Personal details
- Professions: Editor, Editorial Department, Director
Pauline Gaillard’s name pops up if you’ve ever dug into French cinema that actually has some bite. She’s got editing credits that make you do a double-take—Les aventuriers de l'art moderne, for starters, which is basically a wild ride through the bohemian art world of Paris. That series? It’s like someone spiked your art history class with espresso and a bit of absinthe, zipping from Picasso’s brushstrokes to the wild nights of Modigliani without ever losing its cool. You can tell Gaillard’s fingerprints are all over it, the way she stitches together photos, old film reels, and narration to make the past feel like it’s breathing down your neck. Then there’s The Nature of Love (2023). Way different vibe—think more philosophical, but not in the “I’m bored already” sense. The film pokes at relationships, desire, and what love even means, all without getting lost in its own navel-gazing. Gaillard’s editing? Super sharp, cutting between moments of tenderness and cringe-worthy awkwardness. She’s got this knack for letting a scene breathe just long enough—then yanking you somewhere else before it gets stale. And Babysitter (2022) is just… odd in the best way. It’s darkly funny, a little unhinged, and the pacing is tight enough to keep you guessing. Seriously, Gaillard knows how to ratchet up the tension with a single cut, or let a joke land by holding just a beat longer than you’d expect. Altogether, her work isn’t just background—she’s shaping the entire vibe of these projects.
Member of the jury and professor at La Fémis in Paris, this person’s got film running through their veins. They don’t just teach cinema—they shape future directors, screenwriters, and editors with a mix of tough love and genuine passion. You’ll spot them at festivals, always in deep conversation about what makes a story pop or flop. Their classes? Never boring. Expect heated debates, late-night screenings, and the occasional existential crisis about the meaning of film. They’re the type to pull apart a movie frame by frame, pointing out the details everyone else misses. Colleagues respect them (or fear them, depends who you ask), and students leave class quoting obscure French New Wave references. Basically, if you care about movies and you’re in Paris, you either know this professor or you should. Their influence spreads way past the classroom—right into the heart of French cinema.
Konidela Ram Charan