What were your initial conversations like when developing Tomber des nues? What inspired the idea, and what key points did you want to convey?

Jonathan: The idea had been in my mind for a long time, it was just waiting for the right moment. At some point, you just feel it’s time to make it happen. For me, it was important to have someone alongside me to direct this project, someone who truly understood where I was coming from. Natalia was the natural choice; we’re close friends who’ve shared a lot, including stories about our romantic lives. That shared understanding became the foundation for evolving the idea into something more real and authentic.

It’s worth mentioning that the story isn’t a direct retelling of my own experiences but more of a feeling, a reflection on what relationships can become. A few years ago, I was living in Australia during the pandemic with my ex-girlfriend. When I returned home, we broke up because we were at different points in our lives and wanted different things. It felt natural but significant; we had been together for eight years.

After the breakup, I stayed at Natalia’s house, and she was there to witness it all firsthand. Over time, my ex and I remained friends, which shaped how I see love and endings, not as something definitive, but as the beginning of something new. That idea, that the end of a romantic relationship doesn’t have to mean the end of love, was a major inspiration for this film.

The key trigger was this desire to represent the complexities of relationships, the experiences, the aftermath, and how we hold onto those memories. It’s about exploring how past relationships shape us and stay with us in unexpected ways.

Natalia: When Jonathan approached me with the idea, I was immediately drawn to how sensitive and beautiful it was. I deeply connected with his vision and was excited to collaborate, not just to help bring the story to life but also to find ways to make it resonate with others.

It felt essential to have both a male and female perspective in telling this story, to avoid it being solely from one side. Having two directors, one male, one female, added balance to the narrative I think.

At its core, the film is about memory, reflecting on a past life, how it shapes you, and the natural evolution of relationships. Sometimes, you grow in different directions, and that’s okay. It’s a feeling many people experience, and we wanted to convey that sense of bittersweet nostalgia and growth.

You have captured an intimacy in your film that feels as though it would have been stifled with a detailed shot list or storyboard. What was the process of directing the actors-—did you have dress rehearsals, or was it more about working with them in situ?

Jonathan: This project was very much a passion project, driven by the need to create something heartfelt and honest. We didn’t follow a traditional casting process, Jean-Luc, who we approached first, immediately said yes and suggested his good friend Juliette, who also joined enthusiastically. The fact that they were close friends mirrored the dynamic Natalia and I have, creating a natural connection between all of us.

Natalia and I decided early on to avoid a rigid script or detailed dialogue. Instead, we outlined the scenes and emotions we wanted to capture. It was important for the performances to feel organic, so we allowed the actors to explore their characters during the shoot. In some moments, we even encouraged them to step away from their characters and respond as themselves.

The voiceovers were recorded later, using an interview-style approach where we asked questions to draw out emotional responses. What’s unique is that sometimes we hear the characters speaking, but at other moments, it’s Jean-Luc and Juliette themselves expressing their own feelings. This mix of character and personal reflection added depth and blurred the line between fiction and reality. This blend of planning and spontaneity gave the project a unique authenticity, allowing us to trust the process, the actors, and the organic flow of the shoot, which kept everything rooted in genuine emotion.

Natalia:  Jonathan explained it perfectly. Before shooting, we all sat down to talk about our personal experiences with love and relationships. That initial connection really shaped the tone of the project and allowed us to understand the story from multiple perspectives.

We created a loose structure of scenes but left room for the actors to contribute their own ideas and instincts on set. This collaboration was key. The lack of a rigid script gave the actors the freedom to experiment, and we could adapt in real time based on their suggestions.

It was a beautiful balance between planned scenes and spontaneous moments. By trusting the actors and everyone involved, we created something that felt deeply collaborative and real. The intimacy you see on screen wouldn’t have been possible without that openness and flexibility.

It’s beautifully shot, and we see that you are also a cinematographer. What was behind your decision to use that particular film format, and what camera did you use?

Jonathan: From the start, I wanted the visuals to feel as realistic as possible while also evoking the concept of memory, which for me is closely tied to photography and still images. That’s why we chose the open gate format.

We shot on the Alexa 35 using a Canon K35 zoom and a set of Zeiss B-Speeds. The zoom lens was used for moments where we wanted to feel like we were observing from a distance, adding a sense of intimacy and subtle voyeurism. In contrast, the B-Speeds were used for closer, more joyful moments, bringing the audience directly into the characters’ world.

Still photography was also integral to the project, so we brought in André Ville de Pluie, an amazing documentary photographer from Montreal. He was on set for both shooting days, capturing moments between takes and sometimes directing the actors himself. His photos added a raw, artistic layer to the project that feels completely authentic. It’s his work that gives the stills their emotional depth and realism, and this project wouldn’t have been the same without his contribution.

For the more nostalgic, home-movie-style footage, we shot on 16mm using a Canon Scoopic 16. Those moments were improvised, I’d grab the camera between shots and capture spontaneous scenes. In some frames, you might even catch a glimpse of a technician passing by haha.

The color palette helps with the coherence of the film and reflects the gentle intelligence of the narrative. Was this a key consideration in your creative process?

Natalia: We wanted it to feel natural, nothing excessive or overly bright, but with a subtle warmth. The goal was to create a look that didn’t scream “this was shot in two days in the middle of winter in Montreal.” Instead, the colors were chosen to reflect the emotions of each moment.

The palette was also tied to where the characters were in their relationship. During the brighter, flourishing moments, the colors feel sunnier and more vibrant. As the narrative progresses and the relationship starts to dissolve, the tones naturally darken, reflecting the emotional shift.

It became a visual representation of the story’s arc, gentle, understated, but deeply connected to the emotional journey of the characters.

Jonathan: At times, the palette evokes the brightness of summer, warm, inviting, and full of life, while at others, it leans into colder, darker tones, reflecting the emotional weight of the breakup.

The sound design also played a big role in shaping this perception. The foley and ambient sounds subtly hint at the seasons and mood, making you wonder if a scene takes place in summer or winter, during a happy or difficult moment. It was essential that the palette never overpowered the scenes but complemented the emotions instead.

Have you worked together before? How did you find the dynamics of directing together? What was important for the balance, and did you face any challenges?

Jonathan: Natalia and I have worked together on several projects before, though usually in different roles, she would direct, and I’d handle cinematography. This was our first time co-directing, and I think it went incredibly smoothly because we know each other so well.

For me, this project marked the beginning of exploring my voice as a director, and having Natalia as a co-director made the process much easier. We maintained open communication throughout, if I had an idea or doubt, I’d call her, and she’d either reassure me or suggest a new approach. On set, we naturally divided responsibilities: Natalia took the lead in directing the actors, while I focused on the cinematography and lighting. This division helped the shoot flow efficiently, but we always consulted each other before making any decisions.

In post-production, even though I handled most of the editing, Natalia gave feedback on each version, helping refine the final cut. It was a truly collaborative process from start to finish.

Natalia: I agree with Jonathan, it all felt very natural. We’ve worked together before, so we already understood each other’s strengths and how we approach projects. This was a passion project, and everyone involved was a friend, which added to the positive energy on set. There were no major challenges; the entire process felt seamless, which is rare.

Though the story originated from Jonathan’s personal experience, he was open to my ideas and input. I appreciated being able to contribute my perspective and weave in my own feelings about love and relationships. It became a blend of his narrative and my experiences, evolving even further when the actors joined and brought their own ideas into the mix.

Ultimately, this project was about collaboration, between us, the actors, and the entire team. It was a truly magical weekend where everything just fell into place.

What’s coming up next for you?

Natalia: I’d just like to add that Tomber des nues was such a special experience for everyone involved. The shoot was full of positivity, despite having no real budget, the whole crew brought so much heart to it, and I think that energy comes through in the final film.

As for what’s next, I’m currently co-writing a feature film with my brother and developing another short film of my own. Neither is in production yet, but I’m excited about what’s to come, so stay tuned!

Jonathan: Right now, I’m in post-production for a short documentary about a group of dancers in Montreal who practice waacking. It’s a raw and real portrayal, but visually intense, especially in the dance sequences. Coming from a background connected to nightclubs and music festivals, I wanted to capture the essence of that energy and bring it into a project.

I’m also in pre-production for another short documentary about young people who are faced with leaving their remote village. The film will explore themes of transition, growth, and the bittersweet experience of saying goodbye to a place that has shaped you. I hope to make a deeply personal and reflective project that touches on broader questions of identity and belonging, and I’m excited to bring it to life.