The works he has directed, co-directed or co-created were rewarded by the attribution of eleven awards, in addition to earning some thirty nominations; they were screened in Canada, the United States, Peru, Spain, Portugal, Czech Republic,

Bulgaria, Russia, Belarus, India and Australia.

BACKGROUND AND EARLY EXPERIMENTS

Marco Joubert first comes to filmmaking by chance. In 2008, in the context of a visual arts residence in Nebraska, where his official project takes the form of a large scale installation, an idea for a film – truly a flash of inspiration – comes to him most suddenly, during a countryside walk. What ensues – the brief preparation and the shooting, in a single take, of a 15-minute sequence shot, simultaneously captured with two cameras – remains to this day one of the most thrilling experiences he’s had. It is, with filmmaking, love at first sight. From there, four years of experiments and self-learning are needed to complete this very first short film, Prime Nebraska (2008–2012).

Following this resolutely D.I.Y., lo-tech genesis, Joubert directs two other short films, an opportunity for him to autonomously pursue the search for the specificities with which he wishes to express himself, amongst the boundless possibilities he foresees in the filmic medium (The Last Can, 2011; In the Preserve & Whatnot, 2013–2014).

FURTHER DEVELOPMENT AND COLLABORATIONS

Following the completion of his first three films, Marco Joubert enters an extremely formative and productive three-year period, during which he creates eight new pieces. Feeling the need to perfect his knowledge and broaden the field of his competences, he first receives training at the Prague Film School, an experience that culminates with the shooting of Telepoetry (2015). Prague is also the scene of pivotal encounters, all of which result in collaborative projects: The Burial (2015–2016) a co-creation with Spanish director Patricia Delso Lucas; Resolutions (2015–2016) – adapted from a short text by Franz Kafka – a co-creation with American director Mika Johnson and An Entirely Simple Truth (2016–2017), a co-creation with Guillaume Saindon.

Then come, in the summer and fall of 2017, two more shoots: that of The Blue of the Sky (2017–2018) – a 90-second short film selected for the Espace Court segment of the 37th Festival du Cinéma International en Abitibi-Témiscamingue – and Perdóname, Lola (2017–2020), once more a co-creation with Patricia Delso Lucas.

In late 2017, he pursues specialized training in cinematography at the Global Cinematography Institute, in Los Angeles. It does not take long for Joubert to put into practice his most recent learnings, with the realization of two new short films in the 10-month period that follows his latest studies.

Untangling Chaos (2018) is, the following year, his first foray in the documentary world. This cinematographic portrait is part of a collective project comprised of some fifty female portraits (Female Faces, coordinated by creative director Rafailia Bampasidou). For this film, Joubert has the privilege to collaborate with American composer Wayne Horvitz, who, for this purpose, creates an original score.

In the fall of that same year, Marco Joubert follows with a new narrative project, A Woman Torn in Half (2018–2019). For this short film – undoubtedly his most ambitious to date and which, to some extent, synthesizes all his previous experimentations and concepts – he can rely on actress Marie Tifo to assume the lead role; actor Pierre Curzi also makes an appearance, in the closing scene.