AN American filmmaker

His films are concerned less with biography than with the invisible systems that shape culture. Through long-form observation, often over years, Ballesteros documents where power, media, technology, art, and public life collide — preserving events as they unfold rather than explaining them, letting history reveal itself through accumulated detail.

His debut, In Whose Name?, distilled from over 3,000 hours filmed across six years inside the world of Ye, opened in more than 1,000 U.S. theaters and was named one of the Los Angeles Times' Top Ten Films of 2025. His second documentary, American YoungBoy, reached the domestic box office Top Ten, its screenings becoming communal performances, proof that documentary cinema can be a live cultural event.

Mentored by renowned art dealer Tony Shafrazi, whose career spans Andy Warhol, Jean-Michel Basquiat, Keith Haring, and Francis Bacon, Ballesteros has expanded his practice into visual culture, authorship, and the conditions from which artistic movements emerge. His conviction is simple: cinema preserves not only what happened, but what it felt like to be alive while it was happening.

Through NB Studios, he is building work spanning documentary and narrative film as artificial intelligence, contemporary art, and the moving image converge.

 WorkS | Documentaries

In Whose Name | Official Trailer (2025)

American YoungBoy | Official Trailer (2026)

 WORKS | music videos

070 Shake - Purple Walls | Official Music Video (2022)

Playboi Carti ft. Kid Cudi - M3tamorphosis | Official Music Video (2021)

PRESS

 
 

LOS ANGELES TIMES

“The black SUV rolls toward the White House, carrying Kanye West to a meeting with President Trump — Beside him sits Nico Ballesteros, a teenager from Orange County, camera in hand, worn down by months of near-constant filming...”

GQ

In Whose Name, a documentary about Ye shot over six years by first-time filmmaker Nico Ballesteros, follows West through the wormhole of cancellation and out the other side.”

Vulture

“I don’t think this format [of documentary film] could have existed without it being someone who was a kid. It required a level of naïveté and also availableness.”

 
 

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