WHO AM I?

For more than twenty-five years, I have worked at the crossroads of film journalism, documentary filmmaking, photography and film consulting, with particular expertise in Asian cinema, especially Hong Kong cinema.

What began with journalism and interviews in the early 2000s gradually expanded into documentary production, home-video supplements, photography, archival research, film acquisition and restoration. Along the way, I have worked with distributors, publishers, festivals and cultural institutions in France and internationally, while building an extensive audiovisual and photographic archive documenting filmmakers, actors and other film industry professionals.

Today, my work is driven by the same passion: documenting cinema, preserving its history and sharing the stories of the people who made it.

DOCUMENTARY FILMMAKING

I began directing and producing DVD bonus features in 2003, initially for Wild Side and its Shaw Brothers collection, before collaborating with many other French and international distributors.

Over the years, I have produced interviews, documentaries, video essays and archival features for labels including StudioCanal, Carlotta Films, Arrow Video, Spectrum Films, Eureka Entertainment, Criterion, 88 Films, Imprint, Plaion, The Jokers and Vinegar Syndrome, among others.

My approach goes beyond promotional content: I see interviews and bonus features as a way of preserving first-hand testimony from filmmakers, actors and technicians, while providing audiences with historical context and access to stories that might otherwise disappear.

 

PHOTOGRAPHY & VIDEO

I have worked professionally in photography and video since the early 2010s, mainly within the film and festival world.

For several years, I worked as a videographer for the Neuchâtel International Fantastic Film Festival (NIFFF), filming and editing interviews, events and original video content throughout the festival. In Paris, I have also worked as an official photographer for L’Étrange Festival, documenting filmmakers, actors, screenings, premieres, masterclasses and other festival events.

Over the years, this work has developed into an extensive visual archive of film personalities and events. In 2024, part of my photographic and personal archive devoted to Hong Kong cinema was presented in an exhibition in Lyon.

 

FILM CONSULTING & RESTORATION

Alongside my filmmaking activities, I work as a film consultant specialising in Asian cinema, particularly Hong Kong cinema.

Since the mid-2000s, I have advised distributors on acquisitions, recommended films, conducted archival and rights research, and worked directly with producers, distributors, archives and rights holders.

My activities now also include film restoration and heritage projects. I supervised the restoration of Lo Lieh’s The Black Magic with Buddha (1983), working in collaboration with worldwide rights holder Karmax-910, L’Immagine Ritrovata Asia for the original film scan, French distributor Le Chat qui Fume for the restoration and French release, and Mondo Macabro for its North American distribution.

I am currently also involved in the rediscovery and restoration of rare Korean films produced by filmmaker Chung Chang-wha, in collaboration with the Korean Film Archive (KOFA), which preserves the surviving original film elements.

I am also regularly invited to present films and participate in talks and discussions at cinematheques, festivals and cultural institutions, including La Cinémathèque française and Le Forum des Images.

 

JOURNALISM & ARCHIVES

My career began with film journalism in the early 2000s, first online and later for magazines including DVD Vision, Mad Movies, Impact, Mad Asia, Coyote Magazine and Cinemateaser.

Journalism gave me the opportunity to interview hundreds of filmmakers, actors and industry professionals, gradually creating an audiovisual archive spanning more than two decades.

Today, I am bringing part of this material back to life through CineFlamme in French and CineMagma in English, combining archival interviews with new conversations, video essays and original editorial content.

These projects allow me to connect twenty-five years of archives with the work I continue to produce today.