Even though film is my main passion, theatre has been part of my life for as long as I can remember. I’ve performed in numerous theatre school plays, workshops, and university productions, and I’m deeply drawn to being on stage and playing in front of a live audience.
A major influence on me is theatre director and theorist Robert Wilson, whom I met and interviewed at Epidaurus during his 2019 production of Oedipus. What stayed with me most was his approach to lighting; not as decoration, but as structure. As he put it: “Without light there’s no space… it’s not an afterthought… it’s like an actor.”
That theatre background shaped the way I started making films. It trained me to collaborate, work with performers, and think physically; through space, light, rhythm, and body movement. In my experimental short The Net, I use extended one-shot scenes that lean on theatrical illusion and stagecraft, but translated for the camera.
Cinema, for me, expands the stage infinitely: the “set” can be anywhere, and image and sound can be shaped in ways theatre can only hint at. That mix: theatre’s discipline and presence, film’s freedom and precision, sits at the centre of how I work.
Performances:
The Mad Flat (2023)
Love actually parody (2019)
Unsailed Ship (2018)
Who is Your Daddy (2017)
Site-specific Project (in I.B.)
The Lover / A Streetcar Named Desire
Stage design
Woyzeck stage design
Macbeth Solo Performance
Director, Actor
Inspired by Robert Wilson
