Director · Cinematographer · World Builder
Initially trained as an architect, Alexandre Carril founded Studio INCAA in 2015, specialising in the design and construction of multiplex cinemas. This experience gave him a singular understanding of space, acoustics and cutting-edge projection technologies, which later shaped his precise and architectural approach to filmmaking.
He soon established himself as a director in fashion cinema and music videos, developing a practice in which he is often involved at every stage of creation — from concept, writing and direction to cinematography, camera operating, editing and sound design. This transversal way of working allows him to conceive films as complete visual and sensory worlds, where space, rhythm, light, movement and sound are developed together from the earliest stages of a project.
Since 2019, Alexandre has worked in close collaboration with fashion designer Alphonse Maitrepierre, shaping the artistic direction of the house’s visual campaigns since its early years. As Visual Campaign Artistic Director, he co-supervises campaigns, contributes to the visual identity of the collections, collaborates on photography and framing, and directs the house’s moving-image projects. Notable works include Maitrepierre Mimesis, Les Bourgeoises bourgeonnent, Amour Amour with Studio L’Étiquette, World in Progress, and, most recently, CROSSROAD for Maitrepierre AW26.
Before his collaboration with Maitrepierre, Alexandre directed campaigns for designers such as Ninamounah, Ferrari Concept, Studio Oath and Isnotdead. His early fashion films, including 0.1 and Wild Love for Isnotdead, already explored a singular relationship between clothing, bodies and reality: ritualised studio tableaux, documentary-like improvisation, multi-camera shooting, living communities, choreographed situations and a form of fashion cinema rooted in the energy of real life. In music, he has created videos for David Shaw and The Beat (Please Please Please) and the hip-hop group Hopestacle (XIIIe Nuit), combining cinematic aesthetics with rhythmic, instinctive and sensory storytelling.
Both filmmaker and multimedia artist, Alexandre has developed a body of work marked by a deep mastery of visual and narrative languages. Influenced by his architectural background, his cinema merges technical precision with artistic exploration. He pays close attention to atmosphere, sound design, framing and the emotional power of space, while experimenting with fluid editing, choreographed movement and hybrid forms of image-making. His films often move between control and accident, fiction and reality, composition and improvisation, creating images that are both highly constructed and vibrantly alive.
In 2026, Alexandre directed CROSSROAD, the most technologically ambitious film of his career to date. Created for Maitrepierre AW26, the film is suspended between contemporary Paris and Paris 2046, following a young woman drifting through crowds, metro corridors, trains, reflections and luminous infrastructures in search of an absent presence. Conceived as a meeting point between traditional cinema and advanced image-making processes, CROSSROAD combines live-action cinematography, performance, practical locations, green-screen photography, tracking, 3D, VFX, compositing, world building and generative image technologies within one continuous cinematic language.
Rather than approaching new technologies as a subject in themselves, Alexandre uses them as additional cinematic materials — alongside light, framing, movement, performance and sound. CROSSROAD opens a new cycle in his work: a cinema capable of building ambitious worlds while preserving emotional intimacy, human presence and a deeply sensorial relationship to image.
Following this film, Alexandre is developing Ereka Production with designer Alphonse Maitrepierre and composer Hugues Tonnet. Conceived as a creative film production structure at the crossroads of cinema, fashion, music and emerging image technologies, Ereka aims to produce films and visual worlds that bring together traditional filmmaking, world building, 3D, VFX and generative image processes from the earliest stages of a project.
On the artistic side, Alexandre co-founded De Anima, a transdisciplinary collective bridging performance, film and installation, always anchored to the living world. His hybrid works — exhibited at Hangar in Brussels, Unseen Art Fair and Ada Ventura Gallery — explore transformation and identity, as well as vegetal and animal intelligence, through a post-realist and queer lens.
Self-taught as a filmmaker, Alexandre first trained on set as an actor. He began his career with Les Fautes d’orthographe by Jean-Jacques Zilbermann, then appeared in Bébé requin and Donne-moi la main by Pascal-Alex Vincent, as well as Sherlock Holmes: A Game of Shadows by Guy Ritchie. These encounters with renowned directors became a true school of cinema, where he absorbed the intricacies of screenwriting, art direction and mise-en-scène.
Drawing on this empirical training, Alexandre has forged his own cinematic vision. His approach is both rigorous and sensorial, with light, framing, rhythm and sound textures playing a fundamental role in the immersive power of his films. Whether working with fashion, music, performance or new image-making technologies, he approaches cinema as a space of transformation — a place where bodies, garments, architecture, sound and possible realities can become one living world.