The Directors: Alba Ricart

Alba Ricart is fashion filmmaker and photographer based in Barcelona. Alba has built a solid career collaborating with major brands such as Gucci Beauty, Hugo Boss, Netflix, Tous, and Massimo Dutti.

Her passion for imagery began at the age of 12, when she discovered photography using her father’s camera. Since then, she has developed a unique style characterised by a special attention to light, composition, and colour, elements that stand out in all of her work. “The greatest extravagance is naturalness,” says Alba, a principle she applies to each of her projects.

In recent years, she has brought her artistic vision to a variety of projects that have been featured in magazines such as Número Berlín, GQ Portugal, Glamour, Vein, and Fucking Young. With a fresh perspective and a constant drive for new challenges, Alba Ricart wishes to continue exploring new aesthetic languages.

Name: ALBA RICART

Location: BARCELONA

Repped by/in: Poster Worldwide (Argentina, Spain, Mexico, USA).

LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

Alba> Some scripts focus on narrative, others lean more towards aesthetics; some have a touch of humour, while others aim to be more sensory and sensitive. In general, I really enjoy the first read-through, approaching the script without any visual references. From that moment on, I start to develop in my mind how I’ll approach the project.

LBB> How do you approach creating a treatment for a spot?

Alba> My top priority is usually finding an aesthetic that serves the script. For me, locations are extremely important—they make up nearly 80% of the film. Next, I envision the characters: what do their faces look like? What kind of personalities do they have? How do they feel? Where do they live? After that, I focus on the visual style of the film, considering the type of lighting, lenses, camera movements, and any general technical requirements needed to tell the story effectively.

LBB> If the script is for a brand that you're not familiar with/ don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?

Alba> It’s essential to understand the brand, its journey so far, and what it currently seeks. Some brands are looking for change, while others have a very strong identity that needs to be respected. In both cases, it’s crucial to understand the market they operate in, the audience they’re targeting, and the direction they're heading now.

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Alba> I believe it's very important to always row in the same direction. I often say that shooting a spot is like being in a boat where we're all on board. If we don't row in the same direction, and there isn't a leader who knows how to manage it, the boat ends up stuck.

LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?

Alba> I love projects with a strong creative direction, where there’s a clear vision of what we want to achieve. In general, I really enjoy pieces that strike a perfect balance between narrative and aesthetics. I'm currently very interested in advertising that prioritises storytelling over the product being sold.

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Alba> In a production of a promo for a Netflix series, we only had 1.5 hours with the characters. The script lasted two minutes, so it was very challenging to find a way to convey the story and shoot it within such a short time frame using only one camera. We decided to film the entire script in three takes: one take from a general shot perspective, another take from a different general shot perspective, and a third take with close-ups and reactions from the different characters.

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Alba> It is important to understand both the client and the agency. I have encountered cases where the agency is looking for one thing while the client is seeking something entirely different, and we often find ourselves caught in the middle of this conflict. That’s why it’s crucial to find the balance between what the agency wants and what the client needs.

Our job is to propose the right treatment that achieves that middle ground where everyone feels comfortable.

LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?

Alba> I think it’s very beneficial for the industry to give new talent a chance with a fresh perspective. The industry is constantly changing at a much faster pace than in the past, which is why everything needs to evolve continually. It’s a significant investment when production companies like Poster and Lee Films support young talent.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?

Alba> I use AI a lot, especially in visual research platforms such as frameset, film and sometimes even ChatGPT to correct texts or create new references by mixing two photographs.

Nowadays it is not conceivable to be able to create an audio-visual piece without having previously sold or shown what you are going to do by capturing it in a document full of words and images that support what you have in your mind. But sometimes I find that there is no reference that can capture what I really want to do and this is when AI comes in to generate a new image. 

LBB> Which pieces of work do you feel really show off what you do best – and why?

Alba> I have just submitted my first personal project, and I am very happy with the final result. It is a short narrative.

"El demonio dentro" is an introspective short film that delves into the inner world of a young woman struggling to confront the emotions that consume her. Through her daily routines, we’re drawn into the depths of her mind, where feelings surface that she rarely manages to express to the outside world. Using a rich, sensory narrative, this piece captures the complexity of inner demons that, though invisible to others, shape her reality and invite us to reflect on our own.