My Role

I designed the report end to end: the concept of a navigable archive, the visual system, the six section identities, the launch landing page and the motion. I worked with Clémentine Duxin, who identified and wrote the trends, and Clara Sebastiao, who refined the archive, the trend names and the moodboards. The strategy and the system are mine; the curation was genuinely shared.

The Challenge

Flim is a database of 1.5M images and video cuts from films, music videos, and ads. The raw material is extraordinary, but a database alone does not make a point of view. The question was strategic: could Flim stop being seen only as a tool, and start being received as a voice on visual culture? Not another library update, but a document with enough authority to be treated as a reference.

Approach — Navigable object

Built to be explored, not just read
The report is a navigable archive, not a PDF. Readers move through the six sections, compare references with interactive sliders, and jump out through hotspots to the live boards on Flim.ai and to artist interviews woven through the report. The archive is a hub: every trend connects back to the database it came from.

Approach — Curation

Turning a database into a point of view. The work was curation at scale. We explored Flim’s database, spotted the recurring signals, and grouped them into six major trends, each broken into sub-trends. Clémentine identified and wrote the trends, Clara refined the archive, and together we shaped the names, the moodboards, and the hierarchy of images: what to bring forward, what to keep in the background. My role was to turn that curation into a readable, navigable object.

One system, six worlds

To make sixty-plus pages hold together, I built a categorization system: a dedicated color, a custom logo, and a distinct feuillet (page treatment) for each of the six trends. One consistent structure across the whole report, so each world is instantly recognizable and the archive scales without redesigning every page from scratch. The object itself borrows the language of a physical archive: a kraft cover, ring binding, perforated margins, section numbers, a summary and a visual index.

Flim’s Playground

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