CINEMANIA arrived in my life like a test I didn't know I was taking, as I was Publication Manager and Graphic Designer.
The 156-page catalog was my first mandate. It had been gone for two years, and I brought it back. Not as nostalgia, but as architecture; a way to move through the festival that felt intentional, grounded. People held onto it; it's been printed at 8,000 copies and none left.
But a festival doesn't live in print alone. I built the social media strategy too: content creation, scheduling, live coverage across platforms. We gained over 1,000 new followers. More importantly, we created presence, the kind that makes people feel like they're part of something, even from their phones. I coordinated a small team to cover every screening, panel, and unexpected moment worth capturing.
Then came the design work: print materials, digital slides for ceremonies and screenings, all in service of the 28th edition's visual identity. Cohesion across chaos. And beyond that? Partner communications, press visibility, reviewing materials, sourcing collaborators, supporting the volunteer team so guests felt taken care of. The invisible work that makes everything else possible.
This wasn't just a creative role. It was operational, relational, strategic. It required me to move fluidly between the tangible and the intangible, between what people see and what makes them feel something.
Or, to put it more plainly: I made sure the story held together, even when everything was moving at once.
