Lucas Fabiani

Lucas Fabiani isn’t your average name on a movie credit roll—honestly, if you’ve spent even half a second poking around indie French cinema, you’ve probably tripped over his work in some way. “Excusez-moi” (2008) drops you right in the middle of urban chaos, where misunderstandings spiral into absurdity, and honestly, it’s got this raw, frantic energy that’s kind of infectious. Fabiani’s got a knack for wringing humor out of those little social faux pas that make you want to crawl under the table—awkward silences, messy relationships, the works. Then he takes a total left turn with “Au nom de la famille - Je t’aim3 - Trilogie de l’amour (Part 2)” in 2019. The title’s a mouthful, but the vibe? Way more intimate. This one leans hard into all the tangled messiness of family ties and romance, tossing characters into situations that feel painfully real. You’re wading through heartbreak, loyalty, and those moments when you kinda hate the people you love most. Fabiani really digs into the emotional grit, not afraid to let things get ugly before they get better (if they get better at all). And then there’s “Sergueï” (2020), which veers into moodier territory. Think brooding shots, long silences, and tension that just hangs in the air. Fabiani doesn’t serve answers on a platter; you gotta work for ‘em. It’s about identity, loss, and the weird ways people cope when the world flips upside down. Across all these films, Fabiani’s style is unmistakable—restless, a little chaotic, but always chasing something real.