Moinzek

"I pump, therefore I am." René Descartes stars in, The Method. aka The Philosophizing Machine. A short reflection made with @runwayml in about 2 hours because philosophy is more fun when it's cinema.

my three biggest tips for portfolios: 1. if you are not an INCREDIBLE website designer, you need to use a @framer template. if your website is bad you look like a bad designer, even if you have amazing work. also, get over yourself. you really only need a grid page of images (pretty much what I have) 2. cut the ugly stuff out. in your first 2-4 years as a designer, you should need to turn over the majority of your portfolio every few months (if you are improving at the correct rate) it doesn't matter if your worst project is the last one listed, you are still presenting it as an example of what you would be proud to deliver. 3. SHOW THE WORK SHOW THE WORK SHOW THE WORK do not make me click through 3 pages or scroll eight times to see your stuff. same goes for your X account if you're serious about using it as a lead magnet.

LHC • April 2026 is live 🎬🎞️ (link on bio) But before stepping into the theater: a first. LHC is now available on @cafeyn_fr, the digital newsstand. To mark the occasion, we hid 11 film references in the cover. Find them all, reply in the comments, and you’ll be entered into a draw to win a one-year Cafeyn subscription. Team ► Marine Rondo-Lotto - Jean-Michel FALCIASECCA This issue exists because a kid from Namur ran down the stairs with a DVD in hand. Because directors, lawyers, and profiles coming out of California had something to say about what’s happening to cinema. Jean-Yves le Moine opens with a disruptive idea: AI as machinic maieutics, an active mirror for the filmmaker. @LudovicCreator, @CharaspowerAI, and Julien Cocquerel detail their integration into the VFX pipeline of House of David. Jérôme Genevray refuses sides and chooses the prism. Dan Frydman imagines spaces somewhere between Stargate and a futuristic Egypt. Marine Rondo-Lotto and Jean-Michel Falciasecca reinterpret cult films through fashion. Stéphane Benini and Bruno Detante remind us that generating without intention is just pressing a button. @henrydaubrez , who has gone through a sold agency, cancer, and @GoogleLabs , shares an extraordinary journey. His AI portraits of patients moved Tribeca. We look back at @ElevenLabs Creative Sessions #1 at the Théâtre de l’IA, sold out: 22 teams, @0xSorcier and Fede win first prize. A retrospective on the @Artefact_Global festival: Mark Wachholz takes the Grand Prize with The Cinema That Never Was. Max De Donato and Cokau Lab tie for the Jury Prize. Jiaze Li wins the Audience Award with Arrow. @AnneHorel is awarded for La Tisseuse d’Ombres. Ariel Kotzer and Alix André-Kellershohn complete the lineup. Also featured: our favorites with Analogmirage, Raphael Perrollier, and Yannis Mangematin. Elisha Karmitz (@mk2) closes the section, holding the line between heritage and experimentation. Les Heures Augmentées opens with Claude Mythos Preview, a model considered too effective to be released. Eric Helias goes back to the root of the debates. Nicolas Huvé Kousmichoff introduces Mortimer, his AI agent. @caroingeborn (@LumaLabsAI ), interviewed by @TiKaWo_Crea , announces the end of prompting: we speak to AI like a collaborator. Caroline Thireau and Ludovic Carli test Seedance 2.0 through five crash tests. Aurore Sauviat and Elisa Sobczyk (Lawderis Avocats) raise the legal question everyone avoids. Dynamo Dragan takes on Hollywood. The Counter-Horoscope is back… as always. @laszlogaal_ wins the @runwayml's Big Ad Contest, the AARON Awards, of which we are partners, stream their ceremony live on the 16th and 17th depending on your time zone, and MarSAI launches its call for entries for its festival. The lights dim. The room is full. Enjoy the issue