– What are your expectations for 2026?
My expectations for 2026 are to build on the momentum of the last few years and continue to grow every part of my creative ecosystem. I want to expand Cinemagi Productions with new original projects, continue to grow the international success of Urban Eats MTL, and strengthen platforms like Rising Stars and Elevate the Mic that showcase emerging talent. 2026 is also the year I officially launch The Academy of Koutroubis — a major step in sharing the knowledge I’ve gained over my career and giving new storytellers the tools they need to succeed. I expect to form new partnerships worldwide, push my work into new markets, and continue to grow both as a filmmaker and an educator. My focus is on elevating stories, inspiring artists, and proving that with a camera and conviction, anything is possible. If 2025 was about building, then 2026 will be about elevating.
– What projects are you currently working on?
Right now, I’m in one of the most creatively exciting phases of my career because I’m developing multiple projects across film, series, education, and publishing. My first feature film, Whispers in the Walls, is moving forward — a psychological thriller that blends surrealism, emotional depth, and tension in a way that truly pushes me as a filmmaker. I’m also incredibly proud to be producing a new web series created by one of my graduates, Nickiesha Flemmings, titled The Unconventional Dream. Supporting emerging creators and helping their visions come to life is something deeply important to me.
At the same time, I’m starting pre-production on another feature film, Ta Kala Pedia (The Good Children), a contained, character-driven drama set entirely in a Greek church basement. It’s one of the most ambitious and emotional scripts I’ve written. I’m also moving forward with pre-production on Cleaning Up Murders, a darkly comedic mystery series I created that unfolds entirely within a single house. It’s a project built around tension, wit, and unexpected twists.
Beyond these major productions, I have several short films that I want to shoot this year, each exploring different styles and cinematic techniques. I’m also developing Macabre, an anthology series based on terrifying and eerie Quebec horror stories — a new way to highlight the folklore, myths, and dark legends of our province.
On the educational side, I’m preparing to officially launch The Academy of Koutroubis, my online film school dedicated to teaching writing, directing, producing, cinematography, and the real techniques behind the craft — chapter by chapter, book by book, and through practical assignments. And alongside that, I plan to release two to three filmmaking books that I have already written but have not yet published. These books break down the storytelling formulas, techniques, and creative systems I’ve used throughout my career.
Every project I’m working on reflects where I am creatively: pushing boundaries, supporting new talent, expanding education, and building a slate of stories that challenge, inspire, and resonate.
– 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 to truly open the doors for independent artists, to give everyone a fair chance to shine. Talent is everywhere, but opportunity isn’t. Independent creators often work with limited resources but boundless imagination, and what we need most is visibility, encouragement, and a platform that values originality over politics. Politics have no place in the arts. The moment government or institutions dictate what stories should be told or how they should be told, that stops being art, that becomes propaganda. Art should challenge, provoke, inspire, and reflect the human condition freely and honestly. So my message to organizers is simple: support authenticity. Celebrate diversity in storytelling. Provide spaces where new voices can be discovered. And judge the work based on creativity, craft, and passion — not on political checklists or industry favoritism. If we remove those barriers and let the work speak for itself, the industry will not only grow, it will evolve.
– What vision or desire currently guides your artistic choices?
Right now, my artistic choices are guided by a deep commitment to studying the great filmmakers of the past while building the future of my own cinematic voice. I believe that to build anything meaningful, you need a solid foundation, otherwise it collapses. And there is nothing more solid than learning from the masters. Being a master has nothing to do with fads or trends. It’s about creating work that still stands 50, 75, even 100 years later. Techniques that continue to move audiences, generation after generation, are the ones worth studying, protecting, and passing on. Those timeless principles are the backbone of my teaching and the core of my own creative process. So my vision is simple: honor the past to shape the future. I absorb everything I can from the filmmakers who came before us, and then I apply those techniques with my own voice, my own stories, and my own experiences. That balance, respect for the craft and the courage to innovate is what guides every choice I make as an artist.
