Boris Razon

Boris Razon’s career has always been a sort of wild ride through the weird and wonderful corners of storytelling. You dive into his work, and it’s almost like rummaging through someone’s secret diary—raw, honest, and occasionally a bit unhinged. Take “Emilia Pérez” (2024) for example. The film doesn’t play it safe. It’s a genre-bender, dancing somewhere between crime thriller and musical, with a dash of dark humor thrown in for good measure. The plot follows a lawyer who gets swept up in the world of a notorious cartel leader, but it’s not your run-of-the-mill crime flick. There’s this surreal undertone, like you’re never quite sure what’s going to happen next. Characters don’t just walk through the story—they crash, stumble, and sometimes even sing their way through it. Then there’s “Un si grand soleil” (2018), a long-running French TV drama that Razon helped shape. This one’s all about tangled relationships and moral dilemmas, set against the sun-drenched backdrop of Montpellier. Forget soap opera clichés—here, every character’s got layers, secrets, and motivations that actually make sense. Razon’s touch keeps things grounded, even when the plot gets juicy. And “WEI or DIE” (2015) is another beast entirely. It’s an interactive film, sort of a choose-your-own-adventure thing but darker and way more intense. It throws you straight into a student hazing weekend gone wrong, and you can feel the tension build with every choice. Razon’s style? Direct, punchy, a bit mischievous. He’s not interested in playing it safe—he’d rather you feel something, even if it’s a little uncomfortable.