After graduated from a Master of Cinema at the University of Paris 8 in 2019, my school film, Restless Instants. During this Master's degree I found the cinema I wanted to make. My approach to cinema is experimental, linked to the film texture. This is why I chose Super 8 to make my films. Little by little, I am discovering and learning about its specificities: the particular grain of this film, the different speeds of the camera, the way light is captured on the film, a certain blur. Filming on Super 8 film requires a different approach than digital film. And that is one of the reasons why I use this medium. I like this economy of means due to the preciousness of time on film. I like the fact that this process takes time (from shooting to development, to digitisation and editing), that we are not overproducing images. I like to work like a craftsman, when I can develop my films myself. I also like the accidents that can happen and that we discover during the screening. Accepting accidents and dealing with them as much as possible is part of my work.
Beyond the plastic aspect of my research, there is a poetic and personal aspect. It is about making visual and sound poetry. I use the fact that my camera is silent to recreate atmospheres entirely, playing with shifts. My films are personal because most of my projects are born from intimate texts that I sometimes transcribe in voice-over. I also like to film the people around me in order to underline the beauty of everyday life, those precious details.
Since my first film, I have made other experimental essays, music videos and documentaries related to live performance. Although I work most of the time in France, I also had the opportunity to work in Prague and Vienna in 2021. This European dimension is very important to me and I hope to work internationally again in the years to come.