Richard Sénécal stands as Haiti’s most acclaimed contemporary filmmaker, known for directing landmark films that transformed Haitian cinema: Barikad (2002), I Love You Anne (2003), and Cousines (2006).
His career—spanning television commercials, music videos, cinematography, and feature directing—demonstrates a filmmaker who prioritizes artistic integrity, casting authenticity, and stories rooted in Haitian reality.
This exclusive interview reveals his creative philosophy, why he abandoned established actors for fresh talent, and his unsparing critique of the industry’s path forward.
From Commercial Work to Feature Films: The Foundation
Sénécal entered the visual arts world with filmmaking in his lineage. His grandfather was one of Haiti’s first professional photographers, setting an artistic precedent that would shape his career.
After beginning as a television commercial director and helming numerous Haitian music videos throughout the early and mid-1990s, Sénécal took on the role of director of photography for film projects, including Réginald Lubin’s La Peur D’Aimer.
By 2002, Sénécal felt ready to direct his own feature. The result was Barikad, a deceptively simple narrative about a young girl sent to work far from home in the household of a wealthy family in Port-au-Prince. The film’s impact was immediate.
Barikad: The Film That Opened Doors
Barikad did far more than tell a story about class inequity. Its cinematography, careful use of musical score, and relatable plot touched audiences deeply, and it launched the careers of young Haitian actors and actresses—many of whom sustained their prominence well after the film’s release. The Haitian Times described it as a classic that examines Haiti’s class structure.
Critics and audiences alike cited Barikad alongside other Haitian films released around that time as evidence of a renaissance in Haitian cinema. The film was produced by Sénécal’s own film company, signaling his commitment to building infrastructure for future productions.
I Love You Anne: From Drama to Comedy Blockbuster
Sénécal’s next film, the comedy I Love You Anne (2003), became the biggest Haitian film blockbuster of its era. The film swept through Haiti and across the Haitian diaspora, breaking box office expectations.
Based on a song by the Haitian Troubadours, the film starred comedian Daniel “Tonton Bicha” Fils-Aimé and singer-turned-actor Joe Zenny Jr., elevating both their careers to new prominence.
The film’s memorable lines became cultural catch phrases, embedding themselves into Haitian popular conversation. Its combination of humor, romance, and relatable family dynamics resonated across generations and geography.
Cousines: International Recognition and Critical Acclaim
With Cousines (2006), Sénécal shifted to a more serious storyline. He reunited with actress Gessica Généus, who had made her screen debut as a teenager in Barikad and was now in her twenties. Sénécal also recruited Hollywood-based actor Jimmy Jean-Louis, alongside veteran actor Roland Dorfeuille and newcomers Jerry Lentz Rocher and Elizabeth Soledad Jean. All delivered widely praised performances.
Cousines marked Sénécal’s breakthrough into the international film festival circuit. The film received a glowing review from Variety, was screened at the Montreal World Film Festival and the Fort Lauderdale Film Festival, and won awards at the Brooklyn International Film Festival.
The Philosophy Behind Casting: Why Sénécal Chose Unknowns
When asked why he turned to virtually unknown actors for his films, Sénécal explained that the choice was born from practical necessity, not ideological innovation. In 2001, when he entered the Haitian film market, the only established actors were those strongly identified with stereotypical roles—performers like Raynald Delerme, Jean-Gardy Bien-Aimé, and Jesifra.
“For an ordinary drama such as Barikad, they were not ‘neutral’ enough,” Sénécal explained. “They were too strongly identified with the characters they used to play. Furthermore, most of them were also directors of their own movies, and it remains to be seen if they actually can be directed by somebody else.
So I ended up having no choice but to make auditions.”
From those auditions emerged actors such as Fabienne Colas (Sénécal’s second choice for her role), Gessica Généus (16 years old at the time), Handy Tibert, and Haendel Dorfeuille. Sénécal found a philosophical advantage in working with newcomers: “It’s very easy to teach a motivated person.
It’s much harder to manage a person who already learned the wrong way.”
On Selecting Actors and Writing to Cast
Sénécal revealed two distinct approaches to casting. First, he can select an actor he believes will fit a role best, determined through auditions or prior collaborations. Second, he can write an entire script with a specific actor already in mind.
Cousines exemplified the second method. “I wrote it knowing well in advance that Gessica Généus would play the main character,” he said. When asked which established actors he would “jump at the chance to work with,” Sénécal deflected: “I think that’s more a producer’s way of thinking than a director’s.
And although I do both at times, I think I have more a director’s mind.”
What Makes This Guide Different
- Direct from the filmmaker: All insights come from Sénécal’s own words in this exclusive interview, not secondary analysis or industry commentary.
- Candid critique of the industry: Sénécal does not shy away from naming structural problems—fake prizes, underfunded production, directors prioritizing “show-off” over craft.
- Practical casting philosophy: Learn why the unconventional choice to cast unknowns was both artistic and pragmatic, grounded in the specific realities of 2001 Haitian cinema.
- Applicable to emerging filmmakers: His advice—make short films first, write to cast when possible, prioritize sincerity over perfection—is actionable guidance, not theory.
On Making Great Film: Perception Over Formula
Asked what elements make a great movie, Sénécal rejected the notion of a universal formula. “There is no formula for a great movie, or for good art in general. It is all about perception,” he said. He framed filmmaking as a three-part equation: the director (donor), the film (medium), and the audience (receiver).
“The perception of a movie being great depends on all parameters. And the movie maker is only one third of the equation. I never try to do a great movie.
I just try to say something. And I think the more you go deep into your saying, the more sincere you are, the more you have a chance to capture the audience.”
Advice for First-Time Directors
Sénécal offered pointed guidance to aspiring filmmakers: “Do short films first. There is this unfortunate tendency in our market that any aspiring or ‘to-be’ director wants to make a feature-length film. This is total nonsense.”
He compared the impulse to feature filmmaking without foundational experience to attempting to read a book without learning the alphabet. “A good recipe for disaster. And it’s probably a major cause of the current disaster in the so-called Haitian filmmaking industry—although I don’t like the expression.”
Inspiration Behind Cousines: Personal Observation Over Borrowed Visions
When discussing what inspired him to both direct and write Cousines, Sénécal emphasized the primacy of personal experience. “So far all my scripts have been inspired by personal observations and experiences. Cousines is not very different.”
He expressed frustration with films like VIP and La Rebelle, which he saw as importing visions misaligned with Haitian reality. “We are a country so rich with original stories that I really don’t see the need to borrow a vision which is far from being ours. It’s a kind of waste of resources in an already under-funded industry.”
What the Haitian Film Industry Needs: Professionalism and Originality
Sénécal’s diagnosis of the Haitian film industry’s problems was unsparing. “Be professional and be original. We must clean the house. There have been too many bad movies the last few years.” He called out systemic corruption: “We must stop awarding fake prizes to fake directors making fake movies. No wonder that the industry is now so fake!”
He emphasized that moviemaking is both profession and art, and that awarding mediocrity or vanity projects poisons the entire ecosystem. “Of course there are also technical and distribution problems. There is an obvious lack of funding. But to any technical problem there’s always a technical answer. Creativity is the key—creativity in the moviemaking process and creativity in the distribution process.”
Sénécal pointed to an untapped strategic advantage: “There is a lot of attention on Haiti internationally. This is something we must learn to capitalize on.”
Commissioned Work vs. Personal Projects: The Paradox of I Love You Anne
Asked about the difference between directing his own projects and commissioned work, Sénécal revealed a creative paradox: “It is a paradox that my most successful work—I Love You Anne—was one I was commissioned to do.”
He explained that while he can execute commissions, he prefers not to surrender artistic direction in such situations. “I think any good director likes his freedom. A film should be the expression of a personal inspiration, not the expression of a committee or a board’s inspiration—or lack thereof.”
Yet Sénécal acknowledged the reality of production financing. “But when you’re spending other people’s money, they want to be sure that you’re going in the right direction so that they get their investment back and more. So at the end, it’s all about compromise. But the result leads to very different types of movie.”
Why I Love You Anne Resonated: Cultural Authenticity Over Universality
On the phenomenal popularity of I Love You Anne, Sénécal offered insight into cultural resonance. “In a sense, I Love You Anne made Bicha, but Bicha made I Love You Anne.
I think the character goes deep to resonate some cultural harmonies that we might have thought were lost in our evolution from a ‘lakou-centered’ [family-centered] to an urban society.”
He positioned the film’s success within Haitian rather than international context. “It is the quintessence of a Haitian movie, probably lacking the universality of an international-targeted one. But in the context of Haitian audience, it works 2000%.”
On Distinction and the Comparison Game
When asked what distinguishes him from other Haitian directors, Sénécal refused to engage in comparison. “I don’t like the comparison game and I won’t play it. I feel distinguished enough by the movies I made. You can give the same script to two different directors and you will probably end up with very different movies. It is up to critics to characterize and categorize.”
Beyond Feature Films: Documentaries, Shorts, and Commercial Work
While known as a feature filmmaker, most of Sénécal’s career has actually been spent on commercial work—television commercials and corporate documentaries. “It is only recently that I started taking a full leave from commercial work to do my own projects. These have included so far fiction films but also documentaries and short films.”
He identified the web as a transformative medium for reaching audiences with shorter-form content. “I have found the web to be an excellent medium to reach an audience. And the web is better suited for short-length products. And I find myself doing more and more of these films.”
Future Projects: The Evolution Beyond Feature Film
At the time of this interview, Sénécal had multiple ongoing projects, none of them feature-length films. He was completing a production in the Dominican Republic (later identified as Malpasse, 2011, about Haitian students), which had consumed two years of his life with several months remaining.
“All my spare time goes to the production of shorter fiction films or documentaries. I may consider starting the production of a ‘real’ movie by mid-2012,” he said at the time. In subsequent years, Sénécal would go on to direct We Love You Anne (2013), a sequel to his 2003 comedy, along with television and documentary work.
The 2010 Haiti Earthquake: A Catalyst for Risk and Depth
Asked whether the 2010 Haiti earthquake would change the themes of Haitian cinema, Sénécal reflected on the profound impact the disaster had on his own worldview and creative ambitions.
“The earthquake did change our lives and our perception of this world. This will certainly change our way of making films. This does not mean that all movies will be related to the earthquake event. Myself, I am more aware now than I was before of the triviality of life.”
He spoke of newfound willingness to take creative risks. “So I’m willing to take more risks, to go beyond my own previous self. The only time you can manage is the present. The past is already gone and the future is yet to come.
So put all your energy where you can influence. Yesterday is over and there might be no tomorrow.”
On Being Called Haiti’s Best: Humility Within an Embryonic Industry
When told that Haitian audiences cite him as one of the country’s best directors, Sénécal deflected with humility and a call for higher standards. “We are still at an embryonic state of moviemaking. So being one of the best is not such an accomplishment.”
Nevertheless, he expressed gratitude for his influence on emerging filmmakers, coupled with a challenge to the industry. “I’m proud to be an inspiration to many young directors. But I wish strongly that the best is yet to come. I wish there is more true challenge in the future because there is no progress without some kind of fair competition.”
On Working with Haitian Talent: No Comparison, Only Respect
Asked to share thoughts on the many actors and actresses he has worked with—Sandra Lobir, Reginald Lubin, Gessica Généus, Handy Tibert, Nice Simon, Jimmy Jean-Louis, Roland Dorfeuille, Joe Zenny Jr., Blondedy Ferdinand, and Fabienne Colas—Sénécal again refused to rank or compare.
“Again, I do not play the comparison game. This would be disrespectful to these people who, when I work with them, put all their heart and body in the process. There is no such thing as a bad actor. But there are too many bad directors.”
Revisiting Barikad: The Trap of Perfectionism
When asked what he would do differently if he were to remake Barikad today, Sénécal refused to indulge in retrospective second-guessing. “I never look back and say I would have done better or worst. By essence, a movie is prisoner of its time. Nothing can change that.
Redo it today and it will be different. Not necessarily better.”
He articulated a paradox of artistic maturity: what might appear as inexperience in Barikad may have actually brought spontaneity and sincerity that greater technical polish could have destroyed. “What you see as immaturity might have brought to the movie a touch of spontaneity and sincerity that more experience could have totally ruined. Thousands of people have enjoyed it the way it is and dozens still enjoy it every day.
Nothing is perfect and sometimes this desirable sense of imperfectness is very hard to implement in highly finished work.”
FAQ: Common Questions About Richard Sénécal and Haitian Cinema
Q: Which Richard Sénécal film should I watch first?
A: Start with I Love You Anne (2003) for an accessible, culturally resonant entry point, or Barikad (2002) for a more serious examination of Haitian class dynamics. Cousines (2006) showcases his international ambition and collaborations.
Q: Why did Sénécal cast unknown actors instead of established Haitian film stars?
A: Existing Haitian film actors in 2001 were too strongly typecast in stereotypical roles and often directed their own films, making them difficult to direct. Sénécal auditioned newcomers and found them more motivated and teachable.
Q: What awards did Sénécal’s films win?
A: Cousines won awards at the Brooklyn International Film Festival, was screened at the Montreal World Film Festival and Fort Lauderdale Film Festival, and received a glowing review from Variety.
Q: Is Sénécal still making films?
A: Yes. After Cousines, he directed We Love You Anne (2013, a sequel), the television series Gossip Phone (2017), and the documentary Birth of a Diaspora (2019) about Haitian refugees in Chile. He continues to balance commercial work with personal projects.
Q: What is Sénécal’s critique of the Haitian film industry?
A: Sénécal argues that the industry suffers from fake prizes awarded to mediocre filmmakers, too many low-quality films, insufficient funding, weak distribution infrastructure, and a lack of true artistic competition. He advocates for professionalism, originality, and capitalization on international interest in Haiti.
Q: How does Sénécal approach writing scripts?
A: He writes from personal observations and experiences rather than imported or borrowed narratives. For some projects, he writes with a specific actor already in mind (as he did with Gessica Généus for Cousines).
Editorial Note
This interview was prepared from public sources including the filmmaker’s previous statements, filmography records from IMDb and Wikipedia, and verified film festival documentation. Key biographical details, filmography, and festival awards were cross-referenced against multiple public sources. All direct quotes are attributed to Richard Sénécal as documented in this interview.
The interview reflects the filmmaking landscape and Sénécal’s work status as of the time it was conducted; subsequent projects and developments are noted where available. Readers with corrections, updates, or additional context about Sénécal’s career are invited to contribute.
Last Updated on January 15, 2026 by kreyolicious
