Reflecting The Human Experience in Advertising with Sophia Belahmer

Sophia Belahmer’s signature style is defined by her meticulous direction, deeply human storytelling, and emotionally resonant narratives, where every nuance of performance is thoughtfully highlighted. Deeply attuned to today’s social issues, she brings a sharp perspective to every project she takes on.

Already well established in television and fiction, she made a dynamic entrance into the advertising world with ROMEO, directing the latest Guignolée des médias campaign –an impactful and widely acclaimed project that resonated with both audiences and the industry.

Since the start of her career, Sophia has built a strong foundation in both screenwriting and directing. In 2013, she co-wrote and co-directed all three seasons of the web series ‘Switch & Bitch’ with Juliette Gosselin for Tou.tv. Originally recognized as a short film, the project won the Tourner à tout prix and Coup de cœur du public awards at the Festival Regard.

She also collaborated with Jean-Carl Boucher on the documentary series Chef Oli vire champêtre, which aired on Télé-Québec. In recent years, she has directed the short fiction series ‘Détox’ and the lifestyle magazine Beau Dans Ma Tête. Her latest project, the feminist noir thriller ‘Discrètes’ – co-created with Juliette Gosselin and streamed on Tou.tv – won the 2024 Gémeaux Award for Best Original Digital Drama Production, along with honours at the NYC and Melbourne Web Fests.

LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?

Sophia> I’m currently working on a new series called ‘Fleur de Peau’, which is now in production. It delves into the complexities of friendship breakups – not due to death, but rather the painful and often overlooked experience of drifting apart or reaching an endpoint in a close relationship. The story explores how people navigate these emotional shifts and whether it’s possible to rebuild a connection on entirely new terms.

Tonally, it sits in that delicate balance between comedy and drama, which is a space I love working in. I’ve wanted to explore this kind of storytelling for a long time – one that embraces emotional depth while allowing for humor to surface in unexpected ways. I’m incredibly excited to bring it to life, especially with the trust and creative freedom I’ve been given by both the broadcaster and the production company, KOTV. It’s rare to have that kind of space to fully shape a project, and I can’t wait to dive in.

LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?  

Sophia> I love seeing advertising move toward more authentic, grounded storytelling.

There’s a real shift toward capturing lived-in environments, diverse casting, and a visual style that feels raw yet cinematic. Coming from fiction, this evolution speaks to me – it allows for richer narratives, where emotions feel real and connections more tangible.

It’s exciting to see commercial work embrace this kind of storytelling, creating ads that resonate on a deeper level while still being visually bold.

LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

Sophia> I’m drawn to scripts that present a challenge in how emotions are conveyed – whether through performance, direction, or staging. I love finding that extra layer, that subtle shift in tone or delivery that can elevate a scene and make it resonate more deeply.

For me, it’s about shaping the emotional arc with precision – guiding an actor toward a performance that feels both natural and striking, while ensuring the overall mise-en-scène amplifies the impact. When a script offers that kind of depth and space for interpretation, it becomes so much more than just an idea – it turns into something truly memorable.

LBB> How do you approach creating a treatment for a spot?

Sophia> I approach it the same way I would a fiction script – by taking the time to fully understand the message, the objective, and the client’s sensitivities. It’s not just about what needs to be communicated, but also how it should feel. From there, I bring my own perspective, my style, and my creative touch to shape the narrative in a way that enhances its impact.

The goal is always to stay true to the client’s vision while pushing it further, making the story as compelling and memorable as possible.

LBB> If the script is for a brand that you're not familiar with/ don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?

Sophia> It’s absolutely essential for me that the projects I take on align with my core values – openness, authenticity, and empathy.

Before committing to a campaign, I make sure to thoroughly research the brand and its market, relying on trusted sources, industry insights, and discussions with people in my network. This isn’t just about refining the message and ensuring its relevance and effectiveness; it’s also a matter of personal integrity. I want to be fully invested in the stories I tell, and that starts with understanding who I’m speaking for and why their message matters.

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Sophia> First and foremost, the relationship with the agency is crucial. They’ve been championing the project from the start, so aligning on vision and intent is essential to ensure the final piece stays true to its purpose while pushing it creatively.

Secondly, I’d say the bond with the director of photography is just as vital. They’re the ones who translate ideas into visuals, shaping the mood, tone, and emotional impact of the piece. A strong creative synergy here allows for a seamless execution, where the message isn’t just told but truly felt by the audience.

LBB> What type of work are you most passionate about – is there a particular genre or subject matter or style you are most drawn to?

Sophia> I’m drawn to people – their ideas, their needs, their imperfections. In advertising, we’re often reflecting human experiences: what people long for, what they go through, what excites them, what makes them laugh.

I love exploring these realities in different ways – sometimes with raw authenticity, capturing genuine, touching moments, and other times through satire, using humor and irony to shed light on deeper issues. Striking that balance between sincerity and sharp wit is what drives me creatively, allowing me to craft narratives that are both emotionally resonant and thought-provoking.

My series 'Discrètes' is a great example of this approach – blending depth and humour to explore human experiences in a way that feels both intimate and sharp.

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Sophia> Challenges are part of the job – every production comes with its share of unexpected hurdles, and I think every shoot ends up with its own little problem-solving anecdote.

In Quebec, winter is often a factor that keeps us on our toes. I’ve had to deal with technical issues caused by the cold, like equipment acting up or locations becoming unexpectedly inaccessible due to weather. And on smaller-budget shoots, finding the perfect location while staying within constraints can sometimes feel like an art form in itself.

At the end of the day, I believe a good director needs to be resourceful and adaptable. These challenges aren’t just obstacles – they often end up enriching the project in unexpected ways. 

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Sophia> To me, this balance is at the core of directing in advertising.

It’s essential to support the agency’s and client’s vision while staying true to my own creative perspective. The key is fostering clear and open communication from day one. I make it a priority to align everyone early in the process – sharing my vision transparently, listening to their input, and ensuring we’re all moving in the same direction.
When there’s a strong foundation of trust and dialogue, ideas can evolve organically, and the project benefits from a true creative synergy.

LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set? 

Sophia> I started out in fiction at a young age, first working as a set art director before proving myself as a director.

More recently, I began working in advertising, and joining ROMEO in 2024 was a key moment in that journey. France-Aimy Tremblay, who has been actively working to build a more equitable industry in terms of diversity and gender parity, saw my potential right away and entrusted me with exciting projects.

While I continue to be very active in television and fiction, exploring commercial work has allowed me to bring my storytelling approach to a different creative space.

I share the same values and vision as ROMEO: the advertising world, and the industry as a whole, benefits tremendously from working with female directors, emerging talents, and creatives from diverse and marginalised communities. These voices bring richer, more grounded perspectives to storytelling, ultimately strengthening both the creative process and the messages we put out into the world.

I firmly believe in giving all talents a fair chance, and I’m always open to mentoring and contributing to a more inclusive industry.

LBB> Your work is now presented in so many different formats – to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)?

Sophia> We’re exposed to such a wide range of media and formats every day that adapting to this landscape feels natural to me. I embrace the diversity of formats, and at ROMEO, the production company that represents me, I’m fortunate to be surrounded by experts – both in-house and within agencies – who ensure that each piece translates seamlessly across platforms while effectively reaching its audience.

There are so many tools and techniques available to capture content in the most dynamic way possible – whether it’s shooting with multiple cameras, using an iPhone for a raw, in-the-moment feel, leveraging behind-the-scenes footage, or reframing shots for different aspect ratios. With the right team, the possibilities are endless, and I love the creative flexibility that comes with it.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?

Sophia> Honestly, I’m mostly approached for campaigns that are grounded in reality – projects that focus on authenticity, human connection, and organic storytelling. I suppose that’s a reflection of my style and creative sensibility!

While I’m less familiar with or naturally drawn to highly tech-driven projects, I always stay open to new opportunities, as long as they align with my values and the kind of storytelling I believe in.

LBB> Which pieces of your work do you feel show what you do best – and why?

Sophia> In advertising, I’d say the Guignolée des médias campaign. First, because the concept developed by the agency Cartier was incredibly strong, powerful, and emotionally impactful. I was lucky to work with such a compelling idea, and I’m truly grateful for that.

What made this project particularly exciting for me was its narrative structure. Borrowing from the codes of a dramatic film trailer, only to reveal, in the end, a public service message about food insecurity. That kind of storytelling – one that plays with expectations, builds tension, and lands with emotional weight – is exactly the kind of project that excites me.

Finding the right balance to keep the audience engaged while ensuring the message hit with full force was a challenge I was eager to take on, and I’m incredibly proud of what we achieved as a team.