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As official travel partner of four national teams for the Paris 2024 Olympic and Paralympic Games, Eurostar positioned itself at the center of athlete mobility across Europe. This project translated that partnership into a content campaign documenting athletes both in transit and in preparation, across several European locations.

Overview Developed with Eurostar’s in-house teams, this campaign leveraged Pride season to promote key European destinations while building a cross-border narrative around LGBTQ+ visibility. Three finalists from Drag Race Belgique were followed across multiple cities connected by the Eurostar network. Objectives Promote Eurostar destinations during Pride season (May to August) Increase brand relevance through cultural storytelling Create content adaptable across digital and

Across multiple internal and external campaigns, my work focused on creating a consistent visual language for Eurostar by documenting the people behind the company. It combined photography, interviews and editorial assets to support corporate communication across platforms and markets. What I’ve learned from the scripwriters John Truby and Robert McKee is simple: if nothing changes, nothing happens.

A multidisciplinary contemporary artist trained at La Cambre in Brussels, Pauline François develops a practice that reflects the evolution of sculpture in today’s visual culture. From fashion to sculpture: a shared language of volume Before turning to sculpture, Pauline François studied fashion at ESMOD. While the two disciplines may seem distinct, they share a common foundation: working with volume, structure and spatial perception. However, where fashion remains linked to

The documentary L’œil, le pinceau et le cinématographe by Stefan Cornic presents train travel as more than transportation: it is an artistic experience that reshaped how we see the world. But why did the invention of the train fundamentally transform perception? A pre-cinematic experience Comfortably seated, watching landscapes unfold through the window, the train places the traveler in a unique position: that of a spectator. The window becomes a frame. A moving frame. Long

Artificial intelligence is transforming how creative content is produced. Images, videos and campaign ideas can now be generated in seconds, opening new possibilities for brands and creative teams. But as production becomes easier and faster, a new challenge emerges: standing out. In a world where content can be produced endlessly, authenticity and clear creative direction become the real differentiators. The human vision matters more than ever.

We often believe that a project will not be able to take shape until we have a final plan for what we want to do, but we might be interested in a subject and then the idea will come only during the research step. It could be conceived ahead of time, but it is often (always ?) transformed and refined through research.

The scriptwriter/author of "The Anatomy of Story" explains the different critical steps of the narrative structure and its dramatic code.

Before writing a screenplay, John Truby defines the main elements of a good story in his book "The Anatomy of Story", the primary reference.

The spectrum of the narrative structure, according to the famous scriptwriter Robert McKee.

What kind of camera lenses should be used ? How to deal with daylight ? How can you highlight your model ? Some answers.

For a long time in Hollywood, the importance of a star, as well as its economic power, can be measured by the number of close-ups it receive

The light coming from a window has the advantage of being a very bright source; what you see is the result you will get after shooting.

A photographer can take independent photos or think of them as a whole, a photographic series.

By nature, film language appears as a suite of images, movies are therefore close to photographic series. This brings the notion of sequence

We are no longer in a mass communication model where one message is designed to reach everyone.