Cuando no es Juan es Juana
A Spanish-language Dominican comedy bringing Tristan’s directing and executive-producing responsibilities into one project. The credited roles reflect the connection between creative decisions and production leadership.
Tristan Desechenes / Film producer & director
Stories with roots.
Production with
direction.
A Dominican-Canadian perspective on film, television and the business of bringing stories to screen. Creative ambition, cultural character and a practical path forward.
The producer-operator
The story matters.
So does everything
behind it.
Tristan Desechenes is a Dominican-Canadian producer, director and media entrepreneur, Canadian-born and raised, with a career connecting creative development, business operations and cross-border production.
His experience moves between feature films, scripted television and unscripted entertainment. It brings the creative questions into the same room as the practical ones: who the story is for, what the production needs and how collaborators can move it forward.
Through Tris222, his executive platform, Tristan focuses on production leadership, project-readiness conversations and partnership development for Dominican, Caribbean, Latino and multicultural opportunities.
For international partners, he brings a Dominican production perspective. For local creators, his focus is helping culturally specific stories become ready for broader industry conversations—without flattening the character that makes them worth telling.
Producing / Directing / Writing / Distribution perspective / Technology building
From the public record · April 13, 2020
Executive experience across markets.
Diario Libre reported Tristan’s appointment as president of Los Angeles-based NYLA Media Group and identified his operations leadership role at Pro Capital Film Studios. The report also described NYLA’s Dominican production activity, including The Havisham Effect with an international cast.
Selected experience / Not an exhaustive filmography
Comedy. Drama.
The unscripted moment.
Different formats ask different things of a producer. Tristan’s experience connects screen storytelling with the coordination, judgment and relationships behind the work.
Local detail.
Different audience possibilities.
The projects below are selected experience, with public credit or reporting links where available. No ratings, financing outcomes or current release schedule are implied.
Limonada
Two families, a Dominican wedding celebration and an unexpected turn into chaos. Filmed in the Dominican Republic, the project brings together Dominican and international creative contributors. Its festival record includes Fantaspoa, Ramsgate Film Festival and the Santo Domingo Film Festival.
La última esposa
A mystery-driven Dominican television production with local and international performers. Its cross-cultural approach places Dominican settings and character within a familiar dramatic format.
Medio Limon
IMDb’s title record lists Tristan as director and co-writer alongside Junior Rosario. This creative lane remains part of the perspective he brings to producing, without being presented as a separate fixed service package.
Beyond the screenplay.
His producing background includes Chelsy Live, Mermelada and Buscándole un novio a mamá, alongside involvement in projects connected to The Voice Dominicana. These formats bring their own demands around personality, audience expectations and production coordination.
A credit tells you the role. A useful production conversation goes further: the project’s current reality, the decisions ahead and the responsibility a collaborator would carry.
Talk about your next projectThe service / Film Producer
Turn the ambition
into a workable brief.
Start with the project’s next decision. Production leadership is most useful when the creative purpose, audience and requested role are understood.
Project readiness.
Clarify the concept, intended audience and materials already in place. Identify the questions preventing progress and discuss development or packaging priorities appropriate to the current stage.
Useful starting point: what is ready, what is missing and what needs a decision.
Production leadership.
Explore where a producer relationship could support the creative and operational work. Discuss scope, collaborator needs, dependencies and the responsibilities an engagement would actually cover.
Useful starting point: a defined production need, not a general promise of support.
Cross-border partnerships.
Consider Dominican market entry and co-production opportunities in the context of the wider project. Establish the local questions, partner expectations and specialist input needed before commitments.
Useful starting point: local perspective and clearly assigned next steps.
Audience & brand alignment.
For brands and agencies, connect campaign purpose with culturally credible entertainment, scope and deliverables. For platforms and distribution partners, begin with project fit, readiness and rights clarity.
Useful starting point: a relevant audience and a clear partnership purpose.
Dominican roots / Cross-border perspective
Let the story travel.
Keep its character.
Culture is not a layer added at the end. It shapes the brief, the collaborators and the audience you hope to reach.
Commissioned location illustration · Not a confirmed filming location or permit
International producers.
Bring the creative ambition and the practical questions. A Dominican production conversation should make the intended scope, local support and division of responsibilities understandable—not leave them as assumptions.
Start with: format, stage, timing and the production counterpart you need.
Dominican, Caribbean & Latino creators.
Broader industry conversations begin with clarity. Explain what is distinctive about the story, what currently exists and where development or production leadership would make a meaningful difference.
Start with: the premise, intended audience and your next development decision.
Brands & agencies.
A screen project needs more than a brand appearance. Connect the campaign objective to a culturally relevant creative idea, a realistic scope and the deliverables the audience and business actually need.
Start with: the campaign purpose, audience, format and requested support.
For platforms, distributors & co-production partners.
Begin with fit and evidence: project format, current readiness, rights position, intended market and a defined partnership purpose. Financing discussions are welcomed as conversations, not promises of funding or placement.
Introduce a partnership opportunityWorking approach
Clear decisions.
Shared direction.
The process starts with context and ends with an agreed next step. Creative purpose and operational clarity should strengthen each other.
- Understand the brief.
- Begin with the story or campaign purpose, intended audience, current stage and support requested. Separate confirmed information from working assumptions.
- Define the need.
- Identify the decision that matters now: development readiness, production scope, local collaboration or partnership fit. Flag questions that need specialist advice.
- Align the responsibilities.
- Discuss the proposed role, deliverables, working expectations and commercial terms. Agree the scope before an engagement begins.
- Move with a shared plan.
- Proceed with the agreed work and relevant collaborators. Keep dependencies, changes and important decisions visible as the project develops.
Before reaching out
Good questions make
a better first conversation.
You do not need to pretend a project is further along than it is. An honest account of its stage is more useful than a polished claim.
Can I introduce an early-stage idea?
Yes. Explain the premise, audience and what currently exists: a concept, treatment, screenplay or other materials. State the decision you are trying to make. A readiness conversation is not a commitment to produce the project.
What if the budget is not established?
Say so. Include any working range or constraints you can share, and identify what remains unknown. Early-stage projects can be assessed fairly without presenting an unconfirmed budget as a settled figure.
Can we discuss filming in the Dominican Republic?
Yes. Share the format, intended scope, approximate timing and local support you think you need. The discussion can identify production questions and areas for qualified review; it does not confirm locations, permits, crews or incentives.
Does an inquiry secure financing or distribution?
No. Those decisions depend on project readiness, rights, commercial fit and the independent requirements of relevant partners. No particular financing, distribution or commercial outcome is promised.
How are fees and deliverables agreed?
For each engagement, after the proposed role and scope are understood. There is no published fixed-price package and no automatic commitment to accept an inquiry.
Should I send a full script or financing documents?
Not in the first public inquiry. Begin with a concise, non-confidential summary and only materials you have permission to share. Secure sharing can be arranged when the conversation requires it.
Field notes / Practical reading
Before the next
production conversation.
Tristan DesechenesProduction perspective, cultural context and the builder’s lens.
Project readiness / A practical guide
What to prepare before approaching a producer.
The first message does not need to contain everything. It needs enough context to understand the opportunity and the decision you want help making.
Read the preparation guide
Begin with a short premise or campaign objective. Describe the format and the audience you intend to reach. Then distinguish what exists today from what you hope to build.
- Materials: say whether you have a concept, treatment, script or another approved starting point.
- Stage: explain the work already done and the immediate obstacle.
- Scope: share a broad budget band, including “not yet established” when appropriate.
- Timing: separate a desired date from a confirmed dependency.
- Role: explain what you want from a producer or production partner.
Keep the initial introduction concise and non-confidential. A useful conversation can then establish whether there is a fit and what further information belongs in a secure follow-up.
Audience pathways / Production judgment
Think about the audience before the final frame.
Format, cultural detail and the intended viewing context belong in the production conversation from the beginning—not only when the work is ready to release.
Read the audience framework
Start by describing the people the project is intended to reach. “Everyone” rarely explains the creative choices, the language of the brief or the viewing experience being designed.
Next, distinguish an intended audience pathway from a secured distribution arrangement. A feature, a series and a brand-backed project may need different conversations around rights, materials and partner expectations.
- What does the audience need to understand to enter the story?
- Which local details give the work its character?
- What format and viewing context suit the idea?
- Which rights or delivery questions still need to be resolved?
These questions do not guarantee a buyer or distribution deal. They help the creative and commercial sides of the project speak to each other before major commitments are made.
The builder’s perspective
Content is part
of a wider system.
Tristan’s media-technology background includes Desetech Systems and work around VeoStream and VeoShop. That experience adds another lens to producing: how content, infrastructure, business relationships and audience access connect. The approved strategy also keeps his technology-building work, including Bruno, visible alongside his screen career.
Historical Desetech & VeoStream reporting ↗ · Bruno’s first-party builder story ↗
Historical reporting and first-party platform descriptions are not claims of current partnerships, audience totals or commercial results. Production inquiries remain separate from platform-product sales.
Production / Partnership / Brand / Press
Bring the context.
Let’s find the fit.
What are you developing—and what would help it move forward? Start with a focused introduction.
¿Tienes un proyecto? Comparte una breve descripción, su etapa actual y el apoyo que buscas.
A useful first introduction.
- You: name, organization and a way to follow up.
- The project: format and a concise premise or campaign objective.
- Current stage: what exists now and the next decision.
- Audience: intended viewers, market or campaign community.
- Budget: a broad working band—or “not yet established.”
- Timing: the intended schedule and important dependencies.
- Support: the production role or partnership you are seeking.
Please do not submit full scripts, confidential financing documents or uncleared materials through the initial public form. For press and community introductions, include the topic, intended use and relevant request.
Introduce your project.
Use the form for production, partnership, brand, press or professional-community inquiries. Include the brief above in your message so the conversation starts with the right context.
Submitting an inquiry does not establish an engagement or guarantee availability. Scope, responsibilities and commercial terms are agreed separately. Privacy policy.
Film community and media-technology peers: useful introductions, relevant collaborations and thoughtful production questions are welcome here too.
Read the field notes