Director's Works
Ligue1, Football à la francaise Adrien Lagier & Roman Bellity
Roman Bellity is 24 years old and has always lived in Paris. At the age of 20, he founded his company, Tablo Production, where he gained his first experiences and learned the craft of being a producer. The company quickly prospered, and he took on numerous projects, including music videos for major artists and commercials (such as Doums, Tiakola, and Lancôme). After his time in production, he worked on many projects as an assistant director to further develop his skills in directing. Once he had explored various roles in the industry, he ventured into directing himself and has since been working on music videos and commercials (for brands like Puma, Tinder, and Formula 1). Adrien Lagier is a self-taught director who has been active since 2017. Originally from the south of France, he began his career in editing before transitioning to directing music videos for French artists like Lomepal. As a director, he quickly evolved and inevitably became a reference in the music video world, thanks to his creative approach, breaking the traditional codes of hip-hop visuals. He has collaborated with top French-speaking artists such as Niska, Lomepal, and Kekra, and his work "Rêves Bizarres" for Orelsan and Damso was even nominated for a Victoires de la Musique award in the Best Music Video category. In 2020, he decided to establish his own production company and creative agency, "ADEUS," with the aim of having a structure that would allow him to express himself freely. Thanks to his creativity and high artistic standards, he quickly conquered the world of advertising, offering brands such as Louis Vuitton, Lacoste, Bulgari, and Puma innovative and impactful concepts. Today, as a creative director for his own company ADEUS and as a film director, Adrien is continually exploring the boundaries between fiction and advertising, utilizing the staging and emotions found in cinematic experiences while incorporating a digital style and a well-thought-out blend of various influences.
The concept of the Englishman being kidnapped and taken on a tour of France allowed us to create a dynamic, multicultural film. It offered the opportunity to explore a wide palette of colours and emotions. We wanted to make a film that was representative of France and our connection to this culture. Keeping the viewer’s attention is a real challenge in such a short time. So, in this spot, the goal was not to give the viewer time to think or experience a lull—just like what our Englishman goes through, we wanted the viewer to be hit with a lot at once. It’s a Tour de France in 2 minutes and 20 seconds; it needs to go fast, and every sequence has to be impactful. So yes, there are a lot of strong camera movements, and when the camera is still, the staging itself brings something quick and intense.