Torino Film Lab – Family Ties and Favoritism during Matthew Darras’ tenure as the Artistic Director

Categorized as Alleged Conflict of Interest, Community Posts Tagged , ,

Through the valued contributions of our readers, Film Industry Watch has learned that during Matthew Darras’ tenure as the Artistic Director of the Torino Film Lab, his sister, Isabelle Collombat (formerly Isabelle Darras), participated in the lab’s initiatives on two separate occasions:

2014  Audience Design Workshop   –  TorinoFilmLab  (Turin, Brignogan/Brittany)

2013  – Adaptlab workshop   with director-screenwriter Razvan Radulescu –  TorinoFilmLab  (Turin, Copenhagen, Lyon)

These are listed on Isabelle’s personal website which can be accessed here.

Critics have raised concerns about the seemingly problematic nature of her being invited not once, but twice, to participate in the Labs programs, in an organization where her brother serves as the Artistic Director. The familial ties to Darras inevitably cast doubt on the impartiality of her selection.

This case serves as a glaringly example, epitomizing the widespread issues prevalent throughout the film industry, particularly within the entire European film ecosystem, as extensively documented in our numerous articles, embodying nepotism, shamelessly, in its purest form.

Furthermore, reports suggest that Darras, in his capacity as Artistic Director at TFL, has reportedly been pursuing established producers, encouraging them to apply to TFL. Allegations indicate that he not only offered personal invitations but also provided preferential treatment by extending application deadlines.

This strategy was implemented to enhance the credibility of TFL and secure future public funding, at the expense of assisting young producers and directors who would benefit significantly more from the exposure provided by TFL than those already established producers and projects.

Film Industry Watch is keenly focused on the Torino Film Lab, which appears to have a recurring issue with favoritism within the European film landscape. This issue contributes to reinforcing established power centers and select individuals over merit, transparency, and genuine support of independent cinema, emerging talents, and young filmmakers. Such practices prioritize transactions of favors within the industry among already established and influential entities, at the expense of fostering genuine diversity and opportunity.

As we undertake a comprehensive examination of the Torino Film Lab and its practices spanning the last two decades, we invite anyone with information about this organization to please reach out and contact us.

Further reading:


At the Torino Film Lab website:

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