Personal details
- Professions: Producer, Executive
Victor Hadida’s name pops up a lot if you’re into high-octane action flicks or dark, gritty reboots. The dude’s fingerprints are all over stuff like Criminal (2016), which is this wild ride about a death-row inmate who gets a CIA agent’s memories shoved into his brain. Sounds nuts, right? It actually gets crazier. You’ve got Kevin Costner, Gary Oldman, and Gal Gadot running around, trying to stop a terrorist plot while Costner’s character wrestles with all these jumbled memories. There’s action, car chases, and enough double-crossing to make your head spin. Then there’s Blitz (2011), which is basically Jason Statham doing what he does best—kicking ass. He plays this tough British cop going after a serial killer who’s targeting police officers. The whole thing is soaked in that raw, gritty London atmosphere. It’s not your glossy Hollywood cop movie; it’s messy, brutal, and doesn’t pull punches. Statham’s character is like a bulldog with a badge, and honestly, it’s super satisfying to watch him tear through the city. And if you’re a fan of zombies and video games, you probably noticed Resident Evil: Welcome to Raccoon City (2021). This one ditches the over-the-top sci-fi of earlier films and goes for the creepy, claustrophobic horror from the original games. Small town, big secrets, and a whole lot of undead nightmares. Hadida’s style is all over it—moody lighting, gnarly effects, and enough suspense to keep you glued to the screen. He’s got a knack for picking projects that get your heart pounding, no question.
Metropolitan Filmexport? Oh, they’re kind of a big deal over in France when it comes to bringing international blockbusters and indie gems to the big screen. The head director there isn’t just some faceless suit—they’re basically the beating heart behind what French moviegoers get to see from Hollywood, the UK, or anywhere else. You want Tom Cruise in Paris? Thank this person. You want that weird Korean thriller everyone’s buzzing about? Same deal. They have to juggle a million things at once—negotiating with studios, keeping an eye on what’s trending, and making sure the releases actually match the French audience’s taste (which, let’s be honest, can be way pickier than in other places). It's a bit like being the DJ at the world’s fanciest film party, only the playlist is full of movies and if you mess up, everyone’s gonna notice.
Konidela Ram Charan