Ludovic Gontrand: The Art of Honest Intention
Ludovic ‘Ludo’ Gontrand is not your typical director. A former art director turned filmmaker, the Paris-based creative has built a reputation for crafting work that feels raw, intentional, and deeply personal. Whether it’s commercials, music videos, or short films, Ludo’s work is defined by an emotional authenticity that lingers long after the screen fades to black.
His short film, ‘Legacy’ – a deeply introspective exploration of intergenerational transmission through the lens of his own family – was shortlisted for the Cannes Young Directors Awards in 2021. Meanwhile, his music video for Blu Samu’s ‘Turquoise’, secured him the Gold Shark for Best New Director in 2023. On the commercial front, he has worked with major brands like Leica, Honda, UEFA, Xiaomi, Ubisoft, and Skyn – the latter of which earned him nominations at both the Creative Circle Awards and One Show.
Now signed with Pulse Films for UK and US representation, Ludo is setting his sights on pushing the boundaries of storytelling even further. But for him, filmmaking isn’t just about spectacle – it’s about truth. Whether capturing the visceral energy of sports fans for TNT or stripping down the camera’s presence for a more intimate portrayal of desire in his Skyn campaign, Ludo’s work is always rooted in a sense of purpose. “People can instantly tell when you’re trying to trick them,” he says. “I try to make purposeful prototypes, hopefully with a feeling that stays with you.”
His approach is a reflection of his influences – a melting pot of cinema, music, photography, and even skateboarding. From the stark realism of Robert Bresson and the raw intimacy of Nan Goldin, to the chaotic energy of Eric Andre, his references are as diverse as his portfolio. And as the co-founder of audioscore.studio, he’s also on a mission to redefine the role of sound in the filmmaking process.
LBB’s Zoe Antonov caught up with Ludo to hear more about his own act of rebellion – his creation.
LBB> Your work often carries a strong personal and emotional depth, like your short film ‘Legacy’. How do you think your upbringing has shaped your creative approach?
Ludo> The first thing I remember sparking some ‘creative energy’ in me is the boredom of where I grew up. Coming from a small town, we had to create our own worlds and break some rules to try to entertain ourselves and escape the grey, limitative void that surrounded us. Creation is an act of rebellion.
LBB> You started as an art director before moving into filmmaking. How has that background influenced your storytelling and visual style?
Ludo> It trained my brain to think in a certain way – what’s the most efficient, or the purest way to express an idea? What visual playground does this story or feeling offer? It also turns you, inevitably, into a monster reference vacuum; you absorb lots of things, then have to distill and filter it to develop your own taste. It takes time to find what resonates with you – what feels honest – so you can create original work.
I was also lucky to share sets and creative processes with photographers and directors I admire – Terence Neale, Nadia Lee Cohen, Johnny Green – who I learned a lot from.
LBB> From documentaries to music videos and commercials, you’ve worked across a number of different mediums. What excites you most about this versatility?
Ludo> No matter the medium, it’s all the same. It’s about being intentional and honest about the story and the idea you are trying to explore. Mostly, I try to find a language that’s truthful to my intentions – people can instantly tell when you’re trying to trick them or hide your intentions, or, even worse, when there are no thoughtful intentions, like empty dopamine pusher visuals that don't serve the idea.
I try to make purposeful prototypes, hopefully with a feeling that stays with you.
LBB> Signing with Pulse Films for UK and US representation was a major career step. What are your goals for this new chapter?
Ludo> My goal with Pulse Films is to keep practicing and learning from the best people I can surround myself with. Learn my craft, try new ways of making. I like experimenting with un-systemised forms of productions – new stuff comes out from new processes. If everybody keeps using the same brush we’re going to end up with the same painting again and again.
For example, this year, with Brothers&Sisters for TNT sports, instead of trying to mimic sports fans’ emotions within a normal 2-3 day’s big budget shooting process, we scheduled 12 shooting days, small crews and multiple cameras, chasing the raw, unscripted energy of hardcore sports fanatics in their natural habitat – live events. And then we passed the ball to our super talented editor, Max Windows, at Stitch.
LBB> Your Skyn campaign was nominated for the One Show and Creative Data Awards. What do you think made that project resonate so strongly?
Ludo> What I like about it is the naturalistic point of view and form. Usually with sex and intimacy scenes, you have an intruder in the room – the camera. Our self-made sextape approach for this campaign helped make it feel more intimate and truthful. That was only possible thanks to the trust of Sid Lee and the Skyn team.
LBB> Your music video for Turquoise won Gold at the Shark Awards for Best New Director. What drew you to that project, and how did you bring the song to life visually?
Ludo> It’s a summer track with reversed samples. We came up with this trippy idea of a reverse-running sun illuminating a stylised beach scene at night, and everybody went for it. After that, it was just about the light and the people who live in that world. Blu Samu is an open-hearted, super-talented person. And Antoine Cormier, our DP, nailed it.
LBB> You’ve collaborated with major brands like Leica, Ubisoft, and Honda. What’s the most challenging part of blending your artistic vision with commercial work?
Ludo> Make sure everyone is moving in the same direction and feels invested. The people behind the project matter the most – if you have an open-minded agency, client, and creative team, and trust is on the table, there are no limits. It’s a trust business. And the best way to build trust is to be honest, unselfish, and not try to bullshit anyone – especially not yourself.
LBB> What inspires your visual style? Are there any filmmakers, artists, or movements that have shaped your aesthetic?
Ludo> Tonnes of things – it changes every day. I’m inspired by anything that moves me or makes me think differently – a movie, a song, a conversation, a person, a photograph, a book, a clip on YouTube. It’s about identifying what stays with you, and why it does.
Today, I’d say: Robert Bresson, Doechii, ‘Vampire Hunter D: Bloodlust’, Andrés Góngora skateboarding, Mary Ellen Mark, Nan Goldin, Irving Penn, ’The Eric Andre Show’, ‘Killer of Sheep’ by Charles Burnett, interviewing my grandfather, ‘Scanners’ by Cronenberg, ‘Ratcatcher’ by Lynne Ramsay, ‘Cure’ by Kiyoshi Kurosawa, Werner Herzog, John Cassavetes, and Pastis.
LBB> You co-founded audioscore.studio. How does music influence your filmmaking, and what led you to create this venture?
Ludo> I’ve always been surrounded by sound and musicians. I was tired of music and sound always coming last in discussions and processes for commercials and short-form projects. I wanted to start shaping sound ideas as early as possible.
So, with my dear friend Jonathan Ouanounou and several incredibly talented film composers, we created a space where filmmakers, creatives, composers, and sound designers could actually have real healthy conversations, spend time together, prototype soundscapes before production, and establish a transparent direct workflow. Sound and image juxtaposition is magical, but it’s not the overcomplicated, inaccessible, ‘hard-to-talk-about’ thing that people think it is.
LBB> If you could direct any project, with no limitations, what would it be and why?
Ludo> I’d adapt and direct Luke Rhinehart’s novel ‘The Dice Man’. Read it.
