Following her studies in Philosophy, Julie Bertuccelli (1968) began her career, serving as assistant to Krzysztof Kieślowski, Otar Iosseliani, Bertrand Tavernier, Rithy Panh, Emmanuel Finkiel, Pierre Étaix, Christian de Chalonge, René Féret, Jean-Louis Bertuccelli and others, before embarking on documentary-making studies at Ateliers Varan in 1993. It was thereafter that she shot her first documentary Un métier comme un autre, followed by Une liberté ! (1994), La fabrique des juges (1997), Bienvenue au grand magasin (1999), Un monde en fusion (2006), Otar Iosseliani, le merle siffleur (2006, coll. Cinéma de notre temps), Le mystère Glasberg (2008) and A Portrait of Antoinette Fouque (coll. Empreintes). Her first full-length feature film Since Otar Left (2002), which was shot in Georgia, revealed her to the general public (some twenty awards won in France and abroad). The Tree, her second full-length feature film, was shot in Australia with Charlotte Gainsbourg; part of the official selection at Cannes Film Festival. Two more of her films came to French cinemas, School of Babel (2014) and Last news from Cosmos (2016), both nominated for Best Documentary at the César Awards. She then directed her third full-length feature film, Claire Darling with Catherine Deneuve and Chiara Mastroianni, and, finally, Jane Campion, The Cinema Woman, her last full-length documentary, in official selection (Cannes Classic) at Cannes Festival 2022. Julie Bertuccelli co-directs the Direction Department at the Cinéma School La Fémis and also heads the freshly-inaugurated La Cinémathèque du Documentaire, which she initiated when she presided LaScam, the French-speaking society of documentary authors, since June 2017, as the first woman elected to this position in 2013. She also created the ‘Golden Eye’, the Best Documentary Prize at Cannes Film Festival with LaScam.