London-based Parisian documentary director, colourist and video editor, Amélie Ravalec previously directed two documentaries, Industrial Soundtrack For The Urban Decay & Paris/Berlin: 20 Years Of Underground Techno. She has also been working as a freelance video editor and colourist for the last eight years in London, Paris, Melbourne, Brussels and Berlin, working for many prestigious clients in advertising, documentary, virtual reality, fiction, corporate, TV, politics, music and fashion.
Amélie's latest film Industrial Soundtrack For The Urban Decay traces the origins of Industrial music for the first time on film, taking the spectator on a journey through the crumbling industrial cities of Europe to America’s thriving avant-garde scene. Industrial Soundtrack opened theatrically May 2015 with over 130 screenings in 30 countries. Industrial Soundtrack has been screened in many prestigious cinemas, festivals, museums and cultural institutions worldwide including the British Film Institute in London, the Institute of Contemporary Arts in London, EYE Film Institute in Amsterdam, Forum des Images in Paris, Yerba Buena Center for the Arts in San Francisco, Museum of Contemporary Art in Detroit, Philadelphia Mausoleum of Contemporary Art, Erarta Museum of Contemporary Art in St Petersburg, Tel Aviv Museum of Art, Memphis Brooks Museum of Art, Danish Film Institute... The film was also featured in international press including The Guardian, Sight & Sound, Film Comment, Vice, Pitchfork, Fact, The Wire and many other music and arts titles.
Ravalec’s debut film Paris/Berlin: 20 Years Of Underground Techno documents the underground movement of techno through the lens of two very different cities, from secret Parisian parties to Berlin’s infamous Berghain club. The documentary traces the evolution of techno telling the stories of the DJ’s, producers, label managers, promoters, record shops and distributors that have stayed true to its original spirit. Paris/Berlin was released in 2012 in 18 countries and won the Festival Pick Award at Sydneys Fringe Festival in 2013. It was hailed as “one of the classic documentaries of music journalism”.