un beau sans-coeur (1992), Windigo (1994), Quiconque meurt, meurt à douleur (Whoever Dies, Dies in Pain) (1998), Opération Cobra (2001) and Le Nèg’ (2002). Along with these, he has collaborated on many documentaries and dramas, both feature-length and short. In 1998, he was director of photography for Isabelle Hayeur’s film, Les siamoises. His résumé also bears witness to his complicity with director Bernard Émond, with whom he worked on the documentaries, L’instant et la patience, La terre des autres, L’épreuve du feu as well as the dramatic feature, 20 h 17 rue Darling.

Between 1979 and 1993, St-Louis made a number of short- and medium-length works with grants from the Canada Council for the Arts, including Fait divers : elle remplace son mari par une T.V., Carapace: auto-portrait d’un chanteur inconnu and Zapping : une histoire de salon.

St-Louis has also worked as a director of photography on documentaries: with Jean-Claude Labrecque in 2004 on Chemin d’eau, Yvan Patry and Danièle Lacourse in 1998 on Le rêve d’Alonso, and Danièle Lacourse in 1984 on Le pays interdit.

In television, St-Louis first co-directed the cultural variety show, Lumières on Radio-Canada (French CBC), along with Mario Rouleau in the early 1980’s. This show won a number of Gémeau awards. Since the early 1990’s, St-Louis has also lent his talent as a cameraman to various series, such as Black Harbour, Family, The Secret Adventures of Jules Verne and Kashtin. He was recognized for his excellent work in 2000, winning the Gémeau that year for best director of photography for Deux frères, and again in 2002 for La vie, la vie, a series that was applauded by both the public and the press, and which reflected his singular ingenuity.

A keen collaborator of Louis Bélanger, St-Louis has worked with this director on many clips and ads, and participated in the immense success of Post Mortem in 1998. He went back behind the camera in 2002 to collaborate on Bélanger’s second feature, Gaz Bar Blues. This film was presented at several festivals and won many awards.

In 2004, Jean-Pierre St-Louis was director of photography on the feature, Que Dieu bénisse l’Amérique (May God Bless America) by Robert Morin and, in 2005, two more: Ten Days to Victory by Tim Conrad and Imitations by Fédérico Hidalgo. More recently, he again joined Louis Bélanger, shooting Le génie du crime, the film adaptation of George F. Walker’s play, Criminal Genius.