Tomy Cadic

So that the producers have the maximum information about you, who are you?

My name is Tomy Cadic, I am a French filmmaker. My work leans toward a raw, intimate and social cinema, often blurring the line between fiction and documentary. I’m interested in marginal characters, everyday realities and fragile spaces, and I like films that feel close to bodies, faces and lived experiences rather than polished narratives.

How many years have you been making movies?

I started making small films during high school, mostly for fun. I then began working professionally in the audiovisual field after university, initially through music videos. Since 2024, my work has been more specifically focused on cinema projects.

What was your first experience making movies? Did you study at a film school or did you learn on your own?

I acquired my theoretical background at university, but my practical training happened mainly on film sets. Learning by doing and observing crews in real shooting conditions has been central to my formation.

What budget did you have?

The total budget was €18,000.

Is it a self-financed project?

Yes, it was a fully self-produced project, developed in total auto-production.

Any anecdote that you can tell us about the filming?

The lack of resources shaped the way we worked. It forced us to be flexible and inventive, and to embrace imperfections. These constraints became part of the film’s identity rather than an obstacle.

If you had unlimited budget. Which actor and actress would you like to work with?

I would love to work with Willem Dafoe for his intensity and freedom as an actor, and Hunter Schafer for her sensitivity and contemporary presence.

Your favorite movie?

It’s a constant battle between Ken Park by Larry Clark and Bones and All by Luca Guadagnino.

Tell us 3 filmmakers that you like.

Sean Baker, Larry Clark, Béla Tarr.

What is the scene that has impacted you the most?

The family dinner scene in The Texas Chain Saw Massacre, for its raw tension and unsettling realism.

If you could do a remake of a movie, what would it be?

I’m more interested in reinterpretations than direct remakes. Perhaps Tangerine by Sean Baker, adapted to my own realities and contexts.

Did you have light designs or did you shoot with the same light as the location? Can you explain the process of working with a cinematographer?

We used around 80% natural light. For night shoots or daytime interiors, we relied on small, entry-level lights to slightly lift exposure. I was both director and cinematographer, so the visual approach was very instinctive and directly linked to staging.

Did you have any problems when shooting?

Not really. The difficult conditions caused by the lack of resources were anticipated from the start and fully integrated into the process.

And in terms of sound? Neighbors, flushing, cars?

Environmental sounds were sometimes challenging, but they were accepted as part of the film’s realism rather than fully erased.

How was the producer-director relationship?

There was no producer on this project.

And working with actors? Tell us about this process, how do you work with the actors?

We did very little rehearsal, and there are very few professional actors. Most of the cast are friends playing characters close to themselves, in search of a documentary-like aesthetic.

Do you have any other project in progress?

Since then, I have directed a short documentary and a short fiction film, and I am currently writing my second feature film.