Hariri has a way with flow, and with the Camera Bar layout comes some interesting innovation about handling situations with detached grace; to enter the theatre, you enter a closet-sized, dark room and shut the door. You then enter the theatre from darkness (and hopefully silence) to prevent disturbing the audience in attendance.

“When I was young, my parents had a furniture store,” says Egoyan, navigating his little bar like a proud parent. “And I used to spend so much time studying the space, dividing the space. See how this or that idea would work. For the past ten years, I dreamed how this space should look.”

I don't know when Egoyan turned into Charles Khabouth, but unlike Khabouth, he’s got good intentions of keeping things small - not boutique small, but art gallery small. Even with the liberties it takes with the design, this is a venue that took imagination and childish wonder. Egoyan, Amarshi and Hariri brought their baby to fruition in an unfussy but original way that feels earthy and real, combining two setups in one, all the while tickling us with witty references to the gallery-ness of the area. Put it all together, and you've got a community spot that leaves the blockbuster, ear-splitting sounds and extortionate concessions over at your local Cineplex in the dust.

Pairing the little experimental theatre with a little bar creates an anti-mainstream venue. Visceral, demanding and tiny, yes - but mainstream, hell no. - D.E.