Tristan Barrocks
Lahir 20 Des 1983 · Toronto, Ontario, Canada
A Jamaican-Canadian director, writer, and producer, Tristan Barrocks is redefining Black storytelling on a global scale. Based in Toronto but reaching audiences worldwide, his work is raw, emotional, and deeply human. His critically acclaimed digital release Dear Black Dad struck a chord with audiences, while projects like the 2023 web series Wallflower, the documentary series Connecting the Dots (2019), and Mother to Mother (2022) have further cemented his reputation as a filmmaker who crafts narratives with authenticity and heart. His latest film, Sugar Dumplin’, a deeply personal and culturally rich exploration of Jamaican and Caribbean identity, is making waves on the festival circuit, premiering at the Oscar-qualifying Pan African Film Festival. This film is a testament to Tristan’s relentless pursuit of storytelling that speaks to culture, history, and the nuances of Black family life. Tristan’s directorial excellence hasn’t gone unnoticed. He is a W3 Award-winning director, recognized for his visionary approach behind the camera. His films have screened at some of the world’s most prestigious festivals, including The American Black Film Festival, Essence Film Festival, and the Swedish International Film Festival. Beyond his own filmmaking, Tristan is committed to uplifting the next generation of storytellers. A two-time participant of the Diversity of Voices Initiative, a judge for the CMF Radicalized Production Portfolio, and a professor at Seneca College, he’s dedicated to ensuring that BIPOC creatives not only have a voice but are heard loud and clear. His work has also been featured on major platforms like PlayBlack, Glossy Inc., Loop News, and Medium, showcasing his influence beyond just film. With A Letter From the Fathers Chapter II in development and a growing list of accolades, Tristan Barrocks isn’t just telling stories—he’s shaping the future of cinema. His mission? To bring authentic, meaningful Black narratives to the forefront, proving that representation isn’t a trend—it’s a necessity.
