You worked together on Chien de la casse, Jean-Baptiste's first film, on which Benoît was the director of photography. How did your collaboration begin? 

Benoît Jaoul: We met during the pilot of a series when I was still a camera assistant, and Jean-Baptiste was a grip. Later, we worked together on advertising and feature film projects. Over time, a friendship developed, and we started collaborating on the music video Eli, Solitaire. 

Jean-Baptiste Durand: Our connection grew gradually. As a director, I wanted to work with Benoît as a cinematographer because we talked a lot about lighting and films. There was an affinity, and I felt he was the right person to accompany me on my early films. Chien de la casse is the result of a ten-year partnership on short films. It was clear our collaborations had been successful, so it made sense for Benoît to handle the visuals of the feature film. 

You’ve just returned from a South American tour, in Ecuador and Colombia, organized as part of the partnership between the Institut français and the Premiers Plans Festival. Can you describe the project behind this journey? 

Jean-Baptiste Durand: I received the offer after the Premiers Plans Festival, which was the first to screen Chien de la casse. I was given the opportunity to tour a continent with the film, and Latin America was chosen. Initially, I planned to travel with one of the film’s talents, but no actors were available. So, the first person I thought of was Benoît, out of friendship and for our long collaboration, as well as the idea of sharing this journey. I’ve done many screenings with actors and my producer, so it was also a gesture toward someone crucial to the film's work. 

Your film, Chien de la casse, was screened multiple times during the tour, as part of major local festivals. How was it received? 

Benoît Jaoul: The reception was warm, with many meaningful exchanges, particularly among young people. They were sometimes more receptive than in France, asking specific questions about the staging and framing. I also recall several audience members asking why we made certain choices, especially regarding the film's ending. 

Jean-Baptiste Durand: It was very well received. I did have some concerns presenting it in certain settings, like the favelas, fearing that my small issues might seem trivial. However, it went over very well. Colombians have a strong relationship with dogs; you see dog stores everywhere on the streets, which is quite striking. Chien de la casse hasn’t been widely seen abroad, so it was nice to see its universal appeal and appreciation from a culturally different audience. 

You held workshops and meetings with film students. What memories do you have of these exchanges? Any standout moments? 

Benoît Jaoul: I may repeat myself, but they seemed much more engaged than in France during the discussions. At the Lycée Français La Condamine in Ecuador, for instance, they were very participative and asked interesting questions. There was something pedagogical and deeply moving about it. 

Jean-Baptiste Durand: I wouldn’t be so harsh on the French, but there was indeed less timidity. They knew we had traveled a long way and likely realized how fortunate they were to meet professionals. I was amazed that the film could resonate with people leading very different lives. Although I was saddened by the lack of international visibility for Chien de la casse, it was fantastic to witness this connection and its impact on the youth, as well as the broader audience. 

What are your thoughts on this younger generation eager to break into cinema? 

Jean-Baptiste Durand: For the current generation, everything has changed in their relationship with images, as well as in how they are created and the tools available. I’m not saying it was better or worse before, but it always takes sincerity and dedication to make films and bring them to the big screen. Many want to become directors, but along the way, they discover other equally fascinating aspects of cinema, such as cinematography, grip work, sound, music, or editing. The saying goes, "Have dreams big enough to keep seeing them even when they seem distant," and indeed, it’s such a long journey that it’s always joyful to see young people who love cinema. The most important thing is to do it for the right reasons and to have something to say, whether it’s political, human, or poetic. 

Your film Chien de la casse received the Audience Award at the Premiers Plans Festival in Angers in 2023. Between this recognition and your recent partnership, have you built a special connection with the festival? 

Jean-Baptiste Durand: Chien de la casse wasn’t supported by major festivals like Cannes, Berlin, or Venice, which are essential for a first auteur film to hope for a theatrical run. The Premiers Plans Festival gave this film a chance, and I’ll be forever grateful. Without this festival, everything would have been completely different, and perhaps no one would have ever heard of it. It’s a true festival of activists and enthusiasts, and I can’t thank them enough for giving this film its opportunity. There’s also a sense of continuity since I participated in the Talents ADAMI and we were able to continue collaborating on this tour. 

What are your respective projects? Do you plan to work together on another feature film? 

Benoît Jaoul: I’m finishing my paternity leave before returning to series projects. 

Jean-Baptiste Durand: I’m working on a film as an actor and writing a second feature, which I hope to shoot under favorable conditions. I definitely want to collaborate with Benoît on this new project, but life is unpredictable. As long as we enjoy working together, step out of our comfort zones, and keep improving, it’s a big yes.