#jp bernier

[mlentertainment]

which could mean nothing.

[pattydia]

dinner in america bts shot by jp bernier

[leadmetothegardenbetty]

Kyle in Detroit while filming Dinner in America via JP Bernier’s instagram

[kylegfacepage]

CAROLINA CAROLINE

DIRECTOR: ADAM CARTER REHMEIER

CAMERA: JP BERNIER

PD: FRANCESCA PALOMBO

CAST: KYLE GALLNER AND SAMARA WEAVING

[twilightteamm]

📲 | #joeldavidmoore: So very excited to be returning to Mammoth Film Festival, with a film I directed! 'Some Other Woman' was shot on a quarantined island in the middle of the pandemic, with an incredible crew at the end of an exhausting 4 picture shoot. Extremely thankful for my talented cast (Amanda Crew, Tom Felton, #AshleyGreene Khoury, Rick Fox, Brooke Lyons, among others) my producing partner Max Osswald, DP JP Bernier and many dozens other great folk that stepped up for this occasion. Bravo to all!

#Balcony9Productions

[shinjukuinnvideo]

L.E.V. Festival 2017 from LEVFestival on Vimeo.

LEV Festival 2017, a new edition of audio-visual experimentation and contemporary avant-garde art taking place in Gijon (Spain).

This film marks the occasion of its 11th edition, which took place 27th to 30th April 2017 across several venues with a programme combining AV shows, installations, art residencies and electronic music performances.

Featuring: Hauschka, Nicolas Bernier, Kara Lis Coverdale, Skygaze, Olivier Ratsi, Factory Floor and Julia Kent.

Soundtrack (recorded live): Hauschka, John Beltran

Filmmaking: MIND THE FILM

levfestival.com mindthefilm.co.uk

Line-up 2017:

L.E.V. 2017 | LABORATORIO DE ELECTRÓNICA VISUAL

XI Festival Internacional de Creación Audiovisual de Gijón

Factory Floor Live A/V (DFA Records, Uk)

Byetone & Markus Heckmann present “Pilot” special live A/V (raster-noton, De/Ca) (world premiere)

Samuel Kerridge FLA Live A/V (Downwards, Uk)

Red Bull Music Academy presents Hauschka “What if” Live A/V (De)

Amnesia Scanner & Bill Kouligas present “Lexachast” (De)

John Beltran Live (Delsin, USA) (world premiere)

Lorenzo Senni (Warp, It)

Synkro (Apollo Recordings, Uk)

Logos Live (Keysound Recordings, Uk) (world premiere)

Nicolas Bernier presents “frequencies (synthetic variations)” (Ca)

Martin Messier presents “Field” (Ca)

Kara Lis Coverdale & MFO (Sacred Phrases, Ca/ De)

Container (Diagonal, USA)

Julia Kent (Leaf, Ca)

Kiki Hitomi (Jahtari, Jp)

IVVVO (Halcyon Veil, Pt)

Novi_sad & Ryoichi Kurokawa present “Sirens” (Sub Rosa, Gr/Jp)

Skygaze “Weightless Landscapes” A/V (Love Our Records, Sp) (world premiere)

Alex Augier presents _nybble_ (Fr)

Oscar Sol (Electronic Performers, Sp)

Octuvre (Contubernio Records, Sp)

Jägermusic presenta: Huias (Sonido Muchacho, Sp), RRUCCULLA and Ark9.

–

Installations

Olivier Ratsi “Onion Skin” (Fr)

Maotik “Aeryon” (Ca) (World Premiere)

Daniel Iregui “Control No Control” (Ca)

Martin Messier “Boîte Noire” (Ca)

Carlos Coronas “Lampyridae” (Sp)

–

Documentary

Geometría del Esplendor (Sp)

–

Lanna Club

Rob Hall (Gescom, Uk)

Komatssu (Sp)

[knedo]

L.E.V. Festival 2017 from LEVFestival on Vimeo.

LEV Festival 2017, a new edition of audio-visual experimentation and contemporary avant-garde art taking place in Gijon (Spain).

This film marks the occasion of its 11th edition, which took place 27th to 30th April 2017 across several venues with a programme combining AV shows, installations, art residencies and electronic music performances.

Featuring: Hauschka, Nicolas Bernier, Kara Lis Coverdale, Skygaze, Olivier Ratsi, Factory Floor and Julia Kent.

Soundtrack (recorded live): Hauschka, John Beltran

Filmmaking: MIND THE FILM

levfestival.com mindthefilm.co.uk

Line-up 2017:

L.E.V. 2017 | LABORATORIO DE ELECTRÓNICA VISUAL

XI Festival Internacional de Creación Audiovisual de Gijón

Factory Floor Live A/V (DFA Records, Uk)

Byetone & Markus Heckmann present “Pilot” special live A/V (raster-noton, De/Ca) (world premiere)

Samuel Kerridge FLA Live A/V (Downwards, Uk)

Red Bull Music Academy presents Hauschka “What if” Live A/V (De)

Amnesia Scanner & Bill Kouligas present “Lexachast” (De)

John Beltran Live (Delsin, USA) (world premiere)

Lorenzo Senni (Warp, It)

Synkro (Apollo Recordings, Uk)

Logos Live (Keysound Recordings, Uk) (world premiere)

Nicolas Bernier presents “frequencies (synthetic variations)” (Ca)

Martin Messier presents “Field” (Ca)

Kara Lis Coverdale & MFO (Sacred Phrases, Ca/ De)

Container (Diagonal, USA)

Julia Kent (Leaf, Ca)

Kiki Hitomi (Jahtari, Jp)

IVVVO (Halcyon Veil, Pt)

Novi_sad & Ryoichi Kurokawa present “Sirens” (Sub Rosa, Gr/Jp)

Skygaze “Weightless Landscapes” A/V (Love Our Records, Sp) (world premiere)

Alex Augier presents _nybble_ (Fr)

Oscar Sol (Electronic Performers, Sp)

Octuvre (Contubernio Records, Sp)

Jägermusic presenta: Huias (Sonido Muchacho, Sp), RRUCCULLA and Ark9.

–

Installations

Olivier Ratsi “Onion Skin” (Fr)

Maotik “Aeryon” (Ca) (World Premiere)

Daniel Iregui “Control No Control” (Ca)

Martin Messier “Boîte Noire” (Ca)

Carlos Coronas “Lampyridae” (Sp)

–

Documentary

Geometría del Esplendor (Sp)

–

Lanna Club

Rob Hall (Gescom, Uk)

Komatssu (Sp)

[sheilacwall]

Watsky – Limo 4 Emos [official video]

Learn how to rap like the pros

Buy iTunes gift card

,

I’M ON TOUR! TIX: http://georgewatsky.com/tour LISTEN TO MY NEW ALBUM: http://smarturl.it/complaint

LIMO 4 EMOS Director: Mike Dempsey Producer: Brad Simpson Production Company: Steel Wool Entertainment (http://www.steelwoolentertainment.com)

Director of Photography: Alan Gwizdowski 1st AC: Jonathan Rigattieri Gaffer: Ben Goldberg 1st AD: Justin Madriaga Key Grip: JP Bennet Swing: Isaac Han Production Designer: Liz Zwiebel Art Director: Katie Carey Makeup: Sonia Cabrera Set PAs: Sherry Shi, Emina Bidzan, Nand Mahasuwan, and Josh Ishizaki

Editor: Brandon Bernier Visual Effects: Tanner Merrill Color: RKM Studios

TALENT Emo Queen: Babylungs Guitar: Richard Bernard Drums: Ri Ri Keys: Norton Leufven Crowd: Emile Trudeau, Tricia Plain, Cruz Herrera

Song produced by Julian Le Additional production by Ryan Spraker Mixed by Pat Dicenso Mastered by Howie Weinberg

source

]

The post Watsky – Limo 4 Emos [official video] appeared first on Hip Hop World Music.

from Hip Hop World Music https://hiphopworldmusic.com/watsky-limo-4-emos-official-video/?utm_source=rss&utm_medium=rss&utm_campaign=watsky-limo-4-emos-official-video from Hip Hop World Music https://hiphopworldmusic.tumblr.com/post/187572375013

[onagos]

Skiing The Mealy - TRAILER from The Loners on Vimeo.

The Loners & Estski teamed up on an expedition to the untouched slopes of the Mealy Mountains in Labrador. A journey of first descents and pure remoteness.

A film by: Émile Dontigny

Featuring: Charles Bernier Thomas Thiery Olivier Dion JP Poulin Mathieu Martel Émile Dontigny

Screenings:

20.10.2018: iF3 Festival Montreal, Screening #8 @TAZ Skatepark Tickets: festivalif3.ltibooking.com/fr-CA/purchase-path/product-details/9855

24.10.2018: Soirée expédition Akami-Uapishkᵁ et ski d'aventures, @Temps libre Mile End, Montréal. For more information: facebook.com/events/714828468855537/

Special thanks to our sponsors: MEC - Black Diamond - NEMO Equipment - GUSTA - Biobon

facebook.com/lesloners

[societeaffaires]

Download Music For Free

https://ift.tt/2Kj0mhD

Avec sa nouvelle plateforme télé, Club Piscine présente un personnage haut en couleur, «véritable incarnation du logo et de la marque», dans une offensive signée Rouge Cardinal.  

Selon Martin Rathé, président de Club Piscine Super Fitness, cette campagne s’inscrit dans une volonté de changement, bien au-delà des communications.

«Ces dernières années, notre consommateur a grandement évolué et nous nous sommes fait un devoir de combler l’écart entre ses attentes et nos façons de faire. C’est pour cette raison que nous avons complètement revu l’offre produit et que nous nous penchons activement sur l’expérience d’achat. La communication devient l’extension et le moyen d’exprimer cette vision.»

Ainsi, Monsieur Club Piscine s’invite dans la cour des familles québécoises afin de présenter les produits et le style de vie qui reflètent bien le positionnement «100% plaisir» de l’entreprise.

«Il est temps pour nous d’assumer la marque telle qu’elle est: sympathique, drôle, familiale et accessible, toutes des caractéristiques qu’on retrouve chez Monsieur Club Piscine», ajoute Marc Gentile, vice-président des opérations.

Cette offensive télé évoluera toute la saison estivale et sera soutenue par des volet à la radio, numériques et en affichage.

[embedded content]

[embedded content]

[embedded content]

Annonceur: Club Piscine Super Fitness Agence: Rouge Cardinal Réalisation: Film Truck, Dan&Pag Direction photo: JP Bernier Production d’agence: Sandra Corbeil Colorisation: Post Moderne VFX: Studio Normal Mix et conception sonore: Studio Harmonie Musique: Apollo Music Store

Let's block ads! (Why?)

[subkulturrecords-blog]

L.E.V. Festival 2017 from LEVFestival on Vimeo.

LEV Festival 2017, a new edition of audio-visual experimentation and contemporary avant-garde art taking place in Gijon (Spain).

This film marks the occasion of its 11th edition, which took place 27th to 30th April 2017 across several venues with a programme combining AV shows, installations, art residencies and electronic music performances.

Featuring: Hauschka, Nicolas Bernier, Kara Lis Coverdale, Skygaze, Olivier Ratsi, Factory Floor and Julia Kent.

Soundtrack (recorded live): Hauschka, John Beltran

Filmmaking: MIND THE FILM

levfestival.com mindthefilm.co.uk

Line-up 2017:

L.E.V. 2017 | LABORATORIO DE ELECTRÓNICA VISUAL

XI Festival Internacional de Creación Audiovisual de Gijón

Factory Floor Live A/V (DFA Records, Uk)

Byetone & Markus Heckmann present “Pilot” special live A/V (raster-noton, De/Ca) (world premiere)

Samuel Kerridge FLA Live A/V (Downwards, Uk)

Red Bull Music Academy presents Hauschka “What if” Live A/V (De)

Amnesia Scanner & Bill Kouligas present “Lexachast” (De)

John Beltran Live (Delsin, USA) (world premiere)

Lorenzo Senni (Warp, It)

Synkro (Apollo Recordings, Uk)

Logos Live (Keysound Recordings, Uk) (world premiere)

Nicolas Bernier presents “frequencies (synthetic variations)” (Ca)

Martin Messier presents “Field” (Ca)

Kara Lis Coverdale & MFO (Sacred Phrases, Ca/ De)

Container (Diagonal, USA)

Julia Kent (Leaf, Ca)

Kiki Hitomi (Jahtari, Jp)

IVVVO (Halcyon Veil, Pt)

Novi_sad & Ryoichi Kurokawa present “Sirens” (Sub Rosa, Gr/Jp)

Skygaze “Weightless Landscapes” A/V (Love Our Records, Sp) (world premiere)

Alex Augier presents _nybble_ (Fr)

Oscar Sol (Electronic Performers, Sp)

Octuvre (Contubernio Records, Sp)

Jägermusic presenta: Huias (Sonido Muchacho, Sp), RRUCCULLA and Ark9.

–

Installations

Olivier Ratsi “Onion Skin” (Fr)

Maotik “Aeryon” (Ca) (World Premiere)

Daniel Iregui “Control No Control” (Ca)

Martin Messier “Boîte Noire” (Ca)

Carlos Coronas “Lampyridae” (Sp)

–

Documentary

Geometría del Esplendor (Sp)

–

Lanna Club

Rob Hall (Gescom, Uk)

Komatssu (Sp)

[nightmareonfilmstreet]

[Exclusive Interview] SUMMER OF ’84 Directors Talk Serial Killers and Sundance

I feel a certain pride when talking about directors from Quebec; Xavier Dolan and Denis Villeneuve are a few names that come to mind, but recently my attention has shifted to RKSS (RoadKill SuperStar). The trio, consisting of Anouk Whissel, François Simard and Yoann-Karl Whissel, started off making low-budget horror shorts with their friends, but later gained international recognition for their 2015 feature-length debut Turbo Kid.

Last week, RKSS premiered their second feature Summer of ‘84 at this year’s Sundance Film Festival. Produced by Gunpowder & Sky, Summer of ‘84 is a dark thriller set in an American suburb. Although it’s not fantastical like Turbo Kid, the movie still carries the signature style of RKSS that I’ve come to love. I got a chance to speak to two thirds of RKSS before their final screening at Sundance. Being a huge fan of Turbo Kid, I tried to set aside all my nerd excitement and keep my cool over the phone.

Chris Aitkens for Nightmare on Film Street: What’s it like returning to the Sundance Film Festival now that you’re more established as directors? Do you feel like rockstars?

Anouk Whissel: Not really, but we feel less like impostors, because we felt like we were out of place the first time, that we wouldn’t belong here.

François Simard: The first time we were a bit more shy. My English wasn’t that great. But we did it! This year, we felt more pressure, mainly because we’re returning with a very different movie than Turbo Kid. We were very nervous with the expectations from people who had loved Turbo Kid. This movie is very grounded, it’s the most serious movie we done so far, so we didn’t know how people would react to it.

NOFS: You had the world premiere on January 22nd, what are some of the things you’ve been hearing back from audience members and critics?

FS: The premiere has been insane, it really surpassed my expectations. So we’re very happy. The fans seem to love it. And we knew that some would love it, some would hate it, but nobody is indifferent. We’re happy about that. We were surprised by some of the critics who were really mean, but we don’t do this for them, we do this for the fans, because we’re fans too.

AW: And we got some nice critics as well, but the crowd is really showing us a lot of love, and they’re staying for the Q&As and we got some super cool questions and they’re hanging out with us after, they really love it, so we’re really thankful.

FS: It was the same with Turbo Kid, you can’t please everyone. It’s part of the game. But so far, we’re so grateful to be here and it’s been a blast. Every screening has been sold out and I think the one tonight (the last screening) is sold out too.

NOFS: From what I read, you got the script before this whole 80s nostalgia craze hit its peak with Stranger Things. How did you come across the script and how long ago was this?

AW: We came across the script in the summer of 2015, it was before we knew Stranger Things was happening. When they released the first poster, we were really bummed out. We thought “Oh no, they did it first!”

FS: And we were working on the project for one year at the time. But we saw that there was an audience for that kind of nostalgia and we got the greenlight soon after, very easily.

AW: Yeah, the popularity of Stranger Things really helped with launching our project. I was refusing to watch it for some time because I was so afraid that they would be too much alike. When I actually watched it, I was surprised because it’s really different. I was happy, I could relax and enjoy it.

FS: The only thing we changed was the reference to Dungeons & Dragons. But the kids are older, they drink, they swear, they only talk about sex, like we did in the 80s. It’s an indie thriller, there’s no supernatural stuff. It’s grounded in reality, which for us, makes it more scary. The tone is very different, so it’s its own entity. We’ve gotten good feedback from fans of Stranger Things, they wanted to see something different and they were grateful for that.

NOFS: I’m curious; did you grow up in the suburbs?

AW: Yeah, we did, actually. That’s why we felt so compelled by the script, because we recognized our friends and we recognized our games. We really felt attached to them because these kids are us.

FS: The only difference was that we were talking French, but it’s pretty much the same suburb, the same life. I would add that the reason this story is set in the 80s, it’s not because it’s trendy, we’re not trying to capitalize on the success of IT or Stranger Things, it’s because in the 80s in the suburbs, feelings of safety started to fade away. There were more abductions.

AW: Yeah, they were talking more about it in the news, so people started being paranoid and locking their doors. In the mid-80s, that shift started to happen. That theme is at the core of the story, that’s why it’s set in the 80s.

NOFS: Being in the suburbs, did your imagination ever run wild because there’s nothing better to do there?

FS: Yeah, we had no internet, no Facebook or social media. We had to hang out outside.

AW: I think everyone has had that weird neighbor who nobody really knows, who usually doesn’t like kids.

FS: Yeah, your dog would bring you a bone and you would think “Oh my god! There’s a body buried somewhere.” And when we read the ending (we won’t spoil it), that’s why we jumped into the project. And we didn’t plan for our second feature to be set in the 80s. It’s really because it’s so hard to have a movie financed so you need to be working on different projects. Turbo Kid 2 is one of them. But we didn’t want to do a sequel right after the first, because then we would have to do the third and the fourth, and we didn’t want to be only known as the Turbo Kid guys. We’re happy to have something different and to explore. That being said, Turbo Kid is our baby and we can’t wait to work on the sequel.

NOFS: Going back to Summer of ‘84, I noticed a lot of 80s references like the punk bands and the kids talking about Gremlins. Did you have to do research to make sure it was as historically accurate as possible or were the references all from memory?

AW: I think at first, it was from memory, but we double-checked everything to make sure there weren’t any references to bands or anything that came after the summer of ‘84.

FS: Even for the cars, we had to check if the cars were made before ‘84. So everything is legit.

NOFS: I really liked the mood of the movie, it’s very haunting and uncertain, you never know what’s going to happen. I feel the mood comes across very well thanks to the soundtrack provided by Le Matos (who also did the soundtrack for Turbo Kid). What’s your relationship with Le Matos?

AW: JP Bernier is one of the members of Le Matos, and he’s one of our best friends and our director of photography as well. We started working with him in 2007, I think. It was a while back, and at that time, he didn’t have his band. He created that band with Jean-Nicholas Leupi later on, and from that moment, they started to score our short films as well. We have a very strong relationship with him. It’s natural for us to bring them on board, and because JP is involved in the early process as a DP, I think the music is so connected to the image.

FS: He’s actually the fourth member of the band (RKSS). We’re so happy to have him. When we were younger, in the early 2000s, we started making shorts and we didn’t know anything about the technical side. We met JP because of Despised Icon (the death metal band from Montreal) and he made music videos for them and I was a huge fan. He saw our shorts and he said the only thing we need is a good DP. Since then, he’s been with us and he’s a good friend and we’ll try to bring him on board for every project.

Photo by David Sidaway of the Montreal Gazette. Notice the NAILS and Full of Hell tuques

NOFS: I noticed the Full of Hell patch on François’ hat and I think I saw Anouk wearing a NAILS hat in another picture. Would you ever consider making a movie with a grind or extreme metal soundtrack?

FS: I would love to, but I don’t know if there’s money for that because extreme music is not for everybody.

AW: If we could find a project that fits, it would be crazy, for sure.

FS: We did a short called Le Bagman back in 2004, and all my favorite bands were in that movie. It’s very DIY, though.

NOFS: When it comes to the three of you acting as directors, have you figured out a system where each person has a separate job, where nobody is stepping on each other’s toes? How do you organize working with three directors?

AW: When we write, we write together and we argue a lot and we fight, but nobody sees it. That’s the only time we fight, behind closed doors. When we’re with our team, we don’t want chaos. We’re very strict with our preparation, we have our storyboards and we show up overprepared. So when we’re on set, we can split. Yoann-Karl is with this actors.

FS: He’s the one with the loudest mouth, so it’s a shame he’s not here.

AW: François edited all our short films. He sticks to the storyboard and he’s with JP the DP, just to make sure we’re not missing any shots for the edit. I’m the head of departments and the overseeing eye to make sure everything is following our vision and that we’re on the right track.

FS: On set, if somebody has a question and they don’t know who to ask, or if there’s a problem, we can take care of it, that’s why we split. Rich Sommer (who plays Officer Wayne Mackey) did test us, just to see if we have the same vision and the same answers. He asked the same question to each of us, without us knowing, but we gave him the same answer.

NOFS: As directors from Quebec, do you ever feel there’s a language barrier when you’re talking to the cast?

AW: Not really. I think it’s been going very well. I don’t think we’ve ever had problems getting people to understand us, even if we don’t have the best words every time, it’s never been a problem.

FS: But like I said, at first I was the one struggling with my English. We spent three weeks in New Zealand for the post-production of Turbo Kid and that really helped. Now I can express myself. But we always have storyboards, so at least we can explain what we want very easily to the whole crew, it’s the best way to go.

NOFS: I know you don’t want to be known as the Turbo Kid guys, but are there any details you can tell me about the next Turbo Kid movie?

FS: It’s at the writing stage right now. We want to work on it more to be sure that it’s the best script ever. I think we owe this to the fans, some have tons of tattoos and fan art and cosplay, so we need to take our time.

AW: What we can say is that it’s going to be a sequel, so we’re going to follow The Kid as he travels through the Wasteland after what happened with Apple.

FS: He wants to know what’s on the other side of the Wasteland and that’s where the story takes place. Like I said, we’ll do it once the script is good and when we have a decent budget to be able to take our time with it. Last time, every day we had to cut and we had to sacrifice. It’s a good thing to learn, but we had to cut on the gore, on the action, on the set pieces and the stunts, and we preserved the love story. I know for the sequel, it needs to be bigger, so we’ll need a much bigger budget.

Summer of ’84 had its world premiere at the 2018 Sundance Film Festival. Keep your eyes peeled for future film festival announcements.

Poster for Summer of ‘84

The post [Exclusive Interview] SUMMER OF ’84 Directors Talk Serial Killers and Sundance appeared first on Nightmare on Film Street.

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[pattydia]

dinner in america bts shot by jp bernier

[leadmetothegardenbetty]

Kyle on set for Carolina, Caroline via JP Bernier’s IG Story!

[kylegfacepage]

CAROLINA CAROLINE

DIRECTOR: ADAM CARTER REHMEIER

CAMERA: JP BERNIER

PD: FRANCESCA PALOMBO

[smrsblogs]

Le Pédophile - The Pedophile (2014) from Travelling distribution on Vimeo.

Court-métrage fiction| Canada, Québec | 2014 | 13min.21sec. | HD | couleur | 16/9 | Dolby 5.1 | Français + STA |

Distribution Robert: Patrick Renaud Johanne: Monia Chokri Grande Nina: Valérie Fortin Petite Nina: Kennedy Brodeur Butch: Lesley Marie Reade

Équipe Production : Estelle Champoux, Jean-Philippe Bernier (Les enfants terribles) Réalisation : Ara Ball Scénario : Ara Ball Direction photo : Jean-Philippe Bernier Direction artistique : Christina Vincelli Montage : Ara Ball Son: François Bélanger, Pierre-Hugues Rondeau, Maxime Dumesnil Musique: Father Zinger

Synopsis Nina vit avec une réalité troublé depuis qu'elle est petite, elle tente de sortir de ce cercle vicieux et décide de prendre son destin en main.

Nina has lived a traumatizing past since she's a little girl. She attempts to break this vicious circle and take reality back into her own hands.

Biographie du réalisateur Passionné, cinéaste et voyageur, Ara Ball ne s’impose aucune limite. Né à Montréal, le 30 juillet 1982, il est l’enfant d’un québécois et d’une anglophone. Son milieu familial, au côté artistique très développé, le plonge dans le monde de l’art dès son jeune âge. En 2004, il entreprend ses études en cinéma au collège O’Sullivan. Il termine le programme Médias et technologie sur un plateau de tournage en 2005. En 2007, il était gérant de la compagnie de publicité à Montréal Manwin Productions. Il y travaille comme monteur à temps plein et a dirigé sa petite équipe. Depuis, il a réalisé trois courts-métrages, dont un ayant gagné trois prix en Amérique du Nord. En 2011 il continue son voyage et visite l'Inde pendant 6 mois. Quelque mois après son retour, il écrit L'OURAGAN: FYT et le tourne en automne 2012. Il a complété L'Ouragan en juillet 2013.

Passionate filmmaker and traveler, Ara Ball was born in Montreal on July 30, 1982. He was the child of a french and Anglophone couple. His family, with a highly developed artistic side, plunged him into the world of art from an early age. In 2004, he began studying film at O'Sullivan College. He finished the Media and Technology program on a film set in 2005. In 2007, he was manager of the advertising company Manwin Productions. He now works there full-time as an editor. Since then, he has directed three short films, including one having won three awards in North America. In 2011 he continued his journey and visit India for 6 months. Some months after his return, he wrote HURRICANE: FYT, completed in July 2013.

Carrière du film SPASM | 2014| En compétition Soirée Short Cuts, Montréal|2014| En présentation Les Rendez-Vous du Cinéma Québécois |2015| En compétition Mecal Int. Short Film Festival, Espagne |2015| En compétition Regard sur le Court Métrage |2015| En compétition Prix Prends Ça Court |2015| En compétition Festival Int. du Film de Mont-Tremblant |2015| En compétition Landshut Short Film Festival , Allemagne|2015| En compétition Dresden Int. Film Festival, Allemagne |2015| En présentation SXSW, É-U |2015| En présentation Mecal Int. Short Film Festival |2015| En compétition Vivisection Horror Film Festival, Philadelphie |2015| En compétition Festival Court Mais Trash, Suisse |2015| En compétition *PRIX PLONG & REPLONK St.Louis Int Film Festival, É-U |2015| En compétition

Filmographie du réalisateur À venir...

Contact Travelling, les films qui voyagent / Attn : Alexandre Dostie / info@travellingdistribution.com/ 1 514 467-8160 Les enfants terribles / Estelle Champoux / champoux.e@gmail.com, jp@jpbernier.com, arabalmeister@gmail.com / 1-514-961-7097 /