I'm a bilingual French-American development producer working at the intersection of fiction, documentary, investigative journalism and archival research.
I develop fiction and documentary projects with filmmakers, production companies, NGOs and mission-driven organisations — bringing story architecture, archival research and pitch materials that move projects from the first spark to green-light. My work sits between the editor's desk and the field: reading treatments in Paris one week, coordinating archives in New York the next, tracking a source through a Spanish port city the week after.
I've had the chance to contribute to features and documentaries premiered at Venice, Sundance, Tribeca and Hot Docs, and to long-form investigative work published with The New Yorker and The Guardian. Whatever the format, the job is the same: help a powerful story find the frame, the funders and the audience it deserves.
"Alwaysrememberthatthereasonthatyouinitiallystartedworkingwasthattherewassomethinginsideyourselfthatyoufeltthatifyoucouldmanifestitinsomeway,youwouldunderstandmoreaboutyourselfandhowyoucoexistwiththerestofsociety."
Learned to chase a story and get it right.
A return to fiction because I believe a well-made story can reach deeper than the facts alone.
On Dina Amer's You Resemble Me I wore many hats — from assistant writer to assistant director — following the film from the first rehearsal shoots all the way to its premiere at the Venice Film Festival, and learning, up close, how a film actually gets made.
Started working remotely on research, investigative journalism and archival research — The Outlaw Ocean Project, JR's Paper & Glue, My Name is Gitta, and The Shepheard and the Bear.
From pitch decks to full rewrites — shaping scripts, coaching writers, and getting projects across the finish line. Projects include Sam André's Mary's Way on FGM in Kenya, Dina Amer's Cain & Abel fiction, and Frontline for Peace, a documentary on Kharkiv.
Before anything else, I take the time to know a project inside out — the intention behind it, the director's true reason for telling it, the question underneath the question. I read every draft, every note, every source until I understand why this story has to exist, and only then start shaping how it should reach the world.
I work on projects that resonate — with a moment, with an audience, with the people who lived them. Fiction or documentary, feature or series, the test is the same: does this story leave a mark, and is it being told with the care its subjects deserve? If yes, I'm in.
A pitch deck isn't a summary — it's the first cut. Type, image, rhythm, silence. Long before a frame is shot, funders, actors and partners fall in love with a document. I treat every treatment, deck and director's statement as a piece of the film itself, designed and edited with the same care.
A story doesn't belong to one language or one territory. Bilingual French-American, based between Paris and Sevilla, I work on localisation, adaptation and cultural translation — not just words swapped one-for-one, but rhythm, humour, reference and register reshaped so a film lands as intended, wherever it plays.
