Lebrat was among a group of Paris filmmakers who in 1976 began working under the collective name “Melba.” Like other works by the group, his films present a uniquely French response to the systematic organizational schemes of the so-called structural films of the time: though often abstract, they undercut predictability, seem open to chance, and have a wonderfully sensual, almost airy sense of color. Holon (1982), perhaps the strongest, is a rapid wash of blurred, moving colors; the absence of hard edges plunges the viewer into a lush jungle of indistinct forms. In Self-Portrait With Apparatus (1981), Lebrat superimposes four views of himself moving paper strips with framelike rectangular holes, producing a meditation on the near-infinite possibilities of the film frame. In Networks (1978) recognizable scenes of Paris are filmed through narrow openings placed in front of the lens; superimposing the results seems to reassemble the fragments into surprising, densely layered jigsaw puzzles.