An exploration of short films I have directed, produced, and shot as Director of Photography.
The Confession
As a Director of Photography, shooting a black-and-white film on Super 16mm can be challenging. While it gives a powerful and captivating identity to the film, the filmmaking process is more rigorous. During production, we had to work carefully with lighting in order to create depth and texture through aperture. This film was a great learning experience as I was always drawn to monochrome photography and film. I am particularly inspired by the way it enhances detail and reveals texture, that color often overpowers. Shot on ARRI 416 at the London Film Academy.
A Welcome End
I worked as Director of Photography on my 10-minute Graduation short film at the London Film Academy. We shot it entirely in a hotel conference room, transformed into a funeral home over the course of five days. It was a valuable learning experience working with a cast of eleven actors and extras, organizing setups, and overseeing scenes. In terms of cinematography, I enjoyed working with soft light, that enhanced the ambiance of the funeral home. This shoot was a crucial opportunity that improved my capacity to make decisions and work well under pressure. Shot on ARRI Alexa Mini at the London Film Academy.
Breathe
Limitation becomes observation. My first short film, "Breathe", was produced and mostly shot from my dorm room in Montreal. Before shooting it, I asked myself, "How can I create a film with no equipment, no characters, while still carrying a powerful meaning?". Framed through a single window, the film turns limitation into observation by focusing on the repeated image of chimneys in the skyline. I saw the rising smoke as a metaphor for liberation and release, showing how simple visuals can carry quiet meaning. Shot on DJI Pocket 3.
All About Lights
Shot entirely in my room in London, I directed this short film under clear limitations of space, darkness, and a single light source. Using torches to follow two figures, I built a visual world of shifting shadows and playful forms. The film turns constraint into imagination and shows how even the simplest sources of light can create texture and narrative. Shot on Canon EOS R8.
The Engagement
I worked as Director of Photography for this short film, shot during a summer sunset in Florence, Italy. It was an enjoyable shoot, as the natural light gave each frame a softness, and shaped the visual tone of the film. With a simple story and a warm atmosphere, the cinematography focused on capturing the beauty of the light and the ambiance of a romantic drama in the city. Shot on Sony FS7 at the New York Film Academy.
Aceptatción & Acceptance
Identity remains more complex than any label. This documentary examines the reality of mixed-race identity through direct narratives of belonging, perception, and self-definition. The film reflects, through personal testimony, how mixed-race people navigate cultural boundaries. As Director of Photography, I approached the camera as a space for complexity, allowing moments of pride, indecision, and contradiction to remain visible. The film makes room for experiences that go beyond labels while questioning how society perceives mixed identity. Shot on ARRI Alexa Mini.
The Dancer
I worked on this project as a director, centered on a dancer placed under intense pressure by her professor. Inspired by Black Swan, the film examines the psychological impact of striving for perfection. I was focused on using performance and visual tone to convey the conflict between vulnerability and discipline. This project reveals my interest in the concept of misunderstood artists. Shot on ARRI 416 at the London Film Academy.
Warm Day
I directed this short film in Florence, which examines two events taking place in the same setting. My goal was to give the audience the impression that the characters were engaging directly, when in fact they weren't. Therefore, I purposefully created uncertainty in the visual structure of the film. I implied a friendly relationship between the two characters using framing and spatial composition. The ending revealed that the characters had their backs turned to each other, proving that visual storytelling can be misleading. Shot on Sony FS7 at the New York Film Academy.