My work at the Cité de la langue française was to capture the essence of the 'Magic Library', an immersive installation created by Ultranoir and Osmo. My challenge was to translate its enveloping, technology-driven atmosphere into a frame that did justice to the piece. The space was dominated by darkness and the glow of screens, which forced me to study how light interacted with the environment to find the angles that best conveyed that sense of wonder. The spatial constraints required a strategic approach to equipment. To achieve the smooth movements the piece demanded in such a tight space, I worked with an EasyRig combined with a Ronin in a Tilta cage, allowing me to operate throughout the day while maintaining the fluid motion needed to capture user interactions in an organic way. I'm most proud of the final visual result: we achieved compositions that communicate exactly what the client intended. Pre-production planning was key — meticulously preparing every detail allowed us to work with complete fluidity, meeting every creative goal without sacrificing technical quality.

On 'Des heures', time was our greatest obstacle. We shot in a real bar that, though closed for the day, imposed strict working hours on us. We had barely an hour to transform the space and hide a skylight four meters up that was killing the night atmosphere — an exercise in speed and quick thinking. My work began weeks before the shoot in constant conversation with director Essiamé. We designed a choreography between actors, extras, and camera together; every movement had to guide the viewer's eye and feel fluid. I designed the lighting to translate that intimate atmosphere into a filmable reality, including details like Ana's wardrobe so it would interact with the warm light we built and carry the melancholy the song called for. What I'm most proud of is completing every planned shot without letting the rush steal the sensitivity. That rhythm was only possible through honest communication and choosing exactly the right gear. This project proved to me that when the connection with the team is right, the result always carries a soul that goes beyond the technical.

'Psychéon' was a trench shoot. Almost the entire story takes place in a tiny room where the actors and crew barely fit, forcing us to think of every movement as a puzzle. The challenge was to show the full room so the viewer could feel the confinement, without the crew becoming part of the set. To breathe within such a tight space, I decided with Daniela and Damian to use anamorphic lenses. It was one of the best decisions of the project: they gave us the cinematic look we were after and a wider field of view to capture the room without distortion — the perfect solution to prevent the limited space from punishing the visual scale of the story. Lighting also had to fight for space. With my gaffer, we planned everything days in advance so we wouldn't waste time testing in a set where we couldn't even move. I'm proud of having turned a tiny space into a visually rich world where every shadow and every reflection has a reason to be.

This project was born from something very personal. When Mathis asked me to make the video for his song mixing German and French, I felt we spoke the same emotional language. We wanted to escape the literal and take refuge in magical realism: that's how Fremd was born — a being from another world walking the earth to learn and observe. The idea took shape one night when I suddenly saw a wooden face in my mind. Making it real was the challenge: the makeup took hours to apply, so we had only one day of light. I designed a precise shot list and worked out the choreography with Mathis so his movements would feel natural inside that wooden skin. I also took on the editing and created the portal effect myself. I'm not a visual effects expert, but I needed to face that part of the process to fully see what I had imagined. What fills me most is having transformed that wooden-face vision into something alive on screen.