Victor Boccard is a filmmaker who embodies a rare blend of artistic precision and narrative depth. From an early age, he defied conventional paths, immersing himself in the world of cinema with unwavering dedication. His passion led him to study both directing and acting, a dual expertise that now informs his distinct storytelling approach. As the founder of ATTA FILMS, he has continuously pushed creative boundaries, crafting visually arresting works that span independent fiction, commercial campaigns, and experimental projects.

Shooting primarily on analog formats such as 16mm and 35mm, Boccard’s films carry a timeless quality, merging classical cinematic aesthetics with contemporary themes. His works—including I Am My Ambition, His Mind Was Sane But His Soul Was Mad, and Mosaic—have gained international recognition, while his latest project, Empire of Others, explores ambition and authenticity through a deeply personal lens. Beyond fiction, he navigates the intersections of fashion, music, and advertising, constantly refining his visual language.

Your journey into cinema began early, and you even stepped away from traditional schooling to pursue your passion. Looking back, was there a defining moment when you knew film was your calling?

There were two actually, my first calling to ciéma – despite being a bit cliché – dates back from a trip in the US west coast with my parents when i was 7yo. Back then the landscapes inspired me so much in terms of stories and potential that at the end of the trip, when returning to L.A, I eventually said to my parents : if a producer scouts me, you can leave me here and go back to france. 

The second memory dates back from my first year of high school, when again, during a trip with my family, we went and visited my sister who was living in japan. The trip was indeed mindblowing and incredible, having her show us the country while speaking the language fluently. Upon returning to school in France, I had a cultural shock that made me realise I was not in my right place. That’s when I decided other horizons were calling me, and I decided to quit traditional schooling.

Your films, from I Am My Ambition to Empire of Others, are deeply personal yet visually striking. How do you balance emotional depth with the aesthetic precision you’re known for?

I find emotions in the mere sense of aesthetics. Sometimes I challenge myself to make something aesthetic out of a genre or a location that is not promising at first hand. Images comes first in my mind, and they’re the one creating emotions. So i kind of work the other way around. When i have to work around a very wide theme our cause, my first concern is : how am i going to make into something personal, what is the angle that makes me relate to this. Once i find this, the rest is good to go.

You’ve embraced analog filmmaking, shooting on 16mm and 35mm. What draws you to these formats in an age dominated by digital?

A few things. Firstly, when you don’t have a lot of budget, it’s just easier because it makes everything looks more cinematic. So when i first directed and produced my short i knew i had a limited amount of rolls, but at least i knew i had a certain quality guaranteed. Secondly, it’s much more emotional, and ages better – for instance i am yet not tired of my first few projects shot on film, but i could be with project form last year in digital. It just ages like fine wine ..

With Martyr serving as a visual cornerstone for an upcoming series, how do you approach expanding a short film’s universe into something larger? 

I didn’t think about it first. I just created it quite quickly, but the team i had really helped me achieve a vision that, for the first time when i saw the film finished, looked proper in every aspect – and even i  was “there’s more to it”. Then people who watched in the festival it was running for, the “nikon film festival” – a festival accessible to everybody with a camera and all films from amateur to professional  – told me : “it doesn’t fit here at all ! you should use it as a teaser for a Netflix series”

It sticked in my head, and it’s true, there could me so much more coming out of it. SO ever since, i’ve been low key writing with a friend, what could be the entire Lore/ Universe behind it. May it be a TV Show, or an Epic film. 

Your projects span commercial work, music videos, and narrative films. How does each medium influence your storytelling approach?

The only real medium i’m totally devoted to is Cinema. All the rest is just for fun, practicing, and earning income. But all in all, each one of them is related, as I treat a commercial, a Music video or any paid work the same way : i’m serving the Artist/ Brand, with my taste and ideas. Fashion influences my commercial work. Art influences my photography, and my photography influences my approach to fashion. 

And all of that is my own recipe to grow ideas fro future feature films.

Having worked with actors like Didier Flamand, Lucas Bravo, and Leslie Medina, what do you look for in a performer, and how do you guide them to bring your vision to life?

I trust they’ll be able to surprise me. I’m always looking to be surprised. Because i’m a huge planner. So I expect that they’ll give me a bit more that what’s expected if that makes sense. I love working with professional actors, but sometimes i also love the spontaneous instinct of non professional actors.

In Empire of Others, you tackle ambition and authenticity through the lens of disability. What inspired this story, and how did your collaboration with HANBITION shape the film?

It was a commissioned film by a dear friend of mine, who I studied cinema with. HE left the industry but for some years have been asking me to make a film about his sister, who loves cinema and wants to be an actress – and is disabled. I refused for a few years, believing i had no legitimity directing on such a sensible topic. I eventually accepted and he gave me total freedom. I could write, produce and direct it.

ATTA FILMS has been instrumental in your journey as a filmmaker. What has been the most rewarding challenge of running your own production company?

It has been key to producing my first own passion projects; having 100% freedom. It does give you pressure at first because having a company brings on some monthly costs etc. But without it, i could not have done half of what i directed today. I look forward to broadening it (i’m the only one in it for now ahah) and eventually have some offices and a team ! that would be very exciting.

Experimental works like SSD and EX Inanis show your willingness to push boundaries. How do you see the intersection of fashion, art, and film evolving in your work?

For me it’s all liked, as i said earlier, every Art exhibition, pop up store, Fashion show, or travel can be inspiring. I just take pictures of EVERYTHING with my iphone. I archive it, and when it’s relevant i pull it out. Sometimes creating a project from scratch is made so easy and is so fast thanks to this ongoing process. There is a downside : sometimes people don’t know how to classify those projects : Ex inanis is not cinema / scripted / dialogued enough for cinema industry people. It’s too dark for commercials, and fashion people .. so it’s sometimes hard to find an audience when you mix everything. But if i were to choose : i’d do it again no matter what. BEcause i learned so much along the process.

What excites you most about the future of cinema, and where do you see your creative journey taking you next?

I think even though platforms like Netflix are taking control of the market, people are still enjoying more and more Auteur films like A24. I’d love to see myself jumping to the feature film world before my thirties and directing this kind of films first. Then i’d want to jump on bigger scales movies. For now,  I am thriving in directing commercials until i feel ready to direct a feature, and i really see myself following the footsteps of my spiritual mentor, Ridley Scott, who directed no less than 2000 commercials in his life – and still directing feature at 87 years old !!