March’s Film of the Month, ‘LBO‘, doesn’t shout, it tightens its grip scene by scene. A gripping character study set against the high-stakes backdrop of commercial law, ‘LBO’ also won Screenwriter and Actor of the Month for its sharp, emotionally resonant storytelling. At its heart is Karim, a man racing to save his company on the eve of a crucial court hearing, while slowly losing grip on what really matters. With striking shots and moments of silence that speak volumes, ‘LBO’ unfolds like a quiet reckoning: about pride, risk, and the hunger for love in a world that often confuses worth with success. We spoke with director Gilles Laborde about crafting ‘LBO”s cinematic language, the symbolism behind its motorcycle motifs, and why this short film is just the beginning of Karim’s story.
TMFF: The score for LBO is incredible. How did it come about?
GL: Thanks a lot! I worked with composer Harold Maraud to create an atmosphere of darkness that the hero’s instinct to survive tries to pierce. A lullaby inspired by the legendary singer Fairouz became one of the key motifs for that struggle.
TMFF: We love the wide shots of Karim entering the courtroom. What was the central goal of the cinematography?
GL: I wanted to underline the hero’s loneliness in the world of high finance. As soon as he steps inside, the rules shift—he has to brace for unchecked violence.
TMFF: What was the central inspiration for LBO?
GL: My own path as an entrepreneur and as a gay man. It’s about living as both the dominant and the marginalised at the same time.
TMFF: The motorcycle shots are brilliant. Why have Karim ride a motorcycle instead of a car?
GL: Karim is a risk-seeker. Like a warrior, he’s willing to put his life on the line. Turning a familiar cliché on its head can be fun—and revealing.
TMFF: How does love play a role in LBO?
GL: Love sits at the film’s core, but it isn’t visible at first because Karim himself can’t recognise it. He only understands love when everything around him collapses and he realises he’s been valued for what he represents, not for who he is.
TMFF: What does the helmet on the step symbolise at the end?
GL: It’s a metaphor for the reckless risks people take when they feel unloved.
TMFF: What else was planned for LBO that didn’t make the final cut?
GL: I would have liked to include more motorcycle sequences to reinforce the hero’s solitude.
TMFF: What do you want audiences to take away from LBO?
GL: Pride is meaningless when you’re starved of love.
TMFF: What’s next for you?
GL: A feature-length film that explores Karim’s fate—LBO was only the first sketch.
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