I think 2026 will be a year of unexpected surprises — and in a good way. The film world feels like it’s shifting toward more authenticity and heart, and I’m excited to be part of that movement. I’ve learned to stay open to what unfolds, because some of the best moments come from things you don’t plan. So for me, it’s about staying creative, saying yes to meaningful collaborations, and continuing to tell stories that matter — especially those rooted in truth and community.
– What projects are you currently working on?
I’m currently working on smaller projects that focus on family memories and special life events. There’s something really meaningful about capturing those moments that define who we are — preserving stories that might otherwise be forgotten. It’s a nice balance after the intensity of larger documentary work, and it keeps me connected to the heart of why I started filmmaking in the first place.
– What would you ask event organizers in the film industry to do in order to support the creativity of highly talented independent artists like yourself?
I think event organizers play such an important role in nurturing creative voices. Independent filmmakers often work with limited resources but endless passion, and giving us a platform to share our work means so much. I’d love to see continued support through mentorship opportunities, community screenings, and open dialogue between artists and audiences.
– What vision or desire currently guides your artistic choices?
My artistic choices are guided by truth and connection. I’m drawn to stories that carry real emotion — stories that belong to the land, the people, and the moments that shape us. I want my work to honour resilience, to listen where others overlook, and to help preserve memories that might otherwise fade. Every project I take on is about respect — for those who share their stories and for the responsibility that comes with telling them honestly.
In 2026, my focus is to build on a remarkable beginning. With Lambada The Dance of Fate earning over 100 awards & selections across five continents and ranks as the most awarded biographical screenplay by a first-time screenwriter in history — I am honored by how deeply this story has resonated around the globe.
But beyond the accolades, my purpose is clear. Cinema has always been more than entertainment — it is a passport to empathy, a universal language capable of crossing borders, cultures, and generations. As storytellers, we have the privilege and responsibility to remind the world of its shared humanity.
My expectation for 2026 is to use this momentum to inspire and empower emerging screenwriters — especially those who come from places where dreams often feel out of reach. I want to champion new voices, new visions, and new cultural perspectives — because the future of film will belong to those willing to tell the stories we have not yet heard.
There are two defining days in every life: the day we are born, and the day we discover why. I have found my “why.” In 2026, my mission is not only to continue telling meaningful stories — but to help light the path for the storytellers who are still searching for theirs.
– What projects are you currently working on?
I have just returned from three transformative months in Los Angeles, where I had the opportunity to present my biopic film project Lambada The Dance of Fate to several Hollywood production companies. The film tells the true story of an extraordinary journey — a life shaped by adversity, destiny, and the rhythm of a dance that ultimately changed everything.
In this industry, you don’t simply knock on the door of Paramount and ask if an executive has a moment — access is earned through relationships, trust, and doors opened one introduction at a time. And of course, the numerous awards & selections my screenplay has received around the world played a crucial role — they made people in Hollywood stop, take notice, and truly listen.
Every year, tens of thousands of new screenplays enter the Hollywood pipeline, and only a tiny fraction ever make it into a real decision-maker’s hands. To have moved from being just one script among many to a true decision-stage is something I don’t take for granted. At this stage, there are only two outcomes: yes or no.
My mission — one might call it my life’s purpose at this moment — is to bring Lambada The Dance of Fate to the big screen. I believe in this story with every fiber of my being. And now, I trust the process, stay focused, and let time speak. This film is on its path, and I am confident the right partnership is now within reach.
– What would you ask event organizers in the film industry to do inorder to support the creativity of highly talented independent artistslike yourself?
In a world where emerging voices are often lost beneath the noise, independent artists are the heartbeat of innovation in cinema. If I could ask event organizers for one thing, it would be this: create spaces where talent is not merely seen, but truly recognized — where originality is valued as much as marketability.
Give highly talented independent storytellers the same spotlight, the same access, and the same conversations that established names receive. Not as charity — but as an investment in the future of film. Curate platforms where art leads, where risk is encouraged, and where unconventional stories are not politely applauded, but actively championed.
Provide mentorship labs, curated networking sessions, and genuine bridges to industry decision-makers — not just red carpets and photo ops. The next great cinematic movement will not be born from repetition, but from courage. Help us stand where our stories can breathe, be heard, and be given a real chance to find their home on screen.
Independent artists don’t ask for guarantees. We ask for opportunity — and when you offer it, we will rise.
– What vision or desire currently guides your artistic choices?
What guides my artistic choices today is a singular vision: to tell stories that refuse to disappear after the credits roll. I am drawn to narratives that carry emotional truth, that challenge silence, and that remind us of our shared humanity — even when life feels divided and loud.
My desire is to illuminate the extraordinary within the ordinary, to show that destiny often hides in the most unexpected corners of life, and that resilience can be a form of poetry. I choose projects that carry a heartbeat, that dare to confront vulnerability, and that celebrate the courage it takes to rise — again and again.
I do not chase trends; I chase truth. I pursue stories that will matter ten years from now, not ten minutes after a premiere. My compass is authenticity, my fuel is purpose, and my ambition is to create films that breathe — films that stay with you, not because they shouted the loudest, but because they whispered something your soul couldn’t ignore.
To film, film, and film. We have a structured production plan already in motion, focused on maintaining continuous output. A new feature documentary about water is currently in post-production, exploring the relationship between natural resources and human development. Porto das Monções is being remastered and expanded, updating both its narrative and technical quality. In addition, we have several fiction projects submitted to Brazil’s incentive laws, awaiting results. These will allow us to expand our shooting schedule and strengthen the production line of Palha & Cia Casa de Criação.
– What projects are you currently working on?
We are currently focused on securing resources to produce Doctor Hypotheses 2 – The Breakdown, the sequel to the internationally awarded feature film. The script is complete, and we are seeking sponsorship and distribution partnerships to begin production early next year. The project continues the visual and thematic approach of the first film, now delving deeper into the boundaries between sanity, power, and manipulation. In addition, we have several scripts ready for production: – Coffee and Milk, which explores racial and cultural blending in Brazil through the love story between an Italian immigrant and a Black woman in 1927–1928, set against the backdrop of the Sacco & Vanzetti execution in the United States. – Commit Me or Not, a comedy about the misadventures of polyamory and the emotional dilemmas of contemporary relationships. – Berimbau, a children’s feature full of Brazilian rhythm and culture. – The Three Mosquitteers, a children’s adventure set in dark times, where humor and imagination become acts of resistance. – Duzinda, a period drama that follows the journey of a woman amid Brazil’s political and social transformations from the 1930s to the 1950s. Our focus is to expand partnerships with the private sector and international co-producers, maintaining a clear commitment to a cinema that combines strong content with Brazilian identity.
– What would you ask event organizers in the film industry to do in order to support the creativity of highly talented independent artists like yourself?
I would ask them to expand the spaces for dialogue and real opportunities for independent cinema. Talent needs structure, and creativity only thrives when it finds concrete paths for production and circulation. Festivals and film events play a vital role in promoting works, but they should also establish permanent channels that connect filmmakers, investors, distributors, and exhibition platforms. Independent cinema fuels the entire audiovisual chain with new languages and narrative formats. To strengthen this ecosystem, it’s essential to create real access to markets, resources, and visibility, with fewer bureaucratic barriers and more predictable processes. Supporting independent cinema means investing in diversity, innovation, and the sustainable future of the industry.
– What vision or desire currently guides your artistic choices?
I have been developing a language that combines magical realism, humor, and social commentary—elements deeply rooted in Latin American tradition. This aesthetic emerges from historical contexts marked by contradiction—dictatorships, inequality, and resistance—yet finds in imagination a form of liberation. I approach the screenplay as the foundation of a strong audiovisual work, where every image serves a narrative purpose. I strive to compose frames with contrast, depth, and rhythm, drawing inspiration from Caravaggio’s use of light and shadow, applying it to the creation of atmosphere, character, and visual storytelling. The goal is to produce films with a distinct visual identity, solid structure, and genuine potential to connect with diverse markets.
My expectations for 2026 are that my feature –length fiction screenplay published by Edilivre Editions in France (276 Awards Winner) about templar’s Grail, the Priory of Sion and the treasure of Abbe Sauniere will finally be realized, either as a three –hour blockbuster film or on a platform like Netflix in several episodes .
– What projects are you currently working on?
I have just published “ the Book of Wonders” with Book Envol Editions. This is my seventh historical book about Rennes the Castle with the first chapter dedicated to the third secret of Fatima , interspersed with my mystical and mediumistic poetry. I am currently composing a metaphysical and mediumistic tale related to the idea that creativity can transcend time into eternity.
– What would you ask event organizers in the film industry to do in order to support the creativity of highly talented independent artists like yourself?
I would ask event organizers in the film industry to take a little more account of the talent of independent creators and to take the time to listen to their original way of working.
– What vision or desire currently guides your artistic choices?
Currently my artistic aspirations are guided by the search for my feature length fiction screenplays, such as the one about Camille Claudel’s new triumph, published by Edilivre, while also playing the role of Camille Claudel or Florence one of the heroines, medium and treasure hunter in my screenplay about Rennes the Castle . And then the ideas are like lands that renew themselves forever, a royal tomb are these words that rise into ideals . For from the sky fall keys of knowledge from a primordial time, an innate time adorned with precious stones. Gold, silver, bronze, crystal, a seven-branched candlestick, representing the pluralistic knowledge within oneself. We don’t change, except that the little girl I was fishes for stars in the pond of Knowledge. Ultimately, it’s about achieving self –knowledge through thousands of contemplative desires that pass through the mirror of time. Hence the birth within oneself of a creativity that aligns with beauty. Ultimately, the visible power of a well- formed composition is revealed. Also, the water of knowledge that flows from the walls of time . Geysers of diamonds.
The feet of Christ‘s throne which are living watchmen. And Sleeping Beauty inspired by the idea, has awakened.
As Cannes 2026 approaches, filmmaker Gary Mazeffa stands on the verge of unveiling Asherah: A Love Odyssey — a work described as mythic, feminine, and fearlessly independent. It is both a film and a movement, a visual odyssey that fuses sacred symbolism with the language of modern cinema. We spoke with Mazeffa about his vision for 2026, his creative process, and the evolving role of independent filmmakers in a rapidly changing industry.
What are your expectations for 2026?
Gary Mazeffa: 2026 is the year of completion — both for the film and for me personally. After years of development, production, and refinement, Asherah: A Love Odyssey will finally meet its audience. I’m not just hoping for recognition; I’m hoping for resonance. My wish is that viewers walk away with the sense that cinema still has the power to reveal something sacred — that independent art can be both intimate and cosmic in scope.
I expect 2026 to be a turning point for Q2 Films as well — establishing a presence on the world stage at Cannes and beginning a global conversation about myth, femininity, and creative renewal.
What projects are you currently working on?
Gary Mazeffa: We’re finishing post-production on Asherah right now — refining the sound, finalizing music cues with our composer, and locking the visual effects that carry the film’s closing image. Alongside that, I’m developing The Asherah Dialogues, a multimedia extension of the film — part spoken word, part visual essay — where we continue the philosophical and emotional threads the film opens.
I’m also expanding our online ecosystem — the Asherah Movement — which connects audiences through essays, video reflections, and imagery that explore completion, creativity, and the divine feminine. These projects together form one living universe.
What would you ask event organizers in the film industry to do to support highly talented independent artists like yourself?
Gary Mazeffa: I’d ask them to remember that creativity doesn’t always come from capital. It often comes from necessity, from vision, from the refusal to wait for permission. So give that vision a seat at the main table — not just in “emerging voices” sidebars.
Festivals and markets should create pathways for independent films that take risks — artist residencies, mentorships, even micro-grant showcases — and foster spaces for dialogue rather than competition. Imagine a Cannes where an independent filmmaker can talk about mythology, sound, and philosophy alongside their screening — that’s the kind of ecosystem that keeps cinema alive.
What vision or desire currently guides your artistic choices?
Gary Mazeffa: Completion. That’s the word that guides everything. Asherah is about the completion of the feminine principle — the return of what was left out of creation. My artistic vision is rooted in reconciliation: between the human and divine, science and spirit, man and woman, creator and creation.
Every frame I make tries to restore a sense of wholeness — to remind us that we’re part of something vast, beautiful, and unfinished. My goal isn’t to escape reality but to complete it.
Asherah: A Love Odyssey is slated for completion in late 2025, with its worldwide premiere planned for the Cannes Marché du Film 2026. Through this project and beyond, Gary Mazeffa continues to prove that myth and meaning still belong at the heart of cinema.
I have a couple of projects I’d like to tackle, but they’re very difficult to make; both were written a while ago. One requires, as usual, my sole dedication, because I’ve completed both the screenplay and the storyboard, subject to any changes during production, of course. The other is also ready at the script level, but I wouldn’t be involved as the full author of the work, as it would require the involvement of other people, in particular for an upcoming crowdfunding initiative, and it needs time to organize, it should be on Indiegogo.
– What projects are you currently working on?
I’m starting to supervise the first one and think about it. A lot of preparation is needed for this kind of thing; it’s important to think about how to make all the scenes, see what might work, everything is still in a phase I like to call “theater of the mind.” My last two animated works took a long time to make, and even “D.W. Griffith: The Silent Era,” my third documentary, required months and months of research.
– What would you ask event organizers in the film industry to do in order to support the creativity of highly talented independent artists like yourself?
I don’t think I’m particularly talented, otherwise I’d do even more, but I do believe I have a strong drive to improve my situation. I would have preferred to win cash prizes for my work; I’ve even chosen a few festivals that offer them as prizes, but so far, everything has been done at my own expense, with very little money. For various reasons, I can’t currently travel outside of Italy because I still have so many responsibilities here, and I don’t have the capital to cover such expenses. To the question, “What could I ask of the film industry to support me?” I answer that if companies like Netflix acquired the rights of my documentaries, for example, paying me even though they’re available on other platforms, where there’s no advertising and therefore fewer views, perhaps the situation could improve. But I also believe there’s a lack of interest in the topics I address, which may be very interesting to expert juries but not to the general public. So, a reasonable offer would be needed to acquire the rights to at least my three documentaries, perhaps from American television channels or something along those lines. As for my two animated shorts, I tried to showcase my style of direction as well as the themes that are dear to me. But specifically in animation, developing this on a large scale alone is impossible. These two animated shorts could also be of interest to some American television channels.
– What vision or desire currently guides your artistic choices?
These have been difficult years for me personally. I believe cinema saved me, and I have reciprocated by responding through the same medium to continue to love.
What are my expectations for 2026? Definitely to continue studying to become a better artist, to experiment, to be a better and fairer person, even towards others, despite everything around me. To have the strength to face future challenges, both in art and in life itself. But for me it’s the same thing because art IS MY LIFE! I hope in 2026 to be able to create something new, something the public doesn’t know but that resonates with them, something that can touch people’s souls, to leave a positive mark in a world full of negativity. I hope in 2026 to have a real turning point in my career, that can raise my limits and that I can reach them. I hope to meet serious people, unique people, with true artistic goals, honest people who don’t make fun of anyone, honest and humble people despite their talent. And I expect to further broaden my horizons and my journey!
-What projects are you currently working on?
I have two projects I’m working on. One project will be a tribute to a great Italian actor, who has inspired me for many years. Only great artists could understand him. A true revolutionary who, despite everything, always showed his power. On stage, he never acted, but was himself. For me, a great role model and a true and unique artist: the great Carmelo Bene. I will recite some Shakespearean acts, adapted by him, and a reading of some verses from Dante Alighieri’s Inferno, all in his style. And another project, based on a poem by the great Mikhail Lermontov, entitled THE NOVICE, tells the story of a man who confesses his sins and prepares for religious life, but first seeks the freedom of his soul and his inner light. A project very dear to me, which I’ve had in mind for a year. Now I’ve reached the right maturity and culture to do it. Both were filmed on stage. I’ve been attached to the theater since I was a child. Theater is my life, I’d die for it. It’s always been my dream to combine theater and film, and now I think I’ve achieved it, but there’s always room for improvement. I hope these two projects turn out as well as my previous ones. Both will be wrapped up in one film…one project.
-What would you ask event organizers in the film industry to do in order to support the creativity of highly talented independent artists like yourself?
They should listen to us, give us our artistic freedom, give us at least one real chance to play well. They should have a broader, not narrower, vision; they should be hungry for knowledge and emotion. They should help young people gain more self-esteem. Above all, they should not be vulgar and believe in us more. Even if we’re original, that doesn’t mean we’re wrong.
-What vision or desire currently guides your artistic choices?
I don’t want to be one of the greats, I don’t seek great fame, I don’t want to be a superstar, there are too many of those. I don’t want to be the heir of this or that.
I’m working and studying to be a stage animal in the future, an emotional beast, a fiery torch that warms the souls of the audience.
I don’t feel like an actor; actors pretend in one way or another. I want to tell the truth, the light, the dream that comes true. This is true art.
I don’t know where it will take me; life, unfortunately, is very unpredictable. But one thing is certain: I WILL NEVER GIVE UP. When I die, they’ll be able to say…” There was also a certain Vincenzo Amoruso.”
I believe that expectations are detrimental in the artistic field. Obviously, it is necessary to plan a project well so as not to get lost along the way, but I am convinced that the various solutions always come at the right time.
– What projects are you currently working on?
I always have lots of ideas in my head, and very often they are diametrically opposed to each other. I really like this because it keeps my interest alive in anything that can be a creative stimulus. The unexpected is my idea of a project.
– What would you ask event organizers in the film industry to do in order to support the creativity of highly talented independent artists like yourself?
I would ask them not to have expectations (referring back to the first question) so that they always remain open to the unexpected.
– What vision or desire currently guides your artistic choices?
Work through images and sounds. Cinema should be primarily this and not focus mainly on the story and the linear development of the plot. The image should guide the viewer in discovering parts of themselves that they may never have explored. I believe that the future of independent cinema will move in this direction.
As I look ahead to 2026, my main aim is to secure funding for my original scripts. I am hopeful that either a top-tier celebrity might come across my work and feel inspired to support the projects, or that a seasoned film executive producer will genuinely reach out to me and my company to discuss potential collaboration to bring my films to life.
To increase the visibility of my scripts, I am actively submitting to various film festivals and screenplay competitions, as well as using platforms like InkTip to showcase my work. I firmly believe that participating in these festivals will help my scripts gain the recognition they deserve.
Living in Los Angeles, I am often told I have an advantage as a screenwriter because of the creative landscape here. However, the reality is that many aspiring writers flood this market, and the challenge lies in making the right connections with industry professionals who have the influence and resources to help bring projects to fruition. Networking in this environment has been quite challenging, and I have faced significant difficulties in reaching key individuals who can support my work.
To this end, my publicist has worked tirelessly to send my pitch decks and press kits to a wide range of industry figures, including notable names such as Rae Sanchini, Noah Baumbach, Lawrence Bender, Sarah Bradshaw, Don Hahn, Michael Fottrell, David Streit, Kathryn Busby, Jay Leno, Mark Cuban, Francis Ford Coppola, Martin Scorsese, Brad Pitt, Angelina Jolie, Jennifer Aniston, Richard Bronson, Ridley Scott, and many others. I hope this outreach will lead to fruitful conversations and potential collaborations.
Furthermore, my entertainment attorney has shared my press kit, scripts, synopses, and loglines with prominent agents and executives including Angie Lucania, Sean Dubravac, Jack Whigham, Steve Levine, Brian Lourd, Ariel Emanuel, Wyatt Dillion, Patrick Whitesell, Mcall Koenig, Dan Aloni, Boomer Malkin, Connor Armstrong, and Amanda Hacohen, among others. I genuinely believe that any of these talented individuals could play a vital role in helping me secure funding or support for my upcoming projects.
What projects are you currently working on?
My ongoing projects include The Hallmark Couple, Only In Malibu, Gold Glory & Nobility, and my latest script, Malibu Madam, which I completed earlier this year.
The Hallmark Couple is a biographical drama exploring the notorious relationship between Jeffrey Epstein and Ghislaine Maxwell. This narrative compellingly unpacks how these two individuals transitioned from lovers to co-conspirators in a web of deceit, greed, and exploitation. As we follow their toxic romance and tragic downfall, I aim to highlight the wider implications of their actions on society.
Switching gears, Gold Glory & Nobility transports viewers into a fantastical world where a queen named Mirage, cursed for her selfishness, undergoes a transformation from regal figure to a mere relic of the past. The story unfolds through the eyes of a determined ballerina named Sherri, who, alongside her eclectic companions, encounters enchanting sirens, greedy enchantresses, and monstrous challenges. This adventure intertwines magic and mortality, illustrating that nobility isn’t solely about lineage but also about the choices we make.
Moving into drama, Only In Malibu reveals the glamorous yet dangerous world of love and ambition. Lilith, a District Attorney, finds herself caught in a perilous love triangle with Mark and his brother Jimmy. As both men delve deeper into her life, things take a darker turn, culminating in a haunting conclusion that explores the costs of desire and ambition in a superficial society.
Finally, Malibu Madam tells the story of Olivia, a spirited young woman with dreams larger than her circumstances. Through creating an elite escort service, Olivia and her companions navigate the complexities of societal expectations, female empowerment, and friendship. Over time, Olivia’s journey evolves from escorting to screenwriting, illustrating how success can be achieved in both personal and professional realms.
I believe each of these scripts offers compelling stories ripe for screen adaptation, reflecting contemporary societal issues alongside timeless human dilemmas. I am enthusiastic about their potential and would love to explore support in bringing these stories to life—whether through funding, connections, or industry referrals.
What would you ask event organisers in the film industry to do to support the creativity of highly talented independent artists like yourself?
The landscape of the film and television industry is incredibly competitive, and the success of a script often hinges not just on its content, but on the willingness of others to share and advocate for it. Having been fortunate enough to create a body of work that I believe resonates with audiences, I am eager to amplify its visibility and reach a wider audience. It would mean a great deal to me if event organisers could help in promoting my scripts through the appropriate channels.
Here are a few ways that support could make a meaningful difference:
Promotion via Networks: To share my scripts within network through newsletters, social media, or websites, it would significantly help in raising awareness. I believe that the more people who hear about my work, the more opportunities will arise.
Press Coverage: Any press coverage or features you can provide would be invaluable. Positive press not only increases visibility but also lends credibility to my work, encouraging others in the industry to take a closer look.
Industry Referrals: Connections and relationships with producers, directors, or agents interested in my scripts,referrals would be extremely beneficial. Even a warm introduction can open doors to exciting opportunities.
What vision or desire currently guides your artistic choices?
As a storyteller, I believe every experience, no matter how small or seemingly insignificant, plays a crucial role in shaping my understanding of the world and influences my writing. Life is a continuous tapestry of moments, emotions, and lessons that serve as a wellspring of inspiration. The joys, challenges, and transformations I’ve encountered have all found their way into my work, allowing me to craft narratives that resonate more deeply with audiences.
Over the years, I have realised that my own experiences provide rich material for characters and plots. Whether it’s the exuberance of childhood or the complexities of adult relationships, I draw upon the nuances of my life to create authentic and relatable stories. When writing for children, I particularly aim to capture their sense of wonder and imagination. My goal is to evoke the same joy and curiosity I felt as a child, fostering connection and understanding.
Writing screenplays involves translating emotions into a visual medium, which presents its own challenges and rewards. Through film, I aim to portray universal themes that connect people from various backgrounds and walks of life. Understanding the profound struggles and triumphs we all face allows me to craft stories that entertain while also inspiring reflection and discussion.
A key life experience I draw from is the transformative power of storytelling itself. I have seen how stories can bring people together, foster empathy, and offer solace. As a children’s author, I cherish the moments I can introduce young readers to new worlds and ideas through words. I believe stories can empower children, ignite their imaginations, and encourage them to see beyond their immediate realities.
My background has also shaped my perspective on diverse experiences. I strive to include varied voices and perspectives in my work, as I believe representation is crucial in creating an inclusive literary landscape. Each character I develop and story I craft reflects the richness and diversity of life. By sharing these stories, I hope to promote greater understanding of our shared humanity.
In conclusion, my life experiences are the guiding force behind my artistic vision. They deepen my writing and help me create stories that are authentic and meaningful. Through my work as a screenwriter and author, I aim to explore the complexities of the human experience, to connect, educate, and inspire viewers and readers alike.
Five years ago, when the WILD FILMMAKER adventure began, I wrote down a list of names of cinema personalities I hoped to interview one day. At the very top of the list of film critics was Serge Toubiana, for the joy I felt reading the biography of François Truffaut he co-wrote with Antoine de Baecque.
Today is a special day for the WILD FILMMAKER Community, whose mission, beyond discovering independent filmmakers from all over the world, has always been to help preserve the memory of cinema history. For me, it’s a dream come true to welcome to the WILD FILMMAKER Community Monsieur Cinéma himself, Serge Toubiana!
Who is Serge Toubiana?
I am a former film critic (for Cahiers du Cinéma, from 1974 to 2000). I was the Director of the Cinémathèque Française (from 2003 to 2015), and the author of numerous radio programs on cinema (for France Culture). I have also directed a few documentary films (on François Truffaut, Isabelle Huppert, Amos Gitai, Gérard Depardieu) and written several books: a biography of François Truffaut co-written with Antoine de Baecque (1996, Gallimard), a book on Yasujiro Ozu co-written with the novelist Nathalie Azoulai — Ozu et nous (2021, Arléa), and other works such as Maurice Pialat, Les fantômes du souvenir (2016, Grasset), L’Amie américaine (about Helen Scott, 2020, Stock), Les bouées jaunes (2018, Stock), the correspondence between François Truffaut and Helen Scott (1960–1965) — Mon petit Truffe, ma grande Scottie (2023, Denoël), Le fils de la maîtresse (2022, Arléa), and most recently On ne connaît du film que la scène des adieux (2025, Calmann-Lévy).
The biography of François Truffaut, which you wrote with Antoine de Baecque, deeply fascinated me. What does the filmography of the director of The 400 Blows represent to you?
François Truffaut is a filmmaker I discovered during my adolescence in Grenoble, where my family lived in the 1960s. I discovered his films (Stolen Kisses, Bed and Board, Two English Girls and the Continent, etc.) at the same time as those of Jean-Luc Godard (Pierrot le Fou, Masculin Féminin, Two or Three Things I Know About Her, La Chinoise, etc.). My feelings were mixed: with Truffaut, I felt that his films contributed to my emotional education especially through the character of Antoine Doinel, played brilliantly by Jean-Pierre Léaud, while with Godard, his work shaped my political and artistic education. The combination of the two was immensely stimulating for me.
In the early 1970s, I moved to Paris to study cinema at Censier–Paris 3, where Cahiers du Cinéma critics (Serge Daney, Pascal Bonitzer, Pascal Kané, Jacques Aumont) were teaching. I began writing for the magazine during its politically engaged period (1972–1974), when it was openly Marxist-Leninist and enthusiastic about the Chinese Cultural Revolution. It wasn’t the best period in its history, but I learned a lot — especially from Serge Daney, who became my mentor.
In 1974, Daney took over the magazine to steer it back on track, breaking away from ideological dogmatism. I helped him as his assistant or deputy. In 1975, I convinced him to reconcile Cahiers du Cinéma with François Truffaut, with whom the magazine had fallen out — his films were no longer covered. We met Truffaut at his office at Les Films du Carrosse, and that meeting was decisive for me. From then on, I worked to restore the relationship between Truffaut and Cahiers du Cinéma, which I eventually succeeded in doing, as evidenced by the long interview the filmmaker gave the magazine in June 1980.
A lasting relationship and deep fascination grew from there for a man who was both secretive and generous. His death in October 1984 was a terrible shock to cinephiles worldwide. I felt as though a life and a body of work had been cut short and as though I had lost someone essential. Since his death, I have constantly sought to fill that void, that absence, that mourning. That’s why I wanted to write his biography. Antoine de Baecque had the same project, and in 1993 we decided to combine our efforts. It was published in 1996 by Gallimard and translated into many languages. It was a monumental task, based on a deep analysis of his work and his archives. Truffaut kept everything, which helped enormously. But one also had to possess an intimate understanding of his work, his family story, and his inner world.
Some filmmakers, rarely mentioned today, were nevertheless crucial to the evolution of cinema. One of them is Jean Vigo. Do you think it is possible today to renew the storytelling of past cinema to bring younger audiences closer to film history?
I’ll answer this question by connecting it to your previous one: François Truffaut was a passionate admirer of Jean Vigo. This is evident in the recurring presence of Jean Dasté, an actor from Zero for Conduct and L’Atalante, in several of Truffaut’s films — The Wild Child, The Green Room, The Man Who Loved Women.
Having directed the Cinémathèque Française for about a dozen years (2003–2015), I believe it is both necessary and vital to screen films from the past, such as those by Vigo, in the best possible conditions, with restored copies, to introduce them to younger audiences. Today, there is a genuine enthusiasm for heritage cinema, both in cinematheques and festivals, such as the Cannes Film Festival’s “Cannes Classics” section , as well as on cinephile streaming platforms.
We are fortunate in France to have this culture and passion for classic cinema from around the world, and to live within a dynamic and vibrant cinephile tradition.
With artificial intelligence, Orson Welles’ “The Magnificent Ambersons” is being restored. What is your opinion on cinema’s embrace of AI?
I tend to be wary of this obsession with “retouching”, re-editing or altering films, especially when the original authors are no longer alive. It’s crucial to preserve the integrity of the works their duration, format, and artistic truth.
I am convinced that Artificial Intelligence will profoundly transform our lives on every level: health, behavior, lifestyle, systems of representation, even our literary and artistic passions. But we must be careful never to “tamper” with the truths of the past.
World cinema today seems unable to renew itself aesthetically: we are overwhelmed by remakes and films that endlessly reference the classics. Do you think this reflects a lack of courage from filmmakers, or is the industry simply uninterested in promoting experimentation?
I don’t need to draw you a picture you can see, as I do, that the world is in full transition. We don’t really know where it’s all heading, which breeds anxiety. Young people live with this anxiety in their own way in a kind of collective headlong rush. Can we really blame them? I don’t think so.
Cinema today is not confident enough in its future to be inventive, carefree, or self-assured. Major studios are on edge, fearful of being consumed, as many already have been, by massive digital and industrial conglomerates. Mainstream American cinema survives through its franchises — Disney, Marvel, and the like. Independent cinema survives, but barely.
The only thing that truly interests me are independent filmmakers, those who, in extremely difficult conditions, continue to carve their path on the margins of the system. This is true in America, Europe, and Asia alike. Today, it takes real courage, both artistic and political, to persist and make great films.
I recently saw Richard Linklater’s Nouvelle Vague — twice, in fact — and was amazed by it. It recaptures the youth, irreverence, and creative spirit that Godard and the original Nouvelle Vague had at the start. There’s even a touch of “amateurism” that I find refreshing — a brilliant sense of improvisation, values I believe should be rehabilitated.
Auteur cinema, whether French or otherwise, suffers too often from an “air of seriousness” that makes it neither appealing nor engaging. Only young filmmakers, women and men alike, will be able to reconnect with that spirit, a blend of talent and lightheartedness.
What do you dislike about contemporary cinema, and what would you change?
Cinema has become or seems to have become a grave affair, too serious, perhaps because of the state of the world, the numerous global conflicts, and cultural policies that haven’t evolved in forty years.
As a result, auteur cinema lives on its past achievements, anxious about its future, often defensive, lacking in spontaneity and lightness. One symptom of this is the increasing length of films as if filmmakers (writers and directors) fear being misunderstood, and no longer trust cinema itself, in its very form, to tell their stories. To be continued.
