Simon Bertrand

Simon Bertrand’s got a knack for crafting stories that don’t just flicker and fade—they kinda stick with you, you know? His work on Balestra (2024) is all about diving into obsession and the lengths folks will go to chase perfection. There’s this intensity running through it, almost like you’re holding your breath waiting for the next move. Then you hit Nocturne (2025), and suddenly things are way darker, moodier—think late-night city streets, secrets hiding in shadows, that sort of vibe. He’s not afraid to get a little weird with it, either, bending reality just enough to make you question what’s real and what’s just in someone’s head. Let’s not sleep on Pays (2016), either. That one’s all about politics, but not in the dry, lecture-y way. Bertrand digs into the messy, emotional side of negotiations and backroom deals—like, what happens when ideals run straight into human flaws? The characters feel raw and complicated, not just cardboard cutouts. Across all his films, you can spot this recurring theme: people trying to hold onto control, and the chaos that comes when they can’t. His style doesn’t just sit back and let you watch, it pulls you straight into the mess, makes you feel the tension in your bones. There’s an edge to his direction—sharp dialogue, visuals that linger, moments that don’t resolve as neatly as you want. Bertrand’s name on a film means you’re in for something that’ll rattle around in your head long after the credits roll.