Michele Aboud had made a name for herself internationally as a photographer before she ventured into directing. The name won her work in New York, Paris and London as well as Sydney and jobs to shoot at the top end, for people such as Cate Blanchett, Hugo Weaving, Baz Lurhmann and Debbie Harry. Her debut documentary, A Close Shave, was recognised by twelve international and local film festivals, including Berlin Short Film Festival, ST Kilda FF, ARFF Berlin Best Short Documentary and was a winner at the Vegas FF. She has also directed campaigns for HSBC, the Refugee Council of Australia, AstraZeneca and Glasshouse Fragrances.

And now, she has found a home at Film Construction. Belinda Bradley explained why that was a coup and Michele Aboud explained what her work means to her:

The Stable: What is it about Michele that attracted your attention?

Belinda Bradley: Michele’s film work immediately caught our eye. But then we saw her photography and were in awe. Her dedication to honing and perfecting every aspect of her craft is evident in her photographs too. She pays close attention to the details, carefully shaping and refining each shot while also maintaining a strong sense of the overall composition. She is truly a master of her craft.

Film Construction has been around for quite some time. We tipped over the 25-year mark a couple of years back and stopped counting. We have seen a lot in this industry. A lot of change. A lot of talent too. So when we came across Michele’s film work, we knew she was something special. We love film craft. And you can see in Michele’s work that she is about polishing, sharpening the moments, and getting the emotional details right. As well as stepping back and looking at the whole picture.

TS: What do you think are her greatest skills?

BB: It is not an easy transition from stills to film. Photographers sometimes are so attuned to thinking in a singular frame that they don’t quickly start to think in sequences. And this is something that Michele has mastered beautifully, unfolding the narrative with impeccable shot composition and the correct emotional tone. Michele has a rhythm to her film work, knowing how to move the camera appropriately for the story. And she also knows when to let the camera sit and allow the story to unfold with her frame. 

TS: What makes her work stand out?

BB: It is not an exaggeration to say that Michele’s work is an alluring multiverse of imagery. Her film of Saiba Choy first caught our eye. It was muscular yet vulnerable. Her personal documentaries, A Close Shave, and Good Luck Girls, tell moving stories with restraint. Her more experimental work like, The ballad of Albert Fox, shows a filmmaker striving to innovate. Finally, her commercial work for beauty brands like Glasshouse fragrances and Cemoy is as stylish as anything one would see from international luxury brands.

Michele’s direction shows a love of humanity and an innate sense of timing. Her extensive portfolio of photography has a gracious spirit and compositional flair. It features celebrity portraits as well as street fashion. She has worked for international airlines, cosmetics and pharmaceuticals. Her editorial work has been featured in every publication of note, including Vogue, Interview, Harpers Bazaar, Rolling Stone, Oyster, and Noise. 

TS: Michele, What do you think characterises your work? What is important to you?

Michele Aboud: It’s funny. My work is so clean, with an edge, it’s the subliminal twist that holds your attention for a moment longer. The reason I say it’s funny is because I love moody, dark, soft imagery. I’m slowly playing with that aesthetic using mirrorless cameras that allow the ISO to be pushed greatly in low light. The advancement with technology does influence the way I shoot. Before digital came into the mainstream, my camera du jour was Hasselblad, on a tripod, shooting film. Now I can move, be spontaneous, it matches my approach to life. Look around the corner, you never know.

TS: What three pieces of work are you most proud of and why?

MA: For photography, it would have to be the first portrait I shot of Cate Blanchett, Our Cate, it so beautiful. As relevant now, as when it was shot a decade earlier. Cate mentioned it was a beautiful image of her, I remarked, “It’s easy. You’re beautiful.” My direction for her was so fully embraced, the vulnerability shown in the eyes and hand gestures. An amazing opportunity to work with someone who can bring nuance to the table so easily, as we all know.

For film, A Close Shave still touches my heart, three men sharing challenging episodes of life, confronting their internal fervour with grace. It was completely ad libbed, no script, shooting with three cameras running, no breaks. But what I see every time I watch it is that look in their eyes, self-reflection of the experience, forget about the camera, it’s their internal film running. 

I’ve shot so many iconic images, the third one is difficult. The Lovers is my interpretation of something famous, showing “the times have truly changed, at least in this part of the world”, although nothing is apparent immediately. Faces enshrouded, evoking mystery within our own psyche. Its inspiration came from the repeated referencing over time of the originator’s painting from the late ‘20s. I decided to give it a twist with two androgynous boys playing the protagonists.

TS: What do you think are your most important personal attributes?

MA: The level of experience I now have feels brilliant, my knowledge and curiosity for creative endeavours is paramount. Moving into directing has brought far greater skills to the forefront, and new skills to embrace. If I thought being a photographer was about being decisive stylistically and guiding people into the image required/felt then that’s nothing compared to directing motion. I knew how to work with people, teams and post production. I then had to be decisive and collaborative with an editor, feel the music/soundscape required, shot lists, camera angles/movement, grading etc I like to do things well, which meant up skilling, the narrative being the core rather than a moving photograph. Switching my mind from stills to motion hasn’t been too difficult because my job, as a director, is to tell a story, and to share an experience.

TS: What does Michele add to Film Construction’s roster, and what you have to offer clients?

BB: We have a roster of ten film directors and six photographers. As we continue shaping our roster, we are more than ever convinced of the need for the artist’s voice to be heard. Creatives are looking for a collaborator with a vision. Film and photography projects need personality and unique perspectives to rise above the noisy media landscape. Both Michele’s directing and her photography do that. Her reel ranges from raw and gritty to stylised and polished.

Whether she’s shaping a story on film or framing a photograph, Michele’s work is always thoughtful, contemporary and visually striking. Her photographs are a reflection of her passion for fashion and portraiture and her ability to create images that are both beautiful and evocative. Her films and personal projects reveal a creative voice, always striving for something new. Something innovative. Something fresh. Always thinking outside the norm and looking for ways to provoke the viewer. From her fashion photography to her personal film projects, her work is defined by a contemporary aesthetic and a relentless pursuit of innovation. Whether behind the lens of a stills camera or shaping a story on film, Michele’s creative voice is clear.

View Michele’s directing work here. View Michele’s photography here.