Léo Barcet · Portfolio 2026Based in Saigon · FR

Xin chào, I’m

LéoBarcet

Actor. Director. Builder.

I’m a passeur: for fifteen years I have been taking people across. From the audience to the stage, from one country to another, from a messy process to a tool that works. Today I run a casting agency in Saigon and build its software myself, by directing AI agents.

You are rather…

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Le soleil n'est pas une boule, La Ferronnerie, Paris, 2022
Le soleil n'est pas une boule, La Ferronnerie, Paris, 2022
Duyên platform, the production casting room
Duyên platform, the production casting room
Bulle, Ho Chi Minh City, 2025
Bulle, Ho Chi Minh City, 2025
13actors placed on The Wandering Earth 395shoot days coordinated3currencies, every actor paid3,000+hours of training, 4.7/515+screen roles as Charli Bar12+performers led over 5 years13actors placed on The Wandering Earth 395shoot days coordinated3currencies, every actor paid3,000+hours of training, 4.7/515+screen roles as Charli Bar12+performers led over 5 years

    A passeur

    In French, a passeur is the one who takes you across: a border, a river, a threshold. That is the thread through everything here. The medium changes, a stage, a film set, a classroom, a piece of software. The job stays the same: get people across, safely, to the place where they can act.

    Production casting room: shortlist counts, filters, grid of actor portraits

    2026

    A casting platform, designed, directed and shipped end to end

    RoleFounder, and both product owner and architect
    TeamAI coding agents, directed by me: I decide, they code
    PeriodSince March 2026

    Result: 200+ actors sourced, about 30 of them selected for the roster. On The Wandering Earth 3, I had placed 13 actors for 95 shoot days with nothing but spreadsheets and messaging apps. The platform, which I led end to end, secure and reachable from mainland China, exists so that no production has to run that way again.

    Read the full case

    Where it comes from

    It starts with The Wandering Earth 3. I was coordinating the foreign cast of a Chinese production, and my only tools were messaging apps, email and spreadsheets. Could the work really be done that way?

    Clearly not. So after the shoot I started an agency to do this work properly, then built the tool it runs on.

    What I put together

    A single roster, shared by three kinds of users. First the actors, who apply and keep their portfolio current. Then the agency, which evaluates, admits and presents them. Finally the productions, which open a private casting room, compare a shortlist, and book.

    Every actor also gets a branded PDF résumé, rebuilt whenever their credits change.

    From a self-tape to a paid actor, one pipeline

    A form would have been enough for a brochure site. A casting agency, though, needs its whole chain, and each side has to work in its own space.

    Actors

    1. They apply, then upload photos, showreels and self-tapes.
    2. Their files are compressed, renamed and sorted automatically, so that a production, wherever it is, downloads a clean, structured package fast.
    3. Their old résumé is read, parsed, then rebuilt as an agency-branded PDF.
    4. They get a personal space and tools of their own: a profile link they'll want to share, comp cards in one click.

    Agency

    1. It searches the whole roster in seconds.
    2. It evaluates actors, admits them, then guides their development.
    3. For each casting, it builds a selection and sends it to the production.
    4. It remains the filter between both sides: nothing reaches an actor without our sign-off.

    Productions

    1. They receive the selection in a private casting room, where every résumé carries the agency's branding.
    2. They keep or pass on each actor.
    3. They book the actors they keep and sign contracts on the platform.
    4. They follow every actor, from shortlist to set.

    Note: every platform screen shown here uses demo data.

    Where the difficulty lies

    Three sides, a single truth

    Actors, agency and productions each see a different slice of the same records. Who sees what, and when? That question is, in the end, the product. So an actor must never learn a production's decision before the agency has approved it, and a production's name is revealed only with its consent.

    A market on the other side of the firewall

    Yet productions work from mainland China, where Supabase is blocked and most hosting platforms are absent. Hence Cloudflare's edge placed in front of a Singapore server, picked over a cheaper German one for latency to Vietnam.

    Heavy files

    Showreels and self-tapes are large video files. That called for resumable uploads straight to storage, a video encoding pipeline, and short-lived signed links.

    Personal data

    Contact details, ethnicity, body measurements, photos, private agency notes: a leak would expose the actors and the agency's trust with productions. Which is why security is the one area where I never gave anything up for speed.

    Security

    First, I wrote security rules the AI is not allowed to bend. Then I had the code reviewed in several passes, and again after each feature. Fifteen decision records, in fact, cover security reviews and hardening.

    • The server stays invisible. Its address sits behind Cloudflare, and it rejects any connection that can't prove it comes from our own domain.
    • At rest, sensitive fields are encrypted. Agency notes and evaluations never leave the admin side, and the file a production downloads follows a strict whitelist, with no contact details at all.
    • A single login for everyone, with a generic error. So nobody can test whether an account exists. Sessions are short and rotated on every use, and the brute-force lockout can't be dodged by faking an address.
    • Backups are encrypted before they even leave the server, and their key is kept away from the storage they protect.
    • Finally, public forms are protected from bots, dependency vulnerabilities are triaged, and build tools are pinned to exact versions.

    An AI agent writes fast and sounds sure of itself. So most of my job came down to catching where it was confidently wrong.

    Working with AI agents: my method

    First observation: an AI agent writes code faster than I can check it. The bottleneck, in other words, has moved. And the traps are well known: code that looks right, invented facts, lost context, runaway cost. For each one, I built a safeguard.

    Verification

    A "make this page responsive" task came back marked finished; on my phone, I still found seven defects, one at a time. So I wrote a verification rulebook every session follows before saying "done". I also discovered 883 tests that nothing ran before production, and had them wired in. Even so, a go-live audit caught 3 blockers that no automated check had seen.

    Invented facts

    Left alone, an agent fills gaps with plausible fiction: past clients who don't exist, reassuring numbers, stock photos passed off as our actors, profile links that lead to someone else. Hence a rule: what I can't prove doesn't go public. Copy lives in documents I own, and a mockup isn't allowed to add a claim. Likewise, search-engine data only carries links I supplied. As for placeholder photos, they now fail the build.

    Memory

    Each session, an agent starts from zero. How do you work over time with someone who forgets everything? By handing the memory to the project itself. A briefing file states the live rules and points to the reasoning; more than 100 decision records keep the why. A progress log is kept after every task, and a written rule forbids re-debating a settled decision: it can only be formally revised. Finally, a separate file lists "commands an agent would guess wrong".

    Several agents at once

    I run several sessions in parallel, each on its own copy of the code. One day, one of them deployed a stale copy, silently erasing another's fix. Since then, every session checks its drift against the shared branch at startup, and the deploy script refuses anything that isn't the latest version.

    Picking the model, counting the cost

    Inside the product, the résumé import calls Claude. Does that require a big model? The job is reorganizing text, not perceiving images, so I use the smallest one, Haiku, and send it extracted text, never the raw PDF, which would cost far more. That comes to about 1.5 to 2.3 cents per import, capped at 10 an hour per visitor. Every answer is re-validated against a strict schema; if the AI fails, the import works anyway. I also priced an AI layer for the code map, then dropped it.

    Architecture: learn first, choose second

    A first stack was offered; I didn't take it. I asked the AI to explain the main architecture options and their trade-offs, read all of it, then made the call myself. Every proposal, I pushed hard: why, how, how fast, under which conditions, for how many users? Sized for real load rather than hypothetical scale, a single server with the video encoder beat pricier managed services. And since productions sit behind the Chinese firewall, anything blocked there was out, whatever its reputation. I also overrule the first proposal when it is wrong: a "you're shortlisted" message still visible after a production had passed, a résumé parser that turned my own 28 credits into 50, a brief form that stored nothing.

    What the user sees, the AI doesn't

    On my iPhone, in the Arc browser, the bottom of the home page vanished under the floating bar. No test had caught it, and the AI can't open Arc. Three times it tried to guess the bar's height by changing which elements were shown or hidden; three times I tested on the phone and said no, because one version was too cluttered and another removed the scroll cue I wanted to keep. The fix came from restating the problem: I didn't want fewer elements, I wanted the cue to sit exactly on the edge of the bar. In other words, a single number to set. We read it off my screenshot, and on the fourth round I signed it off on the device.

    Even its tools get it wrong

    First finding: the code map every session read at startup was 54% noise from third-party dependencies. Second finding: the build watchdog was watching the wrong process, 0.9 points away from killing a healthy build. Which is why, before I trust a tool, I have it measured.

    Next.js · React · Hono · PostgreSQL · Drizzle · Cloudflare Workers, R2, WAF · FFmpeg · Claude Code · Claude API (Haiku) · n8n · Python · Apify · GitHub Actions

    Payment tracker overview: money in, money out, outstanding. Amounts blurred

    2026

    Tools for money and contracts

    RoleDesigner and builder
    Born onThe Wandering Earth 3
    ToolsA tracker for actor payments, a multilingual e-signature tool

    Result: for each actor on each production, I know at any moment what was worked, what was paid, by whom and in which currency, and what is still owed.

    Read the full case

    The starting point

    On a Chinese shoot, money crosses three parties and three currencies. The production pays the agency in yuan, the agency pays actors in dollars or dong, and in between sit day rates, standby rates, overtime and commissions. Yet on The Wandering Earth 3, I tracked every working day and overtime hour by hand. And one mistake is all it takes: an actor paid wrong, or a production billed wrong.

    So what I built

    First, a payment tracker. You enter contracts with their roles and rates, the actors assigned, days and overtime; you then get an overview in any currency: money in, money out, what the production still owes, what the agency still owes.

    Second, a contract signing tool. Behind the firewall, Western e-signature services don't work reliably. So I built my own: multilingual, reachable from China, no third-party platform.

    The Wandering Earth 3

    A film by Frant Gwo · Qingdao, 2026

    13foreign actors
    95shoot days
    3currencies, all paid

    2026, Qingdao

    The Wandering Earth 3: getting foreign actors to set, then getting them paid

    RoleForeign cast coordinator; also cast in an English-speaking role
    ProductionA Chinese sci-fi feature directed by Frant Gwo
    PeriodFebruary to April 2026, in Qingdao

    Result: the foreign cast of a major Chinese feature put under contract, flown in and paid across three currencies, every actor paid in full.

    Read the full case

    Paying across currencies

    The production paid in yuan; the actors needed dollars or Vietnamese dong, across two banking systems that don't talk easily. I found and tested a payment chain that worked, until every actor was paid.

    Contracts

    Contracts had to be drafted, in several languages, that worked both for a Chinese production and for foreign actors. Behind the firewall, however, Western e-signature tools aren't reliable. Which is why I developed my own signing tool: multilingual, reachable from China, independent of any third-party platform.

    Getting people there

    Actors were flying in from several countries, and every ticket had to be actually issued, then actually received. So I built a process for each step.

    Actors who don't show up

    Some actors gave their word, then didn't come. I had to find replacements at the last minute, and agree on a solution with the production.

    It was out of this shoot that Duyên grew.

    Wide shot of the stage under a red cyclorama, cubes lit from inside

    2017 to 2022

    Le soleil n'est pas une boule

    RoleConcept, direction and dramaturgy, plus producing
    TeamA company of 12 to 13 performers and technicians, which I led
    Period5 years, 2017 to 2022
    CompanyLes Lions sous la Lune

    Result: over five years, I took a company of 12+ from a volunteer project to a paid professional run: three performances of a 1h45 show at La Ferronnerie, Paris, in March 2022, with performers and technicians on contract. Along the way, nine residencies and a full set built by hand.

    Read the full case

    Where the play starts

    A play about free will, written collectively with the actors. Our research in philosophy and neuroscience, however, led us to a paradox. First observation: our societies treat self-control as a fact. At the same time, neuroscience suggests we have very little of it.

    Caught between the two, justice faces a hard problem. If so much of what we do is determined, how responsible is a man who commits rape?

    Caught between the two, justice faces a hard problem. If so much of what we do is determined, how responsible is anyone for what they do?

    What we chose to stage

    A second observation followed: we are always telling ourselves a story. When we are not its hero, we watch other people's lives as if from a theater seat. That is why people don't step in when violence happens in front of them: it isn't, they feel, their role.

    So we gave the audience total freedom from the first minute, then staged an act of violence in front of them. Would anyone intervene? Next, the play stops for a debate. For being a spectator is already being an actor in what you see.

    So we gave the audience total freedom from the first minute, then staged a rape, crudely. Would anyone intervene? Next, the play stops for a debate. For being a spectator is already being an actor in what you see.

    From a cardboard model all the way to the stage

    Scale model under red and orange light, three figures between cubes
    Another scale model, inspired by James Turrell and Olafur Eliasson.
    12+people led over 5 years
    3paid performances, La Ferronnerie, 2022
    9residencies
    Adamisupport for the filmed performance, 2022

    What pushed back, and how I answered

    Holding a team of 12 together for five years

    In its early years the company ran on commitment alone, so what held everyone together is the project itself: a clear organization, and an ambition big enough that people wanted to see it through. Keeping that alive for five years was my job. And that took hard calls. I matched tasks to people and recast roles when something wasn't working, parted ways when I had to, and restarted the work rather than force it. The show reached the stage.

    A set, but no workshop

    The cubes came from my set designers; my stage manager Axel worked out how to run them, wireless, battery-powered, controlled in DMX. That is when the real problems began. Where do you build dozens of cubes up to 1 m wide, out of what, where do you paint them and leave them to dry, where do you buy and receive the batteries, how do you fix them into the wood?

    Going professional

    The company started with little funding; the nine residencies, from Clos Sauvage and the Monfort to the Centquatre, were given in kind. To reach a professional run, I then structured it: Les Lions sous la Lune, an association under the 1901 law, has held a live-performance producer licence since November 2021, and performers and technicians were hired on intermittent contracts under the national collective agreement (CCNSPV), and paid. The hard part was cash flow. A performance was filmed on 30 March 2022 with support from the Adami "Captation de spectacle" programme, and that support is paid retroactively. So the company had to carry the artists' pay in advance, which meant planning payroll and cash before the funding arrived.

    Covid

    After excellent feedback, we were set to perform for a large number of theater professionals. Covid cancelled that date and delayed the premiere. The show finally opened at La Ferronnerie, Centre Pina Bausch, on 30 and 31 March 2022, for three performances.

    Léo on one knee, reaching upward, the đàn tranh player behind him

    2019 to 2025

    Bulle: producing a show across three countries, independently

    RoleWriter, director, performer and producer
    TeamOne actor, 1 or 2 musicians, one stage manager
    WhereParis, Tunisia, Ho Chi Minh City
    PartnersThe Instituts français in Tunisia and Vietnam

    Result: 6 performances in 3 countries before more than 500 spectators, an independent production, and press coverage in 8 Vietnamese outlets.

    Read the full case

    The starting idea

    A 45-minute poetic solo about solitude, with live music, which I wrote, directed and perform. I designed it to travel light: one actor, one or two musicians, one stage manager.

    What producing it actually took

    First an invitation to Tunisia, with financial support from the Institut français de Tunisie. Then Ho Chi Minh City, where I recast the music with a Vietnamese đàn tranh player, staged it at Dancenter, secured a communication partnership with the Institut français du Vietnam, gave four performances in French and English, and got the show covered by eight outlets, from Việt Nam News to Tuổi Trẻ.

    After the show, Étienne Ranaivoson, Consul of France in Ho Chi Minh City.
    Vũ Phi Anh, of the Institut français du Vietnam.

    Việt Nam NewsThe Saigon TimesTuổi Trẻ NewsLe Courrier du VietnamSài Gòn Giải PhóngNgười Đô ThịO VietnamVietnam.vn

    4.7/5learner satisfaction, 2025
    3,000+hours of training delivered
    500+adults trained
    100%would recommend

    Since 2021

    Preparing adults for a national certification

    RoleInstructional designer, lead trainer and cohort referent
    ClientsSocial Builder, WebForce3, Alphalia, m2i and Othis
    PeriodSince 2021

    Result: cohorts of adults certified by the French state; from learners, 4.7/5 satisfaction and 100% would recommend.

    Read the full case

    The frame

    France’s national Digital Advisers programme (Conseillers numériques France Services) trains people from very different backgrounds to help citizens with digital tools, then certifies them with a state qualification (REMN, level 5). The training was delivered by La Fabrik de la médiation numérique, a consortium of training providers led by WebForce3. I worked in it for Social Builder (2021 to 2022), then for Alphalia (late 2023 to January 2026, design and 315-hour cohorts), with cohorts of 15 to 30 adults, sometimes as lead trainer heading a team of six.

    For Social Builder: 27 blocks, close to 95 hours

    In version 2 of the national programme, I wrote 27 blocks of 3.5 hours, including 18 of the 26 blocks of the Support Postures module. Welcoming people face to face, remotely and on the phone; building trust; analysing the request and managing time; questioning and rephrasing; keeping the right distance; not doing things for the user; online welcome and remote control of a user’s computer; spotting a suicidal crisis; exam practice. The others cover the general context, online etiquette and the legal framework of digital support. And more courses besides, such as "Running a meeting".

    At Alphalia: two more rewrites

    The programme itself kept evolving over its five years: a French government commission whose specifications, audiences and clients changed along the way. The course had to be adapted at each stage. At Alphalia I rewrote it twice more (versions 2 and 3), for the 175- and 315-hour tracks: core courses, a running project, "Design your action sheet and materials", adapted to each environment (PC, tablet, microcontroller, robot), and courses built around games. In "Fighting cyberbullying", learners become "cyberspace detectives" who identify the form of harassment hidden in a scenario, then fill in a team "passport" with the applicable law and ways to intervene. Every course follows the same LMS-ready format: objectives, glossary, trainer run-sheet, quiz, key-takeaways sheet.

    Making remote training come alive

    The course ran mostly on video calls. I adapted classroom exercises for remote delivery and designed ones that only exist remotely: a welcome interview replayed with cameras off to work on the voice alone, taking control of a computer remotely, live, as with a real user, breakout groups the trainer visits with the camera off, short videos analysed in groups with a rapporteur. The rhythm is set: input, practice, open questions, a quiz.

    On the LMS

    I also implemented courses on the 360Learning LMS, with their key-takeaways sheet and quiz.

    How I teach

    I come from theater, so I build a course like a rehearsal: you learn by doing, in front of others, with immediate feedback. I also teach how to write an objective you can check: "use the educational robot" is not one, "plan a route for the robot" is. I prepare people for the exam early and repeat the key points; one learner told me those reminders were exactly what got him through.

    My module: support postures, blocks 1 to 7
    My module: support postures, blocks 1 to 7
    My map: the steps of an in-person welcome
    My map: the steps of an in-person welcome
    My map: the steps of a remote welcome
    My map: the steps of a remote welcome
    Another course I wrote: running a meeting
    Another course I wrote: running a meeting
    Home page of Le Pitch qu’il vous faut:

    Since 2025

    Le Pitch qu’il vous faut: a coaching offer, designed, built and run end to end

    RoleFounder, coach, designer and developer
    FormatPitch and public speaking coaching, 100% by video
    Sitelepitchquilvousfaut.fr, soon pitch.leobarcet.com

    Result: a live offer for founders and executives, from a single session to a three-month programme, built on a method of my own, and a bilingual site whose AI chatbot qualifies prospects before the free diagnostic call.

    Read the full case

    The idea

    A pitch isn’t recited. It’s performed. Founders preparing a fundraising round, a demo day, a keynote or a key client meeting usually work on their slides. I work on what happens when they speak: structure, voice, body, silences.

    It starts with a free 20-minute diagnostic by video. Then a coaching format fitted to the deadline, with a script written together for the bigger packages, and recorded rehearsals to watch back.

    The method: S.C.E.N.E.

    Structure: what you want to obtain, then the story that leads there. Charisma: presence, voice, posture. Emotion: what the audience should feel. Natural: delivered, not recited. Effectiveness: the ask, and what happens after.

    It is the way I direct actors, applied to people who never meant to be on stage.

    The site, built with AI agents

    Next.js, strict TypeScript and Tailwind, in French and English. A chatbot qualifies each prospect before they book: project, audience, deadline. Forms are validated server-side, emails go out through Resend.

    Security and quality

    Rate limiting per session, chat data encrypted, strict input validation against injection. Tests with Vitest and Playwright, and the same verification rules as my other products.

    Next.js 14 · TypeScript · Tailwind CSS · OpenRouter · Resend · Zod · Vitest · Playwright

    Here, learners and trainer are all to be seen as actors.

    From the introduction of the trainers’ guide

    2022

    Pouvoir +: studying a course in the field, then writing the guide for those who run it

    RoleAuthor of the trainers’ guide, field review
    ForSBT Humans Matter
    LearnersJob seekers

    Result: a critical review of the course as it actually ran, then a guide that gives trainers a frame, a stance and exercises aligned with what the course is for.

    Read the full case

    The course

    Pouvoir + helps job seekers develop their agency. Not "acting more": spotting the strategy we apply without thinking to reach a goal, judging whether it works, and changing it when it does not.

    The review

    From a session run in May and June 2022, I wrote a review: every exercise described, set against its goal and against what learners said about it. It found a gap between the model and the room: a blurry frame, instructions left vague on purpose that learners pushed back on, and a trainer tempted to solve every learner’s problem for them.

    What I proposed

    A plain-language version of the agency model (self-efficacy, after Bandura) and what it implies in practice. Then four changes: redraw the frame, hold the right distance, pick exercises that serve the goal, and give the trainer a clear observation grid.

    The guide

    Then the trainers’ guide. I built it like a play: a non-top-down course in two acts, where learners and trainer are all actors and no two sessions are alike. It does not script what to say. It sets the frame, the stance and the ground rules. I also took part in the early design of the course.

    The trainers’ guide: cover
    The trainers’ guide: cover
    Contents: the model, the stance, the frame
    Contents: the model, the stance, the frame
    Setting up the room: a sample layout
    Setting up the room: a sample layout
    Nouvel Acte,

    2022 to 2023

    Nouvel Acte: a video course, from the research to the edit

    RoleCo-founder, learning designer
    FormatOnline course: videos, exercises, coaching
    StatusNever released

    Result: a complete program ("Believe, act, succeed!"): a three-part video course with its exercises, plus the offer and the sales funnel around it. Several sequences shot and edited. It was never released, so this case shows the design, not results.

    Read the full case

    The idea

    With two friends, I set up an online training company for people who feel they are missing out on their own life: a job that only pays the bills, projects that never start. Instead of a pile of productivity tricks, we wanted to understand first why people do not act, and only then how to get organized.

    The course

    Part 1, the model: why we procrastinate, the role of emotions, self-efficacy, the reward system, then exercises (Tower of Hanoi, dual tasks, cardiac coherence) and finding your "north star". Part 2, practice: SMART goals broken into quarters, Pareto, the Eisenhower matrix, the ideal week, handling interruptions, feedback and making habits stick. Part 3: digital tools to get organized.

    Done properly

    Every idea started from research reading (attention, implementation intentions, Bandura’s theory), then was cut into short sequences we wrote, shot and edited ourselves: the Tower of Hanoi, dual tasks, managing emotions, the ideal week, making habits stick.

    Around the course

    A detailed persona, an offer split into modules, an adaptive questionnaire that gives a first free assessment and qualifies prospects, an e-mail sequence and a webinar.

    Nine modules, one real workshop

    1. Define what makes a workshop innovative
    2. Pick an audience, brainstorm, pitch
    3. Test feasibility
    4. Write the run-sheet, list the resources
    5. Build the materials (3 modules)
    6. Run another team’s workshop
    7. Finalize and publish on La Base

    2024 to 2026

    "The innovative workshop": nine modules in which learners build a real workshop, from idea to national sharing

    RoleDesigned and written end to end, solo
    ForAlphalia, 315-hour track (Digital Advisers)
    Format9 modules, in teams

    Result: a track in which every team designs, tests and publishes a ready-to-use digital inclusion workshop, meant for La Base, the national resource platform shared by every digital adviser in France.

    Read the full case

    The idea

    Instead of learning workshop design in theory, learners build a real one, in teams of about six, over nine modules. By the end everything is ready: lesson plan, materials, quiz. If the workshop holds up, it is published on La Base. The trainer keeps the right to say "not yet": only what will truly help other advisers gets published.

    Participation first

    Shared online boards to collect existing innovative workshops, a detailed portrait of the audience, a five-minute pitch, quizzes where teams compete. And in module 8, each team runs another team’s workshop from its documentation alone: some lead, others play learners, then everyone reviews. A dress rehearsal, as in theater.

    Grids to create, then to judge

    An innovation grid (novelty, originality, usefulness, appeal), a feasibility grid (audience and content, timing, resources, constraints), a resource list and an action-sheet template. The same tools serve to imagine the workshop, then to decide whether it is ready.

    Creativity and pragmatism

    The track alternates both: dream wide (sewing meets digital, pastry meets 3D printing), then test the idea against reality before producing anything. Every module follows the LMS format: objectives, glossary, trainer run-sheet, quiz, key-takeaways sheet.

    Charli Bar demo reel, English subtitles

    2014 to 2026

    Charli Bar: the actor, from the Paris stage to Asian film sets

    Stage nameCharli Bar
    Acting languagesFrench, English, Spanish, Vietnamese
    TrainingCours Florent, Sorbonne Nouvelle, Paris 8

    Result: 15+ screen roles, including The Wandering Earth 3 (Frant Gwo), Balthazar (TF1) and La Guerre des trônes (France 5), and about ten stage productions acted or directed, from Paris to Ho Chi Minh City.

    Read the full case

    On screen (selection)

    • The Wandering Earth 3, Frant Gwo, 2026. Role: Franck Morel (in English)
    • Balthazar, season 4, Franck Brett, TF1, 2022. Role: Xavier
    • La Guerre des trônes, season 2, Vanessa Pontet and Alain Brunard, France 5, 2018. Role: Henri IV
    • And fourteen short films, often in the lead.

    On stage (selection)

    • The Odd Couple (female version), Naima Thompson, Ho Chi Minh City, 2025. Role: Manolo (in English)
    • Bulle: writing, directing, acting, 2019 to 2025
    • Le soleil n’est pas une boule: concept, directing, acting, 2017 to 2022
    • Abandon (carte blanche): directing and acting, Théâtre de Gennevilliers, 2017
    • Clôture de l’amour (Pascal Rambert): directing and acting, Paris, Agadir, Tangier, Bordeaux, Sousse, 2015 to 2016
    • Molière, Cocteau, Synge, Horváth, Mayenburg… in Paris, 2014 to 2015.

    Also: classical singer (baritone), guitar, horse riding.

    Charli Bar photo sheet
    Comp card

    Product · verification protocol for AI agents

    Verify, don't assume

    A protocol my AI coding agents must follow before they are allowed to say "done". Born on the Duyên platform, now in every product I build, and the grid I use to evaluate AI output.

    The problem

    An agent reports "done" on work it never really looked at. On one "make this page responsive" task, I still found seven defects on my phone, one at a time.

    What it does

    Five rules the agent applies before closing a task: check the whole surface, look at the result the way its user will, fix the category and not just the instance, distrust a checker that can pass on broken work.

    In use

    On Duyên, it surfaced 883 tests that nothing ran before release; they now gate every release. It runs on Le Pitch and on the payment and signing tools too.

    The rules, exactly as written for the agents

    1. Verify the artifact you ship, over its whole surface. Enumerate it, don't assume it.
    2. A declared gap is not a covered gap. "Can't test X" means build a way, or say unverified.
    3. Green checks prove no breakage, never quality. Always look at the finished result the way its user will meet it.
    4. When you can name why a bug happened, use that sentence as a search across the module. Fix the category, then go find its other members.
    5. Suspect the fixture when a measurement contradicts the code. A checker that can pass while broken is worse than none.

    Need someone to check what your AI produces? I evaluate AI output in French, English and Spanish: code, creative writing, translation.

    Get in touch →

    What others say

    As a trainer

    Source: learner satisfaction survey, 2025

    4.7/5overall rating
    9.3/10relevance of the course
    100%would recommend me as a trainer
    100%rated the course relevant
    "A very competent trainer, committed and devoted to his learners, with a captivating way of speaking. He used diplomacy and listening to keep everyone involved, and brought all of us to the point of being able to pass the certification. An excellent trainer I hope to meet again."
    Laurent Fromentin, former learner, La Poste · learner survey 2025 (translated)
    "Very invested in his mission. Always listening and ready to motivate his cohort. Léo leaves no one behind and makes sure everyone takes part."
    Christèle Vasseur, former learner · learner survey 2025 (translated)
    "I passed the CCP1. Thank you for your availability and your listening. In a later training I realised that not all digital advisors, including some who had been in post much longer, had received such a high-quality training."
    Béatrice L., former learner, now digital advisor at La Poste · 2025 (translated)
    "Thank you for the training, and for helping me get my first diploma. You always listened, and your advice and motivation kept me focused, even when it was hard. Most of the group I'm still in touch with passed their CCP1, me too."
    Maureen F., former learner · 2025 (translated)
    "I got both certifications, I'm so happy. I listened to your advice."
    Sandrine D., former learner, City of Savigny-le-Temple · 2025 (translated)
    "Thank you so much for everything you brought me during the training, and for always being available to answer my questions."
    Laurent C., digital advisor, City of Gien · 2026 (translated)
    "Thank you for orchestrating the trainers' introduction at the very start of the session, with real time given to the subject. I hadn't had this launch step with the cohort lead in the two previous groups, and it makes a difference."
    Jenny Augias, fellow trainer, national Digital Advisors program · 2021 (translated)

    On stage

    "I noticed Léo Barcet's professionalism and determination. [...] the strength of his proposals and the rigor and will with which he carries them out."
    Pascal Rambert, playwright and director, former head of T2G Théâtre de Gennevilliers · recommendation letter (translated)
    "I saw the professionalism and rigor of Léo Barcet and his deep commitment to the performing arts. [...] Dynamic, cultured and inventive, energetic and determined."
    Pierre Katuszewski, Université Bordeaux Montaigne · recommendation letter (translated)
    "I have seen countless plays in my life, but this performance is one of the most transcendent, distinctly and inherently human I have ever had the privilege of witnessing."
    Matthew Alan Ward · on Bulle, Ho Chi Minh City, 2025
    "A rare moment in Saigon. A sensitive dialogue between theater and traditional Vietnamese music. Events like this deserve to be supported and shared as widely as possible."
    Jaime Peypoch, Secretary General, Français du monde-ADFE · on Bulle, 2025 (translated)
    "An amazing and unique performance, full of beautiful poetry and deeply touching moments. It truly reminded me to look deep inside my heart and mind."
    Tra My Nguyen · on Bulle, 2025
    "A strong, deep and poetic show. I hope you can support it, it deserves it."
    Sara Sismondi, theater teacher, Ho Chi Minh City · recommending Bulle to a school in Hanoi, 2025 (translated)
    "A psychological bomb that questions many of the foundations of our society."
    Thomas Haguet · on Le soleil n'est pas une boule (translated)
    "Let yourself be surprised by this very poetic and original show." · "What a beautiful show. Very moving, and the music sublime."
    Juliette Carrasco, Beata Ufniarz · on Bulle, 2025 (translated)

    The way I run a project

    About

    Léo Barcet with his camera
    Off stage, behind the camera.

    I’m French, I live in Saigon, and I have spent fifteen years making things happen in front of an audience. I trained as an actor at Cours Florent and the Sorbonne Nouvelle, then learned to direct: a company, a cast, a room of learners.

    When I started building software, I found I was doing the same thing with AI agents. Off stage, I shoot street and travel photography (Saigon, Đà Lạt, Angkor: see the gallery), I learn Vietnamese, and I train most days: running and hybrid strength work.

    Léo
    Based
    Ho Chi Minh City, Vietnam. Remote, UTC+7
    Languages
    French (native), English and Spanish (C1), Vietnamese (B1)
    Education
    M.A. International Artistic and Cultural Projects, Paris 8 · B.A. Theater Studies, Sorbonne Nouvelle · Cours Florent
    Companies
    Duyên Talent & Casting · Les Lions sous la Lune (2015)

    Now

    Open for work

    • From October 2026, remote or in Ho Chi Minh City
    • On contract or part-time
    • AI evaluation, tools, production, training

    Next

    Back on stage

    • Bulle, restaging the solo with live music
    • Le soleil n'est pas une boule, preparing its return
    • A new creation with Les Lions sous la Lune

    Horizon

    The bridge

    • Duyên as the bridge between international actors and Asian productions
    • More stage, more screen
    Léo Barcet

    Write to me.

    I read every message myself, and I answer.

    contact@leobarcet.com